Mozart’s musical aesthetics are revealed in a letter to his father about Osmin’s first aria in The Abduction of the Seraglio (Die Entführung aus dem Serail).  The Eighteenth century classical ideals of balance and refinement are evident: I have sent you only the beginning and the end of the aria.  I think it will prove […]

“What is an artist? An artist is a tortured being who, when he opens his mouth to scream, only beautiful sounds emerge.” (Or something like that.)… Do I believe this at all?  It was John Cage who first exposed us to this gorgeous phrase.  In 1945?  Cage the Romantic? Ned Rorem (2000) Lies: A Diary […]

In a surprise union of two quintessentially American composers from different eras, one the 1960s mastermind of “Good Vibrations,” the other the Jazz Age creator of “Rhapsody in Blue,” former Beach Boy Brian Wilson has been authorized by the estate of George Gershwin to complete unfinished songs Gershwin left behind when he died in 1937. […]

“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 […]

“Scriabin isn’t the sort of composer whom you’d regard as your daily bread, but is a heady liqueur on which you can get drunk periodically, a poetical drug, a crystal that’s easily broken.” -Sviatoslav Richter, pianist Monsaingeon, Bruno (2001). Sviatoslav Richter: Notebooks and Conversations. Princeton University Press, p.267 Cited at: Wikipedia

Bobby Darin’s 1959 recording of “Mack the Knife” from The Threepenny Opera (Lyrics: Bertolt Brecht; Music: Kurt Weill) not only hit number one on the charts, but was also the first non-R&B pop hit for Atlantic Records and helped establish the label’s future. Source: Creswell, Toby (2005) 1001 Songs: The Great Songs Of All Times. […]

This culmination may be at the end or in the middle, it may be loud or soft; but the performer must know how to approach it with absolute calculation, absolute precision, because, if it slips by, then the whole construction crumbles, and the piece becomes disjointed and scrappy and does not convey to the listener […]

“Knowledge is not a passion from without the mind, but an active exertion of the inward strength, vigor and power of the mind, displaying itself from within.” – Ralph Cudworth, Treatise Concerning Eternal and Immutable Morality (1731)

In writing, habit seems to be a stronger force than either willpower or inspiration. Consequently there must be some little quality of fierceness until the habit pattern of a certain number of words is established. There is no possibility, in me at least, of saying, “I’ll do it if I feel like it.” One never […]

Schubert was familiar with Kreutzer’s Wanderlieder song cycle (written in 1817). Spaun twice told the following anecdote of his friend’s reaction to the Wander-Lieder shortly after their publication: “We once found him playing through Kreutzer’s Wanderlieder, which had just appeared. One of his friends [ Anselm Hüttenbrenner] said ‘Leave that stuff alone and sing us […]