A subtle way of changing the tempoBrahms was rehearsing his F minor piano quintet. But when they reached the Andante, the strings played too fast to suit Brahms. This had happened once before in an early rehearsal of the same work, and the composer had discovered a tactful way of handling the situation. Instead of criticizing, he called: "Just a moment, […]
The significance of the individual “You are an extremely valuable, worthwhile, significant person even though your present circumstances may have you feeling otherwise.” – James Newmann, American mathematician
Music as a means of common meditation“There is also in this music an extraordinary sense of control over the passage of time; a moment will be held still as if suspended, and then released, with a rush. Einstein has told us that time is relative, flexible and elastic; I have noticed these qualities whenever I have tried to play to the […]
Pieces to belong to performers“That’s what I find wonderful about music: there is always a secret left, pieces don’t belong to performers, you rent them!” – Joseph Moog, Pianist W. Boon, “Joseph Moog”, Pianistique, 5 November 2016, https://www.pianistique.com/home/english-interviews/15-interviews/75-joseph-moog, accessed 17 January 2022.
Be a work of art“One should either be a work of art, or wear a work of art.” Oscar Wilde, Phrases and Philosophies for the Use of the Young
Beethoven’s compositional processBeethoven was revising Fidelio when he wrote to Georg Freiedrich Treitschke (who was helping to revise the libretto) (1): Now, of course, everything has to be done at once; and I could composer something new far more quickly than patch up the old with something new, as I am now doing. For my custom when I […]
Bernstein on composing“There is something very satisfying about composing…you are letting yourself go, you write in a kind of trance, feeling you are doing very well. The next day you are quite capable of seeing that it wasn’t all that good, but that doesn’t matter so much.” Leonard Bernstein, 1971 Cited at: Leonard Bernstein (@LennyBernstein) “There’s something […]
A typical recital in England in 1897John E. Borland described in a paper of June 1897: It was customary to commence with a Bach prelude and fugue (usually perverted from one intended for the organ), a Beethoven sonata (choice limited to four or five), some Chopin pieces (there were about twelve orthodox ones to select from), and a Liszt rhapsody. These […]
Never bore your listenersConductor and pianist Seymour Lipkin (born 1928) recalled piano lessons with his teacher, Bohemian-born pianist Rudolf Serkin: He said so many memorable things to me that I continue to pass on to my students. A few examples: “The worst crime you can commit as an artist is to bore your listeners”; for another, “People who […]
Rachmaninoff scares meCyril Smith recounts Rachmaninoff’s stage presence: Those who were fortunate enough to hear him play will almost certainly remember this very tall, melancholy figure, with his graying hair in a crew cut and his deeply-lined face set in a somber expression, walking unwillingly to the piano as though he hated the very sight of it. […]
