Private confession was not ordered by Christ and was not used by the apostles.
Even if you are a pianist, your concerto repertoire is very limited compared to what your chamber repertoire would be if you were a chamber music pianist.
The zenith of virtuosity, a violinist like Jascha Heifetz, the supernatural in a pianist like Vladimir Horowitz, these are performers who were so idiosyncratic and personal that to imitate them would be like filling somebody else's bottle with your wine.
Beginning in the nineteenth century, with performers like Franz Liszt, were musicians who were able to excite an audience and communicate on a whole new level.
I don't think too much about the past when I am actually playing, I prefer to concentrate on the present. The performance of a piece, no matter how long ago or where it was written, is always a new production, something that comes alive in the present. And it doesn't matter if the piece was written two or three hundred years ago if it is alive in us.
Our interpretations through the years and generations have always changed, but the emotions, ideas, and the thoughts of the composers are still with us, and these are the premise of the music. The time factor has little to do with it because, after all, it is about human feeling, the Universe and who we are as people.
The pieces that have survived, the ones that we all love, were not all popular in their time. Just look at Beethoven's late string quartets. The music that the musical community selects, however, is usually the very best.
And though I came to forget or regret all I have ever done, yet would I remember that once I saw the dragons aloft on the wind at sunset above the western isles; and I would be content.
Adults have been brainwashed into thinking that they can't really learn about computers without being taught, so it's more difficult for them to feel comfortable with a computer. Deep down, I think they're afraid of learning about computers.
Do you truly believe that life is fair, Senor de la Vega? -No, maestro, but I plan to do everything in my power to make it so.
When we hear a Mozart piano concerto today, we're most likely to hear the piano part played on a modern concert grand. In the hands of a professional pianist, such a piano can bury the strings and the winds and hold its own against the brass. But Mozart wasn't composing for a nine-foot-long, thousand-pound piano; he was composing for a five-and-a-half-foot-long, hundred-and-fifty-pound piano built from balsa wood and dental floss.