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Home > Category Index for Science Quotations > Category Index B > Category: Beethoven

Beethoven Quotes (13 quotes)


Ultima se tangunt. How expressive, how nicely characterizing withal is mathematics! As the musician recognizes Mozart, Beethoven, Schubert in the first chords, so the mathematician would distinguish his Cauchy, Gauss, Jacobi, Helmholtz in a few pages.
In Ceremonial Speech (15 Nov 1887) celebrating the 301st anniversary of the Karl-Franzens-University Graz. Published as Gustav Robert Kirchhoff: Festrede zur Feier des 301. Gründungstages der Karl-Franzens-Universität zu Graz (1888), 29, as translated in Robert Édouard Moritz, Memorabilia Mathematica; Or, The Philomath’s Quotation-book (1914), 186-187. From the original German, “Ultima se tangunt. Und wie ausdrucksfähig, wie fein charakterisirend ist dabei die Mathematik. Wie der Musiker bei den ersten Tacten Mozart, Beethoven, Schubert erkennt, so würde der Mathematiker nach wenig Seiten, seinen Cauchy, Gauss, Jacobi, Helmholtz unterscheiden.” [The Latin words translate as “the final touch”. —Webmaster]
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A Beethoven string-quartet is truly, as some one has said, a scraping of horses’ tails on cats’ bowels, and may be exhaustively described in such terms; but the application of this description in no way precludes the simultaneous applicability of an entirely different description.
In The Sentiment of Rationality (1882, 1907), 76.
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How fortunate for civilization, that Beethoven, Michelangelo, Galileo and Faraday were not required by law to attend schools where their total personalities would have been operated upon to make them learn acceptable ways of participating as members of “the group.”
In speech, 'Education for Creativity in the Sciences', Conference at New York University, Washington Square. As quoted by Gene Currivan in 'I.Q. Tests Called Harmful to Pupil', New York Times (16 Jun 1963), 66.
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If a person sweeps streets for a living, he should sweep them as Michelangelo painted, as Beethoven composed music, as Shakespeare wrote his plays.
As quoted, without citation, in Patricia J. Raskin, Pathfinding: Seven Principles for Positive Living (2002), 102.
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It would be possible to describe absolutely everything scientifically, but it would make no sense. It would be without meaning, as if you described a Beethoven symphony as a variation of wave pressure.
Attributed to Einstein by Frau Born. Paraphrased words as given in Ronald William Clark, Einstein (1984), 243.
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Kirchhoff’s whole tendency, and its true counterpart, the form of his presentation, was different [from Maxwell’s “dramatic bulk”]. … He is characterized by the extreme precision of his hypotheses, minute execution, a quiet rather than epic development with utmost rigor, never concealing a difficulty, always dispelling the faintest obscurity. … he resembled Beethoven, the thinker in tones. — He who doubts that mathematical compositions can be beautiful, let him read his memoir on Absorption and Emission … or the chapter of his mechanics devoted to Hydrodynamics.
In Ceremonial Speech (15 Nov 1887) celebrating the 301st anniversary of the Karl-Franzens-University Graz. Published as Gustav Robert Kirchhoff: Festrede zur Feier des 301. Gründungstages der Karl-Franzens-Universität zu Graz (1888), 30, as translated in Robert Édouard Moritz, Memorabilia Mathematica; Or, The Philomath’s Quotation-book (1914), 187. From the original German, “Kirchhoff … seine ganze Richtung war eine andere, und ebenso auch deren treues Abbild, die Form seiner Darstellung. … Ihn charakterisirt die schärfste Präcisirung der Hypothesen, feine Durchfeilung, ruhige mehr epische Fortentwicklung mit eiserner Consequenz ohne Verschweigung irgend einer Schwierigkeit, unter Aufhellung des leisesten Schattens. … er glich dem Denker in Tönen: Beethoven. – Wer in Zweifel zieht, dass mathematische Werke künstlerisch schön sein können, der lese seine Abhandlung über Absorption und Emission oder den der Hydrodynamik gewidmeten Abschnitt seiner Mechanik.” The memoir reference is Gesammelte Abhandlungen (1882), 571-598.
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May not Music be described as the Mathematic of sense, Mathematic as Music of the reason? the soul of each the same! Thus the musician feels Mathematic, the mathematician thinks Music, Music the dream, Mathematic the working life each to receive its consummation from the other when the human intelligence, elevated to its perfect type, shall shine forth glorified in some future Mozart-Dirichlet or Beethoven-Gauss a union already not indistinctly foreshadowed in the genius and labours of a Helmholtz!
In paper read 7 Apr 1864, printed in 'Algebraical Researches Containing a Disquisition On Newton’s Rule for the Discovery of Imaginary Roots', Philosophical Transactions of the Royal Society of London (1865), 154, 613, footnote. Also in Collected Mathematical Papers, Vol. 2, 419.
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Modern war, even from the consideration of physical welfare, is not creative. Soldiers and civilians alike are supposed to put on mental khaki. … War means the death of that fertile war which consists of the free, restless conflict of ideas. The war which matters is that of the scientist with nature; of the farmer with the tawny desert; of … philosopher against … mob stupidity. Such war is creative. … Inventions that further life and joy; freedom; new knowledge, whether Luther Burbank’s about the breeding of fruits or Einstein's about relativity; great cathedrals and Beethoven's music: these modern mechanical war can destroy but never produce. At its most inventive height, war creates the Maxim gun, the submarine, disseminable germs of disease, life-blasting gases. Spiritually and intellectually, modern war is not creative.
From ‘The Stagnation of War’, in Allen D. Hole (ed.) The Messenger of Peace (Nov 1924), 49, No. 11, 162-163.
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Science would not be what it is if there had not been a Galileo, a Newton or a Lavoisier, any more than music would be what it is if Bach, Beethoven and Wagner had never lived. The world as we know it is the product of its geniuses—and there may be evil as well as beneficent genius—and to deny that fact, is to stultify all history, whether it be that of the intellectual or the economic world.
What is Science? (1921), 73.
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There are many different styles of composition. I characterize them always as Mozart versus Beethoven. When Mozart began to write at that time he had the composition ready in his mind. He wrote the manuscript and it was ‘aus einem Guss’ (casted as one). And it was also written very beautiful. Beethoven was an indecisive and a tinkerer and wrote down before he had the composition ready and plastered parts over to change them. There was a certain place where he plastered over nine times and one did remove that carefully to see what happened and it turned out the last version was the same as the first one.
…...
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[Adams] supposed that, except musicians, everyone thought Beethoven a bore, as every one except mathematicians thought mathematics a bore.
The Education of Henry Brooks Adams: An Autobiography (1918), 80.
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[On why are numbers beautiful?] It’s like asking why is Beethoven’s Ninth Symphony beautiful. If you don’t see why, someone can’t tell you. I know numbers are beautiful. If they aren’t beautiful, nothing is.
As quoted in Paul Hoffman, The Man who Loves Only Numbers (1998), 44.
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[Trying to manipulate the salmon's natural migration is like] trying to replace Beethoven with Yanni.
As quoted in column by Sally Mauk, 'Sally Mauk: Author, angler, activist Duncan decries management of salmon', in Missoulian (29 Apr 2011).
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Carl Sagan Thumbnail In science it often happens that scientists say, 'You know that's a really good argument; my position is mistaken,' and then they would actually change their minds and you never hear that old view from them again. They really do it. It doesn't happen as often as it should, because scientists are human and change is sometimes painful. But it happens every day. I cannot recall the last time something like that happened in politics or religion. (1987) -- Carl Sagan
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