Pianists From The United States

"Many pages of Prokofiev’s oeuvre continue the important tradition of Russian music based on fairy tale–inspired imagery."

"It is essential that a pianist meticulously observe the composer’s indications regarding tempo, dynamics, and articulation. These are all crucial in creating full characterizations of individual themes and passages. Far too often one hears unidiomatic performances of Prokofiev’s music in which speed and loudness seem to be the only parameters that matter to the pianist."

"Prokofiev had a particular talent for creating a fully identifiable mood within the first notes of a piece, passage, or theme."

"One of the most winning characteristics of Prokofiev’s music is its indomitable energy. In expressing this quality, stability of tempo is particularly important."

"Prokofiev was especially active as a pianist during his years in the United States. The titles of numerous reviews seem to refer as much to his compositions as to his performances: “A titan of a pianist,” “Volcanic eruption at the keyboard,” “Russian chaos in music,” among others."

"The playing of Soviet pianists of the younger generation differed significantly from the composer’s performing style, as discussed above. (Here I am referring to the generation of Richter and Gilels or younger, as opposed to Prokofiev’s coevals such as Neuhaus and Samuil Feinberg, who also had Prokofiev’s works in their repertoires.) Since we know that Prokofiev appreciated their playing, does it mean that he accepted their approach? Should we regard the new generation’s playing as a distortion of the composer’s intentions or as a natural evolution of interpretive style? I believe that Prokofiev, having been exposed to the new performing style of the Soviet pianists, accepted at least some of its qualities. We can mention assertive muscular playing, open expressivity, and a gripping commitment to the music among those traits that brought recognition to Soviet pianists and assured their success in the international arena. These characteristics were concordant with the evolving compositional style of Prokofiev, whose later works became both more virile (often heroic) and expressive in a warmer and more open way."

"Prokofiev’s playing of lyrical music is especially noteworthy. His phrasing can be exquisitely beautiful in its dynamic molding (second theme of the Andante assaifrom Sonata No. 4; the middle section of Vision fugitive,op. 22, no. 11), and his polyphonic voicing can be clear and expressive (Sonatina pastorale, op. 59, no. 3)."

"There is something about veganism that is not easy, but the difficulty is not inherent in veganism, but in our culture."

"The good news is that our bodies thrive on a conscious plant-based diet, and that this diet is infinitely more compassionate to animals and people and more environmentally sustainable than eating animal foods."

"The contemporary vegan movement is founded on loving-kindness and mindfulness of our effects on others. It is revolutionary because it transcends and renounces the violent core of the herding culture in which we live."

"While there are thus many “former vegetarians,” it's unlikely that “former vegans” were ever actually vegans; it seems doubtful that compassion authentically attained is ever lost."

"Our deep urge to evolve to a more spiritually mature level of understanding and living, and to create a social order that promotes more justice, peace, freedom, health, sanity, prosperity, sustainability, and happiness, absolutely requires us to stop viewing animals as food objects to be consumed and to shift to a plant-based way of eating."

"The word “vegan,” newer and more challenging than “vegetarian” because it includes every sentient being in its circle of concern and addresses all forms of unnecessary cruelty from an essentially ethical perspective, with a motivation of compassion rather than health or purity, points to an ancient idea that has been articulated for many centuries, especially in the world's spiritual traditions."

"In order to confine and kill animals for food, we must repress our natural compassion, warping us away from intuition and toward materialism, violence, and disconnectedness."

"I believe that until we are willing and able to make the connections between what we are eating and what was required to get it on our plate, and how it affects us to buy, serve, and eat it, we will be unable to make the connections that will allow us to live wisely and harmoniously on this earth."

"If we all, as a society, did go vegan, and we moved away from eating animal foods and toward a plant-based diet, what would happen? If we didn’t kill all these cows and eat them, then we wouldn’t have to breed all these cows because we’re breeding cows, and chickens, and pigs, and fish. We’re breeding them over and over again, relentlessly. So if we didn’t breed them, then we wouldn’t have to feed them. If we didn’t have to feed them, then we wouldn’t have to devote all this land to growing grains, and legumes, and so forth to feed to them. And so then the forests could come back. Wildlife could come back. The oceans would come back. The rivers would run clean again. The air would come back. Our health would return."

"I heard his Emperor and it was terrible. He plays so slow, ugh. Also the Waldstein. So slow."

"Serkin is the exponent of the Austro-German tradition. Arrau, also German-trained, is more eclectic—a pianist who seems to play everything from Bach to Prokofieff (he has looked at atonal and serial music as avant-garde as Boulez but has not felt impelled to play it in public)."

"Arrau is a hard pianist to categorize. Possessing a stupendous technique, he nevertheless has never used it for display purposes. He is a literalist, in that he closely examines all the texts of the music he plays and scrupulously adheres to the printed note once he has made up his mind about the version he will use. Yet he avoids the curse of literalism by putting a strong mind and a decidedly romantic piano sound into his interpretations. Perhaps he can best be described as an eclectic of the German school."

"I heard Edwin Fischer, who did not mean much to me. I heard another pianist in Berlin who had a big success and I thought he was awful — Mischa Levitzki. Just fingers, and you cannot listen only to fingers. There is a difference between artist and artisan. Levitzki was an artisan."

"French music is really very sensory, and appeals to sense of smell, taste, touch. It can be languorous, and almost erotic. Russian music is very subjective, sometimes whiny, breast-beating 'Look how I suffer, look how I suffer!'. German music is, to use your word, metaphysical. It really asks those existential questions of 'How do I relate to the Universe?', 'Is there a heaven?', 'How am I like a brook, or a leaf on a tree?'. I know this was the music that most challenged Schnabel. He said Mozart was the most inaccessible of the great masters, because with the fewest number of notes, he accesses the deepest levels of human awareness and experience."

"There are certain devices that one uses in Romantic music that are appropriate only for Romantic or subsequent music. If you take those devices and apply them to earlier music, then it’s totally inappropriate, and it makes the Classical music sound silly. However, if you were to use what you might call ‘Classical devices’ on Romantic music, historically, that would be correct! It very often benefits Romantic music, which is sometimes rather disjunctive, rather shapeless in comparison with Classical symphonic or sonata form. Romantic music very often benefits from that tighter organization that you get from Classical music."

"Speaking involves inflection, it involves an understanding of the language. Too many young people today play their instruments most wonderfully – they have such command of their instrument – but it’s as though they’re speaking a foreign language, phonetically. They pronounce all the words, but they have no idea of what they’re saying. And I think that’s one of the big differences between the great artists of the time and this level of expertise that is constantly expanding and rising. As I’ve said for a long time, the level of mediocrity is constantly rising."

"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."

"Folk music is always considered a good thing. There is a catch, however: it has to be "real" folk music, anonymous, evoking not an individual but a communal personality, expressive of the soil."

"Technical display in Chopin, after the early works, is transmuted into tone color or dramatic gesture-we may say, to accept the prejudices of Chopin's own generation, that it has been ennobled. This is the source of much of the poetry in Chopin's music: it comes from the transformation of the vulgar into something aristocratic."

"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.)"

"Chopin is the true inventor of the concert etude, at least in the sense of being the first to give it complete artistic form—a form in which musical substance and technical difficulty coincide."

"The etude is a Romantic idea. It appeared in the early nineteenth century as a new genre: a short piece in which the musical interest is derived almost entirely from a single technical problem. A mechanical difficulty directly produces the music, its charm, and its pathos. Beauty and technique are united, but the creative stimulus is the hand, with its arrangement of muscles and tendons, its idiosyncratic shape."

"Only once in Chopin's music is there a direct reference to Bach, and that is, appropriately, at the beginning of his only educational work, the two sets of Etudes, Op. 10 and 25, and the three Nouvelles Etudes for Moscheles. In the first Etude, Op. 10, in C major, we find a modernized version of the Prelude no. 1 of the Well-Tempered Keyboard..."

"Some of the Etudes in the first set, opus 10, were written by the time Chopin was twenty. It is with these pieces that Chopin's style was fully revealed in all its power and subtlety. Later works are sometimes more ambitious and, in a few cases, more audacious, but there were no radical changes of style, nothing to compare to the later revolutions we find in the careers of Haydn and Beethoven, or even in the shorter lives of Mozart and Schubert. Chopin's mastery was proven with the twelve Etudes of opus 10."

"The relation of tonic to dominant is the foundation of Western triadic tonality. The attempt of the early nineteenth century to substitute third or mediant relationships for the classical dominant amounted to a frontal attack on the principles of tonality, and it eventually contributed to the ruin of triadic tonality. This ruin was accomplished from within the system, however, as mediant relationships were essential to tonality as conceived in the eighteenth century."

"There is a paradox at the heart of Chopin's style, in its unlikely combination of a rich chromatic web of polyphony, based on a profound experience of J. S. Bach, with a sense of melody and a way of sustaining the melodic line derived directly from Italian opera. The paradox is only apparent, and it is never felt as such when one hears the music. The two influences are perfectly synthesized, and they give each other a new kind of power."

"Beethoven is the first composer to represent the complex process of memory-not merely the sense of loss and regret that accompanies visions of the past, but the physical experience of calling up the past within the present."

"It is above all through landscape that music joins Romantic art and literature."

"The most signal triumphs of the Romantic portrayal of memory are not those which recall past happiness, but remembrances of those moments when future happiness still seemed possible, when hopes were not yet frustrated."

"The song cycle is the most original musical form created in the first half of the nineteenth century. It most clearly embodies the Romantic conception of experience as a gradual unfolding and illumination of reality in place of the Classical insistence on an initial clarity. The form of Schubert's song cycle is not less precise than that of a Classical sonata, but its precision is only gradually comprehended as it unfolds."

"Chopin's exquisite ear saved him from the ugly repetition of thick chords in the bass that frequently disfigure the work of Mendelssohn, Weber, and Hummel—and even of Field."

"Chopin's mazurkas stand apart from the rest of the considerable production inspired by folk music which reaches into all forms of Romantic music; they cannot conveniently be classified with any of the other manifestations. They are not arrangements of popular folk tunes, ... He uses only fragments of melody, Polish formulas, typical national rhythms, and he combines them in his own way with great originality. From early on, Chopin's mazurkas are much more elaborate than the few modest pieces employing mazurka rhythms by Chopin's Polish predecessors, and they soon became the occasion for some of the most complex and pretentious of Chopin's forms."

"Visual delight, sentiment, and exploration become one in the new appreciation of landscape and Nature."

"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."

"Schumann's humor is rarely either witty or light: the unrealizable musical structure, the musical motto hidden and partly inaudible, must have stirred his musical fantasy."

"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."

"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."

"Nevertheless, music will not acknowledge a context greater than itself—social, cultural, or biographical—to which it is conveniently subservient. To paraphrase Goethe's grandiose warning to the scientist: do not look behind the notes, they themselves are the doctrine."

"Inaudible music may seem an odd notion, even a foolishly Romantic one—although it is partly the Romantic prejudice in favor of sensuous experience that makes it seem odd. Still, there are details of music which cannot be heard but only imagined, and even certain aspects of musical form which cannot be realized in sound even by the imagination."

"It is fitting that a discourse on Romantic music should commence with a meditation on the art of Bach. The Bach revival is still sometimes considered an early nineteenth-century phenomenon, although this is hardly tenable: in the 1780s Mozart was deeply affected by Bach, and at the same time Beethoven was being brought up on the Well-Tempered Keyboard. Bach was well known to European musicians as a composer of keyboard music through manuscript copies of this work long before systematic publication began in 1800. The "revival" of Bach in the Romantic period was basically a rediscovery of his choral works and a new evaluation of his technique: his art was no longer simply a model for the fugue, as it had been in the eyes of Mozart, but for the art of music as a whole. The new approach to Bach and to Baroque music in general, however, did not extend to the sound of that music on the original instruments. Few musicians in the 1820s and '30s 'had the slightest interest in the sonority of old harpsichords or Baroque organs (Ignaz Moscheles was an engaging exception). What they saw, and needed to see, in Bach was the achievement of an ideal."

"For Beethoven, music was still shape, realized and inflected by instrumental sonority: other realizations may be as absurd as arrangements of the Hammerklavier, for example, always are, but the musical conception takes precedence over its realization in sound. The sonority serves the music. For Schumann, however, as for Chopin and Liszt, the conception was worked out directly within the sonority as a sculptor works directly in clay or marble. The instrumental sound is shaped into music."

"I do not mean that it is not worthwhile to attempt a revision of the canon or that no success is possible. A few valuable minor changes have been made to our sense of the basic material of the history of music, and other alterations are still waiting to take hold. Gesualdo has not displaced Monteverdi or Palestrina but has won a permanent place; on the other hand, the attempt to convince us that Telemann is a major composer appears to have been abandoned. Alkan has not had the breakthrough his admirers had hoped for. Attacks on Tchaikovsky have not had much success in removing his music from the repertory; his credit with performers has not changed a bit."

"We can see that canonic status is accorded to the works of a composer not by posterity, or at least not by a posterity as distant in time as is sometimes thought; nor does it depend very much on whether the works are frequently performed for the public in every important musical center. To a certain extent, canonic status is actually built into some new works, partly by the way they impose themselves on an already substantial musical tradition. This may explain why it is so difficult to alter a firmly installed canon in any radical way, or to dislodge works that have been an integral part of it for some time."