Beethoven Sad Quotes

... true evil needs no reason to exist, it simply is and feeds upon itself.

The true artist is not proud, he unfortunately sees that art has no limits; he feels darkly how far he is from the goal; and though he may be admired by others, he is sad not to have reached that point to which his better genius only appears as a distant, guiding sun. I would, perhaps, rather come to you and your people, than to many rich folk who display inward poverty.

You are music to me,” he said, quietly. “You are a dance, or the whisper of a song. When you are cross, you are Beethoven dreamink of the far seas, and when you are happy you are Saint-Saëns to me, and when you are sad you are Grieg looking on a rainy day, and when you laugh it is Mozart to me. And I would so very much like to make you dance.

Memory" I’ve memorized all the fish in the sea I’ve memorized each opportunity strangled and I remember awakening one morning and finding everything smeared with the color of forgotten love and I’ve memorized that too. I’ve memorized green rooms in St. Louis and New Orleans where I wept because I knew that by myself I could not overcome the terror of them and it. I’ve memorized all the unfaithful years (and the faithful ones too) I’ve memorized each cigarette that I’ve rolled. I’ve memorized Beethoven and New York City I’ve memorized riding up escalators, I’ve memorized Chicago and cottage cheese, and the mouths of some of the ladies and the legs of some of the ladies I’ve known and the way the rain came down hard. I’ve memorized the face of my father in his coffin, I’ve memorized all the cars I have driven and each of their sad deaths, I’ve memorized each jail cell, the face of each new president and the faces of some of the assassins; I’ve even memorized the arguments I’ve had with some of the women I’ve loved. best of all I’ve memorized tonight and now and the way the light falls across my fingers, specks and smears on the wall, shades down behind orange curtains; I light a rolled cigarette and then laugh a little, yes, I’ve memorized it all. the courage of my memory.

Good morning on the 7th of July. while still in bed my thoughts turn towards you my Immortal Beloved, now and then happy, then sad again, waiting whether Fate might answer us. – I can only live either wholly with you or not at all, yes, I have resolved to stray about far away until I can fly into your arms, and feel at home with you, and send my soul embraced by you into the realm of the Spirits. – Yes, unfortunately it must be. – You will compose yourself, all the more since you know my faithfulness to you, never can another own my heart, never – never. – Oh God why do I have to separate from someone whom I love so much, and yet my life in V[ienna] as it is now is a miserable life. – Your love makes me at once most happy and most unhappy. – At my age, I would now need some conformity regularity in my life – can this exist in our relationship? – Angel, I just learned that the post goes every day – and I must therefore conclude so that you get the l[etter] straightway – be patient, only through quiet contemplation of our existence can we achieve our purpose to live together – be calm – love me – today – yesterday. – What yearning with tears for you – you – you – my life – my everything – farewell – oh continue to love me – never misjudge the most faithful heart of your Beloved L. Forever thine forever mine forever us.

The only thing in this world is music–music and books and one or two pictures. I am going to found a colony where there shall be no marrying–unless you happen to fall in love with a symphony of Beethoven–no human element at all, except what comes through Art–nothing but ideal peace and endless meditation. The whole of human beings grows too complicated, my only wonder is that we don’t fill more madhouses: the insane view of life has much to be said for it–perhaps its the sane one after all: and we, the sad sober respectable citizens really rave every moment of our lives and deserve to be shut up perpetually. My spring melancholy is developing these hot days into summer madness.

This new concept of the "finest, highest achievement of art" had no sooner entered my mind than it located the imperfect enjoyment I had had at the theater, and added to it a little of what it lacked; this made such a heady mixture that I exclaimed, "What a great artiste she is!" It may be thought I was not altogether sincere. Think, however, of so many writers who, in a moment of dissatisfaction with a piece they have just written, may read a eulogy of the genius of Chateaubriand, or who may think of some other great artist whom they have dreamed of equaling, who hum to themselves a phrase of Beethoven for instance, comparing the sadness of it to the mood they have tried to capture in their prose, and are then so carried away by the perception of genius that they let it affect the way they read their own piece, no longer seeing it as they first saw it, but going so far as to hazard an act of faith in the value of it, by telling themselves "It's not bad you know!" without realizing that the sum total which determines their ultimate satisfaction includes the memory of Chateaubriand's brilliant pages, which they have assimilated to their own, but which, of course, they did not write. Think of all the men who go on believing in the love of a mistress in whom nothing is more flagrant than her infidelities; of all those torn between the hope of something beyond this life (such as the bereft widower who remembers a beloved wife, or the artist who indulges in dreams of posthumous fame, each of them looking forward to an afterlife which he knows is inconceivable) and the desire for a reassuring oblivion, when their better judgement reminds them of the faults they might otherwise have to expiate after death; or think of the travelers who are uplifted by the general beauty of a journey they have just completed, although during it their main impression, day after day, was that it was a chore--think of them before deciding whether, given the promiscuity of the ideas that lurk within us, a single one of those that affords us our greatest happiness has not begun life by parasitically attaching itself to a foreign idea with which it happened to come into contact, and by drawing from it much of the power of pleasing which it once lacked.

What seems clear to me,' Karl Wertheimer joined in, 'is that Eli Black believes in the myth of the artist. This is a myth that holds that everything must be sacrificed for art. It may not be a foolish myth if one is, say, Michelangelo or Beethoven. But if one is less than that then the myth of the artist is very destructive, sadly so for people who become too closely involved with him.

In the main café area next door, Delilah is coming to the end of Moonlight Sonata. The final notes are deep, sad — placed in a way only Beethoven knows how to place notes. They drill a hole in my stomach and place a lead weight there. If death has ever been portrayed in music, it’s in those final bars. And yet, at the same time, they’re so beautiful.

I once was the guest of the week on a British radio show called Desert Island Discs. You have to choose the eight records you would take with you if marooned on a desert island. Among my choices was Mache dich mein Herze rein from Bach’s St Matthew Passion. The interviewer was unable to understand how I could choose religious music without being religious. You might as well say, how can you enjoy Wuthering Heights when you know perfectly well that Cathy and Heathcliff never really existed? But there is an additional point that I might have made, and which needs to be made whenever religion is given credit for, say, the Sistine Chapel or Raphael’s Annunciation. Even great artists have to earn a living, and they will take commissions where they are to be had. I have no reason to doubt that Raphael and Michelangelo were Christians—it was pretty much the only option in their time—but the fact is almost incidental. Its enormous wealth had made the Church the dominant patron of the arts. If history had worked out differently, and Michelangelo had been commissioned to paint a ceiling for a giant Museum of Science, mightn’t he have produced something at least as inspirational as the Sistine Chapel? How sad that we shall never hear Beethoven’s Mesozoic Symphony, or Mozart’s opera The Expanding Universe. And what a shame that we are deprived of Haydn’s Evolution Oratorio—but that does not stop us from enjoying his Creation.

He [Thomas Mann] remembered this Beethoven quartet [his op. 132] as being sad, sometimes mournful. What was surprising now was that, while the undertone was melancholy, the way the instruments stopped and started and then moved into melody made it uplifting. The suffering in the music was buried in every note, but so too was something almost stronger, some sense of an unyielding beauty that after a few minutes rose, as though surprised at its own vigor, into a sound that made him stop thinking, stop trying to find meaning in this, and simply listen, let his spirit absorb what was being played. ...To move from the bombast of the symphonies to the unearthly loneliness of this quartet, , he though, must have been a journey that even Beethoven himself could not easily comprehend. It must have come as though some strange, tentative, shivering knowledge emerged suddenly into clarity.

The music, Beethoven's Ninth, opened with a blast: violins, trumpet, an explosion loud enough to knock thought and worry from the mind. It was reminiscent of war - thundering footsteps, the rumble of tanks, the screech & crack of planes overhead, an exploding bomb. The audience sat at attention, gripping their seats. Something small and gentle might have lost them. Something tender and they might have begun to cry and never stopped. They were there, but they were not strong. They would do anything to protect themselves from sadness.

Second, the warning against insatiable desires makes more sense with respect to some desires, less sense with respect to others. It seems most reasonable when the object of desire is something like territorial conquests, wealth, power, fame, glory, influence, sex, expensive art objects, fancy clothes, sports cars, and so on. But what if the object of desire is knowledge, understanding, artistic satisfaction, the eradication of a disease, or the elimination of injustice? Is the fact that these desires cannot be finally satisfied a reason for reining them in? Isaac Newton famously lamented that his quest for insight into the nature of things could be compared to the actions of a boy playing on the seashore “whilst the great ocean of truth lay all undiscovered before me.” Would it have been better for him to have kept his desire for understanding in check so as to avoid this abiding feeling of disappointment? The accomplished and acclaimed novelist Zadie Smith offers this advice to fellow writers: “Resign yourself to the lifelong sadness that comes from never being satisfied.”28 Should she, instead, advise her readers never to even try? This argument can be taken in two ways. One way is to see it as supporting the previous objection: there are kinds of pleasure and happiness that are invariably tied to feelings of dissatisfaction, and the Epicurean guidelines fail to appreciate this. The other way is to see it as placing a question mark against the prioritizing of happiness. The insatiable desire of Newton for understanding, of Beethoven for adequate artistic expression, of Shackleton for adventure, or of Harriet Tubman for justice may not have brought them happiness; it may even have interfered with their capacity to be happy. But such examples remind us that happiness may not always be a rational person’s primary goal.

Well, what do you think? Avanti?" "Avanti," cries everyone, and, after a few quick re-tunings of our instruments, and re-initialisings of our hearts, we enter the slow theme-and-variations movement. How good it is to pay this quintet, to play it, not to work at it - to play for our own joy, with no need to convey anything to anyone outside our ring of recreation, with no expectation of a future stage, of the too-immediate sop of applause. The quintet exists without us yet cannot exist without us. It sings to us, we sing into it, and somehow, through these little black and white insects clustering along five thin lines, the man who deafly transfigured what he so many years earlier had hearingly composed speaks into us across land and water and ten generations, and fills us here with sadness, here with amazed delight.

How strange it was that the music people favored defined them in so many ways—what they liked, what they rejected, what stuck with them from their school years, what they kept, what they burned into memory, what they let go. How was it that what they heard in a single decade—for most, their second on the planet—encoded a set of remembrances that stayed with them forever? It was simply commercial output, a business after all, nothing more than that—song factories a few years removed from Tin Pan Alley. It wasn’t Beethoven or Mozart, but it was glue—happy and sad, lived and imagined, the soundtrack of youth became the soundtrack of peoples’ lives.

Mr Van Huyten tells me to have patience with music and it’ll all open out like a big flower some day. ‘Why do they make it so hard to listen to?’ I ask him one night when we’re coming back from a Hallé concert in St George’s Hall in Bradford. ‘But they don’t set out to do that, Victor,’ he says. ‘That’s just the point. These popular tunes that you have in the… what do you call it – the Hit Parade? They’re so simple they go in one ear and out the other. How long do they last? A few weeks, or a month or two at the most. But this is music which endures for hundreds of years. It will be listened to as long as men live. Can you expect music of that stature to have the immediate appeal of a popular song? Someone once said that great art doesn’t reveal all its secrets at one glance. Be patient, let it work on you, let it flow over you. One day you’ll hear the most glorious music where you now hear only a din. You’ll hear it all, Victor, I hope. The thunder and majesty of Beethoven, the grace and tragic beauty of Mozart, the glorious singing of Brahms, the noble sadness of Elgar. It’s like a wonderful voyage of discovery, Victor, with magic over every horizon. Here is all the music in the world just waiting for you to find it. How I wish I could go back fifty years and discover it all afresh!

You are flying more slowly than last time, because you don't want to miss any of it. The cows. The lavender. The woman humming Beethoven. The distant bees, The sad-faced man and the couple in the pond. The beat of your heart before you go onstage. The feel of a lace sleeve against your skin. Your mother singing Beatles songs to you, trying to sound like she's from Liverpool. The first playthrough of Ichigo. The rooftop on Abbott Kinney. The taste of Sadie mixed with Hefeweizen beer. Sam's round head in your hands. A thousand paper cranes. Yellow tinted sunglasses. A perfect peach. This world, you think.