I really don't think I have that much of the gift; I have a little bit, but I wish I were Schubert or Chopin or Beethoven, though Beethoven had a very difficult time writing melody, too.
Beethoven for listening; Liszt, Chopin, and Beethoven for playing as well as Bach and Prokofiev and so on. If I kept going, this list would spiral. It's as wide as literature; in fact, it is probably wider.
My grandmother was a classical pianist, so I grew up with Schubert, Mozart, Beethoven. I studied piano as a kid. My musical background and upbringing was very much a mix.
As for my relationship to Beethoven, I admire people who can say what they really think. It's as though he's saying, 'That's how I feel about the world, and I don't care what people may say.' His music is pure and honest. Beethoven never pretends to be anybody else.
And now, in honour of the 150th anniversary of Beethoven's death, I would like to play 'Clear the Saloon', er, 'Clair de Lune', by Debussy. I don't play Beethoven so well, but I play Debussy very badly, and Beethoven would have liked that.
My husband's family was terribly refined. Within their circle you could know Beethoven, but God forbid if you were Beethoven.
Salieri was a pupil of Gluck. He was born in Italy in 1750 and died in Vienna in 1825. He left Italy when he was 16 and spent most of his life in Vienna. He's the key composer between classic music and romantic music. Beethoven was the beginning of romantic music, and he was the teacher of Beethoven and Schubert.
I worked on scores. I went to the musical library in Berlin which is very famous. I discovered that we had scores of Beethoven, printed scores of Beethoven, that are full of mistakes. Not the wrong or false notes, but the wrong dynamic, understandable things.
Mozart is a garden, Schubert is a forest in light and shade, but Beethoven is a mountain range.
If you mess up the tiniest little thing in the Beethoven concerto, or the phrasing isn't just exactly perfectly executed, Beethoven brings out the worst in the best violinist. You almost never hear a satisfying performance, because it doesn't play itself.
Beethoven was always too much. He's not slightly anything - he's very everything.
Between 1958 and 1963, I sold about 40 million records - to the shock of my mother and father because I was always playing Beethoven. But I bought my mother a mink stole. She was very happy, and she said, 'I think this is better than Beethoven.'
I remain loyal to Bach, Mozart, Beethoven and Schubert in music and to Shakespeare and Jane Austen in literature.
True originality has its foundations in the soul, not in the mind, and when there is an effort to create something different it is usually a failure. Beethoven or Schumann or Chopin did not try to be original. They were original.
I play the piano and have been playing since I was 7, mainly classical Chopin, Beethoven, Mozart.
Beethoven, Schubert, Schoenberg, Berg imply a type of pianist who is intellectual. That's not always associated with female soloists.
It's funny, because in 1970 I met the Beatles quite by a chance at a party. It was the Beethoven bicentenary, and I was then also playing the Beethoven Sonatas. And that's all they wanted to hear about - I wanted to talk about them, and all they wanted to talk about was Beethoven.