This solo piano exploration (Beyond The Sky) by Rob Schwimmer is full of passion and love...his execution and ideas flow with a beautiful sense of freedom that captures you from his first phrase to the last.
Put a small piano in a truck and drive out on country roads; take time to discover new scenery; stop in a pretty place where there is a good church; upload the piano and tell the residents; give a concert; offer flowers to the people who have been so kind as to attend; leave again.
I had studied piano since I was 13, but I was surrounded by students who'd been playing since they were 5. I realized I was never going to be anything but mediocre.
For Ripley I learned to play some songs on the piano, and I never really played them again.
I was a halfway-decent-looking English boy who looked nice in a drawing-room standing by a piano.
I've been playing since I was 5, but I wouldn't say that I'm serious about the piano.
So the ideology was that: use sounds as instruments, as sounds on tape, without the causality. It was no longer a clarinet or a spring or a piano, but a sound with a form, a development, a life of its own.
With the piano I'm completely in control of the gestural situation-not that I'm going to play the piece myself, but I know what's difficult, what's impossible.
My goal was to play drums, but my father made me take piano lessons. He told me I needed to learn to read music first, so I took lessons for six years. I thank God that he made me take those lessons, because it taught me a tremendous amount.
When my opera Plump Jack was performed in 1989, my first piano teacher sent me something that I'd composed when I was four. I remember I played it, and it still sounded like me. I'm the same composer I was then.
My mother bought a piano, put it in the front room, and I just started writing my songs.
Part of the joy of music is listening to lots of different kinds of music and learning from it. Specifically for me, I like writing songs that move me, and what moves me are beautiful songs on the piano or the guitar and really, really heavy music.
I started piano lessons when I was four; I was being classically trained at the Colburn School.
I had a little Richard and that black piano, oh that sweet Georgia Peach, and the boy form Tupelo.
I had this spooky psychological thing about 'The Piano' before it began, which was how everybody was going to go nuts on the set. Because a film tends to set up the way people are going to behave.
I've had a lot of different responses to my films. I got a lot of support from 'The Piano,' the obvious one, but it feels like an ocean, with a lot going on - the goal is to keep alive.
The Piano Lesson' is very sophisticated, easily the most adult or complex material I've attempted. It's the first film I've written that has a proper story, and it was a big struggle for me to write. It meant I had to admit the power of narrative.
I go on a lot of hikes. I read a lot. I play piano.
Man, after all my grandma put into me learning the piano, that was a hard day, telling her I was telling jokes for a living.
Then I was playing the piano at eight, and that helps you learn about women because most of the people I was playing for were women.
I play piano and guitar and I do write my own stuff so to a certain extent I know what I want to do in regards to music. But I'm still finding out what kind of music is my favourite kind to listen to, never mind do myself so I've got a lot of time to find out myself and develop myself as an artist.
I'm a kid for a living: I get to play the piano for a living.
Well, my sister played trumpet. Can you imagine having a sister blowing the trumpet around the house, Fred? And my brother, he played piano. Everybody was playing some kind of music, so it was natural for me to get into it.
From the time I could play the piano, I remember trying to write tunes. They were in my head, and I would just sit down and start noodling. Next thing I knew, I had written a melody.
I gave up lots of things I love doing: writing, and business, and playing the piano and so on.
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