A Quote by Witold Lutoslawski
People whose sensibility is destroyed by music in trains, airports, lifts, cannot concentrate on a Beethoven Quartet.
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Behind the cotton wool is hidden a pattern; that we—I mean all human beings—are connected with this; that the whole world is a work of art; that we are parts of the work of art. Hamlet or a Beethoven quartet is the truth about this vast mass that we call the world. But there is no Shakespeare, there is no Beethoven; certainly and emphatically there is no God; we are the words; we are the music; we are the thing itself.
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 find that it isn't wise to attempt to judge people on their public persona, and even on the music they make. Because I've met so many people whose music I cannot stand, and they're very nice. At the same time, I've met people whose music I've loved, and they're not the person you've invested all this emotion in.
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.
Once a month I play with a chamber music quartet. I play almost no solo music anymore because I so enjoy the interaction. The members of my quartet have become some of my best friends and so I really enjoy it now in ways that I didn't before.
I much rather coach a string quartet in an interpretation of Haydn or Beethoven than to teach the guitar.
I grew up in airports and on air bases. I know what flying and airports can be. And most airports make me feel like we're about three per cent better than ants. Especially U.S. airports. They're zoos. All civility is gone.
I'm constitutionally incapable of working on planes or trains, and airports are definitely out.
As for my relationship to Beethoven, I admire people who can say what they really think. It's as though he's saying, 'That's how I feel about the world, and I don't care what people may say.' His music is pure and honest. Beethoven never pretends to be anybody else.
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.
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.
You cannot go wrong by learning classical music because it trains the ear.
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.
We can try to gain some of the sensibility of some of the indigenous populations of the world or our predecessors 800 years ago. We can laugh at them as being naive and unsophisticated, but unless we can gain that sensibility that there has to be rights of nature as Bolivians and others put it, then we're going to be destroyed.
For me, sensibility is the location of talent. Sensibility comes first because only with the right kind of sensibility is talent useful. I've met many people who are extraordinarily talented but have no capacity to go outside of themselves or their field. I love those people, but they would not succeed in our culture.
A Beethoven string-quartet is truly, as some one has said, a scraping of horses' tails on cats' bowels, and may be exhaustively described in such terms; but the application of this description in no way precludes the simultaneous applicability of an entirely different description.
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