Frédéric Chopin

All doubts in that regard are unwholesome, and they're hindrances because it prevents us from actually practicing correctly because we're practicing and then doubting the practice, wanting instant results.

Like sitting down and somebody shows you how to play Chopsticks on the piano, and then you doubt that you can play a Chopin evolutionary etude, the Revolutionary Etude, which is, by the way, one of the most difficult piano pieces that, that's in the repertoire.

So that's what people want.

They want immediate, instant, spectacular results.

And I had a teacher who...

You know, I'd be playing One Love one day and then Chopin the other day and then Stevie Wonder another day.

So it was like I just got such a wide range of genre stuff that I kind of got to – spread my spread my vocabulary um but yeah no it was that and then also when I was getting into jazz band in high school it was a lot of transcriptions sure so I had to listen to like Oscar Peterson I had to listen to Bill Evans I had to listen to Miles Davis and get those under my fingers um and yeah I think that that jazz stuff is really the music that had the biggest impact on me I think it's like I write with that in mind um I always am trying to make music that I could play for a jazz head and them to be like, okay, I see what you're doing.

It's not corny.

Augsburg, October 23, 1777, to his father.

We have here a suggestion of the temple rubato as played by Chopin, according to the testimony of Mikuli, who said that no matter how free Chopin was either in melody or arabesque with his right hand, the left always adhered strictly to the time.

mozart learned the principle from his father who in his method for the violin condemned the accompanists who spoiled the tempo rubato of an artist by waiting to follow him h e k fifty nine Whoever can see and hear her, the daughter of Stein, play without laughing must be a stone, Stein, like her father.

She sits opposite the treble instead of in the middle of the instrument, so that there may be greater opportunities for swaying about and making grimaces.

It's just bills, as you said, and this invitation.

You are cordially invited to attend a piano recital featuring the works of Bach, Beethoven, and Chopin...

July 24th, 8.30 p.m.

Please bring this card with you.

You don't have to be a fan or a follower of classical music to know some of the greatest composers ever.

You obviously know the name Mozart, you know Chopin, you know Beethoven.

And even if you don't know those names, you know the amazing compositions, particularly that Beethoven created.

I don't know any Beethoven.

Liszt, spoiled and capricious, played very seldom.

Chopin, more a composer than a performer we in America had never supposed would cross the sea.

So sensitive, so delicate, so shadowy his life seemed to exhale a passionate sigh of music.

In the stormy blood-soaked ruined Paris of today, it is not easy to imagine those evenings at the Prince Zartorski's, when Chopin played in the moonlight the mazurkas and polonaises and waltzes, which moonlighter dreams seem often to have inspired, but through which the proud movement of the old Polish dance and song triumphantly rings.

In George Sand's Letters of a Traveler, Chopin also appears, but sadly and hopelessly.

What Javier de Maistre says of the Fornaria and Raphael is the undertone of all the passages of the book that speak of Chopin.

She loved her love more than her lover.

Then came the burial at the Madeleine with his own funeral march beating time to his grave.

What would you like? After all, I'm here to please you.

Well, do you know, let's see, do you know Chopin's St. Louis Mama? I am an artist, not a school pigeon.

Well, play anything at all.

I don't care.