“Don’t conduct solo instruments in solo passages; don’t worry or annoy sections or players by looking intently at them in ‘ticklish’ passages”

Humor in Psychotherapy (2007)

Quoted in Monteux, Doris G (1965). It's All in the Music: The Life and Work of Pierre Monteux. New York: Farrar, Straus and Giroux. OCLC 604, pp. 215-216

Source: Narcissus in Chains

Source: Understanding Chemistry (1999), p. 59

On how a musician's way of playing is important
Prasad interview (1997)

Prokofiev’s piano sonatas : a guide for the listener and the performer (2008), Prokofiev the pianist

Television Interview, Aeschbacher April 4, 2008, Swiss Television SF1

Source: The Hero with a Thousand Faces (1949), Chapter 2
Context: The passage of the mythological hero may be overground, incidentally; fundamentally it is inward—into depths where obscure resistances are overcome, and long lost, forgotten powers are revivified, to be made available for the transfiguration of the world.... Something of the light that blazes invisible within the abysses of its normally opaque materiality breaks forth, with an increasing uproar. The dreadful mutilations are then seen as shadows, only, of an immanent, imperishable eternity; time yields to glory; and the world sings with the prodigious, angelic, but perhaps finally monotonous, siren music of the spheres. Like happy families, the myths and the worlds redeemed are all alike.