Piano Music Quotes

The only one who's got enough of me to break my heart.

The pianokeys are black and white but they sound like a million colors in your mind

Softly, deftly, music shall caress you. Hear it, feel it, Secretly possess you.

And so they played some of the world's loveliest piano music - the exiled homesick girl, the humiliated, tired old man. Not properly. Better than that.

Floating, falling, sweet intoxication. Touch me, trust me, savor each sensation. Let the dream begin, let your darker side give in to the power of the music of the night.

The piano ain't got no wrong notes.

When you play, never mind who listens to you.

Arin. I've wanted to do this for a long time." Her words silenced him, steadied him. Anticipation lifted within her like the fragrance of a garden under the rain. She sat at the piano, touching the keys. "Ready?" He smiled. "Play.

All is as if the world did cease to exist. The city's monuments go unseen, its past unheard, and its culture slowly fading in the dismal sea.

Every day, a piece of music, a short story, or a poem dies because its existence is no longer justified in our time. And things that were once considered immortal have become mortal again, no one knows them anymore. Even though they deserve to survive.

We can't all come and go by Bubble!

Color directly influences the soul. Color is the keyboard, the eyes are the hammers, the soul is the piano with many strings. The artist is the hand that plays, touching one key or another purposively, to cause vibrations in the soul.

Life is like a piano; the white keys represent happiness and the black show sadness. But as you go through life's journey, remember that the black keys also create music.

I've never been in love. I've dreamt of it day and night, but my heart is like a fine piano no one can play because the key is lost.

Too many years fighting back tears. Why can't the past just die? Wishing you were somehow here again, knowing we must say goodbye. Try to forgive, teach me to live, give me the strength to try! No more memories, no more silent tears, no more gazing across the wasted years. Help me say goodbye.

Do we not each dream of dreams? Do we not dance on the notes of lost memories? Then are we not each dreamers of tomorrow and yesterday, since dreams play when time is askew? Are we not all adrift in the constant sea of trial and when all is done, do we not all yearn for ships to carry us home?

But the problem with readers, the idea we're given of reading is that the model of a reader is the person watching a film, or watching television. So the greatest principle is, "I should sit here and I should be entertained." And the more classical model, which has been completely taken away, is the idea of a reader as an amateur musician. An amateur musician who sits at the piano, has a piece of music, which is the work, made by somebody they don't know, who they probably couldn't comprehend entirely, and they have to use their skills to play this piece of music. The greater the skill, the greater the gift that you give the artist and that the artist gives you. That's the incredibly unfashionable idea of reading. And yet when you practice reading, and you work at a text, it can only give you what you put into it. It's an old moral, but it's completely true.

Play always as if in the presence of a master.

Once, somebody asked Robert Schumann to explain the meaning of a certain piece of music he had just played on the piano. What Robert Schumann did was sit back down at the piano and play the piece of music again.

When she started to play, Steinway came down personally and rubbed his name off the piano.

Call me crazy, but there is something terribly wrong with this city.

Everybody told me this 'girl on the piano' thing was never going to work.

The kingdom of music is not the kingdom of this world; it will accept those whom breeding and intellect and culture have alike rejected. The commonplace person begins to play, and shoots into the empyrean without effort, whilst we look up, marvelling how he has escaped us, and thinking how we could worship him and love him, would he but translate his visions into human words, and his experiences into human actions. Perhaps he cannot; certainly he does not, or does so very seldom.

I sit down to the piano regularly at nine-o'clock in the morning and Mesdames les Muses have learned to be on time for that rendezvous.

I can’t help but ask, “Do you know where you are?” She turns to me with a foreboding glare. “Do you?

Slowly, gently night unfurls its splendor. Grasp it, sense it, tremulous and tender. Turn your face away from the garish light of day, turn your thoughts away from cold, unfeeling light, and listen to the music of the night... Close your eyes and surrender to your darkest dreams, purge your thoughts of the life you knew before. Close your eyes, let your spirit start to soar, and live, as you never lived before!

I wish the government would put a tax on pianos for the incompetent.

But Jace", Clary said. "Valentine taught him more than just fighting. He taught him languages, and how to play the piano" "That was Jocelyn's influence." Sebastian said her name unwillingly, as if he hated the sound of it. "She thought Valentine ought to be able to talk about books, art, music...not just killing things. He passed that on to Jace." A wrought iron blue gate rose to their left. Sebastian ducked under it and beckoned Clary to follow him. She didn't have to duck but went after him, her hands stuffed into her pockets. "What about you?" she asked. He held up his hands. They were unmistakably her mother's hands - dexterous, long-fingered, meant for holding a brush or a pen. "I learned to play the instruments of war, " he said, "and paint in blood. I am not like Jace.

Where we are from... [s]tories are factual. If a farmer is declared a music virtuoso by the state, everyone had better start calling him maestro. And secretly, he'd be wise to start practicing the piano. For us, the story is more important than the person. If a man and his story are in conflict, it is the man who must change.

He lived in a dreamer's world of ivory keys and messy shirts, unconcerned with the people around him.

If, while at the piano, you attempt to form little melodies, that is very well; but if they come into your mind of themselves, when you are not practising, you may be still more pleased; for the internal organ of music is then roused in you. The fingers must do what the head desires; not the contrary.

As for the piano, the faster her fingers flew over it, the more he marveled. She struck the keys with aplomb and ran from one end of the keyboard to the other without a stop.

There is a stillness between us, a period of restlessness that ties my stomach in a hangman’s noose. It is this same lack in noise that lives, there! in the darkness of the grave, how it frightens me beyond all things.

There was something about her playing... a knowledge of darkness in the most extreme form.

After a hurricane comes a rainbow.

Spent the fortnight gone in the music room reworking my year's fragments into a 'sextet for overlapping soloists': piano, clarinet, 'cello, flute, oboe, and violin, each in its own language of key, scale, and color. In the first set, each solo is interrupted by its successor; in the second, each interruption is recontinued, in order. Revolutionary or gimmicky? Shan't know until it's finished, and by then it'll be too late.

I'd never seen a guy my own age play the piano. It was like sex and musical theatre fused together.

I'd never heard of them, but at that moment, it was the best song I'd ever heard. I went out and bought Ten and listened to it on repeat. When I listened to track five, "Black," it was like I was there, in that moment all over again. After the summer was over, when I got back home, I went to the music store and bought the sheet music and learned to play it on the piano. I thought one day I could accompany Conrad and we could be, like, a band.

Did Bach ever eat pancakes at midnight?

Maybe the reason why all the doors are closed so you could open one that leads you to the perfect road.

Who needs to be a Phoenix for rebirth? One simply requires themselves and an instrument to clean the slate and start over, perhaps create their own world where everything is better..

Pianos, unlike people, sing when you give them your every growl. They know how to dive into the pit of your stomach and harmonize with your roars when you’ve split yourself open. And when they see you, guts shining, brain pulsing, heart right there exposed in a rhythm that beats need need, need need, need need, pianos do not run. And so she plays.

you can run out of garlic, you can't really run out of music

...."the sound of a barrel organ rising from the deepest golden vein of the day; two or three bars of a chorus, played on a distant piano over and over again, melting in the sun on the white pavement, lost in the fire of high noon.

Climb every mountain, Ford every stream, Follow every rainbow, 'Till you find your dream. A dream that will need All the love you can give, Every day of your life For as long as you live

Your amazing. Just the way you are.

Life is like a piano. White keys are happy moments and the black ones are sad moments. Both keys are played together to give us the sweet music called Life.

I wanted to love this piano. I wanted to invite music back into my life.

Film music should have the same relationship to the film drama that somebody's piano playing in my living room has to the book I am reading.

I had never before thought of how awful the relationship must be between the musician and his instrument. He has to fill it, this instrument, with the breath of life, his own. He has to make it do what he wants it to do. And a piano is just a piano. It's made out of so much wood and wires and little hammers and big ones, and ivory. While there's only so much you can do with it, the only way to find this out is to try; to try and make it do everything.

Mr. Mancini had a singular talent for making me uncomfortable. He forced me to consider things I’d rather not think about – the sex of my guitar, for instance. If I honestly wanted to put my hands on a woman, would that automatically mean I could play? Gretchen’s teacher never told her to think of her piano as a boy. Neither did Lisa’s flute teacher, though in that case the analogy was obvious. On the off chance that sexual desire was all it took, I steered clear of Lisa’s instrument, fearing that I might be labeled a prodigy.

simple people. . . . listen to music with their hearts and enjoy it more than those who are spoiled, jaded, blase.

History doesn’t start with a tall building and a card with your name written on it, but jokes do. I think someone is taking us for suckers and is playing a mean game.

I will protect you," she promised the Bosendorfer inside. "I won't let you down." Sophie gave her a quizzical look. "Bastards better not hurt my piano," Miranda replied. "That's what you're worried about right now? What about your boyfriend?

I have long convinced myself that the piano is like a drug, seductive and strong, and it can mess you up, it can awaken dead emotions, it can drown you in your lost selves. It is a nervous breakdown waiting to happen.

Magnus didn’t look at her; he was looking down at the tent, where Clary sat talking with Tessa, where Alec stood side by side with Maia and Bat, laughing, where Isabelle and Simon were dancing to the music Jace was playing on the piano, the haunting sweet notes of Chopin reminding him of another time, and the sound of a violin at Christmas.

Jay took out his guitar. He was decent at it, but the piano was his best talent. He couldn’t get a certain riff right, so he handed the instrument to Kaidan, and my heart flipped. I recalled him saying he played guitar, but I’d never actually seen or heard him play. Kaidan began to pick at each string, testing and tuning with his full attention. I watched the way his hands moved across the wood and strings, gently, reverently, his body seeming to curl around it as if it were a part of him. . . . I felt my hands getting sweaty, because watching Kaidan get lost in music did crazy things to me. My breathing became ragged and I couldn’t take my eyes off him. He looked up at that moment and caught me staring hard. He knew. He knew what it did to me! I could tell because his badge expanded. He angled himself away from the others and signed to me, I want to be alone with you tonight. Patti did have a lot of guests staying in the house. I signed back, I’ll work on it. “Excellent,” he whispered, a hot grin sliding onto his face.

Most of all, it was the wild music that impressed Matt. It did the same thing that playing the piano had done when he was frightened and lonely. It took him into another world where only beauty existed and where he was sage from hatred and disappointment and death.

The old man slowly raised himself from the piano stool, fixed those cheerful blue eyes piercingly and at the same time with unimaginable friendliness upon him, and said: "Making music together is the best way for two people to become friends. There is none easier. That is a fine thing. I hope you and I shall remain friends. Perhaps you too will learn how to make fugues, Joseph.

The bird music sank into her, like a song you used to know but forgot long ago. You hear a piano play it some day, and for a minute you feel a happy pain, but you don't know why. Bird felt like that.

I know a flute player is technically called a "flautist," but something about it sounds a little sketchy, as does "pianist," so I will refrain.

You don't have to be a professional to play music. Close your eyes, take a deep breath.. And let it out. Let the violin dance, the guitar fascinate, the flute sing, the piano composes. Just. Let. It. Go.

You hear lots of notes, don’t you? Some have a major sound. Some have a minor sound. But there’s not one blue note among all these black and white keys. The real blues, the soul of the sound, comes from the spaces in-between.

In a clear brook With joyful haste The whimsical trout Shot past me like an arrow I play the line of the song, I play the leaps and plunges of the right hand of the piano, I am the trout, the angler, the brook, the observer.

The beauty of the flute was in its simplicity, in its resemblance to the human voice. It always sounded clear. It sounded alone. The piano, on the other hand, was a network of parts—a ship, with its strings like rigging, its case a hull, its lifted lid a sail. Kestrel always thought that the piano didn't sound like a single instrument but a twinned one, with its low and high halves merging together or pulling apart.

There's a story here. A catastrophic silence where our thoughts and feelings collide ... Where your sweetness overrides my senses and our bodies move to the same tune. The same song. The same melody. The same stroke. The same rhythm. It's our story, Trinity, and it's just begging to be told.

Zebras are piano horses. I think about that when I’m swinging a golf club, and it brings a musical cowboy element to my game that another player might not be able to buy in a vending machine.

There were now and then, though rarely, the hours that brought the welcome shock, pulled down the walls and brought me back again from my wanderings to the living heart of the world. Sadly and yet deeply moved, I set myself to recall the last of these experiences. It was at a concert of lovely old music. After two of three notes of the piano the door was opened of a sudden to the other world. I sped through heaven and saw God at work. I suffered holy pains. I dropped all my defenses and was afraid of nothing in the world. I accepted all things and to all things I gave up my heart.

It was like stepping onstage at your first piano recital and realizing that you’d never played anything but an instrument with broken keys. Your world shifts, but you’re asked to adjust and overcome, to play your music the same as everyone else.

Sooner or later, we are bound to discover some things about ourselves that we don't like. But once we see they're there, we can decide what we want to do with them. Do we want to get rid of them completely, change them into other things, or use them in beneficial ways? The last two approaches are often especially Useful, since they avoid head on conflict, and therefore minimize struggle. Also, they allow those transformed characteristics to be added to the list of things we have that help us out. In a similar manner, instead of struggling to erase what are referred to as negative emotions, we can learn to use them in positive ways. We could describe the principle like this: while pounding on the piano keys may produce noise, removing them doesn't exactly further the creation of music.

The Frays had never been a religiously observant family, but Clary loved Fifth Avenue at Christmas time. The air smelled like sweet roasted chestnuts, and the window displays sparkled with silver and blue, green and red. This year there were fat round crystal snowflakes attached to each lamppost, sending back the winter sunlight in shafts of gold. Not to mention the huge tree at Rockefeller Center. It threw its shadow across them as she and Simon draped themselves over the gate at the side of the skating rink, watching tourists fall down as they tried to navigate the ice. Clary had a hot chocolate wrapped in her hands, the warmth spreading through her body. She felt almost normal—this, coming to Fifth to see the window displays and the tree, had been a winter tradition for her and Simon for as long as she could remember. “Feels like old times, doesn’t it?” he said, echoing her thoughts as he propped his chin on his folded arms. She chanced a sideways look at him. He was wearing a black topcoat and scarf that emphasized the winter pallor of his skin. His eyes were shadowed, indicating that he hadn’t fed on blood recently. He looked like what he was—a hungry, tired vampire. Well, she thought. Almost like old times. “More people to buy presents for,” she said. “Plus, the always traumatic what-to-buy-someone-for-the-first-Christmas-after-you’ve-started-dating question.” “What to get the Shadowhunter who has everything,” Simon said with a grin. “Jace mostly likes weapons,” Clary sighed. “He likes books, but they have a huge library at the Institute. He likes classical music …” She brightened. Simon was a musician; even though his band was terrible, and was always changing their name—currently they were Lethal Soufflé—he did have training. “What would you give someone who likes to play the piano?” “A piano.” “Simon.” “A really huge metronome that could also double as a weapon?” Clary sighed, exasperated. “Sheet music. Rachmaninoff is tough stuff, but he likes a challenge.” “Now you’re talking. I’m going to see if there’s a music store around here.” Clary, done with her hot chocolate, tossed the cup into a nearby trash can and pulled her phone out. “What about you? What are you giving Isabelle?” “I have absolutely no idea,” Simon said. They had started heading toward the avenue, where a steady stream of pedestrians gawking at the windows clogged the streets. “Oh, come on. Isabelle’s easy.” “That’s my girlfriend you’re talking about.” Simon’s brows drew together. “I think. I’m not sure. We haven’t discussed it. The relationship, I mean.” “You really have to DTR, Simon.” “What?” “Define the relationship. What it is, where it’s going. Are you boyfriend and girlfriend, just having fun, ‘it’s complicated,’ or what? When’s she going to tell her parents? Are you allowed to see other people?” Simon blanched. “What? Seriously?” “Seriously. In the meantime—perfume!” Clary grabbed Simon by the back of his coat and hauled him into a cosmetics store that had once been a bank. It was massive on the inside, with rows of gleaming bottles everywhere. “And something unusual,” she said, heading for the fragrance area. “Isabelle isn’t going to want to smell like everyone else. She’s going to want to smell like figs, or vetiver, or—” “Figs? Figs have a smell?” Simon looked horrified; Clary was about to laugh at him when her phone buzzed. It was her mother. where are you? It’s an emergency.

He knew that the very memory of the piano falsified still further the perspective in which he saw the elements of music, that the field open to the musician is not a miserable stave of seven notes, but an immeasurable keyboard (still almost entirely unknown) on which, here and there only, separated by the thick darkness of its unexplored tracts, some few among the millions of keys of tenderness, of passion, of courage, of serenity, which compose it, each one differing from all the rest as one universe differs from another, have been discovered by a few great artists who do us the service, when they awaken in us the emotion corresponding to the theme they have discovered, of showing us what richness, what variety lies hidden, unknown to us, in that vast, unfathomed and forbidding night of our soul which we take to be an impenetrable void.

To encapsulate the notion of Mardi Gras as nothing more than a big drunk is to take the simple and stupid way out, and I, for one, am getting tired of staying stuck on simple and stupid. Mardi Gras is not a parade. Mardi Gras is not girls flashing on French Quarter balconies. Mardi Gras is not an alcoholic binge. Mardi Gras is bars and restaurants changing out all the CD's in their jukeboxes to Professor Longhair and the Neville Brothers, and it is annual front-porch crawfish boils hours before the parades so your stomach and attitude reach a state of grace, and it is returning to the same street corner, year after year, and standing next to the same people, year after year--people whose names you may or may not even know but you've watched their kids grow up in this public tableau and when they're not there, you wonder: Where are those guys this year? It is dressing your dog in a stupid costume and cheering when the marching bands go crazy and clapping and saluting the military bands when they crisply snap to. Now that part, more than ever. It's mad piano professors converging on our city from all over the world and banging the 88's until dawn and laughing at the hairy-shouldered men in dresses too tight and stalking the Indians under Claiborne overpass and thrilling the years you find them and lamenting the years you don't and promising yourself you will next year. It's wearing frightful color combination in public and rolling your eyes at the guy in your office who--like clockwork, year after year--denies that he got the baby in the king cake and now someone else has to pony up the ten bucks for the next one. Mardi Gras is the love of life. It is the harmonic convergence of our food, our music, our creativity, our eccentricity, our neighborhoods, and our joy of living. All at once.

Translator's Note: When the violin repeats what the piano has just played, it cannot make the same sounds and it can only approximate the same chords. It can, however, make recognizably the same "music", the same air. But it can do so only when it is as faithful to the self-logic of the violin as it is to the self-logic of the piano.

One morning in April, I woke up a little sick. I lay there looking at shadows on the white plaster ceiling. I remembered a long time ago, when I lay in bed beside my mother, watching lights from the street move across the ceiling and down the walls. I felt the sharp nostalgia of train whistles, piano music down a city street, burning leaves. A mild degree of junk sickness always brought me the magic of childhood. It never fails, I thought, just like a shot; I wonder if all junkies score for this wonderful stuff.

When you want genuine music -- music that will come right home to you like a bad quarter, suffuse your system like strychnine whisky, go right through you like Brandreth's pills, ramify your whole constitution like the measles, and break out on your hide like the pin-feather pimples on a picked goose, -- when you want all this, just smash your piano, and invoke the glory-beaming banjo!

Nice piano," I said. "Do you play?" "oh no, but Edwart does!" Eva Mullen said. "A little," Edwart said sheepishly. "Go ahead, play!" Eva said. She picked up the triangle that was lying on the piano and handed it to Edwart. He started banging on it. It sounded like construction work very early in the morning. "Whoops. I messed up. Let me start over," he said. He started banging again. "Wait. Uh. I haven't practiced in a while. Let me start over." Edwart continued to bang the triangle. Eva closed her eyes and raised her arms, swaying rhythmically to Edwart's music. Edwart held the triangle up high, in what appeared to be a grand finish, but then he brought it down hard, hitting the top of the piano. He continued to bang the piano, putting the entire force of his slim body into each smash. The piano shook. The room vibrated. When he finished I subtly removed my hands from my ears. "I wrote that for you," Edwart murmured, drawing me close. "It's called Belle's Lullaby.

They can take tomorrow and the plans we made They can take the music that we'll never play All the broken dreams, take everything Just take it away but they can never have yesterday They can take the future that we'll never know They can take the places that we said we would go All the broken dreams, take everything Just take it away but they can never have yesterday

What in life can love not penetrate? Mabel Hubbard, deaf since childhood, gave Alexander Bell a piano as a wedding gift and asked that he play it for her every day, as if his music could pierce her silence. Decades later, at Bell’s deathbed, it was his wife who made the sounds, saying the words, “Don’t leave me,” while he, no longer able to talk, used sign language to answer, No.

Where we are from, he said, stories are factual. If a farmer is declared a music virtuoso by the state, everyone had better start calling him maestro. And secretly, he'd be wise to start practicing the piano. For us, the story is more important than the person. If a man and his story are in conflict, it is the man who must change....But in America, people's stories change all the time. In America, it is the man who matters.

Arin remmembered seeing her hand in Javelin’s mane, curling into the coarse strands. This made him remember the almost freakish lenghth between her littlest finger and thumb as her hand spanned piano keys. The black star of the birth-mark. He saw her again in the imperial palace. Her music room. He’d seen that room only once. About a month ago, right before Firstsummer. Her blue sleeves were fastened at the wrist. Something tugged inside him. A flutter of unease. Do you sing? Those had been her first words to him, the day she had bought him. A band of nausea circled Arin’s throat, just as it had when she had asked him that question, in part for the same reason. She’d had no trace of an accent. She had spoken in perfect, natural, mother-taught Herrani.

So I just live with my insomnia. I do crossword puzzles, or wander out to the music room and fool around on the piano, or read. Those late hours when the world is completely still, when the only sound is the rustle of the air in the vents and the wind visiting the trees outside, when the darkness is tucked tight around the house and you feel as life itself the movements of your own consciousness-these are wonderful hours to read. There is no interruption.

He took another drink, licked his lips and leaned back with his eyes closed for a minute, listening. Marion closed her eyes and just leaned against his chest, feeling the weight and security of his arm around her, moving her toes slightly in time to the music. That last hash and the chartreuse really did it. She felt fine. She felt warm. She felt at home. Trane had just finished a chorus and the piano player came in and Marion muttered a soft, Yeah.

I steal one glance over my shoulder as soon as we are far from the foreboding luminance of the neon glow, and it is there that my stomach leaps into my throat. Squatting just shy of the light and partially concealed by the shade of an alley is a sinister silhouette beneath a crimson cowl, beaming a demonic smile which spans from cheek to swollen cheek.

No one can get reall drunk on a novle or a painting, but who can help getting drunk on Beethoven's night, Bartok's Sonata for two Pianos and percussion or the Beatles' White Album? He loved mozart as much as rock. He considered music a liberating force, it liberated him from lonliness, introversion, the dust of the library; it opened the door of hi body and allowed his soul to step out into the world to make friends, He loved to dance an regretted that Sabina did not share his passion

What about you, Ellen?' he asked. 'What does music mean to you?' It was a while before she answered. 'When I was at school... quite little still... there was a girl there who had perfect pitch and a lovely voice and she played the piano. I used to hear people talking about her.' She paused, lacing her fingers together. '"She's musical," they used to say, "Deirdre's musical," and it was as if they'd said: "She's angelic." That's how it seemed to me to be musical: to be angelic.' Isaac turned to her. 'My God, Ellen,' he said huskily, 'it is you who are angelic. If there's anyone in the world who is angelic it is you.

to lean back into it like in a chair the color of the sun as you listen to lazy piano music and the aircraft overhead are not at war. where the last drink is as good as the first and you realize that the promises you made yourself were kept. that's plenty. that last: about the promises: what's not so good is that the few friends you had are dead and they seem irreplacable. as for women, you didn't know enough early enough and you knew enough too late. and if more self-analysis is allowed: it's nice that you turned out well- honed, that you arrived late and remained generally capable. outside of that, not much to say except you can leave without regret. until then, a bit more amusement, a bit more endurance, leaning back into it. like the dog who got across the busy street: not all of it was good luck.

Supposing you hear a cry for help from a man in danger. You will probably feel two desires - one a desire to give help (due to your herd instinct), the other a desire to keep out of danger (due to the instinct for self-preservation). But you will find inside you, in addition to these two impulses, a third thing which tells you that you ought to follow the impulse to help, and suppress the impulse to run away. Now this thing that judges between two instincts, that decides which should be encouraged, cannot itself be either of them. You might as well say that the sheet of music which tells you, at a given moment, to play one note on the piano and not another, is itself one of the notes on the keyboard. The Moral Law tells us the tune we have to play: our instincts are merely the keys.

She feels like the first drags of fresh cigaretter but last crunches of cherry suckers. She feels like final coats of nail polish. She feels like lines of coke. She feels like knuckles you crack after a long day. She feels like Miami rain. She feels like empty football fields. She feels like full stadiums. She feels like absinthe. She feels like dangling from a helicopter. She feels like classical music. She feels like standing on a motorcycle. She feels like train tracks. She feels like frozen yogurt. She feels like destroying a piano. She feels like rooftops. She feels like fleeing from cops. She feels like stitches. She feels like strobe lights. She feels like blue carnival bears. She feels like curbs at 2 am. She feels like Cupid's Chokehold. She feels like running through Chicago. She feels like 1.2 million dollars. She feels like floors. She feels like everything he's ever wanted in life. […] “I love you more than I planned.

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.

Western man has tried for too many centuries to fool himself that he lives in a rational world. No. There's a story about a man who, while walking along the street, was almost hit on the head and killed by an enormous falling beam. This was his moment of realization that he did not live in a rational world but a world in which men's lives can be cut off by a random blow on the head, and the discovery shook him so deeply that he was impelled to leave his wife and children, who were the major part of his old, rational world. My own response to the wild unpredictability of the universe has been to write stories, to play the piano, to read, listen to music, look at paintings - not that the world may become explainable and reasonable but that I may rejoice in the freedom which unaccountability gives us.

Yeah – Sure I remember Matter of fact it was just last September She still calls it the fall to remember Little Heather when it all came together You remember the first time you met her? She cried when it rained and blamed the weather But inside she strained with suicide letters The kind of cold you couldn’t warm with a sweater Hardly lasted past December She said she was headed down to defeat That’s the last you’d seen and never had dreamed That the same little Heather – It’s who you saw last week In an instant you couldn’t have missed her gleam As she listened she looked like a distant queen With a difference, there for all to see She found a different – A different kind of free

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.

Mick frowned and rubbed her fist hard across her forehead. That was the way things were. It was like she was mad all the time. Not how a kid gets mad quick so that soon it is all over--but in another way. Only there was nothing to be mad at. Unless the store. But the store hadn't asked her to take the job. So there was nothing to be mad at. It was like she was cheated. Only nobody had cheated her. So there was nobody to take it out on. However, just the same she had that feeling. Cheated. But maybe it would be true about the piano and turn out O.K. Maybe she would get a chance soon. Else what the hell good had it all been--the way she felt about music and the plans she had made in the inside room? It had to be some good if anything made sense. And it was too and it was too and it was too and it was too. It was some good. All right! O.K! Some good.

When I was thirteen I spent a lot of time pretending to like dance music because everyone at my school seemed to love it. If only I'd known it was OK to have different tastes to others and that one day my mind would be blown open by an older man who would introduce me to The Smiths, The Cure, Buzzcocks, Talking Heads and almost every other band I adore to this day. I also wish I'd been reassured that one day, yes, a boy would actually fancy me in spite and potentially, deliberately, FOR my zero boob/skinny legs combo. But mainly I wish I'd listened to my mother when she said learning to play the piano might come in handy in the future and would actually be something I would thank her for forcing me to do. Every Wednesday we would drive to Mrs Batten's house listening to The ArchersI, with me in the passenger seat trying desperately to think up excuses for why I hadn't practiced that week. Though it seemed very unlikely at the time, I am thankful for those piano lessons every time I manage to impress a boy by hammering out some Chopin when drunk (swot up, kids!).

I love people who play guitars on roofs!" said Rose, hopping along the pavement in one of her sudden happy moods. "Don't you?" "Never knew anyone else who did it!" "Don't you like Tom?" "Of course I do. But I don't know about all the other guitar-on-roof players! They might be really awful people, with just that one good thing about them. Playing guitars on roofs... or bagpipes... Or drums... Sarah would like that, and Saffy could have the bagpipes! Caddy could have a harp.... What about Mum?" "One of those gourds filled with beans!" said Rose at once. "And Daddy could have a grand piano. On a flat roof. With a balcony and pink flowers in pots around the edge! And I'll have a very loud trumpet! What about you?" "I'll just listen," said Indigo.

Reading Aloud to My Father I chose the book haphazard from the shelf, but with Nabokov's first sentence I knew it wasn't the thing to read to a dying man: The cradle rocks above an abyss, it began, and common sense tells us that our existence is but a brief crack of light between two eternities of darkness. The words disturbed both of us immediately, and I stopped. With music it was the same -- Chopin's Piano Concerto — he asked me to turn it off. He ceased eating, and drank little, while the tumors briskly appropriated what was left of him. But to return to the cradle rocking. I think Nabokov had it wrong. This is the abyss. That's why babies howl at birth, and why the dying so often reach for something only they can apprehend. At the end they don't want their hands to be under the covers, and if you should put your hand on theirs in a tentative gesture of solidarity, they'll pull the hand free; and you must honor that desire, and let them pull it free.

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.

Again I waited - oh, but for a brief interval: I presently distinguished an extraordinary shuffling and stamping of feet on the staircase, on the floors, on the carpets; a sound not only of boots and' human shoes, but tapping of crutches, of crutches of wood, and knocking of iron crutches which clanged like cymbals. And behold, I perceived, all at once, on the door sill, an armchair, my large reading chair, which came waddling out. Right into the garden it went, followed by others, the chairs of my drawing room, then the comfortable settee, crawling like crocodiles on their short legs; next, all my chairs bounding like goats,and the small footstools which followed like rabbits. Oh, what a hideous surprise! I stepped back behind the shrubs, where I stayed, crouched and watching this procession of my furniture; for out they all came, one behind the other, quickly or slowly according to their form and weight. My piano - my large grand piano - passed at a canter like a horse, with a faint murmur of music from within; the smallest objects crawled on the gravel like ants - brushes, glasses and cups glistening in the rays of the moon with phosphorescence like glowworms. The curtains, tablecloths and, draperies wriggled along, with their feelers in the puddles like the cuttle-fish in the sea. Suddenly I beheld my pet bureau, a rare specimen of the last century, and which contained all my correspondence, all my love letters, the whole history of my heart, an old history of how much I have suffered! And within, besides, were, above all, certain photographs! ("Who Knows?")

She took a puff, put the cigarette in the ashtray and stared at it. Without looking up, she said, But do you believe in love, Mr Evans? She rolled the cigarette end around in the ash tray. Do you? Outside, he thought, beyond this mountain and its snow, there was a world of countless millions of people. He could see them in their cities, in the heat and the light. And he could see this house, so remote and isolated, so far away, and he had a feeling that it once must have seemed to her and Jack, if only for a short time, like the universe with the two of them at its centre. And for a moment he was at the King of Cornwall with Amy in the room they thought of as theirs—with the sea and the sun and the shadows, with the white paint flaking off the French doors and with their rusty lock, with the breezes late of an afternoon and of a night the sound of the waves breaking—and he remembered how that too had once seemed the centre of the universe. I don’t, she said. No, I don’t. It’s too small a word, don’t you think, Mr Evans? I have a friend in Fern Tree who teaches piano. Very musical, she is. I’m tone-deaf myself. But one day she was telling me how every room has a note. You just have to find it. She started warbling away, up and down. And suddenly one note came back to us, just bounced back off the walls and rose from the floor and filled the place with this perfect hum. This beautiful sound. Like you’ve thrown a plum and an orchard comes back at you. You wouldn’t believe it, Mr Evans. These two completely different things, a note and a room, finding each other. It sounded … right. Am I being ridiculous? Do you think that’s what we mean by love, Mr Evans? The note that comes back to you? That finds you even when you don’t want to be found? That one day you find someone, and everything they are comes back to you in a strange way that hums? That fits. That’s beautiful. I’m not explaining myself at all well, am I? she said. I’m not very good with words. But that’s what we were. Jack and me. We didn’t really know each other. I’m not sure if I liked everything about him. I suppose some things about me annoyed him. But I was that room and he was that note and now he’s gone. And everything is silent.