“I cannot tell you how much I love to play for people. Would you believe it – sometimes when I sit down to practice and there is no one else in the room, I have to stifle an impulse to ring for the elevator man and offer him money to come in and hear me.” […]

Fromont published Rêverie years after Debussy had given it to them. By this time, Debussy’s opinion of it had changed: “I regret very much your decision to publish Rêverie… I wrote it in a hurry years ago, purely for material considerations. It is a work of no consequence and I frankly consider it no good.” […]

Title: Preludes, op. 31 no. 2 & op. 57 no. 1 Composer: Anatol Liadoff Arranger: Greg Smith Instrumentation: Cello quartet Product medium: PDF score and parts Sample:

“The more work that you make, the more energy you have to make work.” – Garry Stewart, artistic director of the Adelaide-based Australian Dance Theatre. Edwards, Verity. “Dance maker with edge on top of world”, The Australian, 22 July 2011, p.7.  

Rachmaninoff completed his Third Piano Concerto at his summer estate at Ivanovka in September-October 1909.  He then toured America, learning the piano part on a dumb piano aboard the ship.  The work was first performed in New York under Walter Damrosch in November 1909.  In January 1910, Gustav Mahler conducted the third New York performance. […]

Any artist knows that the space between the stage where the work is too unformed to have committed itself and the stage where it is too late to improve it can be as thin as a needle.  Genius perhaps consists in opening out this needle-like area until it covers almost the whole of the working […]

“It’s a very reactionary viewpoint and I’m slightly ashamed, but I find it very difficult to access contemporary music. I am not prejudiced, but my work in tonal music leads me to believe nothing can be organic if it doesn’t have a [sense of] “home.”  This idea of belonging, or home, can’t be an intellectual […]

“How important is it to catch up with yourself? There are enormous forces lurking in each person, but many people die without having discovered this. Of course it was clear at first glance that Mozart was a genius. But we don’t know whether anybody suspected the great gifts of the young Wagner. Nobody could guarantee […]

“There can be no music without an idealogy. The old composers, whether they knew it or not, were upholding a political theory. Most of them, of course, were bolstering the rule of the upper classes. Only Beethoven was a forerunner of the revolutionary movement.” – Dmitry Shostakovich Cited in: Nettl, Paul (1969) The Book of […]

Feeling creates thought, men willingly agree; but they will not so willingly agree that thought creates feeling, though this is scarcely less true. — Nicolas Chamfort (Sébastien-Roch Nicolas de Chamfort) S. Chamfort, Maxims and Considerations of Chamfort, Volume 2, Trans. E. Mathers, Golden Cockerel Press, 1926, p. 22.