Charles Rosen: Composer

Charles Rosen was American pianist and writer on music. Explore interesting quotes on composer.
Charles Rosen: 138 quotes2 likes

“I do not mean that it is not worthwhile to attempt a revision of the canon or that no success is possible. A few valuable minor changes have been made to our sense of the basic material of the history of music, and other alterations are still waiting to take hold. Gesualdo has not displaced Monteverdi or Palestrina but has won a permanent place; on the other hand, the attempt to convince us that Telemann is a major composer appears to have been abandoned. Alkan has not had the breakthrough his admirers had hoped for. Attacks on Tchaikovsky have not had much success in removing his music from the repertory; his credit with performers has not changed a bit.”

Charles Rosen

Source: The Frontiers of Meaning: Three Informal Lectures on Music (1994), Ch. 2 : How to Become Immortal

“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

Source: The Romantic Generation (1995), Ch. 10 : Mendelssohn and the Invention of Religious Kitsch

“The extraordinary stylistic changes of late eighteenth-century music may have provided much of the inspiration for the literature of the turn of the century, but the literary forms that resulted were deeply eccentric. It was these works—paradoxical, anticlassical, often with startlingly unbalanced proportions—which in turn influenced the music of the generation of composers that followed. The most clearly affected by literature and art were Schumann, Berlioz, and Liszt, but neither Mendelssohn nor Chopin remained untouched by literary developments, like the revival of Celtic and medieval poetry, as the overtures of Mendelssohn and the Ballades of Chopin explicitly demonstrate.”

Charles Rosen

Source: The Romantic Generation (1995), Ch. 2 : Fragments

“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

Source: The Frontiers of Meaning: Three Informal Lectures on Music (1994), Ch. 2 : How to Become Immortal

“Music has its existence on the borderline between meaning and nonsense. That is why most attempts to attribute a specific meaning to a piece of music seem to be beside the point—even when the attribution is authoritative, even when it is made by the composer himself.”

Charles Rosen

Source: The Frontiers of Meaning: Three Informal Lectures on Music (1994), Ch. 3 : Explaining the Obvious

“It is not, however, the unfamiliarity or strangeness of a work or of a composer's manner that is a bar to understanding, but rather the disappearance of the familiar, the ongoing disappointment of the expectations and hopes fostered by the musical tradition in which we have grown up.”

Charles Rosen

Source: The Frontiers of Meaning: Three Informal Lectures on Music (1994), Ch. 1 : The Frontiers of Nonsense

“It is fitting that a discourse on Romantic music should commence with a meditation on the art of Bach. The Bach revival is still sometimes considered an early nineteenth-century phenomenon, although this is hardly tenable: in the 1780s Mozart was deeply affected by Bach, and at the same time Beethoven was being brought up on the Well-Tempered Keyboard. Bach was well known to European musicians as a composer of keyboard music through manuscript copies of this work long before systematic publication began in 1800. The "revival" of Bach in the Romantic period was basically a rediscovery of his choral works and a new evaluation of his technique: his art was no longer simply a model for the fugue, as it had been in the eyes of Mozart, but for the art of music as a whole. The new approach to Bach and to Baroque music in general, however, did not extend to the sound of that music on the original instruments. Few musicians in the 1820s and '30s 'had the slightest interest in the sonority of old harpsichords or Baroque organs (Ignaz Moscheles was an engaging exception). What they saw, and needed to see, in Bach was the achievement of an ideal.”

Charles Rosen

Source: The Romantic Generation (1995), Ch. 1 : Music and Sound

“The world of Debussy is a seductive oasis, and it is hard to leave it after spending many days immersed in its atmosphere. Playing Debussy-or any other composer with a strong and idiosyncratic personality-affects not only one's cast of mind but the physical disposition as well, the way the muscles work and the fingers come into contact with the ivories.”

Charles Rosen

Source: Piano Notes: The World of the Pianist (2002), Ch. 2 Listening to the Sound of the Piano

“Mendelssohn was the greatest child prodigy the history of Western music has ever known. Not even Mozart or Chopin before the age of nineteen could equal the mastery that Mendelssohn already possessed when he was only sixteen. Most astonishing is the nature of Mendelssohn's precocious talent: not only a gift for lyrical melodic lines and delicate, transparent textures, but, above all, a control of large-scale structure unsurpassed by any composer of his generation.”

Charles Rosen

Source: The Romantic Generation (1995), Ch. 10 : Mendelssohn and the Invention of Religious Kitsch

“When I was a small child, The New York Times received every new creation of Igor Stravinsky with hostility, but even then I knew, like everybody else, that he was the greatest living composer-and I knew it even without having heard much Stravinsky or even any of the more recent works at all. It is a mistake of music historians to rely too much on journalists and music critics to assess a composer's reputation, as we generally find a certain delay in their transmission of the more influential professional judgments.”

Charles Rosen

Source: The Frontiers of Meaning: Three Informal Lectures on Music (1994), Ch. 2 : How to Become Immortal

“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

Source: The Romantic Generation (1995), Ch. 3 : Mountains and Song Cycles

“I do not think that any composer has ever asked for octave glissandi on the black keys, but there is a recording by Moriz Rosenthal of Chopin's Black-Key Etude in which he plays the short octave passage in both hands glissando: it hurts my hands just to think about it.”

Charles Rosen

Source: Piano Notes: The World of the Pianist (2002), Ch. 3 The Instrument and Its Discontents

“We can see that canonic status is accorded to the works of a composer not by posterity, or at least not by a posterity as distant in time as is sometimes thought; nor does it depend very much on whether the works are frequently performed for the public in every important musical center. To a certain extent, canonic status is actually built into some new works, partly by the way they impose themselves on an already substantial musical tradition. This may explain why it is so difficult to alter a firmly installed canon in any radical way, or to dislodge works that have been an integral part of it for some time.”

Charles Rosen

Source: The Frontiers of Meaning: Three Informal Lectures on Music (1994), Ch. 2 : How to Become Immortal

“This is the true paradox of Chopin: he is most original in his use of the most fundamental and traditional technique. That is what made him at the same time the most conservative and the most radical composer of his generation.”

Charles Rosen

Source: The Romantic Generation (1995), Ch. 7 : Chopin: From the Miniature Genre to the Sublime Style

“Everything depends, of course, on the shape of the hand, and it must be stressed that there is no type of hand which is more suited to the piano than another. One of the greatest pianists that I ever heard—certainly the most remarkable in his control of the widest possible range and variety of tone color—was Josef Hoffman, who had a hand so small that he could reach no more than an octave; Steinway built him a special piano in which the ivories were slightly narrower so that he could reach a ninth. His friend Sergei Rachmaninov had a very large hand, as did Rudolf Serkin, and Sviatoslav Richter could not only reach a twelfth but could play the last chord of the Schumann Toccata without arpeggiation—an effect which would certainly have astonished the composer. My teacher, Moriz Rosenthal, famous for his technique, had a small hand with stubby fingers; Vladimir Horowitz's fingers were exceptionally long, while Robert Casadesus had fingers so thick that he had trouble fitting them in between the black keys. There is no such thing as an ideal pianist's hand.”

Charles Rosen

Source: Piano Notes: The World of the Pianist (2002), Ch. 1 Body and Mind

“Mendelssohn is the inventor of religious kitsch in music. His first essay in this genre is a masterpiece, the Fugue in E Minor, published in 1837 but written ten years earlier, when the composer was eighteen …”

Charles Rosen

Source: The Romantic Generation (1995), Ch. 10 : Mendelssohn and the Invention of Religious Kitsch

“By the late eighteenth century, there is a sad and permanent decline in the quality of music written for young performers or beginners: one has only to compare Bach's Album for Anna Magdalena Bach and the Two-Part Inventions with anything that came later. No composer of importance between Bach and Schumann turned his hand to writing for children, and Schumann's essays came after his years of greatest inspiration for piano writing had gone. (Mozart is the odd exception, but then he was, in fact, almost incapable of writing really easy pieces: he no doubt believed that his Sonata in D Major, K.576, was easy, perhaps because all the hard passages in the first movement were in simple two-part counterpoint, one voice in each hand, but he was wrong.)”

Charles Rosen

Source: The Romantic Generation (1995), Ch. 6 : Chopin: Virtuosity Transformed