"We begin with Beethoven's Opus 131. It has seven movements and they're all connected. For us, it means playing without pause, no resting, no tuning. Our instruments must in time go out of tune each in its own quite different way. Was he maybe trying to point out some cohesion, some unity between random acts of life? What are we supposed to do, stop or struggle to continuously adjust to each other up to the end even if we are out of tune? I don't know."
Seriously, the second and first violin aren't hierarchical, they're just different roles.
You know, I didn't expect to feel this, but it turns out, I love being our age. I just love not having to prove anything to anybody.
What is it that you want... Robert? What is it that you want me to tell you? That I've always loved you, but I'm just incapable of showing you in the way you'd like me to? Here's the truth: I don't know. I don't know if I love you, I don't know if I don't. I don't know how I feel. I don't. You need to leave me alone.
"Practicing obsessively doesn't make your playing perfect. It actually sucks the life right out of it. It's rigid and monotonous and self-loving and safe." "Unleash your passion. What are you afraid of? You have the three of us to cover your ass. Unleash your passion."
Casals emphasized the good stuff, the things he enjoyed. He encouraged. And for the rest, leave that to the morons, or whatever it is in Spanish, who judge by counting faults. "I can be grateful, and so must you be," he said, "for even one singular phrase, one transcendent moment."
Ladies and gentlemen, I have to stop. My friends are playing way too fast, I can't keep up. It's Beethoven's fault, insisting we play......Opus 131 attacca, without pause. I need a pause.
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