A Quote by Dietrich Fischer-Dieskau
Brahms believed that there was no need to publish absolutely everything that Schubert ever wrote.
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To my mind and ear, there is simply nothing that compares to the musical sophistication of a late Beethoven, Bartok, Schubert or Brahms work for minimal forces.
When I wrote the Anita Hill book I believed everything I wrote was accurate.
I never believed I wouldn't make it - and perhaps that's why I've always found work. I've always stuck at everything I've ever done. I absolutely won't give up.
A thing may in itself be the finest piece of writing one has ever done, and yet have absolutely no place in the manuscript one hopes to publish.
The Detroit String Quartet played Brahms last night. Brahms lost.
Everything I wrote was true because I believed what I saw.
...stories about [the German composer Johannes] Brahms's rudeness and wit amused me in particular. For instance, I loved the one about how a great wine connoisseur invited the composer to dinner. 'This is the Brahms of my cellar,' he said to his guests, producing a dust-covered bottle and pouring some into the master's glass. Brahms looked first at the color of the wine, then sniffed its bouquet, finally took a sip, and put the glass down without saying a word. 'Don't you like it?' asked the host. 'Hmm,' Brahms muttered. 'Better bring your Beethoven!'
Now, I'll tell you something that might interest you. Casino Royale was the first Bond book that Ian Fleming ever wrote. And he couldn't get anybody to touch it, to publish it - he couldn't do anything about it at all. Nobody wanted to know.
The worst story I ever wrote was after the conviction of Jeff Skilling and Ken Lay. My co-author and I wrote a piece for 'Fortune' saying everything's going to be different now.
I never want projects to be finished; I have always believed in unfinished work. I got that from Schubert, you know, the 'Unfinished Symphony.'
Send it to someone who can publish it. And if they won't publish it, send it to someone else who can publish it! And keep sending it! Of course, if no one will publish it, at that point you might want to think about doing something other than writing.
What I had to face, the very bitter lesson that everyone who wants to write has got to learn, was that a thing may in itself be the finest piece of writing one has ever done, and yet have absolutely no place in the manuscript one hopes to publish.
The only work that can be compared to Chopin's Etudes, innovatively, where every note is essential and one becomes completely exposed, is the Brahms-Paganini variations. These are etudes - not as interesting musically as, say, the Brahms-Handel - but they are incredible.
That was one of the big problems when I was at Harvard studying music. We had to write choral pieces in the style of Brahms or Mendelssohn, which was distressing because in the end you realized how good Brahms is, and how bad you are.
Stephen Sondheim told me that Oscar Hammerstein believed everything that he wrote. So there's great truth in the songs, and that's what was so wonderful to find.
the writer must resist this temptation [to quote] and do his best with his own tools. It would be most convenient for us musicians if, arrived at a given emotional crisis in our work, we could simply stick in a few bars of Brahms or Schubert. Indeed many composers have no hesitation in so doing. But I have never heard the practice defended; possibly because that hideous symbol of petty larceny, the inverted comma, cannot well be worked into a musical score.
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