Sondheim’s pass timesSondheim is a lover of games, and collects antique ones (many were destroyed in a fire that swept through the lower floors of the house in 1995). He has a passion for murder mysteries, puzzles (he once spent 18 months devising cryptic crosswords for New York magazine), word play and anagrams. His own name, he […]
Gershwin’s romantic sideRodney Greenberg describes a side of George Gershwin’s “romantic side”: He wrote a little waltz-song, which he would sing and play to his current dating partner. It was, in effect, what his friend Kitty Carlisle (who later married playwright Moss Hart) described as his “mating call”, because he left a blank space in the lyrics […]
Language at its most powerfulLanguage is at its most powerful when it disturbs, not by arriving at insights/understandings, but by creating possibilities. – Thomas Ogden T. Ogden, Reveries and Interpretations: Sensing Something Human, Lanham, Roman & Littlefield, 2004, p. 219.
Music with no boundariesMusic can imply the infinite if enough things depart from the norm far enough. Strange “abnormal” events can lead to the feeling that anything can happen, and you have a music with no boundaries. – Morton Feldman, American composer Cited in Tom Johnson, Remembrance, September 1987. Accessed 13 May 2013.
The power of critics“Critics sometimes say, about this or that new work – it should betaken up by all our major orchestras and recorded. It never is. Critics have great power, but they have no power.” Ned Rorem (2000) Lies: A Diary 1986-1999. Cambridge: MA: Da Capo Press, p.27.
The nature of music“A verbal art like poetry is reflective; it stops to think. Music is immediate, it goes on to become.” – W. H. Auden, English Poet Auden, Wystan Hugh (1988) The Complete Words of Auden, Princeton University Press, vol. 3, p. 251.
Tears in artIn art there are tears that do often lie too deep for thoughts. – Louis Kronenberger L. Kronenberger, Company Manners: A Cultural Inquiry into American Life, Indianapolis, Bobbs-Merrill, 1954, p. 42.
The key of E-flat“[The key of E-flat] was reserved mostly for moments of sublime seriousness, appropriate for dying thoughts, or of love unto death, whether human or divine.” – Heartz, Daniel (2003) Music in European Capitols. New York: Norton. Cited in: Siblin, Eric (2009) The Cello Suites. Crows Nest: Allen and Unwin, p. 144.
Musing by MoonlightTitle: Musing by Moonlight Composer: Greg Smith Instrumentation: Piano Duet Level: Piano I – level I (5 finger position, left and right hands) Product medium: PDF score & MP3 accompaniment track (Audio sample of accompaniment track only)
Julius Asal on the exploring darker emotionsWhen I was younger I read a lot of Kafka and Büchner: I’ve always been drawn to the darker side of things, and I think that part of the beauty of what we do as artists is to dare other people to explore it too. I wish the listener to invest something. Showing up to […]
