Famous Pianist Quotes

Once she called to invite me to a concert of Liszt piano concertos. The soloist was a famous South American pianist. I cleared my schedule and went with her to the concert hall at Ueno Park. The performance was brilliant. The soloist's technique was outstanding, the music both delicate and deep, and the pianist's heated emotions were there for all to feel. Still, even with my eyes closed, the music didn't sweep me away. A thin curtain stood between myself and pianist, and no matter how much I might try, I couldn't get to the other side. When I told Shimamoto this after the concert, she agreed. "But what was wrong with the performance?" she asked. "I thought it was wonderful." "Don't you remember?" I said. "The record we used to listen to, at the end of the second movement there was this tiny scratch you could hear. Putchi! Putchi! Somehow, without that scratch, I can't get into the music!" Shimamoto laughed. "I wouldn't exactly call that art appreciation." "This has nothing to do with art. Let a bald vulture eat that up, for all I care. I don't care what anybody says; I like that scratch!" "Maybe you're right," she admitted. "But what's this about a bald vulture? Regular vultures I know about--they eat corpses. But bald vultures?" In the train on the way home, I explained the difference in great detail.The difference in where they are born, their call, their mating periods. "The bald vulture lives by devouring art. The regular vulture lives by devouring the corpses of unknown people. They're completely different." "You're a strange one!" She laughed. And there in the train seat, ever so slightly, she moved her shoulder to touch mine. The one and only time in the past two months our bodies touched.

Because playing Schuberts’s piano sonatas well is one of the hardest things in the world. Especially this, the Sonata in D Major. It’s a tough piece to master. Some pianists complain one or maybe two of the movements perfectly, but if you listen to all four movements as a unified whole, no one has ever nailed it. A lot of famous pianists have tried to rise to the challenge, but it’s like there’s always something missing. There’s never one where you can say, Yes ! He’s got it! - Oshima

Funnel The family story tells, and it was told true, of my great-grandfather who begat eight genius children and bought twelve almost-new grand pianos. He left a considerable estate when he died. The children honored their separate arts; two became moderately famous, three married and fattened their delicate share of wealth and brilliance. The sixth one was a concert pianist. She had a notable career and wore cropped hair and walked like a man, or so I heard when prying a childhood car into the hushed talk of the straight Maine clan. One died a pinafore child, she stays her five years forever. And here is one that wrote- I sort his odd books and wonder his once alive words and scratch out my short marginal notes and finger my accounts. back from that great-grandfather I have come to tidy a country graveyard for his sake, to chat with the custodian under a yearly sun and touch a ghost sound where it lies awake. I like best to think of that Bunyan man slapping his thighs and trading the yankee sale for one dozen grand pianos. it fit his plan of culture to do it big. On this same scale he built seven arking houses and they still stand. One, five stories up, straight up like a square box, still dominates its coastal edge of land. It is rented cheap in the summer musted air to sneaker-footed families who pad through its rooms and sometimes finger the yellow keys of an old piano that wheezes bells of mildew. Like a shoe factory amid the spruce trees it squats; flat roof and rows of windows spying through the mist. Where those eight children danced their starfished summers, the thirty-six pines sighing, that bearded man walked giant steps and chanced his gifts in numbers. Back from that great-grandfather I have come to puzzle a bending gravestone for his sake, to question this diminishing and feed a minimum of children their careful slice of suburban cake.

When I drive I like to listen to Schubert's piano sonatas with the volume turned up. Do you know why?' 'I have no idea.' 'Because playing Schubert's piano sonatas well is one of the hardest things in the world. Especially this, the Sonata in D Major. It's a tough piece to master. Some pianists can play one or maybe two of the movements perfectly, but if you listen to all four movements as a unified whole, no one has ever nailed it. A lot of famous pianists have tried to rise to the challenge, but it's like there's always something missing. There's never one where you can say, Yes! He's got it! Do you know why?' 'No,' I reply. 'Because the sonata itself is imperfect. Robert Schumann understood Schubert's sonatas well, and he labeled this one "Heavenly Tedious."' "If the composition's imperfect, why would so many pianists try to master it?' 'Good question,' Oshima says, and pauses as music fills in the silence. 'I have no great explanation for it, but one thing I can say. Works that have a certain imperfection to them have an appeal for that very reason―or at least they appeal to certain types of people. Just like you're attracted to Soseki's The Miner. There's something in it that draws you in, more than more fully realized novels like Kokoro or Sanshiro. You discover something about that work that tugs at your heart―or maybe we should say the work discovers you. Schubert's Sonata in D Major is sort of the same thing.' 'To get back to the question,' I say, 'why do you listen to Schubert's sonatas? Especially when you're driving?' 'If you play Schubert's sonatas, especially this one straight through, it's not art. Like Schumann pointed out, it's too long and too pastoral, and technically too simplistic. Play it through the way it is and it's flat and tasteless, some dusty antique. Which is why every pianist who attempts it adds something of his own, something extra. Like this―hear how he articulates it there? Adding rubato. Adjusting the pace, modulation, whatever. Otherwise they can't hold it all together. They have to be careful, though, or else all those extra devices destroy the dignity of the piece. Then it's not Schubert's music anymore. Every single pianist who's played this sonata struggles with the same paradox.' He listens to the music, humming the melody, then continues. 'That's why I like to listen to Schubert while I'm driving. Like I said, it's because all the performances are imperfect. A dense, artistic kind of imperfection stimulates your consciousness, keeps you alert. If I listen to some utterly perfect performance of an utterly perfect piece while I'm driving, I might want to close my eyes and die right then and there. But listening to the D major, I can feel the limits of what humans are capable of―that a certain type of perfection can only be realized through a limitless accumulation of the imperfect. And personally, I find that encouraging.

Humor is a vastly underrated tool for relationship and trust-building. Comedian, conductor, and pianist Victor Borge famously stated that “laughter is the shortest distance between two people.” I have absolutely found this to be true in both my personal relationships as well as my coaching relationships.

So interesting that Shore decided there might be a book in it. He set out to find fertile pairs—people who had been together for at least five years and produced interesting work. By the time he was done he had interviewed a comedy duo; two concert pianists who had started performing together because one of them had stage fright; two women who wrote mysteries under the name “Emma Lathen”; and a famous pair of British nutritionists, McCance and Widdowson, who were so tightly linked that they’d dropped their first names from the jackets of their books. “They were very huffy about the idea that dark bread was more nutritious than white bread,” recalled Shore. “They had produced the research that it wasn’t so in 1934—so why didn’t people stop fooling around with the idea?” Just about every work couple that Shore called were intrigued enough by their own relationships to want to talk about them. The only exceptions were “a mean pair of physicists” and, after flirting with participating, the British ice dancers Torvill and Dean. Among those who agreed to sit down with Miles Shore were Amos Tversky and Daniel Kahneman.

When people are deeply “in” a film, you’ll notice that nobody coughs at certain moments, even though they may have a cold. If the coughing were purely autonomic response to smoke or congestion, it would be randomly constant, no matter what was happening on screen. But the audience holds back at certain moments, and I’m suggesting blinking is something like coughing in this sense. There is a famous live recording of pianist Sviatoslav Richter playing Musorgsky’s Pictures at an Exhibition during a flu epidemic in Bulgaria many years ago. It is just as plain as day what’s going on: While he was playing certain passages, no one coughed. At those moments, he was able to suppress, with his artistry, the coughing impulse of 1,500 sick people.

I truly believe that if they turned all the pianos in the world to firewood, he would throw himself on top of the bonfire. We have laughed together about how I am famous, not him. But we both know that I look much prettier in a dress than he does, that I play much more photogenically.... I am a "girl," and therefore more marketable. But I know that he is the genius, that he can take the Chopin Etudes and add a touch of magic, a spark, that makes them definitively his own. I also knew that one day the world will recognize this. And I will be happy to take second place. I'm sure my playing has gone from strength to strength because of him. And I adore him. He is my piano. He is my bonfire. And if he were no longer there, I would throw myself on top of that fire willingly.

I was reminded of the child prodigy who was summoned to perform for a famous pianist. The child climbed into the piano stool and played something by Chopin with great speed and accuracy. When the child had finished, the great musician patted it on the head and said, “You can play the notes. Someday, you may be able to play the music.” Puppet

The work had its own history of struggle. Originally intended as a showpiece for pianist Nikolai Rubinstein, it was dismissed by that renowned pianist as “worthless, absolutely unplayable.” His critical attack was stinging. “An outsider, dropping into the room,” claimed Tchaikovsky, “would have thought me a madman, without talent, ignorant, a worthless writer who had come to annoy a famous musician with his rubbish.” After Rubinstein bowed out, the music was premiered instead in Boston by Hans von Bülow.

On May 17, 1913, Domingo Rosillo and Agustín Parlá attempted the first international flights to Latin America, by trying to fly their airplanes from Key West to Havana. At 5:10 a.m., Rosillo departed from Key West and flew for 2 hours, 30 minutes and 40 seconds before running out of gas. He had planned to land at the airfield at Camp Columbia in Havana, but instead managed to squeak in at the camp’s shooting range, thereby still satisfactorily completing the flight. Parlá left Key West at 5:57 in the morning. Just four minutes later, at 6:01 a.m., he had to carefully turn back to the airstrip he had just left, since the aircraft didn’t properly respond to his controls. Parlá said, “It would not let me compensate for the wind that blew.” When he returned to Key West, he discovered that two of the tension wires to the aircraft’s elevators were broken. Two days later, Parlá tried again and left Key West, carrying the Cuban Flag his father had received from José Martí. This time he fell short and had to land at sea off the Cuban coast near Mariel. Sailors from the Cuban Navy rescued him from his seaplane. Being adventuresome, while attending the Curtiss School of Aviation in 1916, Parlá flew over Niagara Falls. In his honor, the Cuban flag was hoisted and the Cuban national anthem was played. The famous Cuban composer, pianist, and bandleader, Antonio M. Romeu, composed a song in his honor named “Parlá over the Niagara” and Agustín Parlá became known as the “Father of Cuban Aviation.