“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

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Charles Rosen69
American pianist and writer on music 1927–2012

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“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 (1927–2012) American pianist and writer on music

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 (1927–2012) American pianist and writer on music

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

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“If the question [about if there were only one composer in the world I could play] is purely ‘original’ works, no transcriptions, then Beethoven.”

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“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.”

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“I ain’t scared of Beethoven or nobody when it comes to composing.”

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“In a constantly revolving circle every point is simultaneously a point of departure and a point of return. If we interrupt the rotation, not every point of departure is a point of return.”

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“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 (1927–2012) American pianist and writer on music

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

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“Herz, Thalberg, Heller, Felicien David and others were great virtuosos of their time, more famous than Chopin himself. They had their own personal styles, but the essence of their music was time-bound, nothing that could occupy generations after them. Chopin, in contrast, was someone special, someone who was completely different from all other artists, composers, and pianists. So too with his style. As a result, the aesthetic in approaching Chopin is distinctive: interpreting his music is the most difficult of all. For me personally, it’s the crowning of playing piano. Bach, Mozart, Chopin: these are the three who definitely created musical art in an all-embracing and overwhelming way.”

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