The world, as it is now, wants to die, wants to perish — and it will.

Therefore, I see whatever exists as good, death is to me like life, sin like holiness, wisdom like foolishness, everything has to be as it is, everything only requires my consent, only my willingness, my loving agreement, to be good for me, to do nothing but work for my benefit, to be unable to ever harm me.

It is not our purpose to become each other; it is to recognize each other, to learn to see the other and honor him for what he is: each the other's opposite and complement.

Everyone can perform magic, everyone can reach his goals, if he is able to think, if he is able to wait, if he is able to fast.

We kill when we close our eyes to poverty, affliction, or infamy. We kill when, because it is easier, we countenance, or pretend to approve of atrophied social, political, educational, and religious institutions, instead of resolutely combating them.

I have transported many, thousands; and to all of them, my river has been nothing but an obstacle on their travels. They travelled to seek money and business, and for weddings, and on pilgrimages, and the river was obstructing their path, and the ferryman's job was to get them quickly across that obstacle. But for some among thousands, a few, four or five, the river has stopped being an obstacle, they have heard its voice, they have listened to it, and the river has become sacred to them, as it has become sacred to me.

The human attitude of which classical music is the expression is always the same; it is always based on the same kind of insight into life and strives for the same kind of victory over blind change. Classical music as gesture signifies knowledge of the tragedy of the human condition, affirmation of human destiny, courage, cheerful serenity.