The Beethoven Experience provided the opportunity to solidify the relationship between the Orchestra and me, the Orchestra and me and the public, between all of us and the city of New York, because Beethoven after all is a really amazing point of reference.
And now, in honour of the 150th anniversary of Beethoven's death, I would like to play 'Clear the Saloon', er, 'Clair de Lune', by Debussy. I don't play Beethoven so well, but I play Debussy very badly, and Beethoven would have liked that.
It's funny, because in 1970 I met the Beatles quite by a chance at a party. It was the Beethoven bicentenary, and I was then also playing the Beethoven Sonatas. And that's all they wanted to hear about - I wanted to talk about them, and all they wanted to talk about was Beethoven.
Playing the Beethoven symphonies, for example, is a consummate experience for a musician because Beethoven speaks so directly to who we are as people.
When you're a kid, Beethoven is Beethoven, but as I've grown older, my astonishment at the sheer inventiveness of the man has increased, and I have an appreciation that I didn't have when I was in my 20s.
My husband's family was terribly refined. Within their circle you could know Beethoven, but God forbid if you were Beethoven.
Beethoven's reputation is based entirely on gossip. The middle Beethoven represents a supreme example of a composer on an ego trip.
People become who they are. Even Beethoven became Beethoven.
I call the notion that we are nothing but killer apes the Beethoven fallacy. Beethoven was disorganized and messy, and yet his music is the epitome of order.
Beethoven for listening; Liszt, Chopin, and Beethoven for playing as well as Bach and Prokofiev and so on. If I kept going, this list would spiral. It's as wide as literature; in fact, it is probably wider.
After working with Ligeti I began to hear Brahms and Beethoven differently.
I really don't think I have that much of the gift; I have a little bit, but I wish I were Schubert or Chopin or Beethoven, though Beethoven had a very difficult time writing melody, too.
There's always blood on the carpet when I play Beethoven at the piano. I hate playing the piano! And it's so hard to fight for Beethoven's soul! But that's what I have to do!
Beethoven was always too much. He's not slightly anything - he's very everything.
After conducting Wagner, Beethoven's triple concerto is like taking an Alka Seltzer.
Beethoven's fourth and seventh symphonies have a certain amount in common. Well, of course they're both written by Beethoven, but besides that, I would say their overall effect and idea is to provide the listener with an incredible sense of joy.