violinists

"Sibelius has an acutely developed sense of identification with nature and a preoccupation with myth that at one and the same time define his unique strength and his basic limitation. These preoccupations override his involvement in the human predicament, except in so far as it affects man’s relationship with nature."

"Sibelius is unquestionably a leader in the front rank of symphonic composers. He has got out of the ruts worn by his predecessors far more completely than Brahms got away from Beethoven, or even Richard Strauss from Wagner. If someone would only burn Finlandia he would come to our young people as an entirely original inventor of a new art form and a new harmony technique."

"Play it like something you hear down by the river."

"His range is so Handelian that he can give the people a universal melody or march with as sure a hand as he can give the Philharmonic Society a symphonic adagio, such as has not been given since Beethoven died."

"The aggressive Edwardian prosperity that lends so comfortable a background to Elgar's finales is now as strange to us as the England that produced Greensleeves and The Woodes so wilde. Stranger, in fact, and less sympathetic. In consequence much of Elgar's music, through no fault of its own, has for the present generation an almost intolerable air of smugness, self-assurance and autocratic benevolence."

"Elgar is not manic enough to be Russian, not witty or pointilliste enough to be French, not harmonically simple enough to be Italian and not stodgy enough to be German. We arrive at his Englishry by pure elimination."

"In his work a means of escape has been found from outmoded romanticism on the one hand and from a barren objectivity on the other."

"Art is the signature of civilizations."

"I often conduct an orchestra in my sleep; my orchestras are so huge that the back desks of the violas vanish into the horizon. And everything is so wonderful."

"The framework of a symphony must be so strong that it forces you to follow it, regardless of the environment and circumstances."

"It is so difficult to mix with artists! You must choose business men to talk to, because artists only talk of money."

"Overrated: Antonio Vivaldi. I'm tired of him. Stravinsky once said that Vivaldi wrote the same concerto 500 times. I disagree. Instead, I think he began 500 concertos and never achieved anything in them. So he kept trying over and over again without ever quite succeeding."

"Christopher Hogwood: "Caricaturists of all countries I have a great interest in; I like to observe what happens to an artist's vision when there is a deliberate distortion for the viewer. This is found in Italian art and in much Italian music. Vivaldi sometimes uses caricature in a very serious and grim sense, not at all comic.""

"Se questa non piace, non voglio più scrivere di musica."

"Overrated: Vivaldi. He has recently become Mr. Baroque, and that is not fair to Bach and Handel. His music does not have the substance, the innovative quality or the passion of the greatest composers. Of course, it's perfectly good music and it makes the listener feel good, but there is no door opening as there is with the great masters."

"Italians have such illustrious people they can celebrate, that everyone celebrates — Michelangelo, Vivaldi and, of course, for us on the left, Sacco and Vanzetti."

"With Antonio Vivaldi, Italian Baroque music reached its zenith. The prosperous, cultivated world of contemporary Venice shines through all his works, composed with innate craftsmanship."

"Robert Craft: “Are you interested in the current revival of eighteenth-century Italian masters?” Igor Stravinsky: “Not very. Vivaldi is greatly overrated—a dull fellow who could compose the same form so many times over.”"

"The Symphonia Domestica was amusing and annoying by turns; but with some lovely bits."

"Strauss, the new conductor, seemed a hopeless failure; he kept the band as smooth, and also inane, as a linen collar; and his tempi, except for the occasional gallop in the wrong place, were for the most part insufferably slow. We all sat wishing we had not come, and that Strauss had never been born."

"I have enjoyed most particularly reading the correspondence between Gustav Mahler and Richard Strauss. The genuine friendship, competitiveness and support that thread through their communications are life lessons for us all."

"When it comes to the music of Richard Strauss, the bowing makes the fiddler grouse."

"Work, as he practised it, was quite a remarkable procedure with Strauss. Nothing of the daemonic, nothing of the artist’s mad exaltation, nothing of those depressions and desperations we know from accounts of Beethoven and Wagner. Strauss works to the point and composes like Johann Sebastian Bach, like all those sublime craftsmen of their art, quietly and systematically. At nine in the morning he sits down to resume his work just where he left off the day before, always writing the first sketch of his composition in pencil, the piano score in ink, and continues thus without pause until twelve or one o’clock. In the afternoon he plays Skat, a German card game, transfers two or three pages to the final score and possibly conducts an opera in the evening. He does not know what nervousness is, by day and night his artistic mind is equally alert and lucid. When his valet knocks on the door to bring his evening clothes, he gets up from his work, dresses, rides to the theatre and conducts with the same assurance and calm with which he plays Skat in the afternoon, and the next morning inspiration again falls into its proper place."

"I have met a great many artists in my life but never one who knew how to maintain such abstract and unerring objectivity towards himself. Thus Strauss frankly admitted to me in the first hour of our meeting that he well knew, that at seventy the composer’s musical inspiration no longer possesses its pristine power. He could hardly succeed in composing works like Till Eulenspiegel or Death and Transfiguration because just pure music requires an extreme measure of creative freshness. But the World could still inspire him!"

"German Music is unthinkable without Richard Strauss."

"If my works are good and of any importance for the further development of our art, they will maintain their position in spite of all opposition on the part of critics, and in spite of all denigration of my artistic intentions. If they are worthtless, not even the most gratifying box office success or the most enthusiastic acclamation of augurs will keep them alive. Let the pulping press devour them...I shall not shed a tear over their grave."

"I can assure you sincerely: since Wagner we have not had such a great master as Strauss."

"The greatest impression he made on me: whatever he said or did, happened – with greatest ease. One never had the impression of being in front of a person who was aware of his own significance or who acted upon it. There was never any trace of vanity, as with many when faced with the fate of considering oneself above average."

"Here is another small indication of how Strauss saw himself primarily as a practising musician rather than as a big composer of his time – which he was. In the years leading up to the Second World War, when it was still not the fashion for famous people to give out their private telephone numbers, I would read for the first time in a Garmisch Telephone Book: Dr. Strauss, Richard, Kapellmeister, and not as one would suspect “Composer”."

"He would write out the full score from the short score with everything, even new counterpoints in ink in the final draft;...he never crossed anything out. If he made a mistake he would take out a pen-knife, carefully erase it, smooth the spot with his nail and write the note over the spot. But there were very few corrections to be done, for he rarely made a mistake. Even with transposing instruments, where it is easy to go wrong. He would write just as the likes of us write a letter."

"Once, he was sitting at his desk, with me behind him. He was working on the score of Daphne and discussing a Mozart interpretation with me. Upon which I said "But Herr Doktor, you can't talk to me about other things whilst you are working". He replied: "Don't worry, carry on my dear Böhm, I am able to think of the two things at once"."

"There was no more hard-working musician in Germany. Mahler was one of many to marvel at his energy, expressing open astonishment at Strauss's ability to produce such a wide-ranging body of music while, simultaneously, sustaining an opera house, an orchestra, conducting guest tours and a family."

"“What do I think of Jazz? Jazz is royal concert in the palace of King Attila! The original negro melodies from which it is derived are sublime, but Jazz —" said Dr.Strauss shrugging his shoulders."

"Wagner's music is the most modern and the ultimate. Nobody is beyond that. Strauss's "Progress" is drivel."

"I am convinced that the decisive factor in dramatic effect will be a smaller orchestra, which does not drown out the human voice as does a large orchestra…The orchestra of the opera of the future is the chamber orchestra which, by painting in the background of the action on the stage with crystalline clearness, can alone realise precisely the intention of the composer with regard to the vocal parts. It is after all an important desideratum that the audience should not only hear the sounds but should also be able to follow the words closely."

"Producers of opera nowadays usually make the mistake of translating each particular orchestral phrase into terms of a movement on the stage. In this matter one should proceed with a maximum of caution and good taste. There is no objection to bringing life to into the production by changes of position and new nuances of acting during repetitive passages of music, especially in arias. Preludes of one or two bars frequently, and especially in Mozart, clearly express some gesture on stage. But each trill on the flute does not represent a wink on the prima donna, nor every delayed chord on the strings a step or gesture. Whole passages, especially in the finales, are pure concert music and are best left undisturbed by “play acting”."

"Conducting is, after all, a difficult business – one has to be seventy years of age to realise this fully!"

"The left hand has nothing to do with conducting. Its proper place is the waistcoat pocket from which it should only emerge to restrain or make some minor gesture for which in any case a scarcely perceptible glance should suffice."

"It is better to conduct with the ear instead of with the arm: the rest follows automatically."

"Ten Golden Rules (for the album of a young conductor)"

":1. Remember you are making music not to amuse yourself but to delight the audience."

":2. You should not perspire when conducting: only the audience should get warm."

":3. Conduct 'Salome' and 'Elektra' as if they were by Mendelssohn: fairy music."

":4. Never look encouragingly at the brass, except with a short glance to give an important cue."

":5. But never let the horns and woodwind out of your sight: if you can hear them at all they are still too strong."

":6. If you think that the brass is not blowing hard enough, tone it down another shade or two."

":7. It is not enough that you yourself can hear every word the soloist sings - you know it off by heart anyway: the audience must be able to follow without effort. If they do not understand the words they will go to sleep."

":8. Always accompany a singer in such a way that he can sing without effort."

":9. When you think you have reached the limits of prestissimo, go twice as fast. (1948 Today, I should like to ammend this as follows: Go twice as slowly - addressed to conductors of Mozart)."

":10. If you follow these rules carefully you will, with your fine gifts and great accomplishments, always be the darling of your listeners."