The great singer, Cuzzoni, refused to sing an air of his the way he wished it. He seized her, and, dragging her to a window, threatened to throw her out, thundering, “I always knew you were a devil, but I’ll show you that I am Beelzebub, the prince of devils.” Hughes, Rupert (2004) The Love […]

Title:The Vineyard of the Lord is the House of Israel Text: Psalm 79 (80): 9, 12-16, 19-20. R. v. 5:7 Composer: Greg Smith Instrumentation: SATB and piano Product medium: PDF score and part Sample:

The teaching methods of Johann Sebastion Bach are recounted by his son, Philip Emanuel Bach: The first thing he did was to teach his pupils his special ways of touching the keyboard. For this he made them practice for months nothing but separate exercises for all the fingers of both hands, with constant attention to […]

“I would like to see the emphasis in teaching shift from the performer to the three elements necessary for satisfying music-making: the composer/ improviser, audience and player. I would also like to see the intelligent, inspired exploration of the question of interpretation – in Indian classical music, for instance, it is the opening up of […]

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When Spanish cellist Pablo Casals was in his seventies, he retired from the concert stage and lived in Prades, Southern France. Casals began each day by playing from Bach’s Well-Tempered Clavier on the piano (1), then heading out for a walk with his German shepherd, cocking an ear for birdsong and saluting the snow-capped peak […]

I was about eleven years old when my respected teacher Czerny took me to see Beethoven.  Already a long time before, he had told Beethoven about me and asked him to give me a hearing some day.  However, Beethoven had such an aversion to infant prodigies that he persistently refused to see me.  At last […]

At a concert in London in December 1911, Rachmaninoff was received to great acclaim: perhaps a little too much from the orchestra's view point, who wanted to play the rest of their program: The London Philharmonic Concert given on November 7, provided an object lesson in this study of the relation of applause to encores.  […]

This will be our reply to violence: to make music more intensely, more beautifully, more devotedly than ever before.  — Leonard Bernstein, 25 November 1963 Christopher Buchenholz, “An Artist’s Response to Violence”, Leonard Bernard Office, https://leonardbernstein.com/about/humanitarian/an-artists-response-to-violence. Accessed 18 March 2022.

There was soon to be no excuse for not practising in the chill of the winter. This excerpt is from The Musical Times, April 1869: WARMED PIANOS (G. Price’s Patent) – These Instruments invite playing in Winter, when the coldness of the keys of all others makes it unnecessarily uncomfortable, if not painful, to many, […]