A Quote by Jeffrey Tate
Beethoven, Schubert, Schoenberg, Berg imply a type of pianist who is intellectual. That's not always associated with female soloists.
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My grandmother was a classical pianist, so I grew up with Schubert, Mozart, Beethoven. I studied piano as a kid. My musical background and upbringing was very much a mix.
In his late quartets, Beethoven introduces an element that shouldn't be there, that should be left for meditation, though I love them. I can see that through them came Wagner and Mahler and Schoenberg and Berg. And then came Tracey Emin. And I can see it all as one downward path.
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.
Mozart is a garden, Schubert is a forest in light and shade, but Beethoven is a mountain range.
A culture that gave the world the spiritual creations of the Classical Music of Mozart, Beethoven, Wagner and Schubert, the paintings of Michelangelo, and Raphael, Da Vinci and Rembrandt, does not need lessons from societies whose idea of spirituality is a heaven peopled with female virgins for the use of men, whose idea of heaven resembles a cosmic brothel.
I remain loyal to Bach, Mozart, Beethoven and Schubert in music and to Shakespeare and Jane Austen in literature.
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.
You think about, like, [20th-century classical composers] Alban Berg, Schoenberg, and Webern sitting around in some living room in Vienna and being like, "We are the end of music. We are the end of this tradition. Music is done."
If... [Alban] Berg departs so radically from tradition, through his substitution of a symmetrical partitioning of the octave for the asymmetrical partionings of the major/minor system, he departs just as radically from the twelve-tone tradition that is represented in the music of Schoenberg and Webern, for whom the twelve-tone series was always an integral structure that could be transposed only as a unit, and for whom twelve-tone music always implied a constant and equivalent circulation of the totality of pitch classes.
To my mind and ear, there is simply nothing that compares to the musical sophistication of a late Beethoven, Bartok, Schubert or Brahms work for minimal forces.
With a group of people, it's easer to say, I want this, this and this. It's different with the soloists, because they are the ones who will be in the spotlight. You can't force an interpretation on them. With soloists, it's all about diplomacy.
[Charlie "Bird" Parker] would sit down and ask [Phil Wood], "What do you think about this whole secondary Viennese school with Schoenberg, Berg and Webern? Are you listening to that music and what do you feel about it?" These were the conversations that he was having. And he also said, what he learned from Charlie Parker was, not that he studied with him in the formal sense, is that the first thing that Charlie Parker would always ask was, "Did you eat today?".
Autism reaches out in many different directions. It can be associated with language delays. It can be associated with epilepsy. It can be associated with some degree of intellectual disability, but the two core features of autism, I see, is impairments and social cognition, understanding and in restricted interests and repetitive behaviors.
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.
At first I thought I should be a second Beethoven; presently I found that to be another Schubert would be good; then gradually, satisfied with less and less, I resigned to be a Humperdinck.
They [the critics] deal with Schoenberg's early works and all their wealth by classifying them, with the music-historical cliché, as late romantic post-Wagnerian. One might just as well dispose of Beethoven as a late-classicist post-Haydnerian.
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