I think the back stories [behind the creation of a work] are interesting … But for me the first aim is to look at the notes, and see how I might interpret them … No offence to the media, but I’ve seen stories told about people I know – and about me – that are […]

Mozart’s Magic Flute uses a glass harmonica or keyed glockenspiel to represent a set of magic bells. “Mozart’s original score for the 1791 opera The Magic Flute called for a glass harmonica or keyed glockenspiel to represent a set of magic bells. The instruments were obscure even in Mozart’s day but more than 200 years after his […]

Abraham Chasin performed the premier of his Second Piano Concerto with the Philharmonic Orchestra in March 1933.  It was conducted by Leopold Stokowski: At the first one [rehearsal], as I walked to the piano I was surprised to see Stokowski’s assistant, Artur Rodzinski, on the podium; Stokowski was sitting in solitary elegance in one of […]

Johannes Brahms could be incredibly rude, even to his friends. While playing a Beethoven sonata with a cellist friend one day, he applied his piano’s pedals with more enthusiasm than the friend had hoped. “Softer,” he pleaded, “I can’t hear my cello.” “You are lucky,” Brahms replied. “I can.” Source: N. Slonimsky, Book of Musical […]

The violinist Ivan Galamian describes the musician’s quest for a goal greater than mere technical accomplishment: A complete technique .. implies the ability to do justice, with unfailing reliability and control, to each and every demand of the most refined musical imagination.  It enables the performer, when he has formed an ideal concept of how […]

Any artist knows that the space between the stage where the work is too unformed to have committed itself and the stage where it is too late to improve it can be as thin as a needle.  Genius perhaps consists in opening out this needle-like area until it covers almost the whole of the working […]

The dilemma of “old” versus “new” style is evident in the comments of the Johann Adolf Scheibe in reference to his elder fellow musician, Johann Sebastian Bach. In 1737, 29-year old Scheibe write in The Critical Musician: A musical composition must naturally be pleasant and tickle the ear, it must also please the reason … […]

Now I am attracted only to music which I consider to be better than it can be performed. Therefore I feel (rightly or wrongly) that unless a piece of music presents a problem to me, a neverending problem, it doesn’t interest me too much. For instance, Chopin’s studies are lovely pieces, perfect pieces, but I […]

You go to a great school not so much for knowledge as for arts and habits, for the habit of attention, for the art of expression, for the art of assuming at a moment’s notice a new intellectual position, for the art of entering quickly into another person’s thoughts, for the habit of submitting to […]

“There can be no music without an idealogy. The old composers, whether they knew it or not, were upholding a political theory. Most of them, of course, were bolstering the rule of the upper classes. Only Beethoven was a forerunner of the revolutionary movement.” – Dmitry Shostakovich Cited in: Nettl, Paul (1969) The Book of […]