Jens Malte Fischer

“Brahms' friends in Budapest finally managed to talk him into attending the performance of Don Giovanni - he had initially turned down their invitation, arguing that he preferred to read the score and had never seen or heard a decent performance of the work. He would even prefer a cold beer, he insisted. But in the end he allowed his friends to drag him along to their box, where he demonstratively settled down on a sofa at the back in the hope of enjoying a rest. But it was not long before he was making increasingly inarticulate noises indicative of his enthusiasm, and at the end of the first act he was heard to shout out: 'Most excellent, admirable, what a deuce of a fellow!' He then ran on to the stage and embraced Mahler with typically grumpy cordiality.”
― Jens Malte Fischer, Gustav Mahler

“His body was racked with movement and in the semi-darkness he looked like some kind of fairy-tale goblin engaged in a flurry of hocus-pocus. In the harsh spotlight that lit up the rostrum his face was fascinatingly ugly and had a ghastly pallor, ringed as it was by his waving hair. Every little shift in the orchestra was reflected in his sensitive features: one moment he would be dampening something down, which would knot the skin round his eyes into grim folds accompanied by a lifting of his nose; the next moment he would be smiling in confluence with the sweet strains of the orchestra, radiating his approval and enjoyment, so that it was a case of both devils and angels crossing his visage in turn. Lightning flashed from his spectacle lenses with each sharp movement of his head, and from behind the lenses his eyes shone forth, watchful, assertive and demanding attention - every inch of his frame was simultaneously both an instrument of command and a means of expression.”
― Jens Malte Fischer, Gustav Mahler