A Quote by George Bernard Shaw
The real Brahms is nothing more than a sentimental voluptuary
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The real Brahms is nothing more than a sentimental voluptuary. rather tiresomely addicted to dressing himself up as Handel or Beethoven and making a prolonged and intolerable noise.
Never was an age more sentimental, more devoid of real feeling, more exaggerated in false feeling, than our own.
The Detroit String Quartet played Brahms last night. Brahms lost.
Nothing is more important than reconnecting with your bliss. Nothing is as rich. Nothing is more real.
...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!'
In real life, nothing would be more tedious than trailing around after two strangers as they went house-hunting in Hertfordshire. But for some reason, television is more compelling than real life.
There are two types of compassion. One - is faint-hearted and sentimental. Actually, it is nothing more than impatience of the heart, that is hurrying to get rid of that hard feeling when you see other peoples' sufferings; this is not a compassion, but just an instinct will to defence yourself from misfortunes of others. But there is another compassion - real one, that demands for actions, not sentiments, it knows what it wants, and it is full of determination to do everything, what is in human power and even beyond it.
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.
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.
Nothing is more unreliable than the populace, nothing more obscure than human intentions, nothing more deceptive than the whole electoral system.
Nothing is more contagious than genuine love and genuine care. Nothing is more exhilarating than authentic awe and wonder. Nothing is more exciting than to witness people having the courage to fight for their highest vision.
Nothing is more real than nothing.
In an age of speed, I began to think nothing could be more exhilarating than going slow. In an age of distraction, nothing can feel more luxurious than paying attention. And in an age of constant movement, nothing is more urgent than sitting still.
Nihil est incertius vulgo, nihil obscurius voluntate hominum, nihil fallacius ratione tota comitiorum. (Nothing is more unpredictable than the mob, nothing more obscure than public opinion, nothing more deceptive than the whole political system.)
No more painters, no more scribblers, no more musicians, no more sculptors, no more religions, no more royalists, no more radicals, no more imperialists, no more anarchists, no more socialists, no more communists, no more proletariat, no more democrats, no more republicans, no more bourgeois, no more aristocrats, no more arms, no more police, no more nations, an end at last to all this stupidity, nothing left, nothing at all, nothing, nothing.
There is nothing more humanly beautiful than a woman's breasts. Nothing more humanly beautiful, nothing more humanly mysterious than why men should want to caress, over and over again, with paintbrush or chisel or hand, these oddly curved fatty sacs, and nothing more humanly endearing than our complicity (I mean the complicity of women) in their obsession.
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