A Quote by Charles Rosen

Even Stravinsky does not evoke the same public affection as Verdi. — © Charles Rosen
Even Stravinsky does not evoke the same public affection as Verdi.
A whole new world of Italian music was springing up, and [Giuseppe] Verdi was seen as old. Boito got Verdi all excited about the possibility of doing another opera, another kind of opera. In fact, Verdi composed his two best operas, Otello and Falstaff, in his eighties.
I had been reading a fabulous book [The Man Verdi, by Frank Walker] about [Giuseppe] Verdi, whom I adore.
Stravinsky the composer I worship. Stravinsky the thinker I despise.
Nouns are seldom improved by the modifier 'public.' Few of us, given a private alternative, prefer public restrooms or public transportation or public displays of affection.
You may not be aware of this but Leonard Bernstein won another award, for explaining the music of Igor Stravinsky... to Igor Stravinsky!
Certain movies that are trying to evoke history are just like being in an antique store, and all you notice is that all the stuff has been gathered together, and it feels like a pile of antiques. How can you think that that will evoke the past? It doesn't even have to evoke anything, but anyway, it's how we're living. It's this moment where nobody has to immediately think too much about how things are being documented. It's a great time.
A man like Verdi must write like Verdi.
The kindness and affection from the public have carried me through some of the most difficult periods, and always your love and affection have eased the journey.
But yet it is evident that religion consists so much in affection, as that without holy affection there is no true religion; and no light in the understanding is good which does not produce holy affection in the heart: no habit or principle in the heart is good which has no such exercise; and no external fruit is good which does not proceed from such exercises.
You can't find true affection in Hollywood because everyone does the fake affection so well.
The composer Stravinsky had written a new piece with a difficult violin passage. After it had been in rehearsal for several weeks, the solo violinist came to Stravinsky and said he was sorry, he had tried his best, the passage was too difficult, no violinist could play it. Stravinsky said, 'I understand that. What I am after is the sound of someone trying to play it.'
The fact that Stravinsky used the classics as a major influence is obvious. What is interesting is how he used them, how he turned Bach into Stravinsky.
Using the commons as a cesspool does not harm the general public under frontier conditions, because there is no public, the same behavior in a metropolis is unbearable.
Most of us are searching-consciously or unconsciously- for a degree of internal balance and harmony between ourselves and the outside world, and if we happen to become aware-like Stravinsky- of a volcano within us, we will compensate by urging restraint. By that same token, someone who bore a glacier within them might urge passionate abandon. The danger is, as Bergman points out, that a glacial personality in need of passionate abandon may read Stravinsky and apply restraint instead.
Affection would not be affection if it was loudly and frequently expressed; to produce it in public is like getting your household furniture out for a move. It did very well in its place, but it looks shabby or tawdry or grotesque in the sunshine.
I think that what comes through in Chicago humor is the affection. Even though you're poking fun at someone or something, there's still an affection for it.
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