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In a documentary, Karl Böhm related this:

Schubert once said to a friend: "Do you know any cheerful music? I don't."
 
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Glenn Gould in conversation with Bruno Monsaingeon:
"You and I have often argued about middle period Beethoven, and I do not intend to reopen that argument again…no no no… I've given that up as a lost cause…I don't ever expect to persuade you of the pomposity of the Fifth Symphony, or the banality of the Violin Concerto or the empty rhetoric of the Appassionata sonata…"
I can't agree with Glenn on those three, however,I will say that I find a triteness in much of the LVB 7th Symphony that denies to me the enjoyment many others find in it.
Go to here and you will also see Bruno's response to Glenn…
https://www.youtube.com/watch?v=AirAT7gN6A0#t=1910
 
Probably the most famous musical quote of all and the reason why Arturo Toscanini was one of the greatest conductors of Beethoven's Eroica Symphony.

Speaking of the first movement:

"To some, it is Napoleon; to some it is a philosophical struggle; to me it is allegro con brio."
 
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Franz Liszt labored for years on his solo piano transcriptions of Beethoven's symphonies. He wrote, "The name of Beethoven is sacred in art. His symphonies are nowadays universally recognized as masterpieces. No one who seriously desires to extend his knowledge, or create something new himself, can ever devote sufficient thought to them, or ever study them enough."
 
Christian Zacharias - "When I came to play Schubert, Chopin faded away, because they don't work together." Why? "Just do a simple test. Sing their pieces - sing a Chopin waltz or nocturne, then sing a Schubert melody. You will find Chopin sounds incredibly corny and kitschy, but the Schubert is from the heart - he knows what a sung line means."

And on J. S. Bach - The predictability of his fugues bores me...[and, of a line of Bachian passage work] "Why does it have to go on for 18 minutes? Why can't it stop after three?"
 
Christian Zacharias on Brahms's 3rd Symphony - "The reason no conductor wants to conduct Brahms's third symphony as a last piece in any programme is because it ends pianissimo, and they're afraid that no one will clap. Stupid! I love it if something ends, leaves you satisfied, and fades away. Thirty seconds of applause is nice, but 30 seconds of silence is better."...
 
Samuel Johnson (perhaps regretfully) "All animated nature loves music - except me!"

Samuel Johnson's dry response to his friend (the musical historian Dr Burney) who wanted to draw him into the conversation, which was about a concert - "And pray, Sir, who is Bach? Is he a piper?" [A bit less funny when you realise Johnson was referring to J. C. Bach, then the musical toast of London].
 
I keep thinking of more.... For instance, I have recently been reading the mesmerising prose of Sir Thomas Browne - a widely travelled, well-educated, devout Puritan with an interest in science. In his "Religio Medici" (written while Newton was barely out of baby clothes) Sir Thomas has this to say about music:


" Whatsoever is harmonically composed delights in harmony; which makes me much distrust the symmetry of those heads which declaim against all Church-Musick. For my self, not only for my obedience, but my particular Genius, I do embrace it: for even that vulgar and Tavern-Musick, which makes one man merry, another mad, strikes in me a deep fit of devotion, and a profound contemplation of the First Composer. There is something in it of Divinity more than the ear discovers: it is an Hieroglyphical and shadowed lesson of the whole World, and creatures of GOD; such a melody to the ear, as the whole World, well understood, would afford the understanding. In brief, it is a sensible fit of that harmony which intellectually sounds in the ears of GOD. It unties the ligaments of my frame, takes me to pieces, dilates me out of myself and by degrees, methinks, resolves me into heaven. I will not say, with Plato, the soul is an harmony, but harmonical, and hath its nearest sympathy unto Musick."
 
Finck ("Wagner and His Works", P. 266): "[Wagner] admits that in the last scenes of Euryanthe “we are indebted to this delightful tone-poet for a complete realization of the ideal dramatic art," because here the orchestra does not simply accompany the dialogue, but "interpenetrates the recitatives as the blood does the veins of the body," and constantly keeps alive our interest by its use of characteristic motives appropriate to the situation."
 
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