“The secret of the vital power of Tchaikovsky’s music lies in the fact that there is virtually not a single province of his music–from the gems of Russian chamber music that issued from his pen to his greatest operas or symphonic poems–in which the appeal and effect of the music was less than in any […]

“I think that one way toward a more intelligent and involved appraisal is through a connection with the pieces, and that one way to develop that connection is to talk about what the pieces mean to people who have spent a lot of time with them: the content, if you will. This approach can also […]

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“Research in Finland has uncovered the benefits of feeling a bond with your instrument. 51 per cent of musicians surveyed reported that they were united with my instrument/voice during performance that there is no difference between us. When this bond is complete, performers may enter in a state of intense concentration, causing them to lose […]

“[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.

Xaver Schydner von Wartensee, in the early days of meeting Beethoven, was curious about a tale he had heard about Beethoven and a spider. Before Schnyder had become acquainted with the immortal Master, he had read the well-known anecdote according to which, when Beethoven was practising the violin in his garret, a spider lowered itself […]

“True music … must repeat the thought and inspirations of the people and the time. My people are Americans and my time is today.” — George Gerswhin Edward Jablonski and Lawrence D. Stewart (1926) The Gershwin Years.  Garden City: Double Day.

Title: Abstraction VII Composer: Greg Smith Instrumentation: Cello and piano Product medium: PDF score and part SAMPLES:

On 1 May 1747, Bach met Friedrich II, King of Prussia, in the Potsdam city palace (where chamber music was usually played from 7-9pm daily).  Johann Forkel recalled: in 1802 The king used to have every evening a private concert, in which he himself generally performed some concertos on the flute.  One evening, just as […]