Charles Rosen Quotes

71 Sourced Quotes

There is a revealing sardonic comment by Leopold Godowsky on a well-known statement of Paderewski, who once boasted, "When I don't practice for one day, my fingers know it; for two days, and my friends know it; for three days and the whole world knows it." Godowsky added: "On the fourth day, the critics hear about it." In any case, poets and novelists are generally better reporters of the general state of musical opinion than music journalists, who most often have an ax to grind, or, quite reasonably and justifiably, a more limited set of prejudices to broadcast.

Charles Rosen
Meyerbeer's approach to opera may seem cynical. His music is not, like Donizetti's, an immediate expression of the sentiments of his characters but a calculated manipulation of the audience.

Charles Rosen
Chopin is the true inventor of the concert etude, at least in the sense of being the first to give it complete artistic form—a form in which musical substance and technical difficulty coincide.

Charles Rosen
The song cycle is the most original musical form created in the first half of the nineteenth century. It most clearly embodies the Romantic conception of experience as a gradual unfolding and illumination of reality in place of the Classical insistence on an initial clarity. The form of Schubert's song cycle is not less precise than that of a Classical sonata, but its precision is only gradually comprehended as it unfolds.

Charles Rosen
Chopin's mazurkas stand apart from the rest of the considerable production inspired by folk music which reaches into all forms of Romantic music; they cannot conveniently be classified with any of the other manifestations. They are not arrangements of popular folk tunes,... He uses only fragments of melody, Polish formulas, typical national rhythms, and he combines them in his own way with great originality. From early on, Chopin's mazurkas are much more elaborate than the few modest pieces employing mazurka rhythms by Chopin's Polish predecessors, and they soon became the occasion for some of the most complex and pretentious of Chopin's forms.

Charles Rosen
The most signal triumphs of the Romantic portrayal of memory are not those which recall past happiness, but remembrances of those moments when future happiness still seemed possible, when hopes were not yet frustrated.

Charles Rosen
In the piano writing of the Romantic generation of the 1830s, in fact, a fully pedalled sonority becomes the norm: the piano is expected to vibrate fairly constantly, and an unpedalled sonority is an exception, almost a special effect. Furthermore, the phrase is now shaped at least partially by changes in this full vibration. The change of pedal is crucial to the conception of rhythmic movement and to the sustaining of the melodic line over the bass.

Charles Rosen
Music has its existence on the borderline between meaning and nonsense. That is why most attempts to attribute a specific meaning to a piece of music seem to be beside the point—even when the attribution is authoritative, even when it is made by the composer himself.

Charles Rosen
Mathematicians tells us that it is easy to invent mathematical theorems which are true, but that it is hard to find interesting ones. In analyzing music or writing its history, we meet the same difficulty, and it is compounded by another. For whom is it interesting? To paraphrase a famous remark of Barnett Newman, musicology is for musicians what ornithology is for the birds.

Charles Rosen
The opposition between structure and sonority in music is almost as misleading as that between line and color in the visual arts. Baudelaire insisted, correctly, that Delacroix was one of the three greatest draftsmen of the century, and emphasized his mastery of line. In the same way, a study of Chopin demonstrates the intimate relation between line and color in music.

Charles Rosen
I do not mean that it is not worthwhile to attempt a revision of the canon or that no success is possible. A few valuable minor changes have been made to our sense of the basic material of the history of music, and other alterations are still waiting to take hold. Gesualdo has not displaced Monteverdi or Palestrina but has won a permanent place; on the other hand, the attempt to convince us that Telemann is a major composer appears to have been abandoned. Alkan has not had the breakthrough his admirers had hoped for. Attacks on Tchaikovsky have not had much success in removing his music from the repertory; his credit with performers has not changed a bit.

Charles Rosen
For Beethoven, music was still shape, realized and inflected by instrumental sonority: other realizations may be as absurd as arrangements of the Hammerklavier, for example, always are, but the musical conception takes precedence over its realization in sound. The sonority serves the music. For Schumann, however, as for Chopin and Liszt, the conception was worked out directly within the sonority as a sculptor works directly in clay or marble. The instrumental sound is shaped into music.

Charles Rosen
The musical language which made the classical style possible is that of tonality, which was not a massive, immobile system but a living, gradually changing language from its beginning. It had reached a new and important turning point just before the style of Haydn and Mozart took shape.

Charles Rosen
In almost every edition (and consequently most performances) of Chopin's Sonata in B flat Minor, Op. 35, there is a serious error that makes awkward nonsense of an important moment in the first movement. The repeat of the exposition begins in the wrong place.

Charles Rosen
One of the pupils of Artur Schnabel told me that he never heard his teacher practice a difficult passage slowly, but he was struck by the way Schnabel would play one chord of a slow movement over and over, measuring and remeasuring the different components of the harmony.

Charles Rosen
It is above all through landscape that music joins Romantic art and literature.

Charles Rosen
More positively, taking pleasure in music is the most obvious sign of comprehension, the proof that we understand it, and we may extend that to sympathy with other listeners' enjoyment...

Charles Rosen
The relation of the performance of music to sound is complex and ambiguous: this is what makes possible Mark Twain's joke that Wagner is better than he sounds.

Charles Rosen
The world of Debussy is a seductive oasis, and it is hard to leave it after spending many days immersed in its atmosphere. Playing Debussy-or any other composer with a strong and idiosyncratic personality-affects not only one's cast of mind but the physical disposition as well, the way the muscles work and the fingers come into contact with the ivories.

Charles Rosen
Sonata form could not be defined until it was dead. Czerny claimed with pride around 1840 that he was the first to describe it, but then it was already part of history.

Charles Rosen
If getting used to music is the essential condition for understanding, it is hard to see just what purpose is served by writing about it. A few experiences of listening to a symphony or nocturne are worth more than any essay or analysis. The work of art itself teaches us how to understand it, and makes the critic not merely parasitical but strictly superfluous.

Charles Rosen
Schumann is the most representative musical figure of central European Romanticism as much because of his limitations as because of his genius: in his finest works, indeed, he exploited these limitations in such a way that they gave a force to his genius that no other contemporary could attain.

Charles Rosen
The mazurka provided him with a repertoire of motifs, rhythms, and sonorities outside the main Italian, French, and German traditions of European music: he used it to create a series of works within this tradition which are absolutely personal—marginal works which challenge the center.
They are the most eccentric and original of Chopin's works. We shall never know exactly what and how much Chopin took directly from the popular folk tradition and how much he invented, but it does not matter: his originality is revealed as much in what he selected as in what he imagined. The folk dances gave him the possibility of exploring new harmonies, of exploiting the emotional effect of obsessive repetition, and of developing a new form of rubato.

Charles Rosen
Here, in the last pages of the "Abegg" Variations, Schumann plays the motto theme A-B-E-G-G (B in German notation is the English Bb) not by sounding the last four notes but by taking them away, one by one, from, the chord of Bb-E-G. This is the first time in history that a melody is signified not by the attack but by the release of a series of notes. The motto, however, ends with a repeated final G. If the motto is played by releasing each successive note, we are faced with a paradox: when the G is released once on the piano, it is no longer there to be released again-the motto is not only unplayable as conceived but unimaginable. Schumann signifies as much by another paradox: he adds accents to the sustained notes.

Charles Rosen
There is a paradox at the heart of Chopin's style, in its unlikely combination of a rich chromatic web of polyphony, based on a profound experience of J. S. Bach, with a sense of melody and a way of sustaining the melodic line derived directly from Italian opera. The paradox is only apparent, and it is never felt as such when one hears the music. The two influences are perfectly synthesized, and they give each other a new kind of power.

Charles Rosen