Piano Quotes - page 21
I regret not having taken more advantage of time - of the solidity of time, the intention of time. That's why I don't like to sleep much anymore. Had I known when I was 20 that I was going to be a musician, I would have taken to the piano, I would have taken the guitar more seriously, I would have perfected my knowledge of music.
Julio Iglesias
You are twenty-two years old, trained down to the last pound like a boxer. You do not over-eat, smoke or drink and you work six to eight hours a day at a piano with a special keyboard in which the keys are so hard to press down that when you come to your concert grand at night you seem, literally, to be riding a fleecy cloud, so easy is its keyboard action. Before each concert, of course, you eat nothing at all.
George Antheil
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
"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
Yet in a relatively short creative life of twenty years or so, Chopin redrew the boundaries of Romantic music, and his self-imposed restriction to the 88 keys of the piano keyboard sublimated nothing less than the aesthetic essence of piano music. It was his total identification with the instrument which, in its radical regeneration of the lyric and the dramatic, fantasy and passion and their unique fusion, shaped a tonal language which united an aristocratic sense of style and formal Classical training and intuition with an ascetic rigor. Chopin's precisely marshaled trains of thought permitted no experiments, and so he did not ‘wander about' within his stylistic points of reference as Scriabin was to do. Chopin's works may seem light and improvisatory, but they are planned in meticulous details, exactly and well calculated.
Burkard Schliessmann
To approach Chopin, you have to separate him completely from Schumann. Schumann admired Chopin very much and saw him as friend, but - what only few people know - Chopin himself had much less interest in and esteem for Schumann. In detail: Schumann's works follow on from a transitional period determined by the successors of Viennese Classicism, particularly Beethoven. Just as the sons of Bach espoused the ‘galant,' ornamented style of their generation, so the pupils of Mozart and Beethoven - Hummel, Ries, Czerny, Moscheles - took pains to compensate for a thinner musical substance with increased instrumental brilliance and thus prepared the ground for the golden age of the piano and the era of the Romantic virtuoso. Among the multitude of composers writing for the piano at that time, only two - Weber and Schubert - stand out as original creative forces.
Burkard Schliessmann
Herz, Thalberg, Heller, Felicien David and others were great virtuosos of their time, more famous than Chopin himself. They had their own personal styles, but the essence of their music was time-bound, nothing that could occupy generations after them. Chopin, in contrast, was someone special, someone who was completely different from all other artists, composers, and pianists. So too with his style. As a result, the aesthetic in approaching Chopin is distinctive: interpreting his music is the most difficult of all. For me personally, it's the crowning of playing piano. Bach, Mozart, Chopin: these are the three who definitely created musical art in an all-embracing and overwhelming way.
Burkard Schliessmann
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
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 Kandel
