A Quote by Philip Glass
I consider the first 20 performances just learning the piece. Think about it this way: If you think about a pianist who plays a Schubert sonata through his whole lifetime - if you listen to Rubenstein or Horowitz playing their repertoire later in their life, you understand the richness with which they play that music, and how differently they must have played it when they were younger.
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You can't think and play. If you think about what you're playing the playing becomes stilted. You have to just focus on the music I feel, concenctrate on the music, focus on what you're playing and let the playing come out. Once you start thinking about doing this or doing that, it's not good. What you are doing is like a language. You have a whole collection of musical ideas and thoughts that you've accumulated through your musical history plus all the musical history of the whole world and it's all in your subconscious and you draw upon it when you play
Learning to play is mostly about learning to hear, and learning to really listen deeply to sound in a musical way is a lifetime's worth of work.
When you are playing, it is so hard to think about what life will be like after football. I understand. When you are playing, and you are young, you think you can play your whole life. You think it will never change. But it will change. You can't play forever. No one can.
I think I was called 'the pianist' because of the way I play. It's true that I don't score many goals, just a few, but they are beautiful when I do score! I think it's more about my style of play, how I touch the ball, how I pass the ball, how I move it.
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.
As an actor, you have to just think about the truth of your character. You have to think about how to play the character in the way that you know it needs to be played in your heart and why you were hired.
I know that my music is heard a lot in commercial circles. In academia, I think my music is taken in differently but I'm not sure why that is. Some kind of sixth sense tells me that people in that world are thinking differently about it. I don't know if it has to do with the structure of my music, which is probably more apparent to those in the academic world than it is in the commercial world, where people tend not to think of that aspect of music so much. They just listen for pure enjoyment.
Vocation does not come from willfulness. It comes from listening. I must listen to my life and try to understand what it is truly about-quite apart from what I would like it to be about-or my life will never represent anything real in the world, no matter how earnest my intentions…..Before I can tell my life what I want to do with it, I must listen to my life telling me who I am. I must listen for the truths and values at the heart of my own identity, not the standards by which I must live-but the standards by which I cannot help but live if I am living my own life.
Man, you'd be surprised how much I'm learning - not only about myself, but about the musicians who came before me. You don't realize at first when you listen to Armstrong's records how great this man was and how hard that Hot Five music was to play. After the experience of reading and playing those parts, I have an even greater respect for Louis Armstrong than before
Prince Harry is a great guy, very competitive; he's been playing polo all his life. Riding is in his blood. His grandmother loves horses, his grandfather played polo, his father played polo, his brother plays polo, so it's in his blood. He likes to play hard, we joke about it and it's great.
It's [F1] your life. You're focused on just one thing and there's no room for anything else. Friends don't necessarily understand, because the way you think about life develops completely differently to how it does for normal people.
When I was younger I didn't want to listen to anybody, but now more than ever where I am in my life I understand how important it is to listen, observe, absorb, and let that all come out through your music.
Girls . . . were allowed to play in the house . . . and boys were sent outdoors. . . . Boys ran around in the yard with toy guns going kksshh-kksshh, fighting wars for made-up reasons and arguing about who was dead, while girls stayed inside and played with dolls, creating complex family groups and learning how to solve problems through negotiation and roleplaying. Which gender is better equipped, on the whole, to live an adult life, would you guess?
I think my first impression (of Bix Beiderbecke) was the lasting one. I remember very clearly thinking, 'Where, what planet, did this guy come from? Is he from outer space?' I'd never heard anything like the way he played-not in Chicago, no place. The tone-he had this wonderful, ringing cornet tone. He could have played in a symphony orchestra with that tone. But also the intervals he played, the figures-whatever the hell he did. There was a refinement about his playing. You know, in those days I played a little trumpet, and I could play all the solos from his records, by heart.
The first thing I think about is music, and the last thing I think about is music. I'm like some Monk. I don't see a lot of daylight. I hang out with musicians, I hang out with directors and I just try to spend as much of my life as possible playing music.
What I've wanted to do my whole life is just act. When I was younger, I loved to entertain people. I always used to make up dance routines, do little plays. I love to perform, basically. Music, as well, is a passion of mine. I've been singing my whole life. I probably annoy people because I sing all the time on the streets. And I play the drums and I play the guitar. I've been writing music since I was 13.
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