Benjamin Britten wrote the score to Instruments of the Orchestra, which would become the concert work, Young Persons Guide to the Orchestra. The theme to the score was based on a hornpipe from Purcell’s Abdelzer. Britten commented to the producer, Basil Wright, that “I was never really worried that it was too sophisticated for kids […]

American pianist Seymour Lipkin, a student of Rudolf Serkin recalled a performance of Beethoven’s Hammerklavier Sonata Back in the 1970s I gave a recital at Curtis at Mr. Serkin’s invitation.  I was playing the Hammerklavier in those years.  Why, in my right mind … I should never have … but I did.  There, sitting in […]

“You cannot set art off in a corner and hope for it to have vitality, reality, and substance.” – Charles Ives, American composer

At a concert in London in December 1911, Rachmaninoff was received to great acclaim: perhaps a little too much from the orchestra's view point, who wanted to play the rest of their program: The London Philharmonic Concert given on November 7, provided an object lesson in this study of the relation of applause to encores.  […]

“Without music, life would be a mistake.” — Friedrich Nietzsche, in Twilight of the Idols

The future direction of music demands that musicians today lose themselves in technology and learn from their mistakes. In the past, musicians tended to view technology as a nuisance—something someone else did so they could be left alone to create. But technology and music are merging rapidly—forcing musicians to view software as part of their […]

“Composing is like driving down a foggy road toward a house.  Slowly you see more details of the house – the colour of the slates and bricks, the shape of the windows.  The notes are the bricks and mortar of the house.” – Benjamin Britten. Cited in: Jarski, Rosemarie (2005) Great British Wit.  London: Ebury […]

Feeling creates thought, men willingly agree; but they will not so willingly agree that thought creates feeling, though this is scarcely less true. — Nicolas Chamfort (Sébastien-Roch Nicolas de Chamfort) S. Chamfort, Maxims and Considerations of Chamfort, Volume 2, Trans. E. Mathers, Golden Cockerel Press, 1926, p. 22.  

The only way to take classical music out of the museum is to stop playing it in a museum.  The adventurous cellist Matt Haimovitz said as much recently, when he toured dive bars, pizza parlours, and roadhouse juke joints with the [Bach] Cello Suites.  “People were reaction to the music as it was going by,” […]

Seiji Ozawa recalls Karajan’s overarching concept of music: I really shouldn’t start comparing Karajan and Bernstein. I’m thinking of the word “direction” – the direction of the music. In Maestro Karajan’s case, he had it from birth – the ability to make long phrases. It was something he taught us, the ones who studied with […]