Romantic Quotes - page 32
People did not always love the mountains. Just a few hundred years ago the high mountains were regarded as horrible, monstrous places filling people with terror and fear. The inhabitants near them were seen as awful demons, subhumans. But this attitude got transformed into just the opposite, especially by Romantic writers and painters in the nineteenth century. Seen by the Romantics, high mountains became places of impossible beauty, where the quality of light and the expansive solitary grandeur of the high peaks opened the heart of the individual. A man climbing a mountain became the image of self-conscious intelligence pitted against the eternal indifference of the forces of nature. Compared to these forces of nature, we are nothing save for the will that moves our limbs. Only that will is truly our own.
Heinz Pagels
Let us summarize these three points more concisely:
(a) The rejection of art as a mere emotional, individualistic, and romantic affair.
(b) 'Objective' work, undertaken with the silent hope that the end product will nevertheless eventually be regarded as a work of art.
(c) Consciously goal-directed work in architecture, which will have a concise artistic effect on the basis of well-preparated objective-scientific criteria.
Such an architecture will actively raise the general standard of living. This represents the dialectic of our development process, which purports to arrive at the affirmative by negation - a process similar to melting down old iron and forging it into new steel.
El Lissitsky
Such abstruse ideas are totally alien to Chopin. The Romantic interweaving of music and literature that was characteristic of Schumann and Liszt was a negligible source of inspiration. Schumann dedicated Kreisleriana to Chopin, but in fact Chopin's consciousness for classical strength and form had nothing in common with the exalted, torn, eccentric and confused character of the work.
Burkard Schliessmann
Yes, I'm profoundly a representative of the great hypervirtuosic Romantic epoch. But as already mentioned, my roots also go back to Bach and this special style of interpretation, where I'm also at home. In this special field of tension I also see many of the major composers and works in the Romantic tradition. It was no less than Schumann himself who said that great music finds all its combinations in Bach. Indeed, Schumann also builds up his works in polyphonic style, and even in his orchestral scores and symphonic movements he is a counterpointer. As Romantic and modern his work must have seemed to people of his era and lifetime, in main he was a classicist. That means that - and only to name one typical Romantic composer - Schumann cannot be understood without Bach.
Burkard Schliessmann
Yet in a relatively short creative life of twenty years or so, Chopin redrew the boundaries of Romantic music, and his self-imposed restriction to the 88 keys of the piano keyboard sublimated nothing less than the aesthetic essence of piano music. It was his total identification with the instrument which, in its radical regeneration of the lyric and the dramatic, fantasy and passion and their unique fusion, shaped a tonal language which united an aristocratic sense of style and formal Classical training and intuition with an ascetic rigor. Chopin's precisely marshaled trains of thought permitted no experiments, and so he did not ‘wander about' within his stylistic points of reference as Scriabin was to do. Chopin's works may seem light and improvisatory, but they are planned in meticulous details, exactly and well calculated.
Burkard Schliessmann
I'm very interested in the ‘Culture of Interpretation.' I'm convinced that each great artist has his own personal style, but it is his artistic responsibility in developing this style to respond other interpretations, either prior or at the same time. I'm convinced that Rubinstein would have presented us another Chopin if Cortot had not existed. Cortot presented very romantic Chopin interpretations - really masterly, outstanding, but confused. Rubinstein's immediate answer was a very classical Chopin. He was really the first to point out the classical line and structure in his oeuvre.
Burkard Schliessmann
Artistic responsibility? (Schliessmann answers using Bach performance as his example): After the rediscovery of Bach by Mendelssohn, Bach was interpreted in a very romantic style. This had nothing to do with Bach. Leopold Stokowski made arrangements for orchestra. O. K., the public had a chance to know the works, but it also had nothing to do with Bach. So Tureck and Gould - despite their substantial differences - came and made something completely radical. Only in this way was there a chance to ‘correct' the ‘picture' of interpretation and move in the right direction.
Burkard Schliessmann
With his masterclass on piano playing, László Gyimesi helps to preserve the great romantic tradition of piano playing. A relaxed piano technique without unnecessary tensions allows us to express our thoughts and feelings almost directly. Every pianist can come closer to this ideal. His masterclass is extremely valuable in that respect – it can unleash great potential in every pianist.
László Gyimesi
To approach Chopin, you have to separate him completely from Schumann. Schumann admired Chopin very much and saw him as friend, but - what only few people know - Chopin himself had much less interest in and esteem for Schumann. In detail: Schumann's works follow on from a transitional period determined by the successors of Viennese Classicism, particularly Beethoven. Just as the sons of Bach espoused the ‘galant,' ornamented style of their generation, so the pupils of Mozart and Beethoven - Hummel, Ries, Czerny, Moscheles - took pains to compensate for a thinner musical substance with increased instrumental brilliance and thus prepared the ground for the golden age of the piano and the era of the Romantic virtuoso. Among the multitude of composers writing for the piano at that time, only two - Weber and Schubert - stand out as original creative forces.
Burkard Schliessmann
Undoubtedly the best language for the expression of this ‘unfathomable' quality was music. The infinity of musical spheres of expression, independent of rationality, is often perceived as ‘unfathomable' by listeners too. The formal principles of order seem to lie hidden deeper in this art than in others. In the twentieth century the great creative minds, when faced with Romantic artistic urges running riot which they believe must be overcome, or feel they have succeeded in overcoming, have stressed the importance of existing rules; they have followed traditional forms, or else, in their search for new ways to connect, have found and set up new formula-tions and principles. The young Schumann's creative path led in the opposite direction, from classical forms, however deeply revered, to the freedom of subjective self-expression.
Burkard Schliessmann
This capacity for imitation is possessed by savages, at least by the more intelligent ones, and it has deceived us time after time. The British are as gullible as we are. Hundreds and hundreds of times, at least, they gave scholarships to Blacks from Basutoland or Kenya or Nigeria or one of their other possessions, and the result was almost always the same. With the money given him, the savage bought himself a good wardrobe, attended an English school, learned to play soccer, attended Oxford, wrote a charming essay on Wordsworth or on ancient law, copulated with half-witted English women who thought him "romantic" and themselves "broad-minded," and when he got tired of living on English generosity, went home to his tribe where he had a well-roasted baby served up to him as a delicacy of which he had been long deprived by the stupid prejudices of the stupid British.
Revilo P. Oliver
