Words matter. These are the best Dietrich Fischer-Dieskau Quotes, and they’re great for sharing with your friends.
It is desirable that people make music on the breath, with the breath.
In fact, the element of play has an important role in my life, and I think that should be the case in the life of every artist. Our life is occupied with playing, whether we play an instrument or a role.
Toward the end of his life, one can sense that he was no longer thinking his way into the minds of others, causing them to speak on his behalf, but that he was now speaking for himself.
Many, many composers have only found their way to a certain form, through familiarizing themselves with texts.
Which is why, in my lieder concerts, I always strove, when possible, to sing only the works of a single composer, so that the audience could be gradually drawn into a particular creative genius’ way of thinking, and could follow him.
Particularly at around the age of 70 you reach a stage where you have to be very careful. If, at that point, you abandon the work you have been doing, there is a good chance that you will just collapse and drift.
With creative people, truly new horizons open up.
The composition of a single melody is born out of a bit of text, perhaps the first line, but it can also be the entire strophe; it can even be the poem’s overall form.
What concerns me, is the general social tendency to enforce a level, above which nothing rises and stands out.
But, on the other hand, if Schubert were alive today, he would find even richer fields to plow.
When you go out onto the stage, all the preparation has to be forced into your subconscious. For the moment of the performance, we all have to return to a new level of unconsciousness. All the reflection and all the doubts have to be laid aside before you start.
All music has to speak in some form or other.
Rather, I believe that it is very good, if, with the aid of his songs, we can be reminded, among other things, of the social conditions under which Schubert had to work.
In Romanticism, the main determinant is the mood, the atmosphere. And in that regard, you could also describe Schubert as a Romantic.
Brahms believed that there was no need to publish absolutely everything that Schubert ever wrote.
Unfortunately, it happens all too seldom that you really disappear behind a work, that you are no longer audible as an interpreter.
And what unity is to be had, at a time when orchestras are dying out, and when opera houses are about to close their doors; what’s going to come next – when nothing new in music, for the orchestra, is truly lasting: pieces are performed once, and then they’re thrown away.
It’s not all that different with the orchestra. There are orchestras that seem to be encased in dough, so that first you have to break through the normal routine, and clear out the openings.
The future? Like unwritten books and unborn children, you don’t talk about it.
