A Quote by Gyorgy Ligeti
In my piano concerto I developed this polyphony to much higher complexity
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In my piano concerto I developed this polyphony to much higher complexity.
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.
I know that a translation of a work of literature is like playing a violin concerto on the piano. You can do this. You can do this very successfully on one strict condition: never try to force the piano to produce the sounds of the violin. This will be grotesque.
The way it works: The orchestra plays a few selections of its own and I terminate the first part of the programme on piano, usually with a movement from a Mozart concerto.
[Miranda Hentoff] was teaching once at Lincoln Center, and the hall was full of other professionals - musicians, professors, teachers. And she was explaining how [Béla] Bartok composed his second piano concerto. And she explained how the music was interwoven with the rhythms and what he had in his mind. And I was just stunned. This is a kid who used to work - on a piano with a cracked keyboard.
I have two favorites: Reading Kierkegaard while listening to Mozart's Piano Concerto 9 in E Flat Major, and reading early Bazooka Joe comics in Hebrew.
As for my own music, I've never written a book about it. I'm not pedagogical... When I write an abstract piano sonata or a concerto, I write what I feel. I'm not a self-conscious composer.
Fact is that I played piano and performed, as a young kid, a Mozart piano concerto with the Chicago Symphony Orchestra . Don't forget I was only eleven-years-old and to be on the stage at that age had tremendous impact on me. Basically love for classical music and performing as a kid on the big stage probably led toward this decision, which meant that music is going to be my big love but also my profession.
I play a lot chamber music.As for something that's hard for me to play, before I leave this Earth I'm hoping to play Brahms' Second Piano Concerto.
Beauty doesn't have to be about anything. What's a vase about? What's a sunset or a flower about? What, for that matter, is Mozart's Twenty-third Piano Concerto about?
I'm going to quit music. Then the government of Japan asked me to write a piano concerto - that was an offer I couldn't refuse, so that brought me back to music again.
Of course my books are translated into many languages. I have here, in my home, translations on my shelf of my books into forty-five different languages. Almost none of them I can read. I can read only the English editions. But, I know that a translation of a work of literature is like playing a violin concerto on the piano. You can do this. You can do this very successfully on one strict condition: never try to force the piano to produce the sounds of the violin. This will be grotesque. So, different musical instruments provide for different music.
We developed our own type of Igudesman and Joo electric violin, let's say, and funny enough, the shape of it was developed by the head technician of Steinway. It's actually an electric violin, which is made from the stick that holds up the piano lid.
Second law: The complexity barrier. Software complexity (and therefore that of bugs) grows to the limits of our ability to manage that complexity.
You know what higher interest rates mean. To you it means a higher mortgage payment, a higher car payment, a higher credit card payment. To our economy, it means business people will not borrow as much money, invest as much money, create as many new jobs, create as much wealth, raise as many raises.
The piano is just a different animal. It's expensive, it's big, it's heavy, and it doesn't fit in the mix easily. Everyone grew up with a piano in their living room, so rocking out on the piano was accessible - it wasn't an upper-class thing. Now pianos have become very much a piece of furniture.
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