Quotes about piano (211 quotes, page 2)

“I learned to play the piano on my mother's knee - that was before we got a piano.”

Victor Borge (1909–2000) Danish and US-American comedian and musician

From the obit in the Boston Globe.
Quotations from Borge's performances
Source: Richard Dyer, "Laughter Was at the Heart of Victor Borge's Many Talents", Boston Globe, 29 December 2000

Learning

“One day you will come to Montauk and see your dad playing the piano
And see your other dad wearing glasses
Hope that you will want to stay for a while
Don’t worry I know you’ll have to go”

Rufus Wainwright (1973) American-Canadian singer-songwriter and composer

Montauk
Song lyrics, Out of the Game (2012)

Hope

“You can play the piano with the white keys only or you can play it with only the black keys. But for harmony you must use the black and the white keys.”

Ernest Debrah (1947–2016) Ghanian politician

On the Economic Partnership Agreement (EPA), in Will Ross, " Africans wary of Europe's trade offer http://news.bbc.co.uk/2/hi/africa/7134407.stm", BBC (8 December, 2007).

“Roger: See.. that's a tough question 'cause I went to a lot of really small shows for bands that nobody knew who they really were 'cause that's the kind of thing that I grew up on - was like going to clubs and stuff. The first like real, real concert that I went to was U2 at the Orange Bowl in Miami for the Joshua Tree Tour. I think it was in '87? Something like that. Yeah… I think that was it. We were way up in the nosebleeds and Bono was like this big! (Roger shows thumb and index finger really close) (all laugh) But, that's what I thought a concert was at that point - really huge. Everything else was more like a rehearsal or you know.. club shows. Like oh, that's nothing - 500 kids. It doesn't seem that weird. I've played in front of 500 kids at my piano recitals and I didn't think it was a big deal.”

Roger Manganelli (1973) American musician

Way , Question , Thinking , Tree

“… nevertheless, as I never tire of pointing out to my students in Cambridge, chimpanzees do not play the piano, drink dry martinis, or erect temples to glorify the Creator.”

Simon Conway Morris (1951) British palaeontologist

Source: The Crucible of Creation (1998), p. 151.

Drink

“When I was a kid, my parents got me into piano, viola, and trombone. They were the three instruments I went through. The moment I started playing trombone, which was the last one before guitar, I knew I wanted to play guitar really badly. I was a huge Metallica fan, and I’m really into Slash. I’ve always thought he was the coolest dude, and like the greatest guitar player. He’s awesome, and I love the fact that he did everything himself. He made the world of guitar fit around him, rather than him fitting around the world of guitar, which I think is really cool.”

Joe Trohman (1984) American musician

My Heart Will Always Be The B-Side To My Tongue (2004), Ultimate Guitar Interview (2008)

Love , World , Thinking , Parent

“This spectrum is of the type known in spectroscopy as a line-spectrum. Its appearance is that of a group of bright lines on a dark background, indicating that the radiation divides itself between a number of clearly defined frequencies, and that there is no radiation in between. Before Bohr's explanation appeared, these frequencies had been supposed to belong to some sort of vibration taking place in the hydrogen atom - like frequencies of the musical note which is heard when a bell or piano wire is made to vibrate. It now became clear that they had an entirely different origin. The energy exhibited in the spectrum was not liberated by a vibration, or any kind of continuous motion, but by the sudden jump of an electron to an orbit of lower energy, and its frequency was determined by the compulsion put upon it to form a single quantum.”

James Jeans (1877–1946) British mathematician and astronomer

Physics and Philosophy (1942)

Music , Appearance

“Jazz music is a lifestyle. It’s not notes, chords and arpeggios. Today’s improvisation is too based on the knowledge of chords and the way they practice the chords. It’s not a melodic thing anymore like the older days. It was much more important to play shorter and to play more variable, valid stuff. Today, a lot of solos are long and uninteresting and the influence usually comes from John Coltrane’s group. He himself was a master musician, but he put so much emphasis on chord knowledge and technique, and now the kids want to show how fast they can play. This is the same with piano players and most instrumentalists—it’s speed. That’s gonna change again and hopefully the kids who are now 16 and 17 years old have a little more sense and maybe some more stories to tell.”

Joe Zawinul (1932–2007) austrian composer and pianist

Reflecting on the new generation's take on jazz music
Prasad interview (1997)

Music , Way , Knowledge , Sense

“How do I produce the effects which I obtain from the piano? … In answer I would say I produce them by listening, criticizing, judging—working over the point, until I get it as I want it. Then I can reproduce it at will, if I want to make just the same effect; but sometimes I want to change and try another.”

Wilhelm Backhaus (1884–1969) German pianist, Knight Commander of Merit

Quoted in Piano Mastery: Talks with Master Pianists and Teachers (1915) by Haeriette Brower

Change

“Chopin absolutely was influenced by Bach. We know that before Chopin himself performed in concert, he didn’t play anything other than Bach. His own Preludes are a reference to the Well-Tempered Clavier of Bach, and all Chopin’s students had to play Bach. In whole, Chopin admired Bach most of all composers, and it was nothing less than the Well-Tempered Clavier itself that was his musical diary. I also have said that Chopin is the crowning and climax of piano-playing. It’s something so unique, all-affecting in emotionalism, musical architecture, and structure, that all past giants are present in it: Bach and Mozart. Chopin’s elegance is so singular, that again you need much experience to convey his music in the real and original style. The question of rubato is very sensitive: It’s nothing arbitrary, but much more something well calculated and well proportioned, something that is integrated in the classical strength of form, which is constructed on the profound knowledge of the polyphonic and contrapuntal structures of Bach and Mozart. Whether the Goldbergs may relate to this question? Absolutely! I again want to mention a certain and special term: jeu perlé.”

Burkard Schliessmann classical pianist

Without this you can’t play Chopin, you can’t play Mozart, and lastly absolutely not the Goldbergs.
Talkings on Bach

Music , Question , Knowledge , Past

“An audience is just a mirror of what's happening on stage, and if what's happening on stage has love in it—real feeling and conviction and strength and purity—then we are truly reflecting them, because it is their own nature that is coming back. Everything is. The music is. For me, the only barriers in music are the barriers in the musician and in the equipment he has to use. If a musician has no barriers within himself, then there are no barriers within his music. His only battle is with the problems of expressing his true nature against the difficulties of the real world—the limits of his amplifiers and his guitar or his piano or whatever, the limits the outer world places upon the natural perfection of the spirit.”

John McLaughlin (1942) guitarist, founder of the Mahavishnu Orchestra

When describing the sources of his music
New York Times interview (1972)

Love , World , Music , Feeling

“Mother, an accomplished musician, taught me to play the piano as a very small girl.”

Irene Dunne (1898–1990) American actress

Hats, Hunches And Happiness (1945)

Girl

“And yet I don't know. And yet I don't know!
The handkerchiefs that cost me three shillings or so -
And that seems a lot for poor Uncle John
And anything goes to blow noses on. Talking of noses, hers is red enough.
I know what I'll buy her. A nice powder puff. Now she can't powder her nose with a grand piano.
Nor yet with a sewing machine.
She can't powder her nose with an Ingersoll watch -
Well that's silly, you know what I mean.
She can't powder her nose with a jumper.
She'll find that a little bit rough.
So I'll pop round to Woolworth's tomorrow, God bless her
And buy her a nice powder puff. And yet I don't know. And yet I don't know!
Sixpence ha'pennies aren't found in back yards.
I'll not buy her a powder puff at all - no.
I'll just send her my kindest regards.”

Stanley Holloway (1890–1982) English stage and film actor, comedian, singer, poet and monologist

"And Yet I Don't Know" monologue http://monologues.co.uk/And-Yet1.htm
And Yet I Don't Know!

God

“Once, along with The Transfigured Night, he played a class Rachmaninoff’s Isle of the Dead. Most of the class had not seen the painting, so he went to the library and returned with a reproduction of it. Then he pointed, with a sober smile, to a painting which hung on the wall of the classroom (A Representation of Several Areas, Some of Them Grey, one might have called it; yet this would have been unjust to it—it was non-representational) and played for the class, on the piano, a composition which he said was an interpretation of the painting: he played very slowly and very calmly, with his elbows, so that it sounded like blocks falling downstairs, but in slow motion. But half his class took this as seriously as they took everything else, and asked him for weeks afterward about prepared pianos, tone-clusters, and the compositions of John Cage and Henry Cowell; one girl finally brought him a lovely silk-screen reproduction of a painting by Jackson Pollock, and was just opening her mouth to—
He interrupted, bewilderingly, by asking the Lord what land He had brought him into. The girl stared at him open-mouthed, and he at once said apologetically that he was only quoting Mahler, who had also diedt from America; then he gave her such a winning smile that she said to her roommate that night, forgivingly: “He really is a nice old guy. You never would know he’s famous.””

Randall Jarrell book Pictures from an Institution

“Is he really famous?” her roommate asked. “I never heard of him before I got here. ...”
Source: Pictures from an Institution (1954) [novel], Chapter 4, pp. 138–139

Love , Smile , Guy , Quotes

“Attending this new version, I felt oddly as if I were watching a provincial stock company doing the best it could without the Broadway cast. I was reminded of the child prodigy who was summoned to perform for a famous pianist. The child climbed onto the piano stool and played something by Chopin with great speed and accuracy. The great musician then patted the child on the head and said, 'You can play the notes. Someday, you may be able to play the music.”

Roger Ebert (1942–2013) American film critic, author, journalist, and TV presenter

Review http://www.rogerebert.com/reviews/psycho-1998 of Psycho (6 December 1998)
Reviews, One-and-a-half star reviews

Music , Speed

“So I broke into the palace, with a sponge and a rusty spanner
She said "eh, I know you and you cannot sing"
I said "that's nothing you should hear me play piano"”

Morrissey (1959) English singer

From the song "The Queen Is Dead (Take Me Back To Dear Old Blighty)"
From songs

Singing

“I've now got the music book ready,
Do sit up and sing like a lady
A recitative from Tancredi,
And something about "Palpiti!"
Sing forte when first you begin it,
Piano the very next minute,
They'll cry "What expression there's in it!"”

Thomas Haynes Bayly (1797–1839) English poet, songwriter, dramatist, and writer

Don't sing English ballads to me!
Don't Sing English Ballads to Me; reported in Hoyt's New Cyclopedia Of Practical Quotations (1922), p. 56.

Books , Music , Singing , Cry

“It's a simple fact, when you move from one color space to another color space, that if there's a value contrast you get a strong optical illusion. Strong value contrast can be expressive and dramatic. Like the difference between high or low volume or the low key and the high keys on the piano... Actually, if you're moving from one flat color to another flat color, if there's a difference of color – if one is matte and the other is shiny – that contrast of tactility can keep them visually in the same dimension. It keeps them adjacent – side by side... Another reason is that a matte color and a shiny, transparent color are emotionally different. If something is warm and fuzzy and dense we have a kind of emotional response to that. If something is clear and you can see through it, like yellow or green or red can be, we have a different emotional sensation from that. So there's an expressive difference you can get that gives you more expressive range.”

Kenneth Noland (1924–2010) American artist

Source: Color, Format and Abstract Art' (1977), pp. 99 – 105

Color , Strong

“The distance in form, intention, mood and expression between Schubert's songs for voice and piano and those of, say, Adele is remarkably small.”

Howard Goodall

Howard Goodall, Howard Goodall's Story of Music. Episode 3, BBC, February 2014

Mood

“I wanted to invent some kind of an instrument that would not operate mechanically, as does the piano, or the cello and the violin, whose bow movements can be compared to those of a saw. I conceived of an instrument that would create sound without using any mechanical energy, like the conductor of an orchestra.”

Léon Theremin (1896–1993) Russian inventor

Source: An Interview with Leon Theremin http://www.oddmusic.com/theremin/theremin_interview_1.html / Olivia Mattis and Leon Theremin in Bourges, France 16 June 1989.

“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

Parting

“To thee of All Being /A te, de l’essere
The First Cause immense /Principio immenso,
Of matter and spirit, /Materia e spirito,
Of reason and sense /Ragione e senso;

Whilst in the full goblet /Mentre ne’ calici
Shall sparkle the wine, /Il vin scintilla
So bright the pupil /Si’come l’anima
The souls of men shine, /Ne la pupilla

Whilst earth still is smiling, /Mentre sorridono
And the sun smiles above, /La terra e il sole
And men are exchanging /E si ricambiano
Their sweet words of love, /D’amor parole

Thrills mystic of Hymen /E corre un fremito
Through high mountains course, /D’imene arcano
And broad plains are heaving /Da’ monti e palpita
With life's fertile force, /Fecondo il piano;

On thee in verse daring, /A te disfrenasi
From tight rein released, /Il verso ardito,
On thee I call, Satan, /Te invoco, o Satana
The King of the feast. /Re del convito”

Giosuè Carducci (1835–1907) Italian poet and teacher

-lines 1-20 (as Printed by the Nobel Prize Library)
Hymn to Satan (1865), Inno a Satana

Love , Life , Men , Smile

“If you are a piano,
You will laugh on ev'ry string,
And if you are a girl or boy,
You'll sing.”

Malvina Reynolds (1900–1978) American folk singer

Song There's Music In The Air

Girl , Boy , Singing

“If I had to vote for what is the greatest piece of music ever conceived by the human mind, I'd have a hard time choosing between the Chaconne that ends Bach's second partita for unaccompanied violin or the his Chromatic Fantasy and Fugue for the piano.”

Harry Markowitz (1927) American economist

On Bach http://www.amazon.com/review/R2P51SAA7ZY39Z

Music , Time

“"So, are you going to practice today?" asks my inner mom.
"Well, sure. But I've got one more phone call to make. The dishes are dirty. I have to feed the cat."
I don't hate practicing. I resist it. The goddess of procrastination can seduce me by lifting one eyebrow. After decades of practicing or avoiding the same, walking over to the piano remains the hardest part.”

Pete Seeger (1919–2014) American folk singer

Source: How Can I Keep from Singing: Pete Seeger (1981), p. 117

Hate , Cats , Moms , Parting

“Here, in the last pages of the "Abegg" Variations, Schumann plays the motto theme A-B-E-G-G (B in German notation is the English Bb) not by sounding the last four notes but by taking them away, one by one, from, the chord of Bb-E-G. This is the first time in history that a melody is signified not by the attack but by the release of a series of notes. The motto, however, ends with a repeated final G. If the motto is played by releasing each successive note, we are faced with a paradox: when the G is released once on the piano, it is no longer there to be released again-the motto is not only unplayable as conceived but unimaginable. Schumann signifies as much by another paradox: he adds accents to the sustained notes.”

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

Source: The Romantic Generation (1995), Ch. 1 : Music and Sound

History , Time , Success

“He [the chief psychiatrist] complimented me on how brilliant my diagnoses were: "You can smell a delusion, you can ferret out a hallucination, but"—and this has always stuck in my mind—"did you know that this woman grew prize camellias? Did you know that this man played the piano?" "No," I replied, a little bemused, "I wasn't trained to find the good things." But from then on I started to, and ever since I have looked for the good things. What the patient can do, not what he can't. His deficiencies and his weaknesses are so obvious, but his strengths, tragically, are deeply hidden: that is what makes him a patient, a sufferer. For it is his strength alone that will alleviate his suffering.”

John Diamond (doctor) (1934) Australian doctor

Source: Facets of a Diamond: Reflections of a Healer (2002), p. 109

Suffering , Training

“Bill and I were pretty much the same age bracket, and strangely enough, we both went through the same influences, starting with Nat Cole, going into Bud Powell during the bebop period, and then getting into the Lennie Tristano school orienta—in my particular case, Lee Konitz more than Lennie. I mean, in an era when everybody else was playing funky piano, we… I suppose, in a general category, that made us both the same. Whereby [sic] to my mind, we were both radically different. But after I put out that first album, the reviews started off by saying, "Clare Fischer owes much to Bill Evans." And then, when I would write an album, they would say "Clare Fischer owes much to Gil Evans."”

Clare Fischer (1928–2012) American keyboardist, composer, arranger, and bandleader

And I would call that my Evans brothers syndrome.
Radio interview https://itunes.apple.com/us/album/talking-jazz-volume-22-arrangers/id398326105, circa 1985, by Ben Sidran, as quoted in Talking Jazz With Ben Sidran, Volume 1: The Rhythm Section https://books.google.com/books?id=O3hZDQAAQBAJ&pg=PT452&dq=%22But+Bill+and+I+were+pretty+much%22&hl=en&sa=X&ved=0ahUKEwjWm_Tw9MXRAhWF8CYKHdeKBs8Q6AEIFDAA#v=onepage&q&f=false (1992, 2006, 2014)

Age , School

“I never set fire to a piano. I'd like to have got away with it, though. I pushed a couple of them in the river. They wasn't any good.”

Jerry Lee Lewis (1935) American singer-songwriter and pianist

As quoted in Esquire (January 2010), p. 89

“Shocking, absolutely shocking – they [the German w:Fluxus artists] pissed in the tub, snag the German national anthem, covered the audience with paper, poured laundry detergent into the piano, attached microphones to fountain pens.... it was all very cynical and destructive; it was a signal for us and we (the German artists Lueg and Polke and Gerhard Richter himself] became [also] cynical and cocky.”

Gerhard Richter (1932) German visual artist, born 1932

Source: after 2000, Doubt and belief in painting' (2003), p. 47

“I used to do Grade Exams, but my mum will tell you I didn't over-practise for them at all. I never practised, just played. I loved to play. I loved to play a lot* If one mistake is made with young children, it is trying to make them practise rather than just letting them play.' She played hymns at church ('My parents were very religious when we were young') and 'all the Top of the Pops number ones next morning at school. Things like David Bowie's "Life On Mars". That's got a very good piano part. And ever since I was six or seven years old, I always liked Bach - that's why I recorded the Anna Magdalene Notebook, little 16-bar preludes that Bach wrote for children.' I was amazed at how serious the other kids were about the whole thing, much more disciplined than I was, and with this attitude of "Ooh, I can't play sports because I might hurt my fingers" or "I can't listen to pop music because that's really terrible.”

Joanna MacGregor (1959) British musician

Childhood

Love , Life , Children , School

“Where is the Mississippi panorama
And the girl who played the piano?
Where are you, Walt?
The Open Road goes to the used-car lot.”

Louis Simpson (1923–2012) Jamaican poet

Walt Whitman at Bear Mountainjim hutchinson quote " I would have not lived my life
Poetry quotes

Cars , Girl

“A man of intellect is like an artist who gives a concert without any help from anyone else, playing on a single instrument — a piano, say, which is a little orchestra in itself. Such a man is a little world in himself; and the effect produced by various instruments together, he produces single-handed, in the unity of his own consciousness. Like the piano, he has no place in a symphony; he is a soloist and performs by himself — in solitude, it may be; or if in the company with other instruments, only as principal; or for setting the tone, as in singing.”

Arthur Schopenhauer book Parerga and Paralipomena

Parerga and Paralipomena (1851), Counsels and Maxims

World , Solitude , Singing , Help

“You should stay away from your potential. I mean, that is something you should leave absolutely alone! You’ll mess it up! It’s potential, leave it! And anyway, it’s like your bank balance, you know: you always have much less than you think. […] Leave it as the locked door within yourself and then at least, in your mind, the interior will always be palatial. Wonderful gleaming marble floors, brocaded drapes. Mullioned windows, covered in mullions, whatever they are. Flamingos serving drinks. Pianos shooting out canapés into the mouths of elegant men and women who are exchanging witticisms… "Oh yes, this reminds me of the time I was in BudaPESHT with Binky… We were trying to steal a goose from the casino, muahahaha…" But it wont be like that[…] You don't want to find out that the most you could possibly achieve, if you gave it your all, if you harvested every screed of energy within you, and devoted yourself to improving yourself, that all you would get to, would be maybe eating less cheesy snacks.”

Dylan Moran (1971) Irish actor and comedian

Monster (2004)

Women , Men , Drink , Thinking

“First of all, when you enter a conservatory, it’s already too late. The kind of connection that has to be made with an instrument, be it a piano, strings, a wind instrument, it really has to start much younger – five, six, seven - eight years-old is already getting late. The instrument must really become an extension of yourself. That neuromuscular connection between intention and realization is something that really has to be started very young. And the years between nine or ten and twenty, that’s when one should learn the whole repertoire.”

Leon Fleisher (1928) American conductor and pianist

Interview with pianist Leon Fleisher http://www.examiner.com/article/interview-with-pianist-leon-fleisher by Elijah Ho (October 1, 2014)

Learning

“… it's time for the opening lecture in Test Design 101: Consider: a woman claims to be a musician. You seat her at a piano and demand that she prove her claim. She cannot play the piano, and you conclude that her claim has been invalidated. Hardly. You see, the lady is a cellist….
You cannot challenge a claimant to do something they've never claimed they can do. That's why, at the JREF, we design a protocol only after the applicant has clearly stated (a) what they can do, (b) under what conditions, and (c) with what expected degree of success. And, the applicant must find the protocol appropriate, fair, agreeable, and adequate to prove their claim.”

James Randi (1928) Canadian-American stage magician and scientific skeptic

Swift, 21 October 2005, "Good Intentions" http://www.randi.org/jr/200510/102105herbs.html#11; about testing paranormal claims.

Time , Success

“Well, you know I used to play piano for the church. You know that spiritual, 'Give Me that Old Time Religion', most churches just say, [sings] "Give me that old time religion" but I did, [sings] "Give me that old time, talkin' 'bout religion," you know I put that little thing in it you know, I always did have that thing but I didn't know what to do with the thing I had. So the style has always been with me… I always had my little thing I wanted to let the world hear, you know.”

Little Richard (1932) American pianist, singer and songwriter

When asked what inspired him to write 'Tutti Frutti' amd where the style came from, in The Rolling Stone Interviews: 1967-1980 (1989) edited by Peter Herbst, p. 91.

World , Religion , Singing , Time

“Schnabel said that Beethoven's late piano sonatas are music better than could be played. Larkin's best poems are poetry better than can be said, but sayability they sumptuously offer. Larkin demands to be read aloud. His big, intricately formed stanzas, often bridging from one to the next, defeat the single breath but always invite it. As you read, the ideal human voice speaks in your head. It isn't his: as his gramophone records prove, he sounded like someone who expects to be interrupted. It isn't yours, either. It's ours.”

Clive James (1939–2019) Australian author, critic, broadcaster, poet, translator and memoirist

'Philip Larkin: Somewhere becoming rain'
Essays and reviews, The Dreaming Swimmer (1993)

Music , Reading

“To approach Bach, one has to realize that 100 years after Bach’s death, Bach and his music totally had been forgotten. Even while he was still alive, Bach himself believed in the polyphonic power and the resulting symmetric architectures of well-proportioned music. But this had been an artificial truth - even for him. Other composers, including his sons, already composed in another style, where they found other ideals and brought them to new solutions. The spirit of the time already had changed while Bach was still alive. A hundred years later, it was Mendelssohn who about 1850 discovered Bach anew with the performance of the St. Matthew Passion. Now a new renaissance began, and the world learned to know the greatness of Bach. To become acquainted with Bach, many transcriptions were done. But the endeavors in rediscovering Bach had been - stylistically - in a wrong direction. Among these were the orchestral transcriptions of Leopold Stokowski, and the organ interpretations of the multitalented Albert Schweitzer, who, one has to confess, had a decisive effect on the rediscovery of Bach. All performances had gone in the wrong direction: much too romantic, with a false knowledge of historic style, the wrong sound, the wrong rubato, and so on. The necessity of artists like Rosalyn Tureck and Glenn Gould - again 100 years later - has been understandable: The radicalism of Glenn Gould pointed out the real clarity and the internal explosions of the power-filled polyphony in the best way. This extreme style, called by many of his critics refrigerator interpretations, however really had been necessary to demonstrate the right strength to bring out the architecture in the right manner, which had been lost so much before. I’m convinced that the style Glenn Gould played has been the right answer. But there has been another giant: it was no less than Helmut Walcha who, also beginning in the 1950, started his legendary interpretations for the DG-Archive productions of the complete organ-work cycle on historic organs (Silbermann, Arp Schnitger). Also very classical in strength of speed and architectural proportions, he pointed out the polyphonic structures in an enlightened but moreover especially humanistic way, in a much more smooth and elegant way than Glenn Gould on the piano. Some years later it was Virgil Fox who acquainted the U. S. with tours of the complete Bach cycle, which certainly was effective in its own way, but much more modern than Walcha. The ranges of Bach interpretations had become wide, and there were the defenders of the historical style and those of the much more modern romantic style. Also the performances of the orchestral and cantata Bach had become extreme: on one side, for example, Karl Richter, who used a big and rich-toned orchestra; on the other side Helmut Rilling, whose Bach was much more historically oriented.”

Burkard Schliessmann classical pianist

Talkings on Bach

Death , Truth , World , Music

“Hitchcock said a movie should play the audience like a piano. Death Race played me like a drum. It is an assault on all senses, including common. Walking out, I had the impression I had just seen the video game and was still waiting for the movie.”

Roger Ebert (1942–2013) American film critic, author, journalist, and TV presenter

Review http://www.rogerebert.com/reviews/death-race-2008 of Death Race (22 August 2008)
Reviews, Half-star reviews

Death , Game , Sense , Waiting

“Trying to command life without studying one's own mind is like trying to play the piano without studying music.”

Vernon Howard (1918–1992) American writer

Treasury of Positive Answers

Life , Music , Study

“Well, if I were thus rationed in this article and could have but one adjective for George Gershwin, that adjective would be "ingenuous." Ingenuous at and about his piano. Once an occasional composer named Oscar Levant stood beside that piano while those sure, sinewy, catlike Gershwin fingers beat their brilliant drum-fire—the tumultuous cascade of the "Rhapsody In Blue," the amorous languor of "The Man I Love," the impish glee of "Fascinating Rhythm," the fine, jaunty, dust-spurning scorn of "Strike Up the Band." If the performer was familiar with the work of any other composer, he gave no evidence of it. Levant (who, by the way, makes a fleeting appearance in the new Dashlell Hammett book, under the guise of Levi Oscant) could be heard mutterIng under his breath, "An evening with Gershwin Is a Gershwln evening."
"I wonder," said our young composer dreamily, "if my music will be played a hundred years from now."
"It certainly will be," said the bitter Levant,"if you are still around."”

Alexander Woollcott (1887–1943) American critic

"George the Ingenuous" in Cosmopolitan (November 1933); reprinted in Ch. IV: "'...A Young Colossus...'" https://books.google.com/books?id=ATcjgQTx0uIC&pg=PA45#v=onepage&q&f=false from Gershwin Remembered (1992) by Edward Jablonski, pp. 44-45

Love , Books , Music , Way

“In the piano writing of the Romantic generation of the 1830s, in fact, a fully pedalled sonority becomes the norm: the piano is expected to vibrate fairly constantly, and an unpedalled sonority is an exception, almost a special effect. Furthermore, the phrase is now shaped at least partially by changes in this full vibration. The change of pedal is crucial to the conception of rhythmic movement and to the sustaining of the melodic line over the bass.”

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

Source: The Romantic Generation (1995), Ch. 1 : Music and Sound

Change

“No, absolutely not, I have never been what one calls a gifted child, never a dreamer. I didn't think of making fantasies with the pencil on the paper, although at school we learned to draw and play music of course. But in those days the piano was actually what I preferred most... But until my eighteenth year I have been hesitating long between both [painting and playing piano]..”

Suze Robertson (1855–1922) Dutch painter

version in original Dutch / origineel citaat van Suze Robertson: Nee, ik ben volstrekt nooit wat men noemt een begaafd kind geweest, nooit een droomster. Aan fantasie met 't potlood op 't papier dacht ik niet, al leerden we op school natuurlijk ook teekenen en muziek. Maar in dien tijd was de piano eigenlijk meer mijn fort.. .Toch heb ik tot mijn achttiende jaar tussen die beide lang gewankeld.
Source: 1900 - 1922, Onder de Menschen: Suze Robertson' (1912), p. 30

School , Music , Thinking , Learning

“For my whole life I can’t remember not doing what I’m doing now, and I’m seventy. I was picking out four-part harmony at eight and nine years of age on the piano. Why? I don’t know. I don’t care. All I know is it’s there and harmony is something that really stimulates the hell out of me. I just saw each thing as a logical exposure to something which I developed further.”

Clare Fischer (1928–2012) American keyboardist, composer, arranger, and bandleader

As quoted in "Meet Clare Fischer" http://cdassassin.wordpress.com/2010/10/28/1999-interview-at-allaboutjazz-com/ by Craig Jolley, in All About Jazz (March 1999)

Life , Age , Hell , Parting

“Regarding my childhood, my grandmother could play by ear and she loved to hear me practice and would say after every piece, "That was pretty. Play that one again." She was a booster. I had two women piano teachers who encouraged me to compose--Margie Murphy and Helen Lipscomb. Helen was also a composer and we used part of my lessons for composition.
When I was in high school, I read John Cage's books and fell in love with the ideas and the excitement of the avant garde. My music, as a result, moved over to what has been called post-Cagian, non-academic. That lasted until about 1979 at which point I changed. My music is now quite lyrical, sometimes called neo-Romantic, and full of cut-ups/collage of newly composed materials. Since 1985 I have been composing mostly swales for various instrumental combinations.
A swale is a meadow or a marsh where there is nourishment and moisture and therefore, a rich diversity of plant life. My work, since 1984, has been made from swatches (of newly composed music, rather than found music) which are reminiscent of this diversity…”

Beth Anderson (1950) American neo-romantic composer

Anderson (1996-2011) "Beth Anderson, Composer, Miscellany From The Dark Past" at beand.com http://www.beand.com/, Last Updated January 3, 2011

Love , Life , Women , Books

“Tonight there was music in the saloon, a piano and a violin; two fat women with hard masculine faces and short haircuts. Their song was Over the Waves. Ta de da da, and I watched Camilla dancing with her beer tray. Her hair was so black, so deep and clustered, like grapes hiding her neck. This was a sacred place, this saloon. Everything here was holy, the chairs, the tables, that rag in her hand, that sawdust under her feet. She was a Mayan princess and this was her castle. I watched the tattered huaraches glide across the floor, and I wanted those huaraches. I would like them to hold in my hands against my chest when I fell asleep. I would like to hold them and breathe the odor of them.”

John Fante book Ask the Dust

Ask the Dust (1939)

Women , Music , Beer , Dance

“My responsibility as an artist is to turn up at the page or the piano or the microphone. The rest is up to God.”

Nick Cave (1957) Australian musician

The Daily Telegraph (Novevember 20, 1997)
God and religion

God

“As a professional I practice six or seven hours per day, though it depends on my schedule. That's how it is as a musician. It's only when you reach grade five you take them more serious. Until then I saw it as fun. I used to learn them by play pop tunes on the piano. They have harmonies and broken chords and can be used as building blocks to help you with scales.”

Joanna MacGregor (1959) British musician

The Irish News, 22/01/2005
On Classical Music

Learning , Help , Dependency

“It seems that a lot of people, who haven’t known of me as a pianist, think I’ve just started off as a comedian. And so for them the piano was something extra. But, of course, playing the piano was something that came before all of what’s happened now.”

Dudley Moore (1935–2002) English actor, comedian, composer and musician

Interview, Jazz Professional, 1966 http://www.jazzprofessional.com/interviews/DudleyMoore.htm

People , Thinking

“Rubinstein was a marvelous pianist, but entirely different than Horowitz. Rubinstein needed a piano where he would feel some resistance in the action, and which had a much warmer or broader sound, or a deeper, darker sound. A Horowitz piano is much more focused; the sound is much more brilliant.”

Arthur Rubinstein (1887–1982) Polish-American classical pianist

Franz Mohr, A Conversation with Bruce Duffie http://www.bruceduffie.com/mohr.html (1992)
About

Feeling

“The absolutely inaudible is rejected from music during the period of Viennese Classicism in which every musical line is potentially or imaginatively audible, but it makes a dramatic reappearance in the music of Schumann. The most striking of many examples is one of the episodes in the Humoresk, the last of the great piano works of Schumann's early years. … There are three staves: the uppermost for the right hand; the lowest for the left; the middle, which contains the melody, is not to be played. Note that the melody is no more to be imagined as a specific sound than it is to be played: nothing tells us that the melody is to be heard as vocal or instrumental. This melody, however, is embodied in the upper and lower parts as a kind of after-resonance-out of phase, delicate, and shadowy.”

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

Source: The Romantic Generation (1995), Ch. 1 : Music and Sound

Music , Imagination , Parting

“As I get older I realise that start has made me rather, well, different. It set down a tremendous template for the rest of my life. I grew up believing the piano is a great instrument because you can play everything on it.”

Joanna MacGregor (1959) British musician

The Independent, 23/06/2003
Childhood

Life

“Women are supposed to be very calm generally; but women feel just as men feel; they need exercise for their faculties and a field for their efforts as much as their brothers do; they suffer from too rigid a restraint, too absolute a stagnation, precisely as men would suffer; and it is narrow-minded in their more privileged fellow-creatures to say that they ought to confine themselves to making puddings and knitting stockings, to playing on the piano and embroidering bags. It is thoughtless to condemn them, or laugh at them, if they seek to do more or learn more than custom has pronounced necessary for their sex.”

Charlotte Brontë book Jane Eyre

Jane (Ch. 12)
Jane Eyre (1847)

Women , Men , Sex , Feeling

“Of course that's Bud and Laurindo. I liked Laurindo very much, and I love some of the tunes he does. In fact, I've been doing some piano transcriptions of some guitar things of his, and we recently recorded a tune of his. This particular thing again—how are you going to equate it? As jazz? As Brazilioan music or what? I wiould much rather hear Laurindo in his native habitat. I know he and Bud have been associated this way before, yet I don't feel that a real good rapport goes on between them. The constant mixing—half-jazz, half-Brazillian—I don't think it's good. You lose certain features of the one when you try to come out with the other. Let's give that three stars.”

Clare Fischer (1928–2012) American keyboardist, composer, arranger, and bandleader

Reviewing "Tocata" https://www.youtube.com/watch?v=a940h3-1NV0 from Brazilliance; as quoted in "Clare Fischer: Blindfold Test" http://www.mediafire.com/view/fix6ane8h54gx/Clare_Fischer#rjvay58eo774rhe

Love , Music , Way , Feeling

“I wouldn’t play it in public — you need different muscles, you can’t use the upper arm, just the fingers. But the sound has a glow, because the strings aren’t damped, as on a piano. I wanted to visit Bach’s sound world, then apply those ideas to the piano.”

Murray Perahia (1947) American classical pianist and conductor

Of playing the harpsichord.
Jewish Chronicle interview http://thejc.com/home.aspx?ParentId=m14s150&AId=57994&ATypeId=1&search=true2&srchstr=murray%20perahia&srchtxt=1&srchhead=1&srchauthor=1&srchsandp=1&scsrch=999 (8 February 2008)

World , Idea

“The indefatigable pursuit of an unattainable perfection, even though it consist in nothing more than the pounding of an old piano, is what alone gives a meaning to our life on this unavailing star.”

Logan Pearsall Smith (1865–1946) British American-born writer

Life and Human Nature.
Afterthoughts (1931)

Life , Star , Perfection

“My first concert - apart from Beethoven at School and Erik Satie at the opening of my exhibition in Kleve in 1960 - was at the gallery Parnass in Wuppertal in 1963. Dressed like a regular pianist in dark grey flannel, black tie and no hat, I played the piano all over – not just the keys – with many pairs of old shoes until it disintegrated. My intention was neither destructive nor nihilistic. 'Heal like with like' – similia similibus curantur – in the homeopathic sense. The main intention was to indicate a new beginning…. or simply a revolutionary act. This was my first public Fluxus appearance.”

Joseph Beuys (1921–1986) German visual artist

Quoted in: Joseph Beuys, Carin Kuoni. Joseph Beuys in America: Energy Plan for the Western Man. New York, 1993, p. 128; Comment on his first Fluxus performance in 1963 'Heal like with like'.
1970's, Interviews with Caroline Tisdall, 1974 & 1978

School , Shoe , Sense , Appearance

“I'm becoming very interested in non-Western things, and in Europe a lot of what's offered to me is the Western tradition I've grown up with. Now I've got to find a way out, but the problem is that the piano is just about as Western as you can get. The piano's my instrument, and I wouldn't want it any other way, but I'm gravitating quite naturally towards things that have developed my sense of rhythm. "I've come to all this incredible Indian classical music and its more modern formations late in the day; the Messiaen I've played has led me down that road, and I've been following my nose all the time.”

Joanna MacGregor (1959) British musician

The Times, 15/12/1998
Musician's life

Music , Way , Nature , Problem

“I phoned Prince out of the blue, hummed a melody, and he listened," … "I hung up, and he came over within the hour. He listened again, and I said, 'Do you hate it?' He said, 'No,' and walked over to the synthesizers that were set up, was absolutely brilliant for about twenty five minutes, and then left. He was so uncanny, so wild, he spoiled me for every band I've ever had because nobody can exactly re-create—not even with two piano players-what Prince did all by his little self.”

Stevie Nicks (1948) American singer and songwriter, member of Fleetwood Mac

(on "Stand Back") Musician, issue 123-128 http://books.google.com/books?id=h5EJAQAAMAAJ (1989), p. 84.

Hate

“"Those who fought know a secret about themselves, and it is not very nice." … They have experienced secretly and privately their natural human impulse toward sadism and brutality. As I say in this new book of mine, not merely did I learn to kill with a noose of piano wire put around somebody's neck from behind, but I learned to enjoy the prospect of killing that way. It's those things that you learn about yourself that you never forget. You learn that you have much wider dimensions than you had imagined before you had to fight a war. That's salutary. It's well to know exactly who you are so you can conduct the rest of your life properly.”

Paul Fussell (1924–2012) Recipient of the Purple Heart medal

Humanities interview (1996)

Life , War , Secret , Books

“I want to write music. I want to sit down right now at the piano, and write a song that people will listen to and remember. And do the same thing every morning for the rest of my life.”

Jonathan Larson (1960–1996) American composer and playwright

tick, tick... BOOM! (1990)

Life , People , Music

“I've written every drum bit I ever done, every note. I played the drums. I played the guitar. I played the piano. I wanted it exactly the way I wanted. Exactly. Any composer I would think would want it that way, and I don't deviate at all. Don't you think that somebody like Stravinsky, for instance, don't you think that it would have annoyed him if someone bent a note the wrong way?”

Captain Beefheart (1941–2010) musician

On Trout Mask Replica
The Artist Formerly Known as Captain Beefheart (1997)

Way , Thinking

“at the Engvalls' home, Travis is about to play on the piano.
Engvall's son, Travis: I'm going to play you a song from Harry Potter.
Engvall: Oh, the movie?
Travis: No, the book. Here's your sign.
When telling the joke on Here's Your Sign: Live! (2004), he stops his son before he says "sign."”

Bill Engvall (1957) American comedian and actor

Here's Your Sign, "Here's <i>MY</i> Sign..."

Books , Home

“The music broke from the piano like clear cold water from a prophet-touched rock, pouring and splashing around us while her fingers leaped and spread, curled and stiffened and melted and flickered in magic pass and streaked lightning above the keyboard. Never before had she played for me… because we were lovers now, was she free to play…?”

Richard Bach book The Bridge Across Forever

The Bridge Across Forever (1984)

Music , Lovers , Water

“When entering the studio, I don't know what will happen. I do a so-called trip into myself: I sit down at the piano and the melody might start to evolve from my playing or then I might start to sing it. At that stage I do not yet have clear ideas about what kind of emotions I would like to express. Until I play the completed piece to Roma and Nicky and when I observe their reactions, the music gets its meaning…”

Enya (1961) Irish singer, songwriter, and musician

Anna interview (2005)

Music , Idea , Singing

“But middle-class Americans, friends of mine, composites of friends of mine, of a liberal bent, nice people, OK people, see nothing wrong with bilingual education. In fact, they wish their own children to be bilingual. In fact, they send their kids to French schools. In fact, they ask if I know of a housekeeper who might inadvertently teach their children Spanish while she dusts under the piano. Nope.”

Richard Rodríguez (1944) American journalist and essayist

Brown : The Last Discovery of America (2003)

Children , People , Education , School

“Sometimes when it goes really well, you wonder, "who's that at the piano?"”

Cecil Taylor (1929–2018) American pianist and poet

Soure: http://www.furious.com/perfect/ceciltaylor.html

“I actually don't like playing the piano or conducting the orchestra. There is always an exchange of energies, which is not even. It's one against 80.”

Joe Hisaishi (1950) Japanese composer and musician

Joe Hisaishi, who wrote music for Hayao Miyazaki's films https://www.scmp.com/lifestyle/arts-entertainment/article/1780283/studio-ghibli-composer-joe-hisaishi-talks-about-how,South China Morning Post

“The critics are occasionally pleased to compliment a pianist by saying that he plays in the grand style. Exactly what do they mean by that phrase? In the broadest sense, they mean a style of playing which penetrates deeper than the physical conquering of the piano. It concerns itself with the release of music. The “grand style” moved listeners through interpretation.”

Benno Moiseiwitsch (1890–1963) British musician

Playing in the Grand Style (1950)

Music , Sense

“Young Prokofiev was attentive to new musical trends. We can find traces of various influences in his early compositions. Some of the piano works from the set Visions fugitives, op. 22 (1915–17), are reminiscent of Debussy; the Andante assai section of the First Piano Concerto, op. 10 (1911–12), sounds like Rachmaninov; and the harmonies of the symphonic poem Osen neye(Autumnor Autumnal Sketch), op. 8 (1910), harken back to Scriabin. These, however, were rather passing influences. Others proved to be more enduring.
One of them was the fairy-tale streak in Russian music. Russians have always been fond of fairy tales, which to this day continue to be an important part of every child’s upbringing. …
Another significant influence was the Classical style.”

Boris Berman (1948) Russian/American musician

Prokofiev’s piano sonatas : a guide for the listener and the performer (2008), Prokofiev: His Life and the Evolution of His Musical Language

Music , Autumn , Parting

“An instrument is not important. It is the way one plays that is important. Instruments don’t play by themselves. A piano is certainly not a better instrument than a synthesizer, but if a synthesizer is played like a piano, it becomes a very bad instrument. It doesn’t work. You can’t play a trumpet like a violin—it doesn’t go. That’s the problem—the players, not the instrument. Any instrument is a wonderful thing.”

Joe Zawinul (1932–2007) austrian composer and pianist

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

Way , Problem

“Most people in the West, certainly everyone in Israel, would agree that the Palestinian suicide bombers, who kill women and children, are terrorists. Not many people remember when Palestine, as the land of Israel was once called, was in that obscure state, a British Protectorate. Were the Jewish members of the Stern Gang, those who hanged a British sergeant with piano wire or organized the bomb in the King David Hotel with murderous results (the organization in which Prime Minister Begin started his political career), ‘freedom fighters’ or ‘terrorists’? What, looking at the matter from an entirely neutral standpoint, would we call them now?
A terrorist, the dictionary tells us, is ‘one who favours or uses terror-inspiring methods of governing or of coercing government or community’. This would certainly cover Russian activities in Chechnya and Israeli invasions into Palestinian territory, killing innocent men, women and children and even employees of the United Nations, in a prolonged attempt to fight ruthless terrorism with ruthless terrorism. The word ‘terrorist’ could certainly have been applied to Nelson Mandela before his trial. If it means the calculated mass killing of civilians to obtain an end, it must be applied to the destruction of Hamburg and Düsseldorf and, of course, to the dropping of H-bombs. So all these activities can be defined as ‘terrorism’ if they are committed by an enemy or ‘freedom-fighting’ if by a friend. If so, the conception of a ‘war’ against it calls for the most careful thought.”

John Mortimer (1923–2009) English barrister, dramatist, screenwriter and author

Source: Where There's a Will: Thoughts on the Good Life (2003), Ch. 15 : Interesting Times

Women , Men , War , Children

“Since suffering a concussion eight years ago, I find my inside emotions are right to the front and as such, when I heard that Antonio Carlos Jobim had died in December of 1994 I was much affected, I experienced happenings like no other time in my life. While sleeping one night, I dreamed that I was conducting a recording session with strings in Brazil and we were performing Jobim's "Corcovado," except that besides thje melody and harmony, there was polyharmonic bass line. As I awakened from this dream, I went to my piano and wrote down what I had dreamed.”

Clare Fischer (1928–2012) American keyboardist, composer, arranger, and bandleader

Explaining the genesis of the track "Corcovado Fúnebre" in the liner notes from Clare Fischer's Jazz Corps

Life , Dreams , Sleep , Suffering

“My education was very intensive and I applied that training later on to playing the piano. I had always played, but having no one to compare myself to, I had no idea if I was any good.”

Joanna MacGregor (1959) British musician

The Express on Sunday, 06/01/2002
Childhood

Education , Idea , Training

“If I saw someone destroy a piano I'd fuckin' kill 'em. Wouldn't think twice. [It's] Just defending your best friend!”

Tori Amos (1963) American singer

French television interview, 1992

Thinking

“With his masterclass on piano playing, László Gyimesi helps to preserve the great romantic tradition of piano playing. A relaxed piano technique without unnecessary tensions allows us to express our thoughts and feelings almost directly. Every pianist can come closer to this ideal. His masterclass is extremely valuable in that respect – it can unleash great potential in every pianist.”

László Gyimesi (1948) Hungarian musician

Martin Stadtfeld ( Hungarian Piano Tradition http://onlinepianomasterclass.com)
About

Feeling , Help

“As a theorist I have great advantages. All I need is a pencil (now a ball pen) and an empty pad of paper. There are analysts who sit and look vacantly out the window, but after the age of 20 I was not one of them. I ought to envy the new generation who have grown up with the computer, but I don’t. None of them known to me sits idly at the console, improvising and experimenting in the way that a composer does at the piano. That ought to become increasingly possible. But up to now, in my observation, the computer is largely a black box into which researchers feed raw input and out of from which they draw various summarizing measures and simulations. Not having access to look around in the box, the investigator has less intuitive familiarity with the data than used to be the case in the bad old days.”

Paul A. Samuelson (1915–2009) American economist

“My Life Philosophy: Policy Credos and Working Ways,” in M. Szenberg (ed.) Eminent Economists: Their Life Philosophies (1992)
1980s–1990s

Age , Way , Envy , Drawing

“Hearing has its own memory. It registers the dog whose sudden barking startled me as a child. The folk songs my nanny used to sing. The dadaism of a cabaret song from Berlin: ‘I tear out one of my eyelashes and stab you dead with it,’ innocently sung by my mother. Hitler conjuring up the Almighty. The crowing voice of little Goebbels. Alarm sirens, the roar of aircraft, the blast of bombs. Ljuba Welitsch being Salome. The sonorities of Edwin Fischer’s piano playing. María Casares as Lady Macbeth in Avignon. Ralph Kirkpatrick’s two Scarlatti recitals. Gré Brouwenstijn as Leonore in Fidelio. The epiphany of Ligeti’s Aventures et Nouvelles Aventures. The magic application of noise in Peter Brook’s A Midsummer Night’s Dream. All sorts of laughter.”

Alfred Brendel (1931) Austrian pianist, poet, and author

quoted in Alan Rusbridger, "Music, Sense and Nonsense by Alfred Brendel review – a great pianist’s thoughts on his art", The Guardian, 24 September 2015

Dogs , Dreams , Tear , Laughter

“The house was filled with the piano and violin. I turned towards the art of painting.”

Jean Metzinger (1883–1956) French painter

Cubism was born

Art , Painting , Housing

“Everything depends, of course, on the shape of the hand, and it must be stressed that there is no type of hand which is more suited to the piano than another. One of the greatest pianists that I ever heard—certainly the most remarkable in his control of the widest possible range and variety of tone color—was Josef Hoffman, who had a hand so small that he could reach no more than an octave; Steinway built him a special piano in which the ivories were slightly narrower so that he could reach a ninth. His friend Sergei Rachmaninov had a very large hand, as did Rudolf Serkin, and Sviatoslav Richter could not only reach a twelfth but could play the last chord of the Schumann Toccata without arpeggiation—an effect which would certainly have astonished the composer. My teacher, Moriz Rosenthal, famous for his technique, had a small hand with stubby fingers; Vladimir Horowitz's fingers were exceptionally long, while Robert Casadesus had fingers so thick that he had trouble fitting them in between the black keys. There is no such thing as an ideal pianist's hand.”

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

Source: Piano Notes: The World of the Pianist (2002), Ch. 1 Body and Mind

Color , Teachers , Dependency

“My background in music came from me playing drums and piano as a young child. My grandmother was a pianist and I was influenced by her and my parents were playing rock records which influenced my drumming. I was a fan of film scores, rock, classical, jazz, and hip-hop in my early years and tried to learn as much about each of those genres as possible. I began writing music in a serious way in my teen years while I was playing in various bands and orchestras.”

Brian Tyler (1972) American composer, producer, conductor, and film producer

Interview with Brian Tyler https://8dio.com/2012/12/05/interview-with-brian-tyler/ (December 5, 2012)

Music , Way , Parent , Learning

“By the late eighteenth century, there is a sad and permanent decline in the quality of music written for young performers or beginners: one has only to compare Bach's Album for Anna Magdalena Bach and the Two-Part Inventions with anything that came later. No composer of importance between Bach and Schumann turned his hand to writing for children, and Schumann's essays came after his years of greatest inspiration for piano writing had gone. (Mozart is the odd exception, but then he was, in fact, almost incapable of writing really easy pieces: he no doubt believed that his Sonata in D Major, K.576, was easy, perhaps because all the hard passages in the first movement were in simple two-part counterpoint, one voice in each hand, but he was wrong.)”

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

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

Children , Sadness , Music , Parting

“People have wondered where the seat of original sin is; I think it 's in the stomach. A man eats too much and neglects exercise, and the Devil has him all his own way, and the little imps, with their long black fingers, play on his nerves like a piano. Never overwork either body or mind, boys. All the work that a man can do that can be rested by one night's sleep is good for him, but fatigue that goes into the next day is always bad.”

Harriet Beecher Stowe book Old Town Folks

Old Town Folks (1869) Ch. 39 Last Days In Cloud-Land

People , Way , Exercises , Boy

“"Oh, son, I wish you hadn’t become a scenario writer!" she sniffled.
"Aw, now, Moms," I comforted her, "it’s no worse than playing the piano in a call house."”

S.J. Perelman (1904–1979) American humorist, author, and screenwriter

"Strictly from Hunger", The Most of S. J. Perelman (1992) p. 45

Moms , Housing

“Fireflies inside of a mason jar,
Acting big behind the wheel of daddy's car.
Playing church around the old piano stand,
You were quite a preacher and oh, we sang so grand.
I remember every night what we would say and do:
"If you've forgiven me, then I've forgiven you."
And now when life begins to get the best of me,
I reminisce these childhood memories.”

Iris DeMent (1961) American singer and songwriter

Childhood Memories
Song lyrics, My Life (1994)

Life , Cars , Memory , Childhood

“His creation was spontaneous, miraculous. He found it without searching for it, without foreseeing it. It came to his piano suddenly, complete, sublime, or it sang in his head during a walk, and he would hasten to hear it again by, tossing it off on his instrument. But then would begin the most heartbreaking labor I have ever witnessed.”

George Sand (1804–1876) French novelist and memoirist; pseudonym of Lucile Aurore Dupin

On Frédéric Chopin, in Oeuvres autobiographiques, edited by Georges Lubin, Vol. 2; Histoire de ma vie, p. 446. I [Jeffrey Kallberg] have modified somewhat the English translation printed in George Sand, Story of My Life: The Autobiography of George Sand, group translation ed. Thelma Jurgrau (Albany, 1991), p. 1109. The chapter on Chopin dates from August or September 1854.
Context: His creation was spontaneous, miraculous. He found it without searching for it, without foreseeing it. It came to his piano suddenly, complete, sublime, or it sang in his head during a walk, and he would hasten to hear it again by, tossing it off on his instrument. But then would begin the most heartbreaking labor I have ever witnessed. It was a series of efforts, indecision, and impatience to recapture certain details of the theme he had heard: what had come to him all of a piece, he now over-analyzed in his desire to write it down, and his regret at not finding it again "neat," as he said, would throw him into a kind of despair. He would shut himself up in his room for days at a time, weeping, pacing, breaking his pens, repeating and changing a single measure a hundred times, writing it and effacing it with equal frequency, and beginning again the next day with a meticulous and desperate perseverance. He would spend six weeks on one page, only to end up writing it just as he had traced it in his first outpouring.

Search

“Good jazz is when the leader jumps on the piano, waves his arms, and yells.”

Charles Mingus (1922–1979) American jazz double bassist, composer and bandleader

Quoted in "What'd I Say?" : The Atlantic Story : 50 Years of Music (2001) by Ahmet M. Ertegun; also partially quoted in What Is This Thing Called Jazz?: African American Musicians As Artists, Critics, and Activists (2002) by Eric C. Porter, p. 118, and Freedom Is, Freedom Ain't: Jazz And the Making of the Sixties (2005) by Scott Saul, p. 154
Context: Good jazz is when the leader jumps on the piano, waves his arms, and yells. Fine jazz is when a tenorman lifts his foot in the air. Great jazz is when he heaves a piercing note for 32 bars and collapses on his hands and knees. A pure genius of jazz is manifested when he and the rest of the orchestra run around the room while the rhythm section grimaces and dances around their instruments.

“Because the line between,
Wrong and right,
Is the width of a thread,
From a spider's web.
The piano keys are black and white,
But they sound like a million colours in your mind.”

Katie Melua (1984) British singer-songwriter

Spider's Web, from Piece By Piece (2005)
Lyrics

“No piano, no pupils! Such is the spirit of this country -- Music and Steam!”

Théodore Guérin (1798–1856) Catholic saint and nun from France

First Journal of Travel (1840)
Context: They [Sisters of Charity in Frederick] excel in music, which is an indispensable thing in this country, even for the poor. No piano, no pupils! Such is the spirit of this country -- Music and Steam!

Music , Country

“CREB's opposing regulatory actions provide a threshold for memory storage, presumably to ensure that only important, life-serving experiences are learned. Repeated shocks to the tail are a significant learning experience for an Aplysia, just as, say, practicing the piano or conjugating French verbs are to us: practice makes perfect, repetition is necessary for long-term memory. In principle, however, a highly emotional state… could bypass the normal restraints on long-term memory.”

Eric R. Kandel (1929) American neuropsychiatrist

In Search of Memory (2006)
Context: CREB's opposing regulatory actions provide a threshold for memory storage, presumably to ensure that only important, life-serving experiences are learned. Repeated shocks to the tail are a significant learning experience for an Aplysia, just as, say, practicing the piano or conjugating French verbs are to us: practice makes perfect, repetition is necessary for long-term memory. In principle, however, a highly emotional state... could bypass the normal restraints on long-term memory. In such a situation, enough MAP kinase molecules would be sent into the nucleus rapidly enough to inactivate all of the CREB-2 molecules, thereby making it easy for protein kinase A to activate CREB-1 and put the experience directly into long-term memory.

Life , Learning , Memory , Perfection

“That pathology is grounded upon the doctrine that all human ills are caused by the pressure of misplaced vertebra upon the nerves which come out of the spinal cord—in other words, that every disease is the result of a pinch. This, plainly enough, is buncombe. The chiropractic therapeutics rest upon the doctrine that the way to get rid of such pinches is to climb upon a table and submit to a heroic pummeling by a retired piano-mover. This, obviously, is buncombe doubly damned”

H.L. Mencken (1880–1956) American journalist and writer

"Chiropractic" in Baltimore Evening Sun http://www.chirobase.org/12Hx/mencken.html (December 1924)
1920s
Context: This preposterous quackery flourishes lushly in the back reaches of the Republic, and begins to conquer the less civilized folk of the big cities. As the oldtime family doctor dies out in the country towns, with no competent successor willing to take over his dismal business, he is followed by some hearty blacksmith or ice-wagon driver, turned into a chiropractor in six months, often by correspondence. In Los Angeles the Damned there are probably more chiropractors than actual physicians, and they are far more generally esteemed. Proceeding from the Ambassador Hotel to the heart of the town, along Wilshire boulevard, one passes scores of their gaudy signs; there are even many chiropractic "hospitals." The morons who pour in from the prairies and deserts, most of them ailing, patronize these "hospitals" copiously, and give to the chiropractic pathology the same high respect that they accord to the theology of the town sorcerers. That pathology is grounded upon the doctrine that all human ills are caused by the pressure of misplaced vertebra upon the nerves which come out of the spinal cord—in other words, that every disease is the result of a pinch. This, plainly enough, is buncombe. The chiropractic therapeutics rest upon the doctrine that the way to get rid of such pinches is to climb upon a table and submit to a heroic pummeling by a retired piano-mover. This, obviously, is buncombe doubly damned.

Disease , Way

“A utopia or heaven on earth is a place where every would-be Mozart has access to a piano and violin before the age of five, where every would-be Beethoven is empowered to compose music in spite of deafness, where every individual can get quality education regardless of their socioeconomic status and place of residence, and where everyone is given good health and freedom to pursue their dreams.”

Newton Lee American computer scientist

The Transhumanism Handbook, 2019

Freedom , Dreams , Health , Music

“It’s no accident that so many fabled rock ensembles have had two contrasting leaders (Lennon and McCartney, Jagger and Richards, Plant and Page, Bono and The Edge) to play off each other and cross-pollinate and, at times, butt heads. But Chris Martin completely dominates Coldplay; there’s no yin to his smiley enraptured yang. He’s the rock-king superstar the other band members all worship, humbly, as the genius who made their fates possible, and almost every moment of the band’s creative energy is organized around what Chris is going to do next: the piano chords he’s playing around with, the lyrics he’s writing, his endless studio perfectionism.”

Chris Martin (1977) musician, co-founder of Coldplay

http://variety.com/2018/film/reviews/coldplay-a-head-full-of-dreams-review-1203031635/ source

Time , Fate

“My piano has not yet arrived. How did you send it? By Marseilles or by Perpignan? I dream music but I cannot make any because here there are not any pianos... in this respect this is a savage country.”

Frédéric Chopin (1810–1849) Polish composer

Letter to Camille Pleyel.
Source: (21 November 1838); published in Fryderyk Chopin, Korespondencja Fryderyka Chopina (1955), edited by Bronisław Edward Sydow, (2 vols.), Vol. 1, p. 443

Music , Making love , Dreams , Country

“In the weeks I stayed there, the Maharajah agreed to paying for the recordings of the Medtner piano concertos, an album of his songs, and some of his chamber music; he also agreed to give me a subvention of 10,000 pounds a year for three years to enable me to put the Philharmonia Orchestra and the Philharmonia Concert society on firm basis….”

Jayachamarajendra Wadiyar (1919–1974) Indian writer

Music

“The visit to Mysore was a fantastic experience. The Maharajah was a young man, not yet thirty. In one of his palaces he had a record library containing every imaginable recordings of serious music, a large range of loud speakers, and several concert grand pianos….”

Jayachamarajendra Wadiyar (1919–1974) Indian writer

Walter Legge, who was invited to Mysore by the Maharaja. Quoted in "Medtner, Music & a Maharaja"

Music , Imagination

“These principles, like the notes of a piano, may be used in many various combinations.”

Herbert N. Casson (1869–1951) Canadian journalist and writer

Source: 1910s, Ads and Sales (1911), p. 8-9

“Tonight there was music in the saloon, a piano and a violin; two fat women with hard masculine faces and short haircuts. Their song was Over the Waves.”

John Fante book Ask the Dust

Ta de da da, and I watched Camilla dancing with her beer tray. Her hair was so black, so deep and clustered, like grapes hiding her neck. This was a sacred place, this saloon. Everything here was holy, the chairs, the tables, that rag in her hand, that sawdust under her feet. She was a Mayan princess and this was her castle. I watched the tattered huaraches glide across the floor, and I wanted those huaraches. I would like them to hold in my hands against my chest when I fell asleep. I would like to hold them and breathe the odor of them.
Ask the Dust (1939)

Music , Women

“Your pianos travel with you. So does your manager. You have no time for girls. Your manager sees to it that no young predatory females get very far.”

George Antheil (1900–1959) American avant-garde composer, pianist, author and inventor

Girl , Travel , Time

Quotes about piano page 2

Quotes about piano
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