A Quote by Jeremy Denk

I'm one of those pianists who tends to ignore every existing recording and lots of traditions about playing pieces when I start. — © Jeremy Denk
I'm one of those pianists who tends to ignore every existing recording and lots of traditions about playing pieces when I start.
Lateral thinking is concerned not with playing with the existing pieces but with seeking to change those very pieces. It is concerned with the perception part of thinking. This is where we organise the external world into the pieces we can then 'process'.
There are three kinds of pianists: Jewish pianists, homosexual pianists, and bad pianists.
Through the years I've found that I prefer live playing to recording. I still do lots of recording - but I treasure the live shows.
My favorite elements of 'Start Talkin'' were those man-on-the-street pieces. I love shooting those. I was born in Manhattan, have lived in or around New York my entire life, and I feel like I'm in my element when doing those pieces.
I picked up some wonderful things just listening to other pianists that I appreciate, and that would be Herbie Hancock, Oscar Peterson, Vladimir Horowitz, and Art Tatum. Those are the pianists I really enjoy and admire.
Those who seek consolation in existing churches often pay for their peace of mind with a tacit agreement to ignore a great deal of what is known about the way the world works.
The odds against life in the universe are simply astonishing. Yet here we are, not only existing, but talking about existing. What can account for it? Can every one of those many parameters have been perfect by accident? At what point is it fair to admit that science suggests that we cannot be the result of random forces?
Everybody has their own way of remembering and every culture has their traditions. When you compare the similarities and differences to other cultures, you start to learn about them and appreciate them. Whether it's the Japanese or the Africans, they all have ways of conjuring spirits and the support of those who have gone before them.
I have a shoebox: for ideas, fragments, snatches of conversation I hear. I scrawl it down, throw the scraps in the box. Every time I start a new script I start picking through the pieces. Suddenly you get five pieces together and think: this is almost the first Act of a movie, if I flesh it out a bit.
I never worry about injury. When you go out there, you're playing football. And when you start worrying about those things, that's more when they happen, playing timid or keeping it in the back of your mind.
I applied, and I got in as a pianist. Their idea in the music department was that pianists, if they were good enough to get in, they were good enough to learn a new instrument. They felt sorry for pianists being alone in the practice room all the time, and they really wanted to socialize us pianists.
But I'd say recording and playing on stage are two completely different things. Being up there in front of all those people is like jumping off a cliff into icy water. The recording process is a totally different energy.
Once you start playing a piece, there is a connection between every note. You cannot say, 'I will not concentrate on this note.' You cannot ignore things the way you do in the rest of your life.
Writing a song is like playing a series of downs in football: Lots of rules, timing is crucial, lots of boundaries, lots of protective gear, lots of stopping and starting.
When you first start writing a song, it's fun, then when you start recording it, it's fun, but by the time you've finished recording it, you're sick of it.
Well, no. I believe that it's not at all impossible that some of the performances that I've heard so far by some pianists may be superior to my own playing because those are two totally different acts altogether.
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