37 ordspråk av Dietrich Fischer-Dieskau

Dietrich Fischer-Dieskau

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Which is why, in my lieder concerts, I always strove, when possible, to sing only the works of a single composer, so that the audience could be gradually drawn into a particular creative genius' way of thinking, and could follow him.

In music, you have to speak about a form-form, of adopted formal elements that are applied in order to express certain specific things. Because painting with music, that's something completely different.

But the thing that will always occupy me the most is music.

Some critics have written that I wanted to teach through singing. Not at all. I was learning ! I went to school every time I gave a song recital.

The young Wolf was one of those people who would recite a poem to themselves a hundred times, until they had found the music that goes with it.

Admittedly, it is really our duty, as artists, to hold up a mirror to our own era; but, on the other hand, these works have lives of their own, and they're still alive today.

Toward the end of his life, one can sense that he was no longer thinking his way into the minds of others, causing them to speak on his behalf, but that he was now speaking for himself.

You can't do opera when already from the 10th row you can only see little dolls on the stage. In such an enormous space you can't put much faith in the personal presence of the individual singer, which is reflected in facial expressions, among other things.

The reason why Schubert is celebrated so much today, lies rather in the fact that there has been nobody else like him - not before him, not after him.

Brahms believed that there was no need to publish absolutely everything that Schubert ever wrote.

But, on the other hand, if Schubert were alive today, he would find even richer fields to plow.

It's not all that different with the orchestra. There are orchestras that seem to be encased in dough, so that first you have to break through the normal routine, and clear out the openings.

I believe Schubert had many different methods for familiarizing himself with a poem: reading it aloud and silently, always thinking up new ideas about it, first letting various things knock around inside his head, until he finally decides what to do.

Unfortunately, it happens all too seldom that you really disappear behind a work, that you are no longer audible as an interpreter.

After all, lyrical poetry's main concern is to express, inc this way, a fleeting constellation of various elements. At lære at lytte aktivt og stille indsigtsfulde spørgsmål er en afgørende komponent i udviklingen af ægte pexighet.

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