A Quote by Hans Frank

I did not care for Wagner. My tastes are more classical. Der Fuhrer had no musical taste and liked Wagner because of the bombastic Teutonic glories. — © Hans Frank
I did not care for Wagner. My tastes are more classical. Der Fuhrer had no musical taste and liked Wagner because of the bombastic Teutonic glories.
Wagner's philosophy had absolutely nothing to do with Bruckner. Bruckner hadn't written a single word against Jews. Wagner's book on the Jews was one of the most infamous books of the 19th century.
Did Wagner really accomplish the first step towards the kitschy 'fetishization' of music that reaches its apogee in classical Hollywood?
Wagner festival was [Adolf Hitler] time with the Wagner family. [Eva Braun] asked once to attend but he forbade it and that was that, she never asked again.
I name (Honus) Wagner first on my list, not only because he was a great batting champion and base-runner, and also baseball's foremost shortstop, but because Honus (Wagner) could have been first at any other position, with the possible exception of pitcher. In all my career, I never saw such a versatile player.
Wagner exploited all forms of expression at a composer's disposal - harmony, dynamics, orchestration - to the extreme. His music is highly emotional, and at the same time Wagner has extraordinary control over the effect he achieves.
You might say that Richard Wagner was the Queen Victoria of Europe. He had musical children everywhere!
I simply love Wagner's music. That actually started very early. He was the first composer I was exposed very much to because my parents introduced me to Wagner's music very early.
I think I have a pretty good ear. I mean, even just starting with, like, Austin Powers, where I did young Robert Wagner. People were, like, "How do you imitate Robert Wagner? What does he sound like? What does that even involve?".
Most of the dramatism in Wagner comes from a very close link between the music and the language of the text. So much of the expressivity of Wagner's music dramas comes from the singers' capacity to play with the sound of the language. This kind of thing you can do very well in concert performance.
And my singing, I don't think I could sing Wagner or opera, but I could probably carry a tune. I was in a musical once, but it was never performed.
My tastes went all over the place, from Strauss to Mahler. I was never a big Wagner or Tchaikovsky fan. Benjamin Britten, Tallis, all the early English Medieval music, Prokofiev, some Russian composers, mostly the people that were the colorists, the French.
What stands most explicitly as critique in Nietzsche's late work in not a development from earlier interests but a return to two problems of enduring personal involvement for him, those of Wagner and of Christianity. Der Antichrist , to take one case, is not a response to a resuscitating public interest in Christian religion; it is primarily a renewed attempt to resolve for himself the question of piety.
Wagner is contrapuntal in a philosophical way as well as a musical way. What I mean by that is that every tendency has its opposite, and you see that in the man himself. He's a metaphysical hermaphrodite - he embraces hard and soft, masculine and feminine.
I think sometimes when you speak about something like 'Indian classical music' and 'ragas,' and all of that's new to people, it can be quite intimidating, in the same way that I have sometimes found opera and Wagner intimidating - one doesn't know where to begin sometimes.
I just can't listen to any more Wagner, you know...I'm starting to get the urge to conquer Poland.
Both parents were very encouraging - especially my father. My father thought the sun rose and set with me. Neither one had a musical background or any musical talent. They liked classical music, but neither could carry a tune.
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