Greatness

Greatness means the construction of an inner world, and the communication of this inner world to the physical world of humanity.  The two belong together; neither is thinkable without the other.  The strongest feeling and the most vivid imagination are worthless to humanity if they do not manifest themselves; the greatest constructive talent is worthless if it does not serve a creative power that is capable of forming a cosmos.

Einstein, Alfred (1941) Greatness in music.  Trans. César Saerchinger.  New York: Oxford, p.163.  Cited in: Barrett-Ayres, Reginald (1974) Joseph Haydn and the String Quartet.  London: Barrie & Jenkins, p. 387.

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Tally Ho!
> Title: Tally Ho Composer: Greg Smith Instrumentation: Piano Duet Level: Piano I – 1.1 (five finger position with movement to the 6/4 position) Product medium: PDF score and MP3 accompaniment track SAMPLES: (Audio sample of accompaniment track only)
Purpose of the arts
Einstein as a musician
“If I were not a physicist, I would probably be a musician. I often think in music. I live my daydreams in music. I see my life in terms of music… I get most joy in life out of music.” – Albert Einstein Cited in: Lyth, David (2019) The Road to Einstein’s Relativity. Boca Ranton: […]
Bad effects of music
“By and large, though, there are few, if any, bad side effects of music, and music can often work where no medication can.” – Oliver Sacks Cited in: Inge Kjemtrup, “The power of music therapy”, Pianist, Issue 59, April-May 2011. Warners Group Publications, p.66.
Elgar’s distractions
In a radio interview in 1937, Edward Elgar’s violinist friend William H. Reed described Elgar’s “distractions” while composing the violin concerto: I can never play the last movement without seeing the River Wye flowing past the meadow at Hereford where Sir Edward and I used to practise throwing a boomerang in our “off-time” between working […]
Brahms’ stingy side
Musicologist Richard Leonard describes a stingy side to Brahms’s personality: It is true that at times he was generous, giving away large sums to persons in need, and often imposing a strict secrecy; but about his own affairs he was as congenitally stingy as a peasant.  He bought only the cheapest clothes, wore the same […]
The framework of a symphony
The framework of a symphony must be so strong that it forces you to follow it regardless of the environment and circumstances: [it is] an “ethical necessity”. Jean Sibelius, to Jussi Jalas, 1 October 1939 Cited at: www.sibelius.fi [accessed 31 Mar 2010].
Stokowski on contemporary music
Leopold Stokowski was a champion of contemporary music. He conducted music without judgement, believing judgement to be the public’s job. During the Philadelphia Symphony Orchestra’s 1915-16 season,he programmed orchestral suites from Stravinsky’s Firebird and Petrushka, Richard Strauss’ Alpine Symphony, Scriabin’s Poem of Ecstasy, and Schoenberg’s Kammersymphonie No. 1. “This last, very cerebral work, although not […]
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 […]
Performance practice issues in Russian Piano Music
ABSTRACT The nineteenth and twentieth centuries witnessed the rapid growth of musical culture in Russia. This resulted in a large repertoire of piano music — ranging from miniatures to virtuosic etudes and sonatas. Growing out of the nineteenth century romantic tradition, and highly influenced by the social conditions of the time, Russian composers developed a distinctive style which […]