When my students compose, I prefer them to be mistaken if they must make mistakes, but to remain natural and free rather than wishing to appear other than what they are. I remember a day when Stravinsky was dining here. He took his neighbor at the table by the lapels, violently! His neighbor crushed, said to him, “But Monsieur Stravinsky, I don’t know why we’re talking like this, I agree with you.” And Strainvsky exclaimed furiously, “Yes, but not for the right reasons, so you are wrong.”
Mademoiselle: Conversations with Nadia Boulanger, ed. by Bruno Monsaingeon, trans. by Robyn Marsack. Cited in: O. Strunk, Source Readings in Music History: The Twentieth Century, New York, W. W. Norton & Company, 1998, p.218.
You can have good or bad reasons for searching. If you search in order to hide your inadequacy, you’re wrong. If you are looking in order to say what you really want to say, you’re right. And so it’s very important for a teacher first of all to let his pupil play as he wishes, write as he wishes; and then to be ruthless on questions of discipline.
— Nadia Boulanger
Searching for expression
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Ode II
Title: Ode II Composer: Greg Smith Performer: Greg Smith Instrumentation: Piano Product medium: MP3 recording Related products: – Ode II (PDF score) SAMPLE:
Gershwin conductingIsaac Goldberg described Gershwin’s enthusiasm when conducting: He conducted not just with his baton, but with his cigar, his shoulders, his hips, his eyes and whatnot. Nothing but a sense of propriety keeps him from leaping over the footlights and getting right into the show himself. Cited in: Greenberg, Rodney (2008) George Gershwin. New York: Phaidon […]
A democratic orchestraIn 1920s Soviet Russia, musicians experimented mirroring the political state: “Just as the government didn’t need a tsar, so the orchestra didn’t need a director,” says Pyotr Aidu of the School of Dramatic Art, which will revive the long-dead form at a premiere concert Thursday. Miriam Elder, “1920s Orchestra Without a Conductor Revived”, The Moscow […]
The effort is better than rest“Writing music is seventy-five per cent an intellectual activity. This effort is often more pleasant for me than having a rest.” Conversation with Ravel, recalled by Robert de Fragny, Echo liberté, 7 November 1950. Cited in: Nichols, Roger (1987) Ravel Remembered. London: Faber & Faber., p. 61.
Sleeping Beauty Waltz (Tchaikovsky)Title: Sleeping Beauty Waltz Composer: Pytor Il’ich Tchaikovsky Arranger: Greg Smith Instrumentation: Cello and piano Product medium: PDF score and part Sample:
Horowitz’s practice regimeThe piano technician, Franz Mohr, observed: Horowitz was consistent in all that he did. His rehearsal was always on Saturday at 4:00 p.m., his performance was on Sunday. And I always had plenty of time to prepare his piano for the concert. Of course Horowitz would have never stolen my preparation time in order to […]
Rachmaninoff practising slowlyAbram Chasins visited Rachmaninoff in Hollywood: Arriving at the designated hour of twelve, I heard an occasional piano sound as I approached the cottage. I stood outside the door, unable to believe my ears, Rachmaninoff was practising Chopin’s étude in thirds [G sharp minor, Op. 25, No. 6], but at such a snail’s pace that […]
Music is a mysterious form of mathematicsMusic is a mysterious form of mathematics whose elements are derived from the infinite. Music is the expression of the movement of the waters, the play of curves described by changing breezes. There is nothing more musical than a sunset. He who feels what he sees will find no more beautiful example of development in […]
Brahms’ birthdayAfter Robert Schumann was admitted to a mental assuming in 1854, Johannes Brahms stayed with Robert’s wife, Clara Schumann to support herself and her eight children. Although Robert’s sad condition was always present in the minds of those who loved him, there was occasional happy times at the Schumann’s home in Düsseldorf. On the […]
Rachmaninoff scares meCyril Smith recounts Rachmaninoff’s stage presence: Those who were fortunate enough to hear him play will almost certainly remember this very tall, melancholy figure, with his graying hair in a crew cut and his deeply-lined face set in a somber expression, walking unwillingly to the piano as though he hated the very sight of it. […]