Charles Rosen - Beethoven Quotes

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For Mendelssohn, Beethoven was the new point of departure, and a German composer could not afford to ignore him, as Chopin and Verdi were able to do.

Charles Rosen
Beethoven is the first composer to represent the complex process of memory-not merely the sense of loss and regret that accompanies visions of the past, but the physical experience of calling up the past within the present.

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
I have never believed that the historian should seek to perpetuate the misapprehensions of the past, and it is true that we understand Beethoven today better than his contemporaries did, better, above all, than the generation that immediately followed him, including his own most important pupil, Karl Czerny.

Charles Rosen
Our sensuous appreciation of the world and of the works created by man has, no doubt, a biological foundation, one shared by all human beings, but that is no use to us when we try to evaluate a Bach fugue or a Dostoevsky novel-or even the simple experience of a landscape, as our delight in the view of a mountain or a waterfall is also determined by the traditions of our culture. The coexistence of different criteria of judgment is, in any case, by now a fact of life. Beethoven cannot be judged or even understood by the standards of Mozart, however much he may have continued them, nor Berg by the standards of Wagner or Richard Strauss, nor Elliott Carter by the values of Ives and Stravinsky.

Charles Rosen
By this time Mozart had been dead for almost fourteen years and Haydn was too weak to compose. Beethoven was unchallenged throughout Europe as the greatest living composer of instrumental music. Even more, he was generally recognized as having surpassed his famous predecessors. This, of course, did not prevent critics from greeting each new work as a disappointment after his by then acceptable achievements of the previous years.

Charles Rosen
It is typical of Schumann's musical thinking to construct this complex network of references outside his music-to quote Beethoven, and then to have Beethoven's distant beloved refer to Clara. But this should give a clue to the nature of Schumann's achievement. It is not Schumann's music that, refers to Clara but Beethoven's melody, the "secret tone."

Charles Rosen
In Shakespeare's The Merchant of Venice, act V, scene 1, we find this exchange between the two young lovers: JESSICA: I am never merry when I hear sweet music
LORENZO: The reason is, your spirits are attentive The opening of the finale of Beethoven' s 'Emperor' Concerto provides a splendid example of the kind of theme that is the inspiration for this book. A completely unified theme that hangs together beautifully, it nevertheless portrays vividly a series of contrasting sentiments in a succession that amounts to a small narrative...

Charles Rosen
The buffoonery of Haydn, Beethoven, and Mozart is only an exaggeration of an essential quality of the classical style. This style was, in its origins, basically a comic one.

Charles Rosen
Some of the Etudes in the first set, opus 10, were written by the time Chopin was twenty. It is with these pieces that Chopin's style was fully revealed in all its power and subtlety. Later works are sometimes more ambitious and, in a few cases, more audacious, but there were no radical changes of style, nothing to compare to the later revolutions we find in the careers of Haydn and Beethoven, or even in the shorter lives of Mozart and Schubert. Chopin's mastery was proven with the twelve Etudes of opus 10.

Charles Rosen
The secret of avoiding monotony with the four-bar module was to vary the accent and the weight of the bars to avoid giving a similar emphatic accent on the first bar of every group, as if one were accenting a downbeat. After Beethoven and before Brahms, perhaps the greatest master of the technique was Chopin, as one can see from the opening of the Nocturne in D flat Major, Op. 27, no. 2, of 1836...

Charles Rosen