Bach Piano Quotes

Did Bach ever eat pancakes at midnight?

Jan had always been a good pianist, and now he was the finest in the world.

Montesquieu wrote: "I have never known any distress that an hour of reading did not relieve." If one substituted the word music for reading, the exact same dictum applied to me.

The search for a proper tempo is not confined to the world of music - one must seek it in life as well

At the end of our visit, Fleisher agreed to play something on my piano, a beautiful old 1894 Bechstein concert grand that I had grown up with, my father's piano. Fleisher sat at the piano and carefully, tenderly, stretched each finger in turn, and then, with arms and hands almost flat, he started to play. He played a piano transcription of Bach's "Sheep May Safely Graze," as arranged for piano by Egon Petri. Never in its 112 years, I thought, had this piano been played by such a master-I had the feeling that Fleisher has sized up the piano's character and perhaps its idiosyncrasies within seconds, that he had matched his playing to the instrument, to bring out its greatest potential, its particularity. Fleisher seemed to distill the beauty, drop by drop, like an alchemist, into flowing notes of an almost unbearable beauty-and, after this, there was nothing more to be said.

But most of the time, with a contented resignation that comes normally to a man only at the end of a long and busy life, he sat before the keyboard and filled the air with his beloved Bach. Perhaps he was deceiving himself, perhaps this was some merciful trick of the mind but now it seemed to Jan that this what he had always wished to do. His secret ambition had at last dared to emerge into the full light of consciousness. Jan had always been a good pianist, and now he was the finest in the world.

Acknowledge diversity and you will achieve unity. (Rabindranath Tagore)

A lot of habitually creative people have preparation rituals linked to the setting in which they choose to start their day. By putting themselves into that environment, they start their creative day. The composer Igor Stravinsky did the same thing every morning when he entered his studio to work: He sat at the piano and played a Bach fugue. Perhaps he needed the ritual to feel like a musician, or the playing somehow connected him to musical notes, his vocabulary. Perhaps he was honoring his hero, Bach, and seeking his blessing for the day. Perhaps it was nothing more than a simple method to get his fingers moving, his motor running, his mind thinking music. But repeating the routine each day in the studio induced some click that got him started. In the end, there is no ideal condition for creativity. What works for one person is useless for another. The only criterion is this: Make it easy on yourself. Find a working environment where the prospect of wrestling with your muse doesn't scare you, doesn't shut you down. It should make you want to be there, and once you find it, stick with it. To get the creative habit, you need a working environment that's habit-forming. All preferred working states, no matter how eccentric, have one thing in common: When you enter into them, they compel you to get started.

It is not a mechanical routine but something essential to my daily life. I go to the piano, and I play two preludes and fugues of Bach. I cannot think of doing otherwise. It is a sort of benediction on the house. But that is not its only meaning for me. It is a rediscovery of the world of which I have the joy of being a part. It fills me with awareness of the wonder of life, with a feeling of the incredible marvel of being a human being. The music is never the same for me, never. Each day is something new, fantastic, unbelievable. That is Bach, like nature, a miracle!

Everything was burning. Today it was the bodies; tomorrow it would be the spirit.

Therefore the stiff and unbending is the disciple of death. The gentle and yielding is the disciple of life.

The best man is like water. Water is good, it benefits all things and does not compete with them. It dwells in lowly places that all disdain. This is why it is so near to Tao.

Bach’s Goldberg Variations or Well-Tempered Clavier? Beethoven’s late piano sonatas, and his brave, and charming, Third Concerto?

time can bring about eventually supplants human justice. Chinese philosophers have an expression for this: bu de liao—knowing when to leave the past behind, instead of endlessly seeking revenge. On

My favorite kind of darkness is the one inside us, I want to tell him. &: I like the way your apron makes it look like you’re ready for war. I too am ready for war. Given another chance, I’d pick the life where I play the piano in a room with no roof. Broken keys, Bach sonata like footsteps fast down the stairs as my father chases my mother through New England’s endless leaves. Maybe I saw a boy in a black apron crying in a Nissan the size of a monster’s coffin & knew I could never be straight. Maybe, like you, I was one of those people who loves the world most when I’m rock-bottom in my fast car going nowhere.

When you think you are descending, you are climbing, but you do not know it. When you think you are climbing, in reality you are descending. Keep working and one day, without expecting it, you will achieve your desire.

The Chinese are well acquainted with this way of seeing things; they often use the image of water to illustrate it. To see down to the bottom of a lake, the water must be calm and still. The calmer the water, the farther down one can see. The exact same thing is true for the mind—the more tranquil and detached one is, the greater the depths one can plumb.

the modern relationship between software and hardware is essentially the same as that between music and the instrument or voice that brings it to life. A single computer can transform itself into the cockpit of a fighter jet, a budget projection, a chapter of a novel, or whatever else you want, just as a single piano can be used to play Bach or funky blues.

Dr. Lecter toyed with his food while he wrote and drew and doodled on his pad with a felt-tipped pen. He flipped over the cassette in the tape player chained to the table leg and punched the play button. Glenn Gould playing Bach’s Goldberg Variations on the piano. The music, beautiful beyond plight and time, filled the bright cage and the room where the warders sat.

For a whole fortnight my mind and my fingers have been working around me like two lost souls. Homer, the Bible, Plato, Locke, Byron, Hugo, Lamertine, Chateaubriand, Beethoven, Bach, Hummel, Mozart, Weber are all around me. I study them, meditate on them, devour them with fury; besides this, I practise four to five hours a day of exercises (thirds, sixths, octaves, tremolos, repetition of notes, cadenzas, etc.). Ah! provided I don't go mad you will find me an artist!

I can whistle almost the whole of the Fifth Symphony, all four movements, and with it I have solaced many a whining hour to sleep. It answers all my questions, the noble, mighty thing, it is “green pastures and still waters” to my soul. Indeed, without music I should wish to die. Even poetry, Sweet Patron Muse forgive me the words, is not what music is. I find that lately more and more my fingers itch for a piano, and I shall not spend another winter without one. Last night I played for about two hours, the first time in a year, I think, and though most everything is gone enough remains to make me realize I could get it back if I had the guts. People are so dam lazy, aren’t they? Ten years I have been forgetting all I learned so lovingly about music, and just because I am a boob. All that remains is Bach. I find that I never lose Bach. I don’t know why I have always loved him so. Except that he is so pure, so relentless and incorruptible, like a principle of geometry.

What does it mean, you see, that the first ting every American child knows about Germany is Hitler? What if the first thing you knew was something else? And maybe some people would say that now it's important, after the Second World War, it's ethical and vital that Hitler is the first thing a child knows. But someone else can argue the opposite. And what would it do, how would it change things, if nobody were allowed to know anything about Hitler, about the war, about any of it, until first they learned about Brahms, Beethoven, and Bach, about Hegel and Lessing and Fichte, about Schopenhauer, about Rilke - but all this, you had to know first. Or one thing only, the Brahms Piano Quintet in F Minor, or the Goldberg Variations, or Laocoon - one of those things you had to know and appreciate before you leaned about the Nazis." "But the world doesn't work like that." "No, it doesn't." He smiled in that vague way, as if amused by a joke only he had heard. "But what does it mean that it doesn't? And what would it mean if it did?

Je pense de manière toujours plus intense–et plus résignée–à ces deux Roumains, sinon ignorés, à tout le moins restés quasi anonymes : Enescu et Lipatti. Quand on parle d’eux, la plupart du temps, on évoque les interprètes. Et même dans ce cas, peu de Français savent ou acceptent que leur façon d’interpréter Bach, Mozart, Chopin (et pas seulement), il y a un demi-siècle, était aussi novatrice que juste. La meilleure preuve, c’est qu’aujourd’hui on revient à leur vision de Bach, de Mozart et de Chopin. Mais, si l’on se souvient du compositeur Enescu une fois de temps en temps, personne n’a gardé le souvenir de Lipatti. Et surtout pas de son sublime, de son extraordinaire (je mesure mes qualificatifs) Concert pour orgue et piano. Quand a-t-il été écrit ? Dédié à Nadia Boulanger–elle devait jouer la partie d’orgue –, il a sans doute été composé au cours de la première moitié des années quarante. (p. 37)

yes, I know, you wouldn’t get anything for your cello and flute and piano lessons, but at least you’d eat every day, child, Garçon Fleur, you remember that don’t you, that’s what they called you when people came from all around to hear you play a Bach sonata on the piano or conduct a jazz band that Garçon Fleur is dead though, just a fake, an illusion the boy murmured sombrely, or perhaps he didn’t and the words simply weighed on his lips and forehead without the strength to force them out of the unseeing shade inside the hood pulled all the way down to his brows; and soon night would fall, time for him to fall asleep like Petites Cendres, his dog stretched out beside him and the flute hidden in the folds of his coat, sleep, thought Fleur, just so I don’t hear or see them anymore, at least not till tomorrow, so even if I play well on any instrument, just a fake, an illusion, it’s because I love it that I can’t get free, now it’s become merely a mechanical longing for the loftiest sounds possible,

I missed my workout this morning, so I vault up the stairs to my flat. Breakfast has taken longer than intended, and I'm expecting Oliver at any minute. Part of me also hopes that Alessia will still be there. As I approach my front door, I hear music coming from the flat. Music? What's going on? I slide my key into the lock and cautiously open the door. It's Bach, one of his preludes in G Major. Perhaps Alessia is playing music through my computer. But how can she? She doesn't know the password. Does she? Maybe she's playing her phone through the sound system, though from the look of her tatty anorak she doesn't strike me as someone who has a smartphone. I've never seen her with one. The music rings through my flat, lighting up its darkest corners. Who knew that my daily likes classical? This is a tiny piece of the Alessia Demachi puzzle. Quickly I close the door, but as I stand in the hallway, it becomes apparent that the music is not coming from the sound system. It's from my piano. Bach. Fluid and light, played with a deftness and understanding I've only heard from concert-standard performers. Alessia? I've never managed to make my piano sing like this. Taking off my shoes, I creep down the hallway and peer around the door into the drawing room. She is seated at the piano in her housecoat and scarf, swaying a little, completely lost in the music, her eyes closed in concentration as her hands move with graceful dexterity across the keys. The music flows through her, echoing off the walls and ceiling in a flawless performance worthy of any concert pianist. I watch her in awe as she plays, her head bowed. She is brilliant. In every way. And I'm completely spellbound. She finishes the prelude, and I step back into the hall, flattening myself against the wall in case she looks up, not daring to breath. However, without missing a beat she goes straight into the fugue. I lean against the wall and close my eyes, marveling at her artistry and the feeling that she puts into each phrase. I'm carried away by the music, and as I listen, I realize that she wasn't reading the music. She's playing from memory. Good God. She's a fucking virtuoso. And I remember her intense focus when she examined my score while she was dusting the piano. Clearly she was reading the music. Shit. She plays at this standard and she was reading my composition? The fugue ends, and seamlessly she launches into another piece. Again Bach, Prelude in C-sharp Major, I think.

That's about when it happens. Coming down the escalator from one Nord floor to the next we see Little Teena has commandeered the grand piano. He's busy busting out Bach to all the bewildered shoppers. Little Teena just doesn't look for Nordstromy sitting there, with his red hair slick up in a pompadour, his girth squeezing out between his black leather jacket and the lip of his jeans, gumball machine rings decorating every single one of his fingers. But it's hen he goes from Bach to Great Balls of Fire that we attract the attention of the Nordfuck's militia.

Young Shostakovich-Mitya-was nine, relatively old, when he began piano lessons. His first instructor was his mother, who, when she saw his rapid progress, took him to a piano teacher. The following conversation was a favorite family story: "I've brought you a marvelous pupil!" "All mothers have marvelous children...." Within two years he played all the preludes and fugues in Bach's Well-Tempered Clavier. It was clear that he was exceptionally gifted.

Bach—Prelude in C, No. 1 in The Well-Tempered Clavichord Beethoven—Minuet in G Chopin—Prelude in A, Op. 28, No. 7 Grieg—Nocturne in C, Op. 54, No. 4 MacDowell—To a Wild Rose Bach—Two-Part Invention No. 1 Chopin—Mazurka in A minor, Op. 68? No. 2 Chopin—Prelude in E minor, Op. 28, No. 3 Navarro—Spanish Dance (often played as an encore by Jose Iturbi) Cyril Scott—Lento Bach—Two-Part Invention No. 13 Beethoven—Album Leaf, “For Elise” Godowsky—Alt Wien Granados-—Play era Mendelssohn—Consolation (Song Without Words No. 9) Chopin—Etude in A flat (posthumous) Chopin—Prelude in B minor, Op. 28, No. 6 Chopin—Prelude in D flat, Op. 28, No. 15 Mendelssohn—Confidence (Song Without Words No. 9) Schumann—Warum? Chopin—Nocturne in E minor, Op. 72, No. 1 Debussy—La Fille aux cheveux de lin Liszt—Consolation No. 3 Palmgren—May Night Schumann—The Prophet Bird

Albeniz—Malagneña 2. Bach—Gavotte and Musette in G minor 3. Bach—Gigue from the B-flat Partita 4. Bach—Two-Part Invention No. 8 5. Brahms—Intermezzo in C, Op. 119, No. 3 6. Brahms—Rhapsody in G minor 7. Chopin—Etude in C minor, Op. 25 8. Chopin—Mazurka in A minor, Op. 68, No. 2 9. Chopin—Waltz in E minor 10. Debussy—Clair de lune 11. Debussy—La Fille aux cneveux de lin 12. Debussy—Minstrels 13. Grieg—Nocturne in C, Op, 54, No. 4 14. Ibert—The Little White Donkey 15. Liszt—Consolation No.3 16. Mendelssohn—Scherzo in E minor 17. Navarro—Spanish Dance 18. Palmgren—May Night 19. Poulenc—Perpetual Motion 20. Schumann—Arabeshe 21. Schumann—Des Abends 22. Schumann—The Prophet Bird 23. Schumann—Warumf 24. Cyril Scott—Lotus, Land 25. Cyril Scott—False Caprice

Bach-Busoni—Choral Prelude I Call on Thee? Lord 27. Bach-Busoni—Fantasie, C minor 28. Bach-Hess—Choral Prelude Jesu, Joy of Man's Desiring 29. Beethoven—Variations in C minor 30. Brahms—Intermezzo, B-flat minor 31. Brahms—Intermezzo in E 32. Chopin—Berceuse 33. Chopin—Écossaises 34. Chopin—Mazurka in A minor, Op. 41, No. 2 35. Chopin—Nocturne, F sharp 36. Chopin—Prelude Op. 45 37. Chopin—Scherzo, B minor 38. Chopin—Scherzo, B-flat minor 39. Chopin—Waltz in C-sharp minor 40. Chopin-Liszt—Chant polonais (Moja pieszczoiha) * 41. Debussy—Cathédrale engloutie 42. Debussy—Danseuses de Delphes 43. Debussy—Prelude (from the suite Pour le piano) 44. Debussy—Reflets dans l'eau 45. Griffes—The White Peacock 46. Handel—The Harmonious Blacksmith 47. Mozart—Sonata in F (Köchel listing 300K) 48. Rachmaninoff—Prelude in G 49. Schubert-Liszt—False Caprice No. 6 50. Scriabin—Flammes sombres

Various musicians consented here and there to give the young boy lessons, but in 1781, Ludwig officially became the pupil of Christian Gottlob Neefe, the new court organist. This relationship opened up Ludwig’s first great responsibility in 1782, when Neefe temporarily traveled elsewhere, leaving his duties as organist for religious services to Ludwig. The boy had to play twice every day for the Catholic masses in addition to other special services. In 1783, the busy Neefe also asked Ludwig to take his place in playing the harpsichord (another instrument similar to a piano) for rehearsals of the court orchestra. Neefe had stretched Ludwig’s capabilities by requiring him to practice the works of Johann Sebastian Bach. Now Ludwig would have to read and play a variety of complicated musical pieces, further expanding his musical education. In addition, Beethoven began producing noteworthy compositions of his own. It was not until 1784, however, that Ludwig was officially appointed as Neefe’s assistant as court organist and finally began receiving a small salary. At last, he could help to financially support his family with his music, the purpose toward which his father had groomed him practically from babyhood. In 1787, at 16 years of age, Beethoven was sent to Vienna, Austria, to study under the musical master, Amadeus Wolfgang Mozart. It is not known whether he was able to receive lessons from Mozart, though some say that he was instructed by him in musical composition. Unfortunately, Beethoven’s mother became seriously ill with tuberculosis, and he had to hurry home from Vienna to say goodbye before her death at 40 years of age.

I have witnessed many men Silently weeping In the night (Tang Qi, “The Solemn Hour”) There

I didn’t know how to read. Mother was my library. I read mother One day The world will be at peace Man will be able to fly Wheat will sprout in the snow Money will have no purpose (…) But in the meantime Mother says We have to work a lot. (Lu Yuan, Fairy Tales) A

When Viktor and Sofia sit down at the piano, do they play Mussorgsky, Mussorgsky, and Mussorgsky? No. They play Bach and Beethoven, Schubert and Brahms, while at Carnegie Hall the audience responds to Horowitz’s performance of Tchaikovsky with thunderous applause.

You are cheating Beethoven,” he said to a student who had altered a difficult passage to make it easier to play. “But you are also cheating yourself—and God!

The invention of the piano was necessary for Bach to create his symphonies,

Whether you love Bach or would rather listen to a composition produced by Kulitta Software, Bach has and will continue to demand the we approach and answer the question, 'what is the art, science and language of music?

Bach's simple and basic themes ultimately engage and appeal to my adolescent side while the seemingly complex arrangements, though perhaps patronizingly in some cases, also reflect my juvenile perception of what looks and sounds 'grown-up,' intelligent, refined and sophisticated. There were few composers and musicians in my youth that I could say understood me and really got me, almost all were classical. J. S. Bach was one one of them.

If Glenn related to anything outside of music, it was animals. When he bicycled through the countryside near his parents’ lakeside vacation cottage outside of Toronto, he sang to the cows. His pets included rabbits, turtles, a fully functioning skunk, goldfish named Bach, Beethoven, Chopin, and Haydn, and a parakeet named Mozart. There was also a series of beloved dogs: a big Newfoundland named Buddy, an English setter named Sir Nickolson of Garelocheed—or Nick for short—and, later, Banquo, a collie. One of Glenn’s childhood dreams was to someday create a preserve for old, injured, and stray animals on Manitoulin Island, north of Toronto, where he wanted to live out his old age by himself, surrounded by animals.

Gould’s playing evoked a visceral response from people who had never thought to stop and really listen to classical music. There was something about the silence between and behind each note, the richness of the different voices, that captured the imagination and caused listeners to feel that their lives had been deepened and enhanced. Thousands of people over the years had heard Gould’s best-selling 1955 recording of Bach’s Goldberg Variations—the little air and its thirty virtuosic variations—and became lifelong fans.

The Cultural Revolution scarred me for life. Each morning when I get up, I wonder how I can go on living, how I can find peace after what I have experienced. The legacy of that period has left me with a severe psychological handicap. The sessions of

But what better proof of music’s universality that a Chinese woman was able to win over a South American man while performing a European composer?

Richard had sold Gillian's piano. He'd offered to ship it out to California, but neither Jess nor Emily played. Emily had quit her lessons at "Streets of Laredo" and Jess only got as far as "The Teddy Bears' Picnic." They had Gillian's jewelry, but she hadn't collected much. She had never liked necklaces or earrings. In fact, she'd never pierced her ears. She'd preferred a rosebush or two for her birthday, or a standing mixer. "This is very sticky dough," she would tell Emily as she rolled it out. "It's very difficult to work with this dough, because it's so short. You see?" She dusted the rolling pin and board with more flour and rolled briskly, as if to tame the stiff pastry, which she then cut into circles with an overturned teacup, or filled with honeyed poppy seeds, or spread into a glass pan to bake a cake with luscious prunes, their sweetness undercut with lemon. Nothing too sweet. That was the secret. Gillian said as much to Emily in her "Sixteenth Birthday" letter. 'Don't doctor recipes. More is less, and sugar will only get you so far.

Their mother had white hands, long tapered fingers, and when she kneaded dough, her wedding ring clinked against the bowl. She was always singing softly as she played the piano with her white hands. She accompanied Emily's dance recitals and she could play anything, but Chopin was the one that Gillian loved. She played Chopin every night, and when she turned the pages, she wasn't really looking at the music. She knew the saddest Waltzes by heart. The saddest were the ones that she knew best, and she would play at bedtime, so falling asleep was like drifting off in autumn forests filled with golden leaves.

Adagio for Strings by Samuel Barber Symphony Number 5 by Gustav Mahler “O mio babbino caro” from Giannia Schicchi by Puccini The Spruce, Op. 75 by Jean Sibelius Appalachian Spring by Aaron Copeland New World Symphony by Antonin Dvorak Piano Concerto in A Minor by Edvard Grieg Mephisto Waltz by Franz Liszt Cello Suite No. 1 in G Major by Johann Sebastian Bach Cello Sonata in G Minor, Op. 65 by Frederic Chopin

No. It comes from the breath, the place from which life and the spirit originate. Try to breathe correctly, and take care that your feet are placed solidly on the ground and that your diaphragm is steady. You’ll see that you are much less tense. If you are more flexible, in reality you will be stronger.

You can feel it, Zhu Xiao-Mei. The listener can hear it.

but I couldn’t wait. I wanted to leave immediately, to flee. Forever.

Ce que cherchait Glenn Gould dans la musique de BACH, par son jeu staccatissimo - et les innombrables commentateurs ne l'ont pas vu - ce n'est rien d'autre que la lisibilité des voix contrapuntiques de ladite musique. En d'autres termes, Gould voulait rendre le plus nettement possible la spécificité de chacune des voix qui composent, par exemple, une fugue. La forme-fugue incarnant la quintessence de la musique du Kantor. Hélas, cela était impossible, comme c'est impossible pour tout instrument à clavier dont la nature sonore, l'identité sonore, est trop uniforme, le piano en tête ! L'orgue a bien quelques sonorités (jeux) à sa disposition, mais ce la ne suffit pas. La seule solution pour rendre aussi fidèlement que possible l'esprit contrapuntique de la musique de BACH, c'est de transcrire sa musique pour divers instruments ayant chacun une voix - une sonorité - très identifiable. C'est ce que j'ai modestement tenté par le moyen de diverses formations musicales (trios, quartets, quintets...) inventées spécialement à cette fin, savoir, redonner vie aux différentes voix du contrepoint. Un unique instrument ne pourra jamais même s'approcher de l'essence du contrepoint : il erre dans les limbes de l'harmonie et ne peut atteindre à aucune horizontalité - linéarité - des voix. Glenn Gould, cet anachorète des studios, n'a de cesse de chercher par quel biais technologique on pourrait rendre lisible ce fameux agencement des voix. Il se heurte à un problème de départ, insoluble : le son uniforme du piano. Ergo, cet instrument est sans aucun doute le dernier, avec le clavecin, qui convienne à la musique de BACH. Il existe, Dieu merci, d'autres compositeurs dont la musique ne pose pas le problème de la superposition de voix contrapuntiques purement linaires. L'ironie du sort voulut que Gould jouât du piano et ne goûtât pas Chopin, lequel était pourtant le seul qui a écrit - à ce jour - un musique qui épouse totalement la sonorité même du piano.

Bach, he [Suvorin] said, was a person's best ally in the battle against despair, against the thought of how immeasurably great one's solitude is in the endlessness of the universe.

As a young revolutionary, this was a painful lesson for me: if you wanted to survive in this country, you’d best not be honest.

The point is not to take a middle path that is a type of compromise resulting from a refusal to choose extremes. Rather, it is about finding a point of equilibrium that allows one to bring out every dimension of the work.

When I am stuck in writing a book, when I am stuck in a problem in life, if I go to the piano and play Bach for an hour, the problem is usually either resolved or accepted.