A Quote by Julian Bream

There is no piece of guitar music that has the formal beauty of a piano sonata by Mozart, or the richly worked out ideas and passion of a late Beethoven string quartet, or for that matter the beautiful mellifluous poetry of a Chopin Ballade.
I play the piano and have been playing since I was 7, mainly classical Chopin, Beethoven, Mozart.
I much rather coach a string quartet in an interpretation of Haydn or Beethoven than to teach the guitar.
I cannot work and listen to Wagner at the same time, nor Mahler, nor Beethoven's late quartets. I enjoy listening to Chopin's piano music when I work.
I approach everything as chamber music. Even with Beethoven symphonies, I lead from the violin and basically encourage the orchestra to think of it as a giant string quartet.
I owe very, very much to Mozart; and if one studies, for instance, the way in which I write for string quartet, then one cannot deny that I have learned this directly from Mozart. And I am proud of it!
I have owned and played a Steinway all my life. It's the best Beethoven piano. The best Chopin piano. And the best Ray Charles piano. I like it, too.
It can be a work by Mondrian, a piece of music by Schönberg or Mozart, a painting by Leonardo, Barnett Newman or also Jackson Pollock. That's beautiful to me. But also nature. A person can be beautiful as well. And beauty is also defined as 'untouched'. Indeed, that's an ideal: that we humans are untouched and therefore beautiful.
In my spare time, I’ve been playing a lot of piano. I’m trying to learn classical piano, Mozart and Beethoven and stuff. I took lessons when I was younger and now I sort of sight read the music and play it by ear. It’s fun. It takes up a lot of time. I practice a couple of hours a day, but I find it soothing.
As a young composer I had a particular fondness for Liszt's Beethoven Symphony arrangements for the piano, and to this day I enjoy playing non-piano music at the piano.
The pieces that have survived, the ones that we all love, were not all popular in their time. Just look at Beethoven's late string quartets. The music that the musical community selects, however, is usually the very best.
Chopin was the first piano composer who knew exactly how to make piano sound reach fullness, radiance and grandness. What to regard and what, by all means, to avoid. Chopin was keenly aware of the overtones and he did take care of them so artfully.
How did Haydn and Mozart produce such vast quantities of formally perfect art? They worked from a perfect formula. In music, Beethoven was the Great Emancipator.
My grandmother got me recordings of the 'Goldberg Variations,' in addition to the 'Brandenburg Concertos,' the Mozart string quartets and Beethoven's 'Seventh Symphony.'
I'm trying to learn classical piano, Mozart and Beethoven and stuff. I took lessons when I was younger and now I sort of sight read the music and play it by ear. It's fun. It takes up a lot of time. I practice a couple of hours a day, but I find it soothing.
I loved the guitar, and I had all of this music in my head. My passion for the guitar and the ideas for what I could create musically were equal. So that's where I was.
The Gettysburg Adress has been included, of late, in several anthologies of poetry. It actually meets the major requirement of all poetry: It is a mellifluous and emotional statement of the obviously not true. The men who fought for self-determination at Gettysburg were not the Federals but the Confederates.
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