When precision isn’t enough

Debussy was well known for wanting precision in performance. However, it was not always quite enough:

Some time in 1917 Debussy went to hear the Suite played by a famous pianist.
‘How was it?’ I asked him on his return.
‘Dreadful. He didn’t miss a note.’
‘But you ought to be satisfied. You who insist on the infallible precision of every note.’
‘Oh, not like that.’ Then emphatically, ‘Not like that.’ [Long p. 24]

Long, Marguerite (1972) At the piano with Claude Debussy. London: J. M. Dent & Sons, p. 24.

Cited at: A Piano Method by Claude Debussy. Accessed 1 July 2011.


Posted

in

by


Featured Content

How to get an audience
Johannes Brahms and the violinist Eduard Remenyi had been concertizing to great success in Cello and Lüneberg.  By this time the two musicians were so elated over their success that they decided to try a concert in the city of Hildesheim entirely on their own.  They had no one there to herald their coming, write […]
Half a sonata
Sergei Prokofiev was once asked to give a piano recital. He declined, offering this explanation: “It would cost me half a sonata.” Source: Samuel, Prokofiev
I write for all ears
When Mozart was writing his opera Idomeno, his father warned him to make sure it was accessible to all the audience. Mozart replied: As far as the so-called Popular style is concerned, don’t worry about it; in my Opera you’ll find Musick for every kind of listener = except for those with the long ears […]
Learn the rules like a pro
“Learn the rules like a pro so you can break them like an artist.” Attributed to Pablo Picasso, painter
The creative urge
“The creative urge is the demon that will not accept anything second rate.” —Agnes de Mille (1905-1993), American dancer and choreographer. Gardner, Kara Anne. Agnes de Mille: Telling Stories in Broadway Dance. United States, Oxford University Press, 2016.
The political function of music
“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 […]
SEARCH
SEARCH SITE: SEARCH WEB:
Maiky’s recording of Bach’s cello suites
“The Latvian cellist Mischa Maisky recorded the Bach’s cello suites “at a small guest house he converted into a studio and called Sarabande, he had a fence built around it with all the notes of the fifth sarabande crafted on the metalwork.  He gleefully points out that the studio’s address is 720, his Montagnana cello […]
The Poet and the Muse
Poet, you are no liar. The world that you imagine is the real one. The melodies of the harp alone know truth, and in this life they can be our only true guides. Cavafy, “The Poet and the Muse”
Master of the Tomb (The Boy and the Heron)
Composer: Joe HisaishiArranger: Greg SmithTitle: “Master of the Tomb”, from The Boy and the HeronInstrumentation: Piano Solo This item is available from Sheet Music Direct and Sheet Music Plus.