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.
There was always a part of me that wanted to be an old-time director. But I couldn't do that. I'm not a pro.
As nearly as possible in the spirit of Matthew Salinger, age one, urging a luncheon companion to accept a cool lima bean, I urge my editor, mentor and (heaven help him) closest friend, William Shawn, genius domus of The New Yorker, lover of the long shot, protector of the unprolific, defender of the hopelessly flamboyant, most unreasonably modest of born great artist-editors to accept this pretty skimpy-looking book.
I was always concerned with writing to my age at a particular moment. That was the way I would keep faith with the audience that supported me as I went along.
No matter how many times people say it - 'Oh, I'm just writing this for myself' 'Oh, I'm just doing this for myself' - nobody's doing it for themselves! You're doing it for an audience. So whether I'm performing or writing a book or playing music, it's definitely to be put out there and to be received in some way, definitely.
The artist is a member of the leisured classes who cannot pay for his leisure.
Men profess to be lovers of music, but for the most part they give no evidence in their opinions and lives that they have heard it.
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