Bruno Walter
Bruno Walter
Bruno Walterwas a German-born conductor, pianist and composer. Born in Berlin, he left Germany in 1933 to escape the Third Reich, settling finally in the United States in 1939. He worked closely with Gustav Mahler, whose music he helped to establish in the repertory, held major positions with the Leipzig Gewandhaus Orchestra, New York Philharmonic, Concertgebouw Orchestra, Salzburg Festival, Vienna State Opera, Bavarian State Opera, Staatsoper Unter den Linden and Deutsche Oper Berlin, among others, made recordings of historical and...
NationalityGerman
ProfessionComposer
Date of Birth15 September 1876
CountryGermany
The works of the creative spirit last, they are essentially imperishable, while the world-stirring historical activities of even the most eminent men are circumscribed by time.
There is no task of greater importance than to give our children the very best preparation for the demands of an ominous future, a preparation which aims at the methodical cultivation of their spiritual and their moral gifts. As long as the exemplary work of the Waldorf School Movement continues to spread its influence as it has done over the past decades, we can all look forward with hope. I am sure that Rudolf Steiner’s work for children must be considered a central contribution to the twentieth century and I feel it deserves the support of all freedom-loving thinking people.
Napoleon is dead - but Beethoven lives.
It is glorious to become a learner again at my time of life.
Music springs from and is replenished by a hidden source which lies outside the world or reality. Music ever spoke to me of a mysterious world beyond, which moved my heart deeply and eloquently intimated its transcendental nature.
I have increasingly become conversant with Pythagoras' and Goethe's idea of a primordial music, not perceptible to the sensuous ear, but sounding and soaring throughout the cosmos. Tracing it to such exalted origins, I begin to understand more deeply the essence of our art and its elemental power over the human soul. Man, being a creature of Nature and subject to the cosmic influences that inform all earthly beings, must needs have been under the sway of that music from his earliest days; his organism reverberated with its vibrations and received it's rhythmic impulses.
The domain of rhythm extends from the spiritual to the carnal.
Our music, whose eternal being is forever bound up in its temporal sounds, is not merely an art, enriching beyond measure our cultural life, but also a message from higher worlds, raising and urging us on by it's reminders of our own eternal origins.
By concentrating on precision, one arrives at technique, but by concentrating on technique one does not arrive at precision.
For the works of the creative spirit last, they are essentially imperishable, while the world-stirring historical activities of even the most eminent men are circumscribed by time.
Our inmost yearning, our deep desire for harmony in an extra-musical, transcendental sense feels affirmed, confirmed and calmed by music, and in this sense music seems to me a message a lofty ethical message that brings good tidings to the ethical part of our being from the mysteries of the world of sound.