Monthly Archives: April 2014

I once had an 8-year-old student — a delightful boy, a real charmer — and at the first

I was so pleased to tell Lee Hambro

Sometimes, in practicing, we play louder and louder, more and more coarsely, and wonder why

“Before God and as an honest man,” said Haydn to Leopold Mozart, “I tell you that your son is the greatest composer known to me either in person or by name. He has taste and, what is more, the most profound knowledge of composition.” In saying, “what is more,” was he rating knowledge above taste? […]

“The temperamental artist”: a cliché to make a performer smile.

Understanding, explaining, teaching—these wonderful “verbal-intellectual” activities

To master the great works, we must be

Here’s a little pencil-and-paper exercise with profound implications: Draw a staff and write a bar or two of melody. Put a crescendo over a few notes and an accent on one of them, or whatever expression marks you choose. Now try to imagine that a composer could make such marks and not mean the performer to pay attention […]

The One True Approach to Technique—do all instrumentalists look for it 

Displeased with my playing of a passage, I turn off the lights. Sitting at the piano in the dark