Why we read

We read books to find out who we are. What other people, real or imaginary, do and think and feel—or have done and thought and felt; or might do and think and feel—is an essential guide to our understanding of what we ourselves are and may become. A person who had never known another human being could not be introspective any more than a terrier can, or a horse; he might (improbably) keep himself alive, but he could not know anything about himself, no matter how long he lived with himself. And a person who had never listened to nor read a tale or myth or parable or story, would remain ignorant of his own emotional and spiritual heights and depths, would not know quite fully what it is to be human. For the story — from Rumpelstilstkin to War and Peace — is one of the basic tools invented by the mind of man, for the purpose of gaining understanding. There have been great societies that did not use the wheel, but there have been no societies that did not tell stories.

Ursula K. Le Guin, “Prophets and Mirrors: Science Fiction as a Way of Seeing,” The Living LIght 7:3 (Fall 1970)


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Performers and performances
Knowledge and Wisdom
“Knowledge is a process of piling up facts; wisdom lies in their simplification.” Martin H. Fischer, German born American physician and author. Encore : A Continuing Anthology‬ (March 1945) edited by Smith Dent, “Fischerisms” p. 309.
American Western Film Soundtracks
“Morricone brought the electric guitar to the western. The great thing, though, about the electric guitar in the western is that there were no electric guitars, but somehow he did it so committedly that nobody ever questioned it. It was only much later people started to say, ‘How come there’s an electric guitar part there?’ […]
October from The Seasons (Tchaikovsky)
Title: “October” from The Seasons, op. 37 bis Composer: Pytor Illich Tchaikovsky Arranger: Greg Smith Instrumentation: Cello quartet Product medium: PDF score and parts Sample:
Bernstein’s Workroom
Leonard Bernstein’s children have donated the contents of his main composing studio to Indiana University.   The contents include “Bernstein’s stand-up composing table; a conducting stool that may have been used by Brahms, given as a gift by the Vienna Philharmonic; an electric pencil sharpener; a telephone; an ashtray and disposable lighters; Grammy-nomination plaques; and […]
Sondheim on audiences
“I do think audiences become more sophisticated. You try something out on them and they say, “Ugh”. You try it a second time and they say, “Oh”. You try it a third time and they say, “Ooh”. You try it a fourth time and they say, “Oh, that’s awfully old hat.”’ He laughs. ‘That’s the […]
A typical recital in England in 1897
John 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 […]
Haunted Spooks
Title: Haunted Spooks (silent film soundtrack) Composer: Greg Smith Instrumentation: Piano Product medium: PDF score (47 pages) Background:     Written by: H. M. Walker     Starring: Harold Lloyd, Mildred Davis, Wallace Howe, Sammy Brooks, William Gillespie, Mark Jones, Gaylord Lloy, Sam Lufkin, Ernest Morrison, Dee Lampton          Directed by: Alfred J. Goulding & Hal Roach     Film released: […]
Through a Looking Glass
Title: Through a Looking Glass Composer: Greg Smith Instrumentation: Piano Duet Level: Piano I – level 1 (five finger position) Product medium: PDF score and MP3 accompaniment track (Audio sample of accompaniment track only
Stokowski’s rehearsal process
Abraham Chasin performed the premier of his Second Piano Concerto with the Philharmonic Orchestra in March 1933.  It was conducted by Leopold Stokowski: At the first one [rehearsal], as I walked to the piano I was surprised to see Stokowski’s assistant, Artur Rodzinski, on the podium; Stokowski was sitting in solitary elegance in one of […]