A Quote by Michel Legrand

I insist on a Steinway for my recordings, my concerts and my home. It is the only piano I want to hear my music played on. — © Michel Legrand
I insist on a Steinway for my recordings, my concerts and my home. It is the only piano I want to hear my music played on.
I want to make music. That means I prefer the Steinway piano.
I have owned and played a Steinway all my life. It's the best Beethoven piano. The best Chopin piano. And the best Ray Charles piano. I like it, too.
I wish to thank Steinway for its wonderful pianos which I've been privileged to play in all my concerts. There is no piano like it in the world.
There was a lot of music in our home. Mom played piano in church and gave piano lessons.
When recordings replaced concerts as the dominant mode of hearing music, our conception of the nature of performance and of music itself was altered.
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 grew up in a family of piano players. Both my sisters were serious players, and they both, as they became more accomplished, aspired to buy a Steinway and asked my dad to buy a Steinway.
My mother was the only musician. She played piano and she sang. She also played saxophone. And she played at home a lot.
I have looked to the Steinway piano since I was three, not only as my ideal choice of an instrument. But, as a responsive and ever reliable friend.
Music has been a huge passion of mine ever since I started playing the piano at age 3. Going to concerts, performing on my own, and listening to my favorite artists growing up confirmed that love for music and made me want to pursue it as a career.
Steinway is the only piano on which the pianist can do everything he wants. And everything he dreams.
There was a substantial vinyl collection in my home, and my mom played piano. We, the children, were enrolled in piano lessons very early on.
It's people, not possessions, that make home for me. It's not that I get much time to entertain, or any of that, what with the television production schedule and, now, singing concerts all around the country and making recordings.
I like the idea of a kind of eternal music, but I didn't want it to be eternally repetitive, either. I wanted it to be eternally changing. So I developed two ideas in that way. 'Discreet Music' was like that, and 'Music for Airports.' What you hear on the recordings is a little part of one of those processes working itself out.
I went through eight years of classical piano lessons without being able to read notes. I only have to hear a melody to be able to play it. It used to freak my piano teacher out when he finally noticed that notes don't make any sense to me and that I played by ear.
My parents had a love for music. There were so many records, so much music constantly being played. My mother played piano, my father sang, and we were always surrounded in music.
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