A Quote by Alfred Brendel

If I belong to a tradition, it is a tradition that makes the masterpiece tell the performer what to do, and not the performer telling the piece what it should be like, or the composer what he ought to have composed.
If I belong to a tradition it is a tradition that makes the masterpiece tell the performer what he should do and not the performer telling the piece what it should be like, or the composer what he ought to have composed.
I didn't want to admit that I was a performer. A performer meant spotlights - a performer had connotations of theater. I would have preferred agent to performer.
The British tradition, basically, is to go to the character. And the Hollywood tradition, shall we say, is basically to take the character to the performer.
In India, I have been called a 'destroyer.' But that is only because they mixed my identity as a performer and as a composer. As a composer I have tried everything, even electronic music and avant-garde. But as a performer I am, believe me, getting more classical and more orthodox, jealously protecting the heritage that I have learned.
When they talk about family values, it's in a repressive way, as if our American tradition were only the Puritan tradition or the 19th century oppressive tradition. The Christian tradition.
Those who feel guilty contemplating "betraying" the tradition they love by acknowledging their disapproval of elements within it should reflect on the fact that the very tradition to which they are so loyal—the "eternal" tradition introduced to them in their youth—is in fact the evolved product of many adjustments firmly but delicately made by earlier lovers of the same tradition.
When I finally got together with Rostropovich as a student, he was very focused, almost entirely focused on the music itself, on what the composer had in mind and what he knew about the composer. Many of the works that I played for him had in fact been composed and written for him; he was often the first performer of these works, having known the composers personally.
It's time to realise that tradition is fantastic but if because of tradition and only tradition you lose everyone it's less fantastic so you have to keep some tradition to this sport of course but you also have to live in your century.
Tradition is no longer a continuity but a series of sharp breaks. The modern tradition is the tradition of revolt.
The novel tradition is the closest thing I have to a religion, and being a part of that tradition means a lot to me. I don't really see - I never have seen - why I should have to forfeit that feeling, or hope, of belonging, just because the stories I want to tell are close to my own experience.
Composition is interesting because, in a sense, you always have to let it go. Unless you're a true composer/performer, you're always sending a PDF and then someone else makes it. It's like instructions for a short story, faxed to every English student who's studying it.
When you talk about change, you know what makes it really tough for people is on the one hand you've got tradition, and on the other hand you've got change; in many people's mind, change equals modernization. Tradition, however. I'm a big tradition guy.
As a solo performer, it's total involvement. What I do is to break down the wall between audience and performer.
It's a better tradition for people who think for themselves and who don't pray in aid of any supernatural authority. That's what you should be spending your life is in spreading and deepening that tradition.
These are not necessarily our agendas, but we feel a part of what a performer is, and what a performer has to say is more than just words and music.
I learned a little of beauty - enough to know that it had nothing to do with truth - and I found, moreover, that there was no great literary tradition; there was only the tradition of the eventful death of every literary tradition.
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