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Alfred Quotes - page 2 - Quotesdtb.com
Alfred Quotes - page 2
In its conception the literature prize belongs to days when a writer could still be thought of as, by virtue of his or her occupation, a sage, someone with no institutional affiliations who could offer an authoritative word on our times as well as on our moral life. (It has always struck me as strange, by the way, that Alfred Nobel did not institute a philosophy prize, or for that matter that he instituted a physics prize but not a mathematics prize, to say nothing of a music prize - music is, after all, more universal than literature, which is bound to a particular language.) The idea of writer as sage is pretty much dead today. I would certainly feel very uncomfortable in the role.
J. M. Coetzee
We have seen that Alfred in his day had never hesitated to use money as well as arms. Ethelred used money instead of arms. He used it in ever-increasing quantities, with ever-diminishing returns ... There is the record of a final payment to the Vikings in 1012. This time forty-eight thousand pounds' weight of silver was extracted, and the oppressors enforce the collection by the sack of Canterbury, holding Archbishop Alphege to ransom, and finally killing him at Greenwich because he refused to coerce his flock to raise the money. The Chronicle states: "All these calamities fell upon us through evil counsel, because tribute was not offered to them at the right time, nor yet were they resisted; but, when they had done the most evil, then was peace made with them. And notwithstanding all this peace and tribute they went everywhere in companies, harried our wretched people, and slew them"
Winston Churchill
Edwin Fischer was, on the concert platform, a short, leonine, resilient figure, whose every fiber seemed to vibrate with elemental musical power. Wildness and gentleness were never far from each other in his piano-playing, and demonic outbursts would magically give way to inner peace. It was as little trouble to him (as Alfred Polgar once said of an actor) to lose himself as to find himself.
His playing of slow movements was full of an unselfconsciousness beside which the music-making of others, famous names included, seemed academic or insincere. With Fischer, one was in more immediate contact with the music: there was no curtain before the soul when he communicated with the audience. One other musician, Furtwangler, conveyed to the same degree this sensation of music not being played, but rather happening by itself.
Alfred Brendel