Quotes of All Topics . Occasions . Authors
In my piano concerto I developed this polyphony to much higher complexity.
After conducting Wagner, Beethoven's triple concerto is like taking an Alka Seltzer.
Do you know that my very first experience as a composer was a 'Concerto for Accordion?'
There are many collaborations I'd like to explore. One is to co-write a rap concerto with Eminem.
At the end of the competition, I played the Liszt concerto and I felt my head was on the block. Well, I won.
Edgar Meyer's violin concerto was the first piece of contemporary music I worked on in any depth. I was 18 or 19.
It's nice not to have the majority of the attention on me like there is when playing a concerto with an orchestra.
I usually listen to the same thing over and over again: Tchaikovsky's Violin Concerto in D Major. And Leonard Cohen.
Even if you're playing Brahms or a Beethoven concerto, you've got to have a different vantage point, slightly, each time.
If the orchestra's not enjoying itself, the concerto will not succeed, with the players confined to using half an inch of bow.
It's fine with me if people want to applaud between movements of a concerto. It doesn't bother me - it's part of performance experience.
At a grand evening service in a church, my concerto created such a furor that the worshippers rushed out to keep the crowd outside the church quiet.
I have two favorites: Reading Kierkegaard while listening to Mozart's Piano Concerto 9 in E Flat Major, and reading early Bazooka Joe comics in Hebrew.
This kind of prelude was succeeded by the concerto itself which he executed with a degree of spirit and firmness that no one has ever pretended to equal.
There's a million people who can go out and play the Mendelssohn Violin Concerto brilliantly, but we're the only ones who can do 'A Little Nightmare Music.'
The way it works: The orchestra plays a few selections of its own and I terminate the first part of the programme on piano, usually with a movement from a Mozart concerto.
I'd forget the piece just before I went out to do the concerto, the panic was too great. This was not anything that gave me pleasure. This was fulfilling somebody else's dream.
When you play a concerto with a small orchestra, you don't feel it is as important as Carnegie Hall. You try to work out all the little problems. Once that's all done, trust comes in.
As for my own music, I've never written a book about it. I'm not pedagogical... When I write an abstract piano sonata or a concerto, I write what I feel. I'm not a self-conscious composer.
You get more nervous in front of a lot of people. That's why, when you play a concerto, you play with a small orchestra, in some place where you don't feel that it is as important as Carnegie Hall.
The cello is a hero because of its register - its tenor voice. It is a masculine instrument, whereas the violin is feminine because of its soprano pitch. When the cello enters in the Dvorak Concerto, it is like a great orator.
When I came to the United States, I appeared on the Ed Sullivan Show as a 13-year-old, and I played a Mendelssohn Concerto, and it sounded like a talented 13-year-old with a lot of promise. But it did not sound like a finished product.
I love the name 'Stella McCartney.' It's a beautiful name the way it rolls off the tongue. A couple of years ago, I wrote a cello concerto and used that as the basis for the rhythmic and melodic structure of the main motif of the cello part.
All the reading in the world cannot immunize you from the devastating effects of psychopaths. Everyone, including the experts, can be taken in, conned, and left bewildered by them. A good psychopath can play a concerto on anyone's heart strings.
I'm usually woken by a vibration on my up-band. It's the gradual vibration for about ten seconds, and then the chimes of my blue light. It's just a way to wake gently. It all gently puts me into awake-mode. I play music off of my Sonos playlist. 'The Rachmaninoff Concerto 3 in D-minor', 1st movement.
