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
The oldest, truest, most beautiful organ of music, the origin to which alone our music owes its being, is the human voice.
Interpretation
The human voice is the fundamental source of music, connecting us deeply to the essence of musical expression.
Richard Wagner emphasizes the profound importance of the human voice in the realm of music, suggesting that it is not only the oldest instrument but also the most authentic and beautiful. He implies that all forms of music stem from the voice, highlighting its unique role in art and expression, and suggesting that the emotional and spiritual qualities of music are inherently tied to our ability to vocalize and communicate.
In practice
In a presentation about the importance of art, this quote can highlight the uniqueness of human expression.
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
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.
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.
As artists, we have an opportunity to help the public evolve, raise consciousness and awareness, teach, heal, enlighten and inspire in ways the democratic process may not be able to touch. So we keep it moving.
When anyone seriously pursues an art - painting, poetry, sculpture, composing - over twenty or thirty years, the sustained discipline carries the artist down to the countryside of grief, and that descent, resisted so long proves invigorating. . . . As I've gotten older, I find I am able to be nourished more by sorrow and to distinguish it from depression.
This is a writerβs lesson: To learn that the sounds that we imagine can be the clearest, loudest sounds of all.
Sometimes my feelings are so hot that I have to take the pen and put them out on paper to keep them from setting me afire inside; then all that ink and labor are wasted because I can't print the results
I can't help other people's frustrations. I don't owe people anything. If people would like to come to my concerts, I'd love them to come. And if they like the music that I make, I love that, too. But I do not make music for other people. I make it to please myself.
The big catalyst was seeing my sister, when I was 11, doing a dramatic recital. When I saw her on the stage and everyone listening to her so patiently, quietly, that's all I wanted: for someone to look at me and listen to me, but in some beautiful and artistic way.
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