A Quote by Kurt Masur
If you go to Japan for instance, you should know that they have a different way of playing Beethoven or Brahms. But if you play with them Mozart, Debussy, Mendelssohn, they have a wonderful light feeling for that.
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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.
I listen to either romantic classical music, Brahms or Beethoven or something like Mozart, or I go all the way contemporary and listen to Metallica or Adele, Radiohead, jazz, whatever it is that is completely opposite.
Even if you're playing Brahms or a Beethoven concerto, you've got to have a different vantage point, slightly, each time.
The Germans have four violin concertos. The greatest, most uncompromising is Beethoven’s. The one by Brahms vies with it in seriousness. The richest, the most seductive, was written by Max Bruch. But the most inward, the heart’s jewel, is Mendelssohn’s.
...stories about [the German composer Johannes] Brahms's rudeness and wit amused me in particular. For instance, I loved the one about how a great wine connoisseur invited the composer to dinner. 'This is the Brahms of my cellar,' he said to his guests, producing a dust-covered bottle and pouring some into the master's glass. Brahms looked first at the color of the wine, then sniffed its bouquet, finally took a sip, and put the glass down without saying a word. 'Don't you like it?' asked the host. 'Hmm,' Brahms muttered. 'Better bring your Beethoven!'
Listening to my regular favourites - Mozart, Beethoven, Brahms and so on - I always feel, quite misguidedly, that nothing can be too bad if such beauty and brilliance exists in the world.
I play the piano and have been playing since I was 7, mainly classical Chopin, Beethoven, Mozart.
That was one of the big problems when I was at Harvard studying music. We had to write choral pieces in the style of Brahms or Mendelssohn, which was distressing because in the end you realized how good Brahms is, and how bad you are.
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.
Conducting is a natural way to participate in one's own music. Almost every 19th-century composer Mendelssohn, Mahler was conducting or playing his own music. Mozart did both.
I'm too busy playing. When I'm playing I don't pay attention to who's listening. When I was listening I listened to symphony orchestras, Beethoven, Bach, Brahms, Stravinsky. You don't listen to one instrument; you listen to music.
I love Mozart, and I love Bach, and Brahms, and - but at 13, I didn't understand any of that that I was playing.
Mozart is a garden, Schubert is a forest in light and shade, but Beethoven is a mountain range.
Every city is different for playing, actually. That's one of the hardest things: to play abroad. Because sometimes you know your city and your audience and you know what to play and what people will dance to. And later, you go to a place and you think this thing will work and you start playing and it doesn't work, and you have to be able to go to another side just to try to find what people like or whatever, or, like, try to make people dance as they are more used to. I don't know, it's quite strange - people dance in different parts of Europe in a different way.
The only thing that interests me in music is to be able to reach into the, let's call it, 'collective unconscious' of what is noblest in the human spirit, the way you find in the music of Mozart and Beethoven and Verdi that wonderful quality that not a note can be changed.
When my dad went to college to get his master's from Loyola, he was playing Debussy and Chopin and Beethoven. But he played all that New Orleans stuff, too. I would go with my dad to gigs, pick up the piano and the speakers, and I would be like his roadie.
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