A Quote by Stephen Hough

I've loved Alfred Cortot's playing from an early age, and I never tire of hearing his recordings, particularly Chopin and Schumann from the 1920s and '30s. — © Stephen Hough
I've loved Alfred Cortot's playing from an early age, and I never tire of hearing his recordings, particularly Chopin and Schumann from the 1920s and '30s.
I love Arthur Rubinstein, especially his live recordings. I think his Chopin Mazurkas, his interpretation of the Polonaises, and the Concertos of Chopin are just incredible. When I was a child, I wanted to play more and more Chopin because of his recordings.
I would have loved to record with Paul McCartney on some of his early solo recordings, wonderful music. Playing some lovely organ, perhaps. I would have loved to record with John Lennon. He was a dear friend. I had lunch with him just two days before he died.
I remember thinking, when I was in my early 30s, that this is the best age to be, and I still believe your 30s are a wonderful time.
I've got great joy from rediscovering Western music. I love Schumann and Chopin, and those amazing symphonies of Bruckner.
True originality has its foundations in the soul, not in the mind, and when there is an effort to create something different it is usually a failure. Beethoven or Schumann or Chopin did not try to be original. They were original.
Musically, swing pretty much dominated in the '30s. And into the late '30s, swing is beginning to change over to bebop in the early '40s, which is exactly when this new science of theoretical physics, particularly theoretical atomic physics, was really coming to the fore.
I spent my 30s figuring out how to be a grown up, I guess. I loved my 30s! My 30s were really about being happy with what I was doing.
I think recordings have been a terrific advance because now, when you have a piece of music, particularly something that appears to the listener very complicated, there's really a push to the world to try to figure out what it was that he was hearing.
Talking to Lee Child and discovering, from his chapter in The Chopin Manuscript, that he's even more of an audio geek than I am (as his chapter in Chopin proves).
The popular songs that were written in the 1920s and '30s, '40s and early '50s were written by veterans - mostly men who'd had experience in life. How can you write a lyric if you haven't really lived life?
From an early age, I was infatuated with music. I always loved it and was always dancing or playing something.
I did listen to 1920s jazz or Al Johnson and a lot of early singers coming out of England. I would branch out a little bit to get a sense of the world that he might be coming into, in the '30s when jazz was changing.
Humor strips dominated what were called the funny papers early in the century, but by the 1920s and '30s, adventure strips had taken over. With 'Beetle Bailey,' I revived the funny part of the funny papers, and I'd be proud to be remembered for that.
It's Toby Jones playing Alfred Hitchcock, not Alfred Hitchcock. We all felt that his silhouette was crucial, so his nose and lips were crucial as well. We had to build it out a bit to get the silhouette. But, with my nose being so small within the proportion of my face, the first nose was too big. I felt like a nose on parade.
In my early 30s, for a few months, I altered my body chemistry and hormones so that I was closer to a man in his early 20s. I was blown away by how dramatically my thoughts changed.
Particularly [Alfred] Hitchcock, who takes his time with everything he says. There's a controlling way in how he speaks because he takes his time to finish all his sentences.
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