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The framework of a symphony must be so strong that it forces you to follow it, regardless of the environment and circumstances.
--
To Jussi Jalas, October 1, 1939.

 

Jean Sibelius

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Art’s means of representing a thing – style, technique and the object represented – are circumstances of art, just as the artist’s individual qualities (way of life, abilities, environment and so on) are circumstances of art. Art can just as well be made in harmony with the circumstances of its making as in defiance of them. In itself art is neither visible nor definable: all that is visible and imitable is its circumstances, which are easily mistaken for the art itself.

 

Gerhard Richter

 

Another equally true saying of Schumann is that, compared with Beethoven, Schubert is as a woman to a man. For it must be confessed that one's attitudes towards him is almost always that of sympathy, attraction, and love, rarely that of embarrassment or fear. Here and there only, as in the Rosamund B minor Entr'acte, or the Finale of the 10th symphony, does he compel his listeners with an irrestistible power; and yet how different is this compulsion from the strong, fierce, merciless coercion, with which Beethoven forces you along, and bows and bends you to his will.

 

Franz Schubert

 

Another equally true saying of Schumann is that, compared with Beethoven, Schubert is as a woman to a man. For it must be confessed that one's attitudes towards him is almost always that of sympathy, attraction, and love, rarely that of embarrassment or fear. Here and there only, as in the Rosamund B minor Entr'acte, or the Finale of the 10th symphony, does he compel his listeners with an irrestistible power; and yet how different is this compulsion from the strong, fierce, merciless coercion, with which Beethoven forces you along, and bows and bends you to his will.

 

Ludwig van Beethoven

 

Another equally true saying of Schumann is that, compared with Beethoven, Schubert is as a woman to a man. For it must be confessed that one's attitudes towards him is almost always that of sympathy, attraction, and love, rarely that of embarrassment or fear. Here and there only, as in the Rosamund B minor Entr'acte, or the Finale of the 10th symphony, does he compel his listeners with an irrestistible power; and yet how different is this compulsion from the strong, fierce, merciless coercion, with which Beethoven forces you along, and bows and bends you to his will."

 

George Grove

 

It seemed to me that had Haydn lived to our day he would have retained his own style while accepting something of the new at the same time. That was the kind of symphony I wanted to write: a symphony in the classical style. And when I saw that my idea was beginning to work, I called it the Classical Symphony.

 

Sergei Prokofiev