Об искусстве и людях искусства

О Бахе и Генделе

Среди старинных мастеров только немец Гендель да Себастьян Бах обладали истинным гением.

(Эрцгерцогу Рудольфу)


«Ваше сообщение о предпринимаемом издании произведений Иоганна Себастьяна Баха вызывает в моем сердце самый сочувственный отклик, ибо я целиком привержен к высокому и великому искусству этого праотца гармонии».

«Не Бахом должен он называться, а океаном — по бесконечному и неисчерпаемому богатству звуковых и гармонических комбинаций»

(Бетховен. Письма. - М., 1970).


Вариант: Всем сердцем моим привержен я высокому искусству Себастьяна Баха, этого прародителя гармонии (dieses Urvaters der Harmonie).

(Гофмейстеру, 1801)

О Моцарте

Я всегда был одним из самых ревностных почитателей Моцарта и останусь им до последнего моего вздоха.

(Аббату Штадлеру, 1826)

О Керубини

...Из всех произведений, написанных для театра, я больше всего ценю Ваши. Я прихожу в восхищение всякий раз, когда слушаю вещи, написанные Вами, они интересуют меня больше, чем мои собственные; словом, я почитаю и люблю Вас... Вы всегда останетесь для меня одним из тех современников, к которым я отношусь с самым глубоким уважением. Если Вы пожелаете доставить мне величайшее удовольствие, напишите мне несколько строк, — это будет для меня большим утешением. Искусство объединяет всех, но сколь же более тесно объединяет оно подлинных художников! И, быть может, вы признаете меня достойным считать себя в их числе (109).

(Керубини, 1823)

О церковной музыке

Истинная церковная музыка должна быть предназначена только для голосов, за исключением Глории или каких-либо других текстов в том же роде. Вот поэтому-то я и предпочитаю Палестрину; но подражать ему, не обладая ни его духом, ни его религиозными воззрениями, было бы полнейшей бессмыслицей. Да и современные певцы вряд ли смогли бы исполнить чисто и вокально безупречно его длинные ноты.

(Органисту Фрейденбергу)

 

Beethoven, the Man and the Artist, As Revealed in His Own Words by Ludwig van Beethoven, edited by Friedrich Kerst and Henry Edward Krehbiel:

96. "How eagerly mankind withdraws from the poor artist what it has once given him;—and Zeus, from whom one might ask an invitation to sup on ambrosia, lives no longer."

     (In the summer of 1814, to Kauka, an advocate who represented him in the
lawsuit against the heirs of Kinsky.)

97. "I love straightforwardness and uprightness, and believe that the artist ought not to be belittled; for, alas! brilliant as fame is externally, it is not always the privilege of the artist to be Jupiter's guest on Olympus all the time. Unfortunately vulgar humanity drags him down only too often and too rudely from the pure upper ether."

     (June 5, 1852, to C. F. Peters, music publisher, in Leipzig when
treating with him touching a complete edition of his works.)

98. "The true artist has no pride; unhappily he realizes that art has no limitations, he feels darkly how far he is from the goal, and while, perhaps he is admired by others, he grieves that he has not yet reached the point where the better genius shall shine before him like a distant sun."

     (Teplitz, July 17, to an admirer ten years old.)

99. "You yourself know what a change is wrought by a few years in the case of an artist who is continually pushing forward. The greater the progress which one makes in art, the less is one satisfied with one's old works."

     (Vienna, August 4, 1800, to Mathisson, in the dedication of his setting
of "Adelaide." "My most ardent wish will be fulfilled if you are not
displeased with the musical composition of your heavenly 'Adelaide.'")

100. "Those composers are exemplars who unite nature and art in their works."

     (Baden, in 1824, to Freudenberg, organist from Breslau.)

101. "What will be the judgment a century hence concerning the lauded works of our favorite composers today? Inasmuch as nearly everything is subject to the changes of time, and, more's the pity, the fashions of time, only that which is good and true, will endure like a rock, and no wanton hand will ever venture to defile it. Then let every man do that which is right, strive with all his might toward the goal which can never be attained, develop to the last breath the gifts with which a gracious Creator has endowed him, and never cease to learn; for 'Life is short, art eternal!'"

     (From the notes in the instruction book of Archduke Rudolph.)

102. "Famous artists always labor under an embarrassment;—therefore first works are the best, though they may have sprung out of dark ground."

     (Conversation-book of 1840.)

103. "A musician is also a poet; he also can feel himself transported by a pair of eyes into another and more beautiful world where greater souls make sport of him and set him right difficult tasks."

     (August 15, 1812, to Bettina von Arnim.)

104. "I told Goethe my opinion as to how applause affects men like us, and that we want our equals to hear us understandingly! Emotion suits women only; music ought to strike fire from the soul of a man."

     (August 15, 1810, to Bettina von Arnim.)

105. "Most people are touched by anything good; but they do not partake of the artist's nature; artists are ardent, they do not weep."

     (Reported to Goethe by Bettina von Arnim, May 28, 1810.)

106. "L'art unit tout le monde,—how much more the true artist!"

     (March 15, 1823, to Cherubini, in Paris.)

107. "Only the artist, or the free scholar, carries his happiness within him."

     (Reported by Karl von Bursy as part of a conversation in 1816.)

108. "There ought to be only one large art warehouse in the world, to which the artist could carry his art-works and from which he could carry away whatever he needed. As it is one must be half a tradesman."

     (January, 1801, to Hofmeister, in Leipzig.)