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 […]

“It’s a very reactionary viewpoint and I’m slightly ashamed, but I find it very difficult to access contemporary music. I am not prejudiced, but my work in tonal music leads me to believe nothing can be organic if it doesn’t have a [sense of] “home.”  This idea of belonging, or home, can’t be an intellectual […]

“Success is not the place one arrives but rather the spirit with which one undertakes and continues the journey.” Alex Noble Cited at: Quotations Book

Dearest Stroll! good old troll! you sit in your hole drunk as a Mole! – But you’re touched in your soul by music’s sweet flow. – Mozart, in a letter to Anton Stoll Cited in: Spaethling, Robert (2000) Mozart’s Letters; Mozart’s Life.  London: Faber and Faber, p.438.

Title: Beauty Around Us Composer: Greg Smith Based on text by: Bernhard Severin Ingemann Instrumentation: Piano Product medium: PDF score     Related products:     – Beauty Around Us (hymn version)     – Beauty Around Us (easy piano version)     – Beauty Around Us (mp3) SAMPLE:

You’re travelling to another dimension, a dimension not only of sight and sound… but of mind. A journey into a wondrous land, whose boundaries are only that of the imagination… you’re entering… the Twilight Zone… – Rod Serling, The Twilight Zone

An art gathers new material usually by an original rejection of old formulae, a gesture of negation. At the beginning, this gesture is conscious, defiant, it lacks any other reason for existence than the very healthy one that dogma is death. In the turmoil of growth and expansion, this negation and denial loses its identity […]

“Bartók’s music as a whole is a music I never think about when its not around.  It’s impeccable, it’s theatrical, it’s even great.  It dazzles, thrills, horrifies, sometimes irritates, but also moves me.  But I’m not touched by it, as by, for instance, the outset of the quartet by Ravel – Ravel, supposed to be […]

George Plimpton, a writer and sportsman, asked if he could play in the New York Philharmonic for a month to write about the workings of an orchestra.  Leonard Bernstein assigned him to the percussion section.  The principal percussionist, Walter Rosenberg, recalled his experience: During rehearsals I would lean over and point to where we were […]