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QUOTES

 (95 results)
BERLIOZ Hector - The saxophone, for pieces of a mysterious, solemn character, is, in my opinion, the most beautiful low voice known to date. FREE

BERLIOZ Hector

The saxophone, for pieces of a mysterious, solemn character, is, in my opinion, the most beautiful low voice known to date.

Grand Traité d'Instrumentation et d'Orchestration Modernes

BERLIOZ Hector - In general, the organ is made for absolute domination, and is a jealous and intolerant instrument. FREE

BERLIOZ Hector

In general, the organ is made for absolute domination, and is a jealous and intolerant instrument.

Grand Traité d'Instrumentation et d'Orchestration Modernes

BERLIOZ Hector - The bass clarinet can borrow the wild timbre of the low notes of the ordinary clarinet, or the calm, solemn, pontifical accent of certain organ registers. FREE

BERLIOZ Hector

The bass clarinet can borrow the wild timbre of the low notes of the ordinary clarinet, or the calm, solemn, pontifical accent of certain organ registers.

Grand Traité d'Instrumentation et d'Orchestration Modernes

BERLIOZ Hector - Nothing virginal, nothing pure like the coloring given to certain melodies by the timbre of a clarinet played in the middle range by a skilled virtuoso. FREE

BERLIOZ Hector

Nothing virginal, nothing pure like the coloring given to certain melodies by the timbre of a clarinet played in the middle range by a skilled virtuoso.

Grand Traité d'Instrumentation et d'Orchestration Modernes

BERLIOZ Hector - The clarinet can best create, swell, diminish and lose sound. Hence the precious ability to produce the distant, the echo, the echo of the echo, the twilight sound. FREE

BERLIOZ Hector

The clarinet can best create, swell, diminish and lose sound. Hence the precious ability to produce the distant, the echo, the echo of the echo, the twilight sound.

Grand Traité d'Instrumentation et d'Orchestration Modernes

BERLIOZ Hector - Composers must be careful to ask the double bass to do only what is possible and whose correct execution cannot be doubted. FREE

BERLIOZ Hector

Composers must be careful to ask the double bass to do only what is possible and whose correct execution cannot be doubted.

Grand Traité d'Instrumentation et d'Orchestration Modernes

BERLIOZ Hector - The flute is a virtually expressionless instrument that can be used anywhere and everywhere, thanks to its ease of execution of fast note groups. FREE

BERLIOZ Hector

The flute is a virtually expressionless instrument that can be used anywhere and everywhere, thanks to its ease of execution of fast note groups.

Grand Traité d'Instrumentation et d'Orchestration Modernes

BERLIOZ Hector - The notes, chords and arpeggios that a large number of harps throw across the orchestra and choir are of the utmost splendor. FREE

BERLIOZ Hector

The notes, chords and arpeggios that a large number of harps throw across the orchestra and choir are of the utmost splendor.

Grand Traité d'Instrumentation et d'Orchestration Modernes

BERLIOZ Hector - The small E-flat clarinet has a piercing sound that can easily be made ignoble, starting from the A above the staff. FREE

BERLIOZ Hector

The small E-flat clarinet has a piercing sound that can easily be made ignoble, starting from the A above the staff.

Grand Traité d'Instrumentation et d'Orchestration Modernes

BERLIOZ Hector - The little flute can have a happy effect in soft passages, and it is a prejudice to believe that it can only play very loudly. FREE

BERLIOZ Hector

The little flute can have a happy effect in soft passages, and it is a prejudice to believe that it can only play very loudly.

Grand Traité d'Instrumentation et d'Orchestration Modernes

BERLIOZ Hector - The sonority of the bassoon is not very strong, and its timbre, absolutely devoid of brilliance and nobility, has a propensity for the grotesque. FREE

BERLIOZ Hector

The sonority of the bassoon is not very strong, and its timbre, absolutely devoid of brilliance and nobility, has a propensity for the grotesque.

Grand Traité d'Instrumentation et d'Orchestration Modernes

BERLIOZ Hector - The sound of the english horn has a faint, distant quality that makes it superior to all others when it comes to stirring the secret chord of tender memories. FREE

BERLIOZ Hector

The sound of the english horn has a faint, distant quality that makes it superior to all others when it comes to stirring the secret chord of tender memories.

Grand Traité d'Instrumentation et d'Orchestration Modernes

BERLIOZ Hector - The oboe is first and foremost a melodic instrument; it has an agrarian character, full of tenderness, I would even say shyness. FREE

BERLIOZ Hector

The oboe is first and foremost a melodic instrument; it has an agrarian character, full of tenderness, I would even say shyness.

Grand Traité d'Instrumentation et d'Orchestration Modernes

BERLIOZ Hector - Candor, naive grace, sweet joy, or the pain of a weak being, suit the accents of the oboe. FREE

BERLIOZ Hector

Candor, naive grace, sweet joy, or the pain of a weak being, suit the accents of the oboe.

Grand Traité d'Instrumentation et d'Orchestration Modernes

BERLIOZ Hector - On the piano, the limits of the possible are unknown, and every day new prodigies accomplished by the performers seem to push them back. FREE

BERLIOZ Hector

On the piano, the limits of the possible are unknown, and every day new prodigies accomplished by the performers seem to push them back.

Grand Traité d'Instrumentation et d'Orchestration Modernes

BERLIOZ Hector - Considered as a small independent orchestra, the piano must have its own instrumentation. Of course it does, and this is part of the pianist FREE

BERLIOZ Hector

Considered as a small independent orchestra, the piano must have its own instrumentation. Of course it does, and this is part of the pianist

Grand Traité d'Instrumentation et d'Orchestration Modernes

BERLIOZ Hector - Nothing is more voluptuously melancholy and more apt to render tender, vigorous themes than a mass of cellos playing in unison on the chanterelle. FREE

BERLIOZ Hector

Nothing is more voluptuously melancholy and more apt to render tender, vigorous themes than a mass of cellos playing in unison on the chanterelle.

Grand Traité d'Instrumentation et d'Orchestration Modernes

BERLIOZ Hector - The resources of the organ are so vast and so numerous that the composer will never know them well, we think, unless he is himself a consummate organist. FREE

BERLIOZ Hector

The resources of the organ are so vast and so numerous that the composer will never know them well, we think, unless he is himself a consummate organist.

Grand Traité d'Instrumentation et d'Orchestration Modernes

BERLIOZ Hector - Mutes are small wooden machines placed on the bridge of stringed instruments to weaken their sound, and at the same time give them a sad, mysterious and gentle accent. FREE

BERLIOZ Hector

Mutes are small wooden machines placed on the bridge of stringed instruments to weaken their sound, and at the same time give them a sad, mysterious and gentle accent.

Grand Traité d'Instrumentation et d'Orchestration Modernes

BERLIOZ Hector - The organ seems to be able to present itself in two ways: as an instrument adjunct to the orchestra, or as a whole, independent orchestra in its own right. FREE

BERLIOZ Hector

The organ seems to be able to present itself in two ways: as an instrument adjunct to the orchestra, or as a whole, independent orchestra in its own right.

Grand Traité d'Instrumentation et d'Orchestration Modernes

KOECHLIN Charles - The trumpet always retains its role of dazzling herald, with its character of triumphant brutality or victorious serenity. FREE

KOECHLIN Charles

The trumpet always retains its role of dazzling herald, with its character of triumphant brutality or victorious serenity.

Traité de l'Orchestration

KOECHLIN Charles - The voice is a very flexible instrument, from which a great deal can and should be demanded. FREE

KOECHLIN Charles

The voice is a very flexible instrument, from which a great deal can and should be demanded.

Traité de l'Orchestration

KOECHLIN Charles - The expressive phrases of the viola show it to be more intimate than the cello or violin, sometimes infinitely softer, and always noble. FREE

KOECHLIN Charles

The expressive phrases of the viola show it to be more intimate than the cello or violin, sometimes infinitely softer, and always noble.

Traité de l'Orchestration

KOECHLIN Charles - As for the style that might suit the harpsichord, I think there is no reason to exclude the most daringly fanciful and dissonant modern music. FREE

KOECHLIN Charles

As for the style that might suit the harpsichord, I think there is no reason to exclude the most daringly fanciful and dissonant modern music.

Traité de l'Orchestration

KOECHLIN Charles - The horn evokes the victorious fanfares of FREE

KOECHLIN Charles

The horn evokes the victorious fanfares of "Princes Charmants" in the midst of enchanted forests, or evening reveries on the shore...

Traité de l'Orchestration

KOECHLIN Charles - The English horn is almost always imbued with nostalgia; its veiled timbre irresistibly suggests distant landscapes of mist and dreams or mysterious apparitions. FREE

KOECHLIN Charles

The English horn is almost always imbued with nostalgia; its veiled timbre irresistibly suggests distant landscapes of mist and dreams or mysterious apparitions.

Traité de l'Orchestration

KOECHLIN Charles - The oboe is the instrument of deep, intimate sorrow, as much as of naive joy in the open air. FREE

KOECHLIN Charles

The oboe is the instrument of deep, intimate sorrow, as much as of naive joy in the open air.

Traité de l'Orchestration

KOECHLIN Charles - The crystalline, fluid and pure timbre of the flute evokes (depending on the mode and pace of the phrase) the clarity of the moon or the brilliance of the sun. FREE

KOECHLIN Charles

The crystalline, fluid and pure timbre of the flute evokes (depending on the mode and pace of the phrase) the clarity of the moon or the brilliance of the sun.

Traité de l'Orchestration

KOECHLIN Charles - The trombone is the FREE

KOECHLIN Charles

The trombone is the "sovereign voice", the language of divine omnipotence, or of formidable imprecations and infernal curses.

Traité de l'Orchestration

BERLIOZ Hector - The violins are the orchestra's true female voice, passionate and chaste at the same time, heart-rending and sweet, weeping and crying and lamenting, or singing and praying and dreaming, or bursting into joyous accents. FREE

BERLIOZ Hector

The violins are the orchestra's true female voice, passionate and chaste at the same time, heart-rending and sweet, weeping and crying and lamenting, or singing and praying and dreaming, or bursting into joyous accents.

Grand Traité d'Instrumentation et d'Orchestration Modernes

BERLIOZ Hector - The viola's low strings have a particular bite, its high notes shine with a sadly passionate accent, and its timbre in general is deeply melancholy. FREE

BERLIOZ Hector

The viola's low strings have a particular bite, its high notes shine with a sadly passionate accent, and its timbre in general is deeply melancholy.

Grand Traité d'Instrumentation et d'Orchestration Modernes

BERLIOZ Hector - Nothing can match the penetrating sweetness of twenty chanterelles set in vibration by twenty well-trained bows. FREE

BERLIOZ Hector

Nothing can match the penetrating sweetness of twenty chanterelles set in vibration by twenty well-trained bows.

Grand Traité d'Instrumentation et d'Orchestration Modernes

BERLIOZ Hector - In compositions whose overall color is intended to be melancholy, the frequent use of the english horn, hidden in the center of the orchestral mass, is ideally suited. FREE

BERLIOZ Hector

In compositions whose overall color is intended to be melancholy, the frequent use of the english horn, hidden in the center of the orchestral mass, is ideally suited.

Grand Traité d'Instrumentation et d'Orchestration Modernes

BERLIOZ Hector - The horn is a noble and melancholy instrument, but its timbre and sonority are not such that it cannot be included in all kinds of pieces. FREE

BERLIOZ Hector

The horn is a noble and melancholy instrument, but its timbre and sonority are not such that it cannot be included in all kinds of pieces.

Grand Traité d'Instrumentation et d'Orchestration Modernes

BERLIOZ Hector - The trombone possesses the supreme degree of nobility and grandeur; it has all the deep or strong accents of high musical poetry, from the religious accent, imposing and calm, to the forcible clamor of the orgy. FREE

BERLIOZ Hector

The trombone possesses the supreme degree of nobility and grandeur; it has all the deep or strong accents of high musical poetry, from the religious accent, imposing and calm, to the forcible clamor of the orgy.

Grand Traité d'Instrumentation et d'Orchestration Modernes

BERLIOZ Hector - The timbre of the trumpet is noble and brilliant, and is suited to warlike ideas, to cries of fury and vengeance, and to songs of triumph. FREE

BERLIOZ Hector

The timbre of the trumpet is noble and brilliant, and is suited to warlike ideas, to cries of fury and vengeance, and to songs of triumph.

Grand Traité d'Instrumentation et d'Orchestration Modernes

BERLIOZ Hector - A few virtuosos have cultivated the guitar as a solo instrument, and continue to do so to delightful and original effect. FREE

BERLIOZ Hector

A few virtuosos have cultivated the guitar as a solo instrument, and continue to do so to delightful and original effect.

Grand Traité d'Instrumentation et d'Orchestration Modernes

BERLIOZ Hector - It's almost impossible to write well for the guitar without playing it yourself. FREE

BERLIOZ Hector

It's almost impossible to write well for the guitar without playing it yourself.

Grand Traité d'Instrumentation et d'Orchestration Modernes

BERLIOZ Hector - The mandolin's timbre, however hazy and dull it may be, has something piquant and original about it that could very often be put to good use. FREE

BERLIOZ Hector

The mandolin's timbre, however hazy and dull it may be, has something piquant and original about it that could very often be put to good use.

Grand Traité d'Instrumentation et d'Orchestration Modernes

KOECHLIN Charles - The trombone is therefore both one of the most powerful and one of the softest instruments in the orchestra. No other instrument offers such a wide range of nuances, from ppp to fff. FREE

KOECHLIN Charles

The trombone is therefore both one of the most powerful and one of the softest instruments in the orchestra. No other instrument offers such a wide range of nuances, from ppp to fff.

Traité de l'Orchestration

KOECHLIN Charles - The sounds of the tuba's lowest register are extremely full. A whole world of sound fills the auditorium. FREE

KOECHLIN Charles

The sounds of the tuba's lowest register are extremely full. A whole world of sound fills the auditorium.

Traité de l'Orchestration

KOECHLIN Charles - The sound of the alto and tenor saxophones is very velvety, with great agility and a soft, easy attack. FREE

KOECHLIN Charles

The sound of the alto and tenor saxophones is very velvety, with great agility and a soft, easy attack.

Traité de l'Orchestration

KOECHLIN Charles - The soprano saxophone sounds less full than the alto, and (if not played very well) a little harder. FREE

KOECHLIN Charles

The soprano saxophone sounds less full than the alto, and (if not played very well) a little harder.

Traité de l'Orchestration

KOECHLIN Charles - Calm or passionate, gentle or violent, heavily tragic on the 4th string, fairy-like and celestial on the treble, or tenderly serene on the bass, or impetuously anguished on the treble, the violin runs the gamut of human feelings. FREE

KOECHLIN Charles

Calm or passionate, gentle or violent, heavily tragic on the 4th string, fairy-like and celestial on the treble, or tenderly serene on the bass, or impetuously anguished on the treble, the violin runs the gamut of human feelings.

Traité de l'Orchestration

RIMSKY-KORSAKOV Nikolay - Cold in quality, the flute is specially suitable, in the major keys, to melodies of light and graceful character; in the minor key, to slight touches of transient sorrow. FREE

RIMSKY-KORSAKOV Nikolay

Cold in quality, the flute is specially suitable, in the major keys, to melodies of light and graceful character; in the minor key, to slight touches of transient sorrow.

Principles of Orchestration

KOECHLIN Charles - The double bass is a curious instrument which, solo and in the treble, doesn FREE

KOECHLIN Charles

The double bass is a curious instrument which, solo and in the treble, doesn

Principes d'Orchestration

GUIRAUD Ernest - The clarinet's beautiful, pure and poetic timbre, and the variety of its expressive faculties, mean that it plays a considerable role in orchestral music. FREE

GUIRAUD Ernest

The clarinet's beautiful, pure and poetic timbre, and the variety of its expressive faculties, mean that it plays a considerable role in orchestral music.

Traité Pratique d'Instrumentation

GEVAERT François-Auguste - Excelling not only in the execution of a bravura line but also in the interpretation of an expressive melody, the clarinet contains within its range several timbres of a strongly defined character. FREE

GEVAERT François-Auguste

Excelling not only in the execution of a bravura line but also in the interpretation of an expressive melody, the clarinet contains within its range several timbres of a strongly defined character.

Nouveau Traité d’Instrumentation

RIMSKY-KORSAKOV Nikolay - The clarinet is pliable and expressive, suitable, in the major, to melodies of a joyful or contemplative character, or to bursts of mirth; in the minor, to sad and reflective melodies or impassioned and dramatic passages. FREE

RIMSKY-KORSAKOV Nikolay

The clarinet is pliable and expressive, suitable, in the major, to melodies of a joyful or contemplative character, or to bursts of mirth; in the minor, to sad and reflective melodies or impassioned and dramatic passages.

Principles of Orchestration

RIMSKY-KORSAKOV Nikolay - The bass clarinet has a darker color in the low register and lacks the silvery quality in the upper notes; it is incapable of joyful expression. FREE

RIMSKY-KORSAKOV Nikolay

The bass clarinet has a darker color in the low register and lacks the silvery quality in the upper notes; it is incapable of joyful expression.

Principles of Orchestration

RIMSKY-KORSAKOV Nikolay - The trumpet is clear and penetrating in tone, stirring and rousing in forte passages; in piano phrases the high notes are full and silvery, the low notes troubled, as though threatening danger. FREE

RIMSKY-KORSAKOV Nikolay

The trumpet is clear and penetrating in tone, stirring and rousing in forte passages; in piano phrases the high notes are full and silvery, the low notes troubled, as though threatening danger.

Principles of Orchestration

RIMSKY-KORSAKOV Nikolay - The bassoon has, in the major, an atmosphere of senile mockery; a sad, ailing quality in the minor. FREE

RIMSKY-KORSAKOV Nikolay

The bassoon has, in the major, an atmosphere of senile mockery; a sad, ailing quality in the minor.

Principles of Orchestration

RIMSKY-KORSAKOV Nikolay - The tone of the french horn is soft, poetical, and full of beauty. In the lower register it is dark and brilliant; round and full in the upper. FREE

RIMSKY-KORSAKOV Nikolay

The tone of the french horn is soft, poetical, and full of beauty. In the lower register it is dark and brilliant; round and full in the upper.

Principles of Orchestration

RIMSKY-KORSAKOV Nikolay - The english horn has a dreamy quality of its timbre being sweet in the extreme. In the low register it is fairly penetrating. FREE

RIMSKY-KORSAKOV Nikolay

The english horn has a dreamy quality of its timbre being sweet in the extreme. In the low register it is fairly penetrating.

Principles of Orchestration

RIMSKY-KORSAKOV Nikolay - Oboe is artless and gay in the major, pathetic and sad in the minor. FREE

RIMSKY-KORSAKOV Nikolay

Oboe is artless and gay in the major, pathetic and sad in the minor.

Principles of Orchestration

RIMSKY-KORSAKOV Nikolay - The trombone is dark and threatening in the deepest register, brilliant and triumphant in the high compass. The piano is full but somewhat heavy, the forte powerful and sonorous. FREE

RIMSKY-KORSAKOV Nikolay

The trombone is dark and threatening in the deepest register, brilliant and triumphant in the high compass. The piano is full but somewhat heavy, the forte powerful and sonorous.

Principles of Orchestration

RIMSKY-KORSAKOV Nikolay - The tuba is thick and rough in quality, less characteristic than the trombone, but valuable for the strength and beauty of its low notes. FREE

RIMSKY-KORSAKOV Nikolay

The tuba is thick and rough in quality, less characteristic than the trombone, but valuable for the strength and beauty of its low notes.

Principles of Orchestration

RIMSKY-KORSAKOV Nikolay - Nobility, warmth, and equality of tone from one end of the scale to the other are qualities common to all stringed instruments, and render them essentially superior to instruments of other groups. FREE

RIMSKY-KORSAKOV Nikolay

Nobility, warmth, and equality of tone from one end of the scale to the other are qualities common to all stringed instruments, and render them essentially superior to instruments of other groups.

Principles of Orchestration

KOECHLIN Charles - The guitar combines wonderfully with the human voice: it is, of all instruments, the perfect companion for serenades. FREE

KOECHLIN Charles

The guitar combines wonderfully with the human voice: it is, of all instruments, the perfect companion for serenades.

Traité de l'Orchestration

KOECHLIN Charles - The harp, the ancient instrument of the Celtic bards, is still the instrument of prayer and the call to the beyond. FREE

KOECHLIN Charles

The harp, the ancient instrument of the Celtic bards, is still the instrument of prayer and the call to the beyond.

Traité de l'Orchestration

KOECHLIN Charles - On its own, the instrument sounds a little pallid, but several mandolins (and especially with bass made by the guitars) form an ensemble that, if well written, would produce good results. FREE

KOECHLIN Charles

On its own, the instrument sounds a little pallid, but several mandolins (and especially with bass made by the guitars) form an ensemble that, if well written, would produce good results.

Traité de l'Orchestration

MIRBEAU Octave - The accordion is an instrument for polkas at dances, a timid barrel organ; its sound is ill-posed, like the voice of a moulting adolescent. FREE

MIRBEAU Octave

The accordion is an instrument for polkas at dances, a timid barrel organ; its sound is ill-posed, like the voice of a moulting adolescent.

Dingo

CARCO Francis - Hello, Paris of the midinettes, Girls, bad boys, Tramps and bals-musettes! If I owe it to you to be a poet, It FREE

CARCO Francis

Hello, Paris of the midinettes, Girls, bad boys, Tramps and bals-musettes! If I owe it to you to be a poet, It

Bonjour Paris

MILHAUD Darius - … the appearance of the saxophone, crusher of dreams… FREE

MILHAUD Darius

… the appearance of the saxophone, crusher of dreams…

Notes sans musique

PROUST Marcel - I wondered whether music might not be the unique example of what might have been – if the invention of the language, the formation of words, the analysis of ideas had not intervened – the means of communication between souls. FREE

PROUST Marcel

I wondered whether music might not be the unique example of what might have been – if the invention of the language, the formation of words, the analysis of ideas had not intervened – the means of communication between souls.

A la Recherche du Temps Perdu, N°5 La Prisonnière Perdu

FISHER-DIESKAU Dietrich - The human voice is an instrument of endless possibilities. FREE

FISHER-DIESKAU Dietrich

The human voice is an instrument of endless possibilities.

FISHER-DIESKAU Dietrich - Singing is an act of vulnerability and courage. FREE

FISHER-DIESKAU Dietrich

Singing is an act of vulnerability and courage.

FISHER-DIESKAU Dietrich - Music is one of the most powerful forms of communication. FREE

FISHER-DIESKAU Dietrich

Music is one of the most powerful forms of communication.

CALLAS Maria - An opera begins long before the curtain goes up and ends long after it has come down. It starts in my imagination, it becomes my life, and it stays part of my life long after I FREE

CALLAS Maria

An opera begins long before the curtain goes up and ends long after it has come down. It starts in my imagination, it becomes my life, and it stays part of my life long after I

PAVAROTTI Luciano - If children are not introduced to music at an early age, I believe something fundamental is actually being taken from them. FREE

PAVAROTTI Luciano

If children are not introduced to music at an early age, I believe something fundamental is actually being taken from them.

BARTOLI Cecilia - The voice is an instrument that you really must take time to develop. It FREE

BARTOLI Cecilia

The voice is an instrument that you really must take time to develop. It

ROBESON Paul - As an artist I come to sing, but as a citizen, I will always speak for peace, and no one can silence me in this. FREE

ROBESON Paul

As an artist I come to sing, but as a citizen, I will always speak for peace, and no one can silence me in this.

WALTER Bruno - The best thing that ever happened to me in music was meeting Kathleen Ferrier and Gustav Mahler, in this order. FREE

WALTER Bruno

The best thing that ever happened to me in music was meeting Kathleen Ferrier and Gustav Mahler, in this order.

SEGOVIA Andrés - Lean your body forward slightly to support the guitar against your chest, for the poetry of the music should resound in your heart. FREE

SEGOVIA Andrés

Lean your body forward slightly to support the guitar against your chest, for the poetry of the music should resound in your heart.

SCHUMANN Clara - My imagination can picture no fairer happiness than to continue living for art. FREE

SCHUMANN Clara

My imagination can picture no fairer happiness than to continue living for art.

BRYMER Jack - The clarinettist must begin by playing the chalumeau. This register of the clarinet (the twelve lowest notes) is still an instrument in itself, simple and enriching. FREE

BRYMER Jack

The clarinettist must begin by playing the chalumeau. This register of the clarinet (the twelve lowest notes) is still an instrument in itself, simple and enriching.

Clarinet

BRYMER Jack - The ability to play the clarinet is the ability to overcome the imperfections of the instrument. There’s no such thing as a perfect clarinet, never was and never will be. FREE

BRYMER Jack

The ability to play the clarinet is the ability to overcome the imperfections of the instrument. There’s no such thing as a perfect clarinet, never was and never will be.

Clarinet

MOZART Wolfgang Amadeus - Never have I heard such things as you, Anton Stadler, are able to perform on your instrument. Never should I have thought that a clarinet could be capable of imitating the human voice as it was imitated by you. Indeed, your instrument has so soft and lovely tone that no one who has a heart can resist it. FREE

MOZART Wolfgang Amadeus

Never have I heard such things as you, Anton Stadler, are able to perform on your instrument. Never should I have thought that a clarinet could be capable of imitating the human voice as it was imitated by you. Indeed, your instrument has so soft and lovely tone that no one who has a heart can resist it.

MOZART Wolfgang Amadeus - Father, you can't imagine the beauty of the sound of the clarinet! If only we had clarinets too! You can't imagine the sound produced in a symphony by the mixture of flutes, oboes and clarinets FREE

MOZART Wolfgang Amadeus

Father, you can't imagine the beauty of the sound of the clarinet! If only we had clarinets too! You can't imagine the sound produced in a symphony by the mixture of flutes, oboes and clarinets

GETZ Stan - If you like an instrument that sings, play the saxophone. At its best it’s like the human voice. FREE

GETZ Stan

If you like an instrument that sings, play the saxophone. At its best it’s like the human voice.

GETZ Stan - The saxophone is an imperfect instrument, especially the tenor and soprano, as far as intonation goes. The challenge is to sing on an imperfect instrument that is outside of your body. FREE

GETZ Stan

The saxophone is an imperfect instrument, especially the tenor and soprano, as far as intonation goes. The challenge is to sing on an imperfect instrument that is outside of your body.

MULLIGAN Gerry - I would think, of all saxophones, the baritone would be the most logical instrument if anybody was adding a voice to the symphony orchestra. FREE

MULLIGAN Gerry

I would think, of all saxophones, the baritone would be the most logical instrument if anybody was adding a voice to the symphony orchestra.

MONK Thelonious - The piano ain’t got no wrong notes. FREE

MONK Thelonious

The piano ain’t got no wrong notes.

KANDINSKY Wassily - Color is the keyboard, the eyes are the harmonies, the soul is the piano with many strings. The artist is the hand that plays, touching one key or another, to cause vibrations in the soul. FREE

KANDINSKY Wassily

Color is the keyboard, the eyes are the harmonies, the soul is the piano with many strings. The artist is the hand that plays, touching one key or another, to cause vibrations in the soul.

GODOWSKY Leopold - The piano as a medium for expression is a whole world by itself. No other instrument can fill or replace its own say in the world of emotion, sentiment, poetry, imagery and fancy. FREE

GODOWSKY Leopold

The piano as a medium for expression is a whole world by itself. No other instrument can fill or replace its own say in the world of emotion, sentiment, poetry, imagery and fancy.

DOHNANYI Ernö - Everything depends on how one practices. One studentmay spend five hours at the piano and will not accomplish as much or progress as fast as one who spends an hour at work, but concentrates his whole mind on the task before him. The first is a mechanical machine, the second uses his mental powers. FREE

DOHNANYI Ernö

Everything depends on how one practices. One studentmay spend five hours at the piano and will not accomplish as much or progress as fast as one who spends an hour at work, but concentrates his whole mind on the task before him. The first is a mechanical machine, the second uses his mental powers.

SEGOVIA Andrés - The piano is a monster that screams when you touch its teeth. FREE

SEGOVIA Andrés

The piano is a monster that screams when you touch its teeth.

SCHNABEL Artur - The notes I handle no better than many pianists. But the pauses between the notes – ah, that is where the art resides. FREE

SCHNABEL Artur

The notes I handle no better than many pianists. But the pauses between the notes – ah, that is where the art resides.

WILDE Oscar - The typewriting machine, when played with expression, is no more annoying than the piano when played by a sister or near relation. FREE

WILDE Oscar

The typewriting machine, when played with expression, is no more annoying than the piano when played by a sister or near relation.

CHOPIN Fryderyk - Sometimes I can only groan, and suffer, and pour out my despair at the piano. FREE

CHOPIN Fryderyk

Sometimes I can only groan, and suffer, and pour out my despair at the piano.

BRUBECK Dave - It’s like a whole orchestra, the piano for me. FREE

BRUBECK Dave

It’s like a whole orchestra, the piano for me.

PADEREWSKI Ignacy - Piano playing is more difficult than statesmanship. It is harder to awake emotions in ivory keys than it is in human beings. FREE

PADEREWSKI Ignacy

Piano playing is more difficult than statesmanship. It is harder to awake emotions in ivory keys than it is in human beings.

LISZT Ferenc - The piano is a divinely inspired instrument. FREE

LISZT Ferenc

The piano is a divinely inspired instrument.

HOROWITZ Vladimir - A piano is a living thing; it has a personality, a character. FREE

HOROWITZ Vladimir

A piano is a living thing; it has a personality, a character.

PETERSON Oscar - I believe in using the entire piano as a single instrument capable of expressing every possible musical idea. FREE

PETERSON Oscar

I believe in using the entire piano as a single instrument capable of expressing every possible musical idea.

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