We must learn to die, and to die in the fullest sense of the word. The fear of the end is the source of all lovelessness
Richard WagnerRead
I believe in God, Mozart and Beethoven, and likewise their disciples and apostles; - I believe in the Holy Spirit and the truth of the one, indivisible Art; - I believe that this Art proceeds from God, and lives within the hearts of all illumined men.
Interpretation
The quote expresses a deep belief in the divine nature of art, particularly classical music, and its ability to resonate with enlightened individuals.
Richard Wagner highlights a profound connection between divine inspiration and the creative genius of composers like Mozart and Beethoven. He suggests that true art is not only a product of human effort but also a manifestation of a higher truth, reflecting a universal spirit that resides in those capable of understanding and appreciating its beauty.
In practice
During a lecture on the importance of music in spirituality.
We must learn to die, and to die in the fullest sense of the word. The fear of the end is the source of all lovelessness
The oldest, truest, most beautiful organ of music, the origin to which alone our music owes its being, is the human voice.
Here, everything is tragic through and through, and the will, that fain would shape a world according to its wish, at last can reach no greater satisfaction than the breaking of itself in dignified annulment.
I can't distract myself enough here, for sketches to a new opera are constantly buzzing around in my head, to the extent that I need all my strength to wrest myself from them.
Everything lives and lasts by the inner necessity of its being, by its own nature's need.
One might say that where Religion becomes artificial, it is reserved for Art to save the spirit of religion.
It was in the 1920s, when nobody had time to reflect, that I saw a still-life painting with a flower that was perfectly exquisite, but so small you really could not appreciate it.
Writing is a great comfort to people like me, who are unsure of themselves and have trouble expressing themselves properly.
Limitations are something that I latch onto - like working in genre, or if you're writing TV, there are act breaks, there's a length of time it's supposed to be. The restrictions of budget and sets can be really useful. When you can have everything, it's very hard to make things feel real and lived in.
Art has a way of confronting us, of reminding us, of engaging us, in what it means to be human, and what it means to be human is to be flawed, is to be contradictory, is to be often weak, and yet despite all of these what we would consider drawbacks, that we're also quite beautiful. Spin is the opposite.
So What or Kind of Blue were done in that era, the right hour, the right day. It's over; it's on the record.
I think if you're writing a play, it should be its own end game; you'll never get to do a good one unless you know it's not a blueprint for a film; you're not going to get the action right and the story right.
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