A Quote by David Finckel

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.
I would say that Beethoven's late string quartets are the nearest to God that we'll ever get.
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 listen to music when I write. I need the musical background. Classical music. I'm behind the times. I'm still with Baroque music, Gregorian chant, the requiems, and with the quartets of Beethoven and Brahms. That is what I need for the climate, for the surroundings, for the landscape: the music.
I cannot work and listen to Wagner at the same time, nor Mahler, nor Beethoven's late quartets. I enjoy listening to Chopin's piano music when I work.
I don't know that I make a big distinction between the big pieces and the little pieces, because I don't experience them in that way. I mean, by the same token, you're out touring with a band and then you're writing string quartets, and in a funny way, isn't it all the same, in a way? It's all just music.
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.
My wife and I just started listening to the late Beethoven Quartets together, an activity I recommend for all married couples, but that doesn't really mean that I'm finished reading.
My grandmother got me recordings of the 'Goldberg Variations,' in addition to the 'Brandenburg Concertos,' the Mozart string quartets and Beethoven's 'Seventh Symphony.'
Beethoven's string quartets express pain itself; it is not MY pain.
The fascination with the music stayed with me for years and I wanted to find out why I liked it so much and to learn the grammar of it, and that's why I tried to write the sheet music down. Writing it down gave me some ideas of other versions of the music and I wrote the first string quartets and piano pieces based on transcriptions.
I realized very early that I was never going to make by living by writing string quartets. But I wanted to write music and I didn't want to have to do anything else.
When you look at what we can call the golden era of concept albums, which starts in the mid or late '60s and ends maybe in the early '80s, it's an interesting time for music. You see all these very established and popular acts and bands and artists that were somehow on the top of their game but really trying to experiment.
I think I was just lucky to be brought up in a very musical family. My two older brothers were, and still are, very musical and very creative, and music was a big part of my life from a very young age, so it is quite natural for me to become involved in music in the way that I did.
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.
In his late quartets, Beethoven introduces an element that shouldn't be there, that should be left for meditation, though I love them. I can see that through them came Wagner and Mahler and Schoenberg and Berg. And then came Tracey Emin. And I can see it all as one downward path.
On the night of Brexit, while some people were celebrating and others were having wakes, I stayed in and played Beethoven, his quartets mainly, into the small hours of the morning.
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