Composers From England

"It's a life of planes and trains."

"You don't rely on a great army of people to spoon-feed you. Today's classical-music world is very self-defeating. I love the fact that all these corporations are falling apart. They're sinking millions into acts and getting it wrong. And I know why - it's not about the music, or the audiences. So in many ways this is a very encouraging time."

"I don't really go along with this sense that you sometimes pick up - that is, classical music is superior to everything else. I think classical music is a very great music form, but I can also think of other great music forms. And certainly within each field, you have absolute geniuses operating. Over the years, I've tried to bring together different people from different fields, and I do try to put Bach and Beethoven next to other types of musicians."

"If you want a nine-to-five existence with weekends off then don't be a musician. I wouldn't be doing what I'm doing now if I had children. But it hasn't worked out like that."

"I know I get up people's noses," "Everyone wants to pigeonhole you. Early on in my career I somehow got labelled 'Bach, John Cage and a bit of jazz'. But the fact that I love to play Beethoven, too, really infuriates people. It doesn't fit. They can't make sense of it. The received wisdom is that you can't possibly do all these things without it sounding terrible or crass or just plain wrong."

"I tour a bit in America and a lot in Europe, Holland especially, where they have this forward-looking music scene because they got through the barriers 15 years ago. They gobble up the things I do. I go to the Far East - I like working with the orchestra in Singapore - but my favourite places tend to be the ones where it's more than turning up and doing a big concert. Next month I go to the Sydney Festival, where I've persuaded them to do the Lou Harrison concerto. As penance, though I don't mind it, I have to play the Gershwin concerto in the first half. And I hope to return year after year to South Africa, where I've been with the National Symphony Orchestra into Soweto. Education work is being done there for the first time. Previously they had never bothered to find new audiences, and now they are staring into an abyss which we may face too. Events there are a fast-forward version of what could happen here."

"I quite like shutting the door, putting the answering machine on and sitting at the piano for six or seven hours."

"As a musician you can cover everything. I'm not just a concert pianist."

"Once you start cancelling, there's always something which is not quite right."

"Memory is the fear, and I play most of my repertoire from memory."

"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."

"I want to move away from complexity. I've done my time as far as virtuosity and piles of notes are concerned. It's what puts me off a lot of contemporary classical music - there are so many notes. In fact, I think I'm moving away from classical music altogether. I'm not sure that in 10 years' time I'll be playing it at all."

"I've played Bach since I was a little girl. I can't let a day go by without playing him. He's so witty and secretive and funny and mathematical and brilliant."

"I got my apprenticeship, with the Young Concert Artists Trust, playing all these warhorses in Raymond Gubbay concerts. Some are not for me anymore, but I'd still play the Grieg at the drop of a hat; it's so fresh. I'm very careful to keep on playing a lot of mainstream repertoire. I'm not into being the court jester who just does the wacky stuff. Making the connections and taking people down new paths is what I enjoy."

"The portrait placed as a frontispiece is after a crayon drawing by [James Rannie Swinton], and is an excellent likeness."

"My elder sister Mrs. Blackwood is delicate, but has all the talent which you know how to prize, for literary composition; and is very musical besides."

"There was much beauty at Rome at that time; no one who was there can have forgotten the beautiful and brilliant Sheridans. I recollect Lady Dufferin at the Easter ceremonies at St. Peter's, in her widow's cap, with a large black crape veil thrown over it, creating quite a sensation. With her exquisite features, oval face, and somewhat fantastical head-dress, anything more lovely could not be conceived; and the Roman people crowded round her in undisguised admiration of "la bella monaca Inglese." Her charm of manner and her brilliant conversation will never be forgotten by those who knew her."

"It has thine own dear playful look— Thy smile! thy sun-bright hair! Thy brow—so like a holy book With sweet thoughts written there! The full, soft lids, half-raised above Those blue and dreamy eyes, Within whose gaze of trusting love No fear—no falsehood lies! Like lonely lakes of Heaven's pure rain Reflecting only Heaven again."

"The Sheridans are much admired but are strange girls, swear and say all sorts of things to make men laugh. I am surprised so sensible a woman as Mrs. Sheridan should let them go on so. I suppose she cannot stop the old blood coming out."

"Rest now—and weep—thou praised of Earth! And own, when all is done, A world's false worship is not worth The deep tried love of one."

"Oh, Bay of Dublin! How my heart you're troublin', Your beauty haunts me like a fever dream; Like frozen fountains, that the sun sets bubblin' My heart's blood warms when I but hear your name."

"Thou mourner for departed dreams! On earth there is no rest When grief hath troubled the pure streams Of memory in thy breast!"

"There is nothing like her—I mean as to agreeability, for I hold myself quite valuable as a companion in the long run, but I don't think I am fit to whisk the dust off her satin slipper in general society."

"This dinner, although merely a family one, was one of the pleasantest I have been at. When there is one such person at table as Lady Dufferin, of course it makes all the difference. She has known everybody, and tells peppery anecdotes, strikes out little portraits, and talks on grave and gay subjects with the same animation and brilliancy. Then, she paints beautifully, having adorned the panels of her own boudoir with her own pencil, and is perpetually writing clever verses. When well dressed, she is very pretty, but she never could have had the beauty of [her sister] Mrs. Norton, who has the head of a classic Muse and the eyes of a sibyl."

"Do, Car, open your eyes (and shut your mouth) and see that this is not our old world when we were all young, handsome women, much observed and talked of, and that you are no longer an ideal of Vanity Fair."

"That last day at Clandeboye was full of sweet and bitter thoughts to me. I walked round the lake, and took leave of all the old (and new!) places. ... I had a poignant thought of regret in thinking I should see them no more (at least with my earthly eyes), for I have occasional happy fancies of some sort of spiritual presence with those we love that may be permitted after death, and, if so, how continually I shall be with my darling—alone, or in company—in your walks, or by your fireside—the fervor of my love, my blessing, my whole soul, will surely encompass you!"

"I'm very lonely now, Mary,— The poor make no new friends;— But, oh! they love the better still The few our Father sends"

"I'm sitting on the stile, Mary, Where we sat side by side, That bright May morning long ago When first you were my bride. The corn was springing fresh and green, The lark sang loud and high, The red was on your lip, Mary, The love-light in your eye."

"I am persuaded one ought not to set one's heart earnestly on any one pursuit in this world, if one wishes to preserve any of the energy of youth beyond its first years."

"I think the Old Bailey is a charming place. We were introduced to a live Lord Mayor, and I sat between two sheriffs. The common sergeant talked to me familiarly, and I am not sure that the Governor of Newgate did not call me "Nelly." [...] We have seen a great deal of life, and learned a great deal of the criminal law of England this week—knowledge cheaply purchased at the cost of all my wardrobe and all my mother's plate. We have gone through two examinations in court; they were very hurrying and agitating affairs, and I had to kiss either the Bible or the magistrate, I don't recollect which, but it smelled like thumbs."

"I am what Doctor Johnson would call a "compendious epitome" of all the virtues—in one volume very neatly bound, and very rare—there being but one copy extant."

"Rumor has reached me that my private and confidential communications to you have been publicly bandied about, after a banquet at your house, and commented on by astute Diplomats and persons of that dangerous description. I therefore write this in illegible character, trusting that not even you will be able to read it, to ask you to dine at my inhospitable board on Wednesday the 21st, when I shall take care that there shall be nothing to eat. Fondly hoping that you will not be able to come, I remain, with best execrations, your enemy for life,"

"In short, the world owns that we are the best-looking family in England and we are pretty well disposed to agree."

"You see Georgy’s the beauty and Carry’s the wit, and I ought to be the good one, but then I am such a liar."

"Surely it is hardly worthwhile to take up a pursuit merely to please other people."

"I'm bidding you a long farewell, My Mary—kind and true! But I'll not forget you, darling, In the land I'm going to. They say there's bread and work for all, And the sun shines always there; But I'll not forget old Ireland, Were it fifty times as fair."

"What a spirit of contradiction possesses one's kind friends! I, who have never done anything, am supposed to be capable of doing much; it is a great lesson, which I shall lay to heart. I will never give the measure of my shallowness; I will go on laboring in my vocation; I will "do nothing" more energetically than ever."

"In the days when we went gypsying A long time ago; The lads and lassies in their best Were drest from top to toe."

"Lambert, who admired Duke Ellington and proclaimed his harmonic roots in Frederick Delius (who in his turn had taken them from Debussy), was a fearless reconciler of what the academies and Tin Pan Alley alike presumed to be eternally opposed…In 1972, on a plane from New York to Toronto, I found myself sitting next to Duke Ellington, who spoke almost with tears in his eyes of the stature of Lambert."

"Even in his palmiest days there were good friends who could stand only limited stretches of the Lambert barrage of ideas, jokes, fantasy, quotations, apt instances, things that had struck him as he walked through London, not because these lacked quality, on the contrary because the mixture was after a while altogether too rich."

"It is only comparatively primitive machinery that affords a stimulus, and there is already a faint period touch about Pacific 231 and Le Pas d'Acier. One feels…that Prokofieff should have written ballets about the spinning jenny and the Luddite riots; that Honegger should have been there to celebrate the opening of the Stockton and Darlington Railway and the death of Huskisson with a "Symphonie Triomphale et Funèbre"."

"There is a definite limit to the length of time a composer can go on writing in one dance rhythm (this limit is obviously reached by Ravel towards the end of La Valse and towards the beginning of Bolero)."

"Once embarked on a course of sensationalism, the composer is forced into a descending spiral spin from which only the most experienced pilot can flatten out in time."

"The composer is now faced, not with further experiment but with the more difficult task of consolidating the experiments of this vertiginous period. He is like a man in a high-powered motor-car that has got out of control. He must either steer it away from the cliff's edge back to the road or leap out of it altogether. Most modern composers have chosen the latter plan, remarking, as they dexterously save their precious lives: "I think motor-cars are a little vieux jeu – don't you?""

"To the seeker after the new, or the sensational, to those who expect a sinister frisson from modern music, it is my melancholy duty to point out that all the bomb throwing and guillotining has already taken place."

"Revolutionaries themselves are the last people to realize when, through force of time and circumstance, they have gradually become conservatives. It is scarcely to be wondered at if the public is very nearly as slow in the uptake."

"Nothing is so common as to see a political upheaval pass practically unnoticed merely because the names of the leaders and their parties remain the same."

"Music, from being an ordered succession of sounds, has become a matter of "sonorities", and anyone who can produce a brightly coloured brick of unusual shape is henceforth hailed as an architect."

"The whole trouble with a folk song is that once you have played it through there is nothing much you can do except play it over again and play it rather louder. Most Russian music, indeed, consists in ringing changes on this device, skilfully disguised though the fact may be."

"The Appalling Popularity of Music."