“In almost every edition (and consequently most performances) of Chopin's Sonata in B flat Minor, Op. 35, there is a serious error that makes awkward nonsense of an important moment in the first movement. The repeat of the exposition begins in the wrong place.”

Source: The Romantic Generation (1995), Ch. 5 : Chopin: Counterpoint and the Narrative Forms

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Charles Rosen69

American pianist and writer on music 1927–2012

Charles Rosen (1927–2012) American pianist and writer on music

Source: The Romantic Generation (1995), Ch. 6 : Chopin: Virtuosity Transformed

“The secret of avoiding monotony with the four-bar module was to vary the accent and the weight of the bars to avoid giving a similar emphatic accent on the first bar of every group, as if one were accenting a downbeat. After Beethoven and before Brahms, perhaps the greatest master of the technique was Chopin, as one can see from the opening of the Nocturne in D flat Major, Op. 27, no. 2, of 1836 …”

Charles Rosen (1927–2012) American pianist and writer on music

Source: The Romantic Generation (1995), Ch. 4 : Formal Interlude

“All that is important is this one moment in movement. Make the moment important, vital, and worth living. Do not let it slip away unnoticed and unused.”

Martha Graham (1894–1991) American dancer and choreographer

“Within the vast, virtually limitless piano repertoire, the piano sonatas of Sergei Prokofiev occupy a special place. Apart from Alexander Scriabin early in the century, Prokofiev was the only major twentieth-century composer to pay such consistent attention to the form, … They are a constant presence in concert programs and are considered an indispensable part of the repertoire by almost every serious concert pianist.”

Boris Berman (1948) Russian/American musician

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

“They are almost never required to make observations, formulate definitions, or perform any intellectual operations that go beyond repeating what someone else says is true.”

Neil Postman (1931–2003) American writer and academic

Teaching as a Subversive Activity (1969)
Context: In order to understand what kind of behaviors classrooms promote, one must become accustomed to observing what, in fact, students actually do in them. What students do in a classroom is what they learn (as Dewey would say), and what they learn to do is the classroom's message (as McLuhan would say). Now, what is it that students do in the classroom? Well, mostly they sit and listen to the teacher. Mostly, they are required to believe in authorities, or at least pretend to such belief when they take tests. Mostly they are required to remember. They are almost never required to make observations, formulate definitions, or perform any intellectual operations that go beyond repeating what someone else says is true. They are rarely encouraged to ask substantive questions, although they are permitted to ask about administrative and technical details. (How long should the paper be? Does spelling count? When is the assignment due?) It is practically unheard of for students to play any role in determining what problems are worth studying or what procedures of inquiry ought to be used. Examine the types of questions teachers ask in classrooms, and you will find that most of them are what might technically be called "convergent questions," but what might more simply be called "Guess what I am thinking " questions.