A Quote by Chris Thile

My grandmother got me recordings of the 'Goldberg Variations,' in addition to the 'Brandenburg Concertos,' the Mozart string quartets and Beethoven's 'Seventh Symphony.'
We built a bit of an audience at our university in Cambridge, playing Beethoven and Mozart quartets.
While I'm working, I stick with music that won't distract me - the dub stylings of Scientist and King Tubby, maybe some Beethoven string quartets.
I would say that Beethoven's late string quartets are the nearest to God that we'll ever get.
There was one thing Beethoven didn't do. When one of his string quartets was played, you can believe the second violin wasn't improvising.
Beethoven's string quartets express pain itself; it is not MY pain.
The pieces that have survived, the ones that we all love, were not all popular in their time. Just look at Beethoven's late string quartets. The music that the musical community selects, however, is usually the very best.
In my younger days, I used to visit record shops and covet boxed sets of Beethoven symphonies, Wagner operas, Bach cantatas, Mozart piano concertos. Only rarely was I able to find the money for such luxuries.
I have been told that a young would-be composer wrote to Mozart asking advice about how to compose a symphony. Mozart responded that a symphony was a complex and demanding form and it would be better to start with something simpler. The young man protested, 'But, Herr Mozart, you wrote symphonies when you were younger than I am now.' Mozart replied, 'I never asked how.
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.
When Beethoven's Seventh Symphony was premiered, after the second movement, they clapped so much that they had the repeat the second movement and do it again.
We may be sure that a genius like Mozart, were he born today, would write concertos like Chopin and not like Mozart.
There is no piece of guitar music that has the formal beauty of a piano sonata by Mozart, or the richly worked out ideas and passion of a late Beethoven string quartet, or for that matter the beautiful mellifluous poetry of a Chopin Ballade.
My music wasn't written by Mozart, Beethoven, Bach or Schubert. It's written by God and me. They go "a one and a two and up." We start on the downbeat. Bam! And that's where we got them.
Mozart has the classic purity of light and the blue ocean; Beethoven the romantic grandeur which belongs to the storms of air and sea, and while the soul of Mozart seems to dwell on the ethereal peaks of Olympus, that of Beethoven climbs shuddering the storm-beaten sides of a Sinai. Blessed be they both! Each represents a moment of the ideal life, each does us good. Our love is due to both.
Beethoven concertos ... Tchaicovsky concertos ... with a lot of these wonderful masterpieces there's always something wonderful to find ... there's always something new to find.
A young man, just beginning the study of musical composition, once went to Mozart and asked him the formula for developing the theme of a symphony. Mozart suggested that a symphony was rather an ambitious project for a beginner: perhaps the young man might better try his hand at something simpler first. "But you were writing symphonies when you were my age." the student protested. "Yes, but I didn't have to ask how."
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