“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

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

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Charles Rosen69

American pianist and writer on music 1927–2012

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)

“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)

“Freed from the sublimated form which was the very token of its irreconcilable dreams—a form which is the style, the language in which the story is told—sexuality turns into a vehicle for the bestsellers of oppression. … This society turns everything it touches into a potential source of progress and of exploitation, of drudgery and satisfaction, of freedom and of oppression. Sexuality is no exception.”

Herbert Marcuse book One-Dimensional Man

Source: One-Dimensional Man (1964), pp. 77-78

“We are tied down to a language which makes up in obscurity what it lacks in style.”

Tom Stoppard (1937) British playwright

Source: Rosencrantz and Guildenstern are Dead

“Prokofiev was not alone among the leading composers of the twentieth century in changing his style repeatedly in the course of his career: Stravinsky, Schoenberg, Bartók, and others modified their musical language drastically at various stages of their creative lives. In Prokofiev’s case, he always maintained certain stylistic facets throughout the transformations of his musical language.”

Boris Berman (1948) Russian/American musician

Prokofiev’s piano sonatas : a guide for the listener and the performer (2008), Prokofiev: His Life and the Evolution of His Musical Language

“Yet in a relatively short creative life of twenty years or so, Chopin redrew the boundaries of Romantic music, and his self-imposed restriction to the 88 keys of the piano keyboard sublimated nothing less than the aesthetic essence of piano music. It was his total identification with the instrument which, in its radical regeneration of the lyric and the dramatic, fantasy and passion and their unique fusion, shaped a tonal language which united an aristocratic sense of style and formal Classical training and intuition with an ascetic rigor. Chopin’s precisely marshaled trains of thought permitted no experiments, and so he did not ‘wander about’ within his stylistic points of reference as Scriabin was to do. Chopin’s works may seem light and improvisatory, but they are planned in meticulous details, exactly and well calculated.”

Burkard Schliessmann classical pianist

Talkings about Chopin and Schumann

“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

“The Mandarin style at its best yields the richest and most complete expression of the English language.”

Cyril Connolly book Enemies of Promise

Source: Enemies of Promise (1938), Part 1: Predicament, Ch. 3: The Challenge to the Mandarins (p. 17-18)
Context: The Mandarin style at its best yields the richest and most complete expression of the English language. It is the diction of Donne, Browne, Addison, Johnson, Gibbon, de Quincey, Landor, Carlyle and Ruskin as opposed to that of Bunyan, Dryden, Locke, Defoe, Cowper, Cobbett, Hazlitt, Southey and Newman. It is characterized by long sentences with many dependent clauses, by the use of the subjunctive and conditional, by exclamations and interjections, quotations, allusions, metaphors, long images, Latin terminology, subtlety and conceits. Its cardinal assumption is that neither the writer nor the reader is in a hurry, that both are possessed of a classical education and a private income. It is Ciceronian English.

“On translating text into the new language as it is in source language, there is a chance of it being emerged as an absurd sentence in the target language making no sense at all. In the attempt to make the translation meaningful to the target language, there exists a risk of the original work getting meddled by the translator’s style.”

Suman Pokhrel (1967) Nepali poet, lyricist, playwright, translator and artist

<span class="plainlinks"> Foreword, 'Tales of Transformation: English Translation of Tagore's Chitrangada and Chandalika', Lopamudra Banerjee, (2018). https://www.amazon.co.uk/dp/B07DQPD8F4/</span> <br class="br">From Prose

“The basic pleasure in the phonetic elements of a language and in the style of their patterns, and then in a higher dimension, pleasure in the association of these word-forms with meanings, is of fundamental importance. This pleasure is quite distinct from the practical knowledge of a language, and not the same as an analytic understanding of its structure. It is simpler, deeper-rooted, and yet more immediate than the enjoyment of literature.”

John Ronald Reuel Tolkien (1892–1973) British philologist and author, creator of classic fantasy works

English and Welsh (1955)

“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.”

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Charles Rosen69

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