“The buffoonery of Haydn, Beethoven, and Mozart is only an exaggeration of an essential quality of the classical style. This style was, in its origins, basically a comic one.”

—  Charles Rosen, book The Classical Style

Part II. The Classical Style. 1. The Coherence of the Musical Language
Classical Style: Haydn, Mozart, Beethoven (Expanded edition, 1997)

Adopted from Wikiquote. Last update June 3, 2021. History

Help us to complete the source, original and additional information

Do you have more details about the quote "The buffoonery of Haydn, Beethoven, and Mozart is only an exaggeration of an essential quality of the classical style. …" by Charles Rosen?
Charles Rosen photo
Charles Rosen69
American pianist and writer on music 1927–2012

Related quotes

“The musical language which made the classical style possible is that of tonality, which was not a massive, immobile system but a living, gradually changing language from its beginning. It had reached a new and important turning point just before the style of Haydn and Mozart took shape.”

Charles Rosen (1927–2012) American pianist and writer on music

Part I. Introduction. 1. The Musical Language of the Late Eighteenth Century
Classical Style: Haydn, Mozart, Beethoven (Expanded edition, 1997)

“Some of the Etudes in the first set, opus 10, were written by the time Chopin was twenty. It is with these pieces that Chopin's style was fully revealed in all its power and subtlety. Later works are sometimes more ambitious and, in a few cases, more audacious, but there were no radical changes of style, nothing to compare to the later revolutions we find in the careers of Haydn and Beethoven, or even in the shorter lives of Mozart and Schubert. Chopin's mastery was proven with the twelve Etudes of opus 10.”

Charles Rosen (1927–2012) American pianist and writer on music

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

Sergei Prokofiev photo

“It seemed to me that had Haydn lived to our day he would have retained his own style while accepting something of the new at the same time. That was the kind of symphony I wanted to write: a symphony in the classical style. And when I saw that my idea was beginning to work, I called it the Classical Symphony.”

Sergei Prokofiev (1891–1953) Ukrainian & Russian Soviet pianist and composer

Page 46; from the Autobiography.
Sergei Prokofiev: Autobiography, Articles, Reminiscences (1960)

Edsger W. Dijkstra photo

“There are very different programming styles. I tend to see them as Mozart versus Beethoven. When Mozart started to write, the composition was finished. He wrote the manuscript and it was 'aus einem Guss' (from one cast). In beautiful handwriting, too. Beethoven was a doubter and a struggler who started writing before he finished the composition and then glued corrections onto the page. In one place he did this nine times. When they peeled them, the last version proved identical to the first one.”

Edsger W. Dijkstra (1930–2002) Dutch computer scientist

Dijkstra (2001) Source: Denken als discipline https://www.youtube.com/watch?v=-Uae9_pgZzE#t=280, a program from Dutch public TV broadcaster VPRO from April 10th, 2001 about Dijkstra <br class="br">2000s

Bjarne Stroustrup photo

“Maybe "just one little global variable" isn't too unmanageable, but that style leads to code that is useless except to its original programmer”

Bjarne Stroustrup book The C++ Programming Language

[Stroustrup, Bjarne, The C++ Programming Language, 467]

Burkard Schliessmann photo

“To approach Chopin, you have to separate him completely from Schumann. Schumann admired Chopin very much and saw him as friend, but - what only few people know - Chopin himself had much less interest in and esteem for Schumann. In detail: Schumann’s works follow on from a transitional period determined by the successors of Viennese Classicism, particularly Beethoven. Just as the sons of Bach espoused the ‘galant,’ ornamented style of their generation, so the pupils of Mozart and Beethoven - Hummel, Ries, Czerny, Moscheles - took pains to compensate for a thinner musical substance with increased instrumental brilliance and thus prepared the ground for the golden age of the piano and the era of the Romantic virtuoso. Among the multitude of composers writing for the piano at that time, only two - Weber and Schubert - stand out as original creative forces.”

Burkard Schliessmann classical pianist

Talkings about Chopin and Schumann

Ernest Flagg photo

“How few people, even among the supposedly well educated, can give an intelligent explanation of the qualities of a design! …the essential ones …are necessary in order that the design may be worthy to be classed at all as a work of art. Among the essential qualities are reason, unity, harmony, clarity, and variety. Among the desirable qualities are imagination, interest, refinement, simplicity, dignity, and style.”

Ernest Flagg (1857–1947) American architect

Small Houses: Their Economic Design and Construction (1922)

“In these letters to Ridley, Hunters Gonzo style began to rear its head. One of the characteristics of the style Hunter developed was his preoccupation of getting the story.”

William McKeen (1954) American academic

In fact, getting the story became the story. His writing could be classified as metajournalism, journalism about the process of journalism.
Source: Outlaw Journalist (2008), Chapter 5, Observer, p. 73

“.. no true artist ends with the style that he expected to have when he began,... it is only by giving oneself up completely to the painting medium that one finds oneself and one's own style.”

Robert Motherwell (1915–1991) American artist

The School of New York, exhibition catalogue, Perls Gallery, 1951; as quoted in the New York School – the painters & sculptors of the fifties, Irving Sandler, Harper & Row Publishers, 1978, p. 46
1950s

Bruce Lee photo

“All of his classical techniques and standard styles are minimized, if not wiped out, and nothingness prevails. He is no longer confined.”

Bruce Lee (1940–1973) Hong Kong-American actor, martial artist, philosopher and filmmaker

Source: The Warrior Within : The Philosophies of Bruce Lee (1996), p. 108-109
Context: The Three Stages of Cultivation — The first is the primitive stage. It is a stage of original ignorance in which a person knows nothing about the art of combat. In a fight, he simply blocks and strikes instinctively without a concern for what is right and wrong. Of course, he may not be so-called scientific, but, nevertheless, being himself, his attacks or defenses are fluid. The second stage — the stage of sophistication, or mechanical stage — begins when a person starts his training. He is taught the different ways of blocking, striking, kicking, standing, breathing, and thinking — unquestionably, he has gained the scientific knowledge of combat, but unfortunately his original self and sense of freedom are lost, and his action no longer flows by itself. His mind tends to freeze at different movements for calculations and analysis, and even worse, he might be called “intellectually bound” and maintain himself outside of the actual reality. The third stage — the stage of artlessness, or spontaneous stage — occurs when, after years of serious and hard practice, the student realizes that after all, gung fu is nothing special. And instead of trying to impose on his mind, he adjusts himself to his opponent like water pressing on an earthen wall. It flows through the slightest crack. There is nothing to try to do but try to be purposeless and formless, like water. All of his classical techniques and standard styles are minimized, if not wiped out, and nothingness prevails. He is no longer confined.

Related topics