Charles Rosen Zitate (69 Zitate) | Zitate berühmter Personen

“I do not mean that it is not worthwhile to attempt a revision of the canon or that no success is possible. A few valuable minor changes have been made to our sense of the basic material of the history of music, and other alterations are still waiting to take hold. Gesualdo has not displaced Monteverdi or Palestrina but has won a permanent place; on the other hand, the attempt to convince us that Telemann is a major composer appears to have been abandoned. Alkan has not had the breakthrough his admirers had hoped for. Attacks on Tchaikovsky have not had much success in removing his music from the repertory; his credit with performers has not changed a bit.”

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Charles Rosen

Quelle: The Frontiers of Meaning: Three Informal Lectures on Music (1994), Ch. 2 : How to Become Immortal

“For Mendelssohn, Beethoven was the new point of departure, and a German composer could not afford to ignore him, as Chopin and Verdi were able to do.”

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Charles Rosen

Quelle: The Romantic Generation (1995), Ch. 10 : Mendelssohn and the Invention of Religious Kitsch

“There is a revealing sardonic comment by Leopold Godowsky on a well-known statement of Paderewski, who once boasted, "When I don't practice for one day, my fingers know it; for two days, and my friends know it; for three days and the whole world knows it." Godowsky added: "On the fourth day, the critics hear about it." In any case, poets and novelists are generally better reporters of the general state of musical opinion than music journalists, who most often have an ax to grind, or, quite reasonably and justifiably, a more limited set of prejudices to broadcast.”

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Charles Rosen

Quelle: The Frontiers of Meaning: Three Informal Lectures on Music (1994), Ch. 2 : How to Become Immortal

“It is typical of Schumann's musical thinking to construct this complex network of references outside his music-to quote Beethoven, and then to have Beethoven's distant beloved refer to Clara. But this should give a clue to the nature of Schumann's achievement. It is not Schumann's music that, refers to Clara but Beethoven's melody, the "secret tone."”

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Charles Rosen

Quelle: The Romantic Generation (1995), Ch. 2 : Fragments

“The piano is the only keyboard instrument in which one can grandly vary the effects of the harmonics or overtones of a chord at will by balancing the sonority in different ways.”

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Charles Rosen

Quelle: Piano Notes: The World of the Pianist (2002), Ch. 1 Body and Mind

“Liszt has never needed revival; his music has always been an important part of the concert repertoire. Nevertheless, he has appeared to need rehabilitation.”

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Charles Rosen

Quelle: The Romantic Generation (1995), Ch. 8 : Liszt: On Creation as Performance

“The extraordinary stylistic changes of late eighteenth-century music may have provided much of the inspiration for the literature of the turn of the century, but the literary forms that resulted were deeply eccentric. It was these works—paradoxical, anticlassical, often with startlingly unbalanced proportions—which in turn influenced the music of the generation of composers that followed. The most clearly affected by literature and art were Schumann, Berlioz, and Liszt, but neither Mendelssohn nor Chopin remained untouched by literary developments, like the revival of Celtic and medieval poetry, as the overtures of Mendelssohn and the Ballades of Chopin explicitly demonstrate.”

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Charles Rosen

Quelle: The Romantic Generation (1995), Ch. 2 : Fragments

“One of the pupils of Artur Schnabel told me that he never heard his teacher practice a difficult passage slowly, but he was struck by the way Schnabel would play one chord of a slow movement over and over, measuring and remeasuring the different components of the harmony.”

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Charles Rosen

Quelle: Piano Notes: The World of the Pianist (2002), Ch. 2 Listening to the Sound of the Piano

“The etude is a Romantic idea. It appeared in the early nineteenth century as a new genre: a short piece in which the musical interest is derived almost entirely from a single technical problem. A mechanical difficulty directly produces the music, its charm, and its pathos. Beauty and technique are united, but the creative stimulus is the hand, with its arrangement of muscles and tendons, its idiosyncratic shape.”

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Charles Rosen

Quelle: The Romantic Generation (1995), Ch. 6 : Chopin: Virtuosity Transformed

“By this time Mozart had been dead for almost fourteen years and Haydn was too weak to compose. Beethoven was unchallenged throughout Europe as the greatest living composer of instrumental music. Even more, he was generally recognized as having surpassed his famous predecessors. This, of course, did not prevent critics from greeting each new work as a disappointment after his by then acceptable achievements of the previous years.”

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Charles Rosen

Quelle: The Frontiers of Meaning: Three Informal Lectures on Music (1994), Ch. 2 : How to Become Immortal

“Chopin's mazurkas stand apart from the rest of the considerable production inspired by folk music which reaches into all forms of Romantic music; they cannot conveniently be classified with any of the other manifestations. They are not arrangements of popular folk tunes, … He uses only fragments of melody, Polish formulas, typical national rhythms, and he combines them in his own way with great originality. From early on, Chopin's mazurkas are much more elaborate than the few modest pieces employing mazurka rhythms by Chopin's Polish predecessors, and they soon became the occasion for some of the most complex and pretentious of Chopin's forms.”

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Charles Rosen

Quelle: The Romantic Generation (1995), Ch. 7 : Chopin: From the Miniature Genre to the Sublime Style

“It was this indifference to the quality of his material that earned Liszt the contempt of his most distinguished contemporaries and of many of the most respectable critics and historians of posterity. It was, nevertheless, his greatest strength. It made it possible for him to manipulate the material ruthlessly, to concentrate on effects of realization with unprecedented intensity, and to integrate styles and techniques of performance into composition in a new way. His invention of novel keyboard effects and his mastery of musical gesture have always been undervalued, especially by pianists of the German school who prefer the kind of music that can be executed while soulfully regarding the ceiling. On the whole, the most genuine understanding of his music has been displayed by musicians of eastern Europe, and he may almost be considered as the founder of Russian pianism.”

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Charles Rosen

Quelle: The Romantic Generation (1995), Ch. 8 : Liszt: On Creation as Performance

“We can, in fact, relive the history of taste in our own lives, the way embryos are supposed to go through the history of the evolution of a species.”

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Charles Rosen

Quelle: The Frontiers of Meaning: Three Informal Lectures on Music (1994), Ch. 1 : The Frontiers of Nonsense

“Normally, misprints are either easily corrected or else so trivial that it makes no difference whether we play the correct or the faulty version. … Nevertheless, on rare occasions, a misprint or slip of the pen may challenge our view of the musical language. These extreme cases may help us understand a little more about the way music acquires meaning, or what it means to say that the music makes sense.”

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Charles Rosen

Quelle: The Frontiers of Meaning: Three Informal Lectures on Music (1994), Ch. 1 : The Frontiers of Nonsense

“The mazurka provided him with a repertoire of motifs, rhythms, and sonorities outside the main Italian, French, and German traditions of European music: he used it to create a series of works within this tradition which are absolutely personal—marginal works which challenge the center.
They are the most eccentric and original of Chopin's works. We shall never know exactly what and how much Chopin took directly from the popular folk tradition and how much he invented, but it does not matter: his originality is revealed as much in what he selected as in what he imagined. The folk dances gave him the possibility of exploring new harmonies, of exploiting the emotional effect of obsessive repetition, and of developing a new form of rubato.”

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Charles Rosen

Quelle: The Romantic Generation (1995), Ch. 7 : Chopin: From the Miniature Genre to the Sublime Style

“I have never believed that the historian should seek to perpetuate the misapprehensions of the past, and it is true that we understand Beethoven today better than his contemporaries did, better, above all, than the generation that immediately followed him, including his own most important pupil, Karl Czerny.”

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Charles Rosen

Quelle: The Frontiers of Meaning: Three Informal Lectures on Music (1994), Ch. 2 : How to Become Immortal

“Understanding music simply means not being irritated or puzzled by it.”

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Charles Rosen

Quelle: The Frontiers of Meaning: Three Informal Lectures on Music (1994), Ch. 1 : The Frontiers of Nonsense

“Music has its existence on the borderline between meaning and nonsense. That is why most attempts to attribute a specific meaning to a piece of music seem to be beside the point—even when the attribution is authoritative, even when it is made by the composer himself.”

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Charles Rosen

Quelle: The Frontiers of Meaning: Three Informal Lectures on Music (1994), Ch. 3 : Explaining the Obvious

“Nevertheless, music will not acknowledge a context greater than itself—social, cultural, or biographical—to which it is conveniently subservient. To paraphrase Goethe's grandiose warning to the scientist: do not look behind the notes, they themselves are the doctrine.”

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Charles Rosen

Quelle: The Frontiers of Meaning: Three Informal Lectures on Music (1994), Ch. 3 : Explaining the Obvious

“More positively, taking pleasure in music is the most obvious sign of comprehension, the proof that we understand it, and we may extend that to sympathy with other listeners' enjoyment …”

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Charles Rosen

Quelle: The Frontiers of Meaning: Three Informal Lectures on Music (1994), Ch. 1 : The Frontiers of Nonsense

“It is not, however, the unfamiliarity or strangeness of a work or of a composer's manner that is a bar to understanding, but rather the disappearance of the familiar, the ongoing disappointment of the expectations and hopes fostered by the musical tradition in which we have grown up.”

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Charles Rosen

Quelle: The Frontiers of Meaning: Three Informal Lectures on Music (1994), Ch. 1 : The Frontiers of Nonsense

“It is fitting that a discourse on Romantic music should commence with a meditation on the art of Bach. The Bach revival is still sometimes considered an early nineteenth-century phenomenon, although this is hardly tenable: in the 1780s Mozart was deeply affected by Bach, and at the same time Beethoven was being brought up on the Well-Tempered Keyboard. Bach was well known to European musicians as a composer of keyboard music through manuscript copies of this work long before systematic publication began in 1800. The "revival" of Bach in the Romantic period was basically a rediscovery of his choral works and a new evaluation of his technique: his art was no longer simply a model for the fugue, as it had been in the eyes of Mozart, but for the art of music as a whole. The new approach to Bach and to Baroque music in general, however, did not extend to the sound of that music on the original instruments. Few musicians in the 1820s and '30s 'had the slightest interest in the sonority of old harpsichords or Baroque organs (Ignaz Moscheles was an engaging exception). What they saw, and needed to see, in Bach was the achievement of an ideal.”

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Charles Rosen

Quelle: The Romantic Generation (1995), Ch. 1 : Music and Sound

“The most signal triumphs of the Romantic portrayal of memory are not those which recall past happiness, but remembrances of those moments when future happiness still seemed possible, when hopes were not yet frustrated.”

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Charles Rosen

Quelle: The Romantic Generation (1995), Ch. 3 : Mountains and Song Cycles

“Mathematicians tells us that it is easy to invent mathematical theorems which are true, but that it is hard to find interesting ones. In analyzing music or writing its history, we meet the same difficulty, and it is compounded by another. For whom is it interesting? To paraphrase a famous remark of Barnett Newman, musicology is for musicians what ornithology is for the birds.”

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Charles Rosen

Quelle: The Frontiers of Meaning: Three Informal Lectures on Music (1994), Ch. 3 : Explaining the Obvious

“The buffoonery of Haydn, Beethoven, and Mozart is only an exaggeration of an essential quality of the classical style. This style was, in its origins, basically a comic one.”

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Charles Rosen buch The Classical Style

Part II. The Classical Style. 1. The Coherence of the Musical Language
Classical Style: Haydn, Mozart, Beethoven (Expanded edition, 1997)

“The world of Debussy is a seductive oasis, and it is hard to leave it after spending many days immersed in its atmosphere. Playing Debussy-or any other composer with a strong and idiosyncratic personality-affects not only one's cast of mind but the physical disposition as well, the way the muscles work and the fingers come into contact with the ivories.”

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Charles Rosen

Quelle: Piano Notes: The World of the Pianist (2002), Ch. 2 Listening to the Sound of the Piano

“The opposition between structure and sonority in music is almost as misleading as that between line and color in the visual arts. Baudelaire insisted, correctly, that Delacroix was one of the three greatest draftsmen of the century, and emphasized his mastery of line. In the same way, a study of Chopin demonstrates the intimate relation between line and color in music.”

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Charles Rosen

Quelle: The Romantic Generation (1995), Ch. 7 : Chopin: From the Miniature Genre to the Sublime Style

“If getting used to music is the essential condition for understanding, it is hard to see just what purpose is served by writing about it. A few experiences of listening to a symphony or nocturne are worth more than any essay or analysis. The work of art itself teaches us how to understand it, and makes the critic not merely parasitical but strictly superfluous.”

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Charles Rosen

Quelle: The Frontiers of Meaning: Three Informal Lectures on Music (1994), Ch. 1 : The Frontiers of Nonsense

“The song cycle is the most original musical form created in the first half of the nineteenth century. It most clearly embodies the Romantic conception of experience as a gradual unfolding and illumination of reality in place of the Classical insistence on an initial clarity. The form of Schubert's song cycle is not less precise than that of a Classical sonata, but its precision is only gradually comprehended as it unfolds.”

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Charles Rosen

Quelle: The Romantic Generation (1995), Ch. 3 : Mountains and Song Cycles

“Sonata form could not be defined until it was dead. Czerny claimed with pride around 1840 that he was the first to describe it, but then it was already part of history.”

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Charles Rosen

Part I. Introduction. 2. Theories of Form
Classical Style: Haydn, Mozart, Beethoven (Expanded edition, 1997)

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