A musical solution“Every disease is a music problem, its cure a musical solution.” Novalis, 18th century German author, mystic and philosopher. Cited in: Inge Kjemtrup, “The power of music therapy”, Pianist, Issue 59, April-May 2011. Warners Group Publications, p.66.
Brahms’ reaction to Wagner’s MusicBrahms attended a Wagner concert in Vienna: All through the concert Johannes sat in stony silence. At the close, when everyone was applauding vigorously, he still made no move or comment. Finally his companion – beside himself with enthusiasm – cried: “What music! Wasn’t it marvellous?” The composer raised his eyebrows a little. Then he […]
Creativity“Creativity is inventing, experimenting, growing, taking risks, breaking rules, making mistakes, and having fun.” — Mary Lou Cook, American community activist and author Reagan, M., Phillips, B. (1995) The All-American Quote Book. United States: Harvest House, p. 68.
A lesson with BeethovenOne fearful winter’s day in Vienna, in 1794, the snow standing deep and still falling fast, the traffic almost entirely suspended in the streets, Countess Teresa Brunswick, then a girl of fifteen, was waiting for Beethoven’s arrival, to give her her pianoforte lesson. Weather never stopped him; but when he appeared it was obvious that […]
Hilary Hahn on the “story” behind the musicI think the back stories [behind the creation of a work] are interesting … But for me the first aim is to look at the notes, and see how I might interpret them … No offence to the media, but I’ve seen stories told about people I know – and about me – that are […]
Master of the Tomb (The Boy and the Heron)Composer: Joe HisaishiArranger: Greg SmithTitle: “Master of the Tomb”, from The Boy and the HeronInstrumentation: Piano Solo This item is available from Sheet Music Direct and Sheet Music Plus.
Word of mouth encoreLeopold Stokowski gave the Philadelphia premiere of Ravel’s Bolero as an “encore” at a Friday afternoon concert. The newspaper critics had all left the hall, and so once again word of mouth had to prove its effacy, for at the Saturday night concert, after the last number, the audience applauded with unusual fervour and would […]
Hans Zimmer on writing pop songsAsk him to write a song, though, and he’ll likely turn you down on the basis that he has a problem with “any form of authority, and the authority that is put upon you of writing a song”. “Verse, chorus, verse, chorus, middle eight…” he says. “It’s always the same bloody structure. I end up […]
A typical recital in England in 1897John E. Borland described in a paper of June 1897: It was customary to commence with a Bach prelude and fugue (usually perverted from one intended for the organ), a Beethoven sonata (choice limited to four or five), some Chopin pieces (there were about twelve orthodox ones to select from), and a Liszt rhapsody. These […]
Communication with the audienceIgor Stravinsky contemplates the ultimate goal of an artist versus reality: “Art postulates communion [between the artist and the audience], and the artist has an imperative need to make others share the joy which he experiences himself. But in spite of that need, he prefers to direct and frank opposition to apparent agreement which is […]
