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"But I think that sensitivity is also a good counsellor when it comes to enforcing one's interests."
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"Risk is uncertainty injected into our most vulnerable places. And because that's the case, we may choose not to risk."

"It seems my heart is made of tissue paper, I wish the world would handle it more delicately."

"Much more likely you'll hurt me. Still what does it matter? If I've got to suffer, it may as well be at your hands, your pretty hands."

"I'm not sure. But there's something about the darkness, the stillness of this hour, I think, that creates a language of its own. There's a strange kind of freedom in the dark; a terrifying vulnerability we allow ourselves at exactly the wrong moment, tricked by the darkness into thinking it will keep our secrets. We forget that the blackness is not a blanket; we forget that the sun will soon rise. But in the moment, at least, we feel brave enough to say things we'd never say in the light."

"I think no more than a week after I started writing I ran into the first block. It's hard to describe it in a way that will be understandable to anyone who is not a neurotic. I will try. All my life I have been haunted by the obsession that to desire a thing or to love a thing intensely is to place yourself in a vulnerable position, to be a possible, if not a probable, loser of what you most want. Let's leave it like that. That block has always been there and always will be, and my chance of getting, or achieving, anything that I long for will always be gravely reduced by the interminable existence of that block."

"In our age it is not sex that raises its ugly head, but love."

"I enabled your tendency to be vulnerable and weak, and your habits of crying when 6,000 others were present for the music."

"I fear I have praised you too much too soon. Will I lose you in your shame of believing that you can never be what I think you are?"

"It was so hard to feel safe in the world when you were a girl."

"I was emotionally erect."
Explore more quotes by Johannes Rau

"A hundred years ago, when Richard Strauss, who has already been quoted and already been heard today, and other creative people, laid the foundation stone for the joint assertion of their rights and interests, they had pioneering work ahead of them in Germany."

"We must prepare the ground for creativity. And if this also gives rise later to success in the economic sense, success in terms of Euros and Cents, this will by no means reduce my joy."

"But it is equally necessary to consider the implications for a society if there are fewer and fewer young people making music because we are economising on music schools or musical education in schools."

"But I think that sensitivity is also a good counsellor when it comes to enforcing one's interests."

"I understand the worries of many - not only here in this auditorium -, and some have already written to me to say that technical progress has lowered the threshold that stops people from helping themselves to protected works without the slightest embarrassment."

"A hundred years ago, of course, the question that the German Composers' Co-operative asked itself sounded a lot more fundamental: How do you create a fair share for those who ensure that works can actually be performed at all?"

"Education is more than Pisa. Particularly musical education. We also need education and training for more than reasons of usefulness and marketability."
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