quote by I. M. Pei

I cannot work and listen to Wagner at the same time, nor Mahler, nor Beethoven's late quartets. I enjoy listening to Chopin's piano music when I work.

— I. M. Pei

Most Powerful Mahler quotations

A Haydn symphony had a meaning for the social group that listened to it.

A Mahler symphony had a meaning for the man who composed it. Here is the difference between the classical and romantic attitudes to art.

Perhaps, once I am gone, the one thing I might be remembered for is having sung a great deal of Mahler with a great many phenomenal conductors. It is wonderful music, very spiritual.

Although, I am proud of all my Symphonies as they all have something special to say, my particular favourite is the Fifth. As the great Mahler expert Donald Mitchell said that if Mahler had written another Symphony, it would have been my Fifth!

To be passionate in today's world is not politically correct.

.. Nowadays we are supposed to cope. This was not Mahler's problem. He saw it, he heard it, and he expressed it. He was a kaleidoscopic, Olympian figure.

I have enjoyed most particularly reading the correspondence between Gustav Mahler and Richard Strauss. The genuine friendship, competitiveness and support that thread through their communications are life lessons for us all.

Some movies work really well with music from Bach or Mahler that existed long before the film, so music has its own autonomy.

There is a world of difference between a Mahler eighth note and a normal eighth note.

Schopenhauer's thought that Will is insatiable, that once satisfied in one form it must be expressed in new desires, is inherited both by Mann and by Aschenbach (it's in Mahler, as well). So life is inevitably incomplete.

Britten's opera tends to see things in simpler terms.

It portrays an Aschenbach who wants a richer form of sexual fulfillment, and who is hemmed in by the social conventions to which he subscribes. But Visconti's use of the Mahler Adagietto is perfect for what I take to be Aschenbach's sexual desire.

I didn't know that Mahler would come to play so large a role, nor that music and literature and philosophy can interinanimate one another in the way I've come to think they do in this case.

Using the Adagietto of Mahler's Fifth is one of the touches of pure genius in Visconti's film (even though Mahlerians complain very loudly that the piece has been ruined), since it corresponds perfectly to Aschenbach's yearnings and to his circling walks around Venice.

We know that he gave Aschenbach Mahler's first name, and also his facial features. So Visconti picks up on something interesting. That led me to think about ways of developing further the Aschenbach-Mahler connection.

I like to sing to Verdi, I like singing to Sibelius, and Mahler maybe.

I have always adored Mahler, and Mahler was a major influence on the music of the Beatles. John and me used to sit and do the Kindertotenlieder and Wunderhorn for hours, we'd take turns singing and playing the piano. We thought Mahler was gear.

I love Gustavo Dudamel and I love what he does for classical music, and I love what he comes out of, El Sistema and the old man Abreu. When we were in Venezuela, I had the chance to go to his building. He had, like, five or six orchestras playing of kids from the hood playing, like, Mahler's third symphony and Shostakovich fifth and Beethoven. Man, it's unbelievable. I mean, they could play.

My favorite composers are the ones that tell the story.

I love Wagner. I love Mahler. Prokofiev. The programmatic music. I listen more to classic rock because I don't like the contemporary music very much.

I love to read different books on completely different subjects at the same time. I cannot focus on one. I read a few pages of literature, then I jump to philosophy and at the same time I'm reading biographies of Mahler.

For me to rehearse with a children's orchestra a Mahler symphony was to really work. We had three or four weeks of rehearsal with the orchestra, every day eight or nine hours, putting the First together. I had been conducting Tchaikovsky a lot and Beethoven, but Mahler was different.

You should never trust anyone who listens to Mahler before they're forty.

Mahler wrote it as the third movement of his Fourth Symphony.

I mean the fourth movement of his First Symphony. We play it third. The trumpet solo will be played by our solo trumpet player. It's named 'Blumine,' which has something to do with flowers.

I cannot listen to Beethoven or Mahler or Chopin or Bach when I write because those composers require you stop what you are doing and listen.

I like the way Mahler wandered about in his music and still retained his passion. He must have looked like an earthquake walking down the street.