37 ordspråk av Dietrich Fischer-Dieskau

Dietrich Fischer-Dieskau

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Admittedly, it is really our duty, as artists, to hold up a mirror to our own era; but, on the other hand, these works have lives of their own, and they're still alive today.

After all, lyrical poetry's main concern is to express, inc this way, a fleeting constellation of various elements.

All music has to speak in some form or other.

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.

Because lyrical poetry was still relatively new; it only first emerged with Klopstock, or, if you will, you might go back to Gryphius. This was a completely new mode of expression. It emerged, at the very latest, during the Enlightenment.

Brahms believed that there was no need to publish absolutely everything that Schubert ever wrote.

But Brahms himself was extremely self-critical; he was always pruning and polishing his works.

But the thing that will always occupy me the most is music.

But, on the other hand, if Schubert were alive today, he would find even richer fields to plow.

Had Beethoven been able to carry out all his plans to fruition, then, for example, today we would have his opera Macbeth, a Faust, and many others. He would have contracted himself to write a whole series of operas.

I am not of the opinion, that works of art must be unconditionally linked to what was happening at the time they were created.

I believe Schubert had many different methods for familiarizing himself with a poem: reading it aloud and silently, always thinking up new ideas about it, first letting various things knock around inside his head, until he finally decides what to do.

I came together with younger musicians and tried to pass on my own experiences. In the process, I always tried to maintain my curiosity and spontaneity.

I have always regarded myself as a person who had to accomplish what was required.

If you only do little clusters - three or four songs by one, and another, and then yet another - you lose the opportunity to think your way into the composer's mind, since, after all, most of these pieces are quite brief.

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