A Quote by Glenn Gould
Beethoven's reputation is based entirely on gossip. The middle Beethoven represents a supreme example of a composer on an ego trip.
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Playing the Beethoven symphonies, for example, is a consummate experience for a musician because Beethoven speaks so directly to who we are as people.
Salieri was a pupil of Gluck. He was born in Italy in 1750 and died in Vienna in 1825. He left Italy when he was 16 and spent most of his life in Vienna. He's the key composer between classic music and romantic music. Beethoven was the beginning of romantic music, and he was the teacher of Beethoven and Schubert.
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.
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.
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.
When you hear composer, you think, like, Beethoven: guy in a powdered wig, at a piano, furiously scribbling on manuscript paper. That's not the only image that a composer should bring up, you know. But that's kind of what we've said it is.
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.
Mozart has the classic purity of light and the blue ocean; Beethoven the romantic grandeur which belongs to the storms of air and sea, and while the soul of Mozart seems to dwell on the ethereal peaks of Olympus, that of Beethoven climbs shuddering the storm-beaten sides of a Sinai. Blessed be they both! Each represents a moment of the ideal life, each does us good. Our love is due to both.
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'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.
If you mess up the tiniest little thing in the Beethoven concerto, or the phrasing isn't just exactly perfectly executed, Beethoven brings out the worst in the best violinist. You almost never hear a satisfying performance, because it doesn't play itself.
In South America, I heard the 8th Symphony of Beethoven. And the young conductor thought, Beethoven must be heroic. But this is piece which shouldn't be heroic. And this was such a misunderstanding, such a deep misunderstanding.
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