„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."“

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

Übernommen aus Wikiquote. Letzte Aktualisierung 3. Juni 2021. Geschichte
Charles Rosen Foto
Charles Rosen
US-amerikanischer Pianist und Musiktheoretiker 1927 - 2012

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Burkard Schliessmann Foto

„Schumann's humor is rarely either witty or light: the unrealizable musical structure, the musical motto hidden and partly inaudible, must have stirred his musical fantasy.“

—  Charles Rosen American pianist and writer on music 1927 - 2012

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

Pelé Foto

„I was born for soccer, just as Beethoven was born for music.“

—  Pelé Brazilian association football player 1940

Quoted in Parton Keese, The measure of greatness (1980)

John Varley Foto

„Just because Beethoven doesn’t sound like currently popular art doesn’t mean his music is worthless.“

—  John Varley American science fiction author 1947

"The Phantom of Kansas" (1976), The World Treasury of Science Fiction (ed. David Hartwell), p. 375

Daniel Levitin Foto
Burkard Schliessmann Foto
Donald Tovey Foto
Modest Mussorgsky Foto

„In poetry there are two giants, rough Homer and fine Shakespere. In music likewise we have two giants, Beethoven, the thinker, and the superthinker Berlioz.“

—  Modest Mussorgsky Russian composer 1839 - 1881

Letter to Vladimir Stassov, October 18, 1872; Oskar von Riesemann (trans. Paul England) Moussorgsky (1929) p. 107.

Anton Rubinstein Foto

„I think that with the death of Schumann and Chopin—‘finis musicae'.“

—  Anton Rubinstein Russian pianist, composer and conductor 1829 - 1894

Quoted in A Conversation on Music (1892)

Burkard Schliessmann Foto
Peter Weir Foto
Tom Stoppard Foto

„I mean, if Beethoven had been killed in a plane crash at twenty-two, the history of music would have been very different. As would the history of aviation, of course.“

—  Tom Stoppard, The Real Thing

Henry, Act II, scene V
Quelle: The Real Thing (1982)
Kontext: Buddy Holly was twenty-two. Think of what he might have gone on to achieve. I mean, if Beethoven had been killed in a plane crash at twenty-two, the history of music would have been very different. As would the history of aviation, of course.

Eduard Hanslick Foto

„(Referring to the music of Anton Bruckner) "Nightmarish hangover style" (traumverwirrten Katzenjammerstil)“

—  Eduard Hanslick austrian musician and musicologist 1825 - 1904

From Norman Lebrecht, The Book of Musical Anecdotes (1985, Sphere Books)

Burkard Schliessmann Foto

„The trends that produced Schumann’s early piano works started out not so much from Weber’s refined brilliance as from Schubert’s more intimate and deeply soul-searching idiom. His creative imagination took him well beyond the harmonic sequences known until his time. He looked at the fugues and canons of earlier composers and discovered in them a Romantic principle. In the interweaving of the voices, the essence of counterpoint found its parallel in the mysterious relationships between the human psyche and exterior phenomena, which Schumann felt impelled to express. Schubert’s broad melodic lyricism has often been contrasted with Schumann’s terse, often quickly repeated motifs, and by comparison Schumann is often erroneously seen as short-winded. Yet it is precisely with these short melodic formulae that he shone his searchlight into the previously unplumbed depths of the human psyche. With them, in a complex canonic web, he wove a dense tissue of sound capable of taking in and reflecting back all the poetical character present. His actual melodies rarely have an arioso form; his harmonic system combines subtle chromatic progressions, suspensions, a rapid alternation of minor and major, and point d’orgue. The shape of Schumann’s scores is characterized by contrapuntal lines, and can at first seem opaque or confused. His music is frequently marked by martial dotted rhythms or dance-like triple time signatures. He loves to veil accented beats of the bar by teasingly intertwining two simultaneous voices in independent motion. This highly inde-pendent instrumental style is perfectly attuned to his own particular compositional idiom. After a period in which the piano had indulged in sensuous beauty of sound and brilliant coloration, in Schumann it again became a tool for conveying poetic monologues in musical terms.“

—  Burkard Schliessmann classical pianist

Talkings about Chopin and Schumann

Joanna MacGregor Foto

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