"Producers of opera nowadays usually make the mistake of translating each particular orchestral phrase into terms of a movement on the stage. In this matter one should proceed with a maximum of caution and good taste. There is no objection to bringing life to into the production by changes of position and new nuances of acting during repetitive passages of music, especially in arias. Preludes of one or two bars frequently, and especially in Mozart, clearly express some gesture on stage. But each trill on the flute does not represent a wink on the prima donna, nor every delayed chord on the strings a step or gesture. Whole passages, especially in the finales, are pure concert music and are best left undisturbed by “play acting”."

“Declarations about war and politics are not fitting for an artist, who must give his attention to his creations and his works.”

“Why don't people see what is new in my work, how in them, as is found only in Beethoven, the human being visibly plays a part in the work.”

“I am convinced that the decisive factor in dramatic effect will be a smaller orchestra, which does not drown out the human voice as does a large orchestra…The orchestra of the opera of the future is the chamber orchestra which, by painting in the background of the action on the stage with crystalline clearness, can alone realise precisely the intention of the composer with regard to the vocal parts. It is after all an important desideratum that the audience should not only hear the sounds but should also be able to follow the words closely.”

“Please start from the Bruch violin concerto again!”

“Man asks: When? When? Nature, answers from the depths Never, never, never will the weather improve.”

“Very fine, but why do you put so many wrong notes in? Basically, it is all built on simple triads.”