A Quote by George Steiner
We know that a man can read Goethe or Rilke in the evening, that he can play Bach and Schubert, and go to his day's work at Auschwitz in the morning.
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Composers most identified with the chamber music form are Corelli, Vivaldi, Haydn, Mozart, Beethoven, Schubert and, of course, Bach. Of course, Bach. If there is any one composer who gives us reason and emotion, it is Bach.
Nothing is so musical as the sound of pouring bourbon for the first drink on a Sunday morning. Not Bach or Schubert or any of those masters.
The sun had, in the meanwhile, sunk behind the Ettersberg. We felt in the wood the chill of the evening, and drove all the quicker to Wiemar, and to Goethe's house. Goethe urged me to go in with him for a while, and I did so. He was in an extremely engaging mood. He talked a great deal about his theory of colors, and of his obstinate opponents; remarking that he was sure that he had done something in this science.
You know, the men go to tea houses with the expectation that they will have a nice quiet evening and not read about it the next morning in the newspaper.
Bach, of course, was my first love. He still is. I mean, he's the man of my life, that's for sure. And when I say that there's been a re-evaluation, look, to be perfectly honest, I think I have a re-evaluation of my relationship with Bach probably every day, and that will never stop. And that's probably why I still get up in the morning and I do this.
Before I was a parent I was struck by Rilke, who, as you know, didn't go to his daughter's wedding because he was writing a poem that day. That was the ideal for artistic behavior in 1950. That's the way I wanted to live.
When I'm working with German audiences, I will call on my Rilke and Goethe in the original.
In television, what you have shot in the morning, may go on air that very day in the evening; but films give you a lot of time to work on your character.
My perfect day is to work incredibly well in the morning and write something wonderful, then take the dog for a walk and go for a swim in the ladies' ponds on Hampstead Heath or work in my allotment. Then I get tarted up in the evening and go out in London to dinner or the cinema.
I read when I get up in the morning, when I can during the day and every single evening. Most of my weekends are spent reading great books. Books are my constant companions. If you eat three times a day you'll be fed. But if you read three times a day you'll be wise.
When we write about Auschwitz, we must know that Auschwitz, in a certain sense at least, suspended literature. One can only write a black novel about Auschwitz or - you should excuse the expression - a cheap serial, which begins in Auschwitz and is still not over.
If their work is satisfying people don't need leisure in the old-fashioned sense. No one ever asks what Newton or Darwin did to relax, or how Bach spent his weekends. At Eden-Olympia work is the ultimate play, and play the ultimate work.
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.
In the morning a man walks with his whole body; in the evening, only with his legs.
My dad would leave at 4 or 5 in the morning and then I wouldn't see him until evening. The conversations we used to have, he would tell me, 'A man takes care of his home first. A man handles his responsibility. He doesn't ask another man for anything.'
The phenomena of the year take place every day in a pond on a small scale. Every morning, generally speaking, the shallow water isbeing warmed more rapidly than the deep, though it may not be made so warm after all, and every evening it is being cooled more rapidly until the morning. The day is an epitome of the year. The night is the winter, the morning and evening are the spring and fall, and the noon is the summer. The cracking and booming of the ice indicate a change of temperature.
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