I find that people can’t find you. It’s kind of quiet. When I go to a city, I can almost always get a piano if I need one. So there’s something nice about being on the road and focusing on something you want to do.
My biggest problem about writing is whenever I write piano pieces, because I then have to learn to play them, which is sometimes not so easy.
I shift between mediums very frequently. Instead of taking a break from writing, I just write in a different medium or in a different way or for a different purpose, so that I don't actually stop writing - I just go to something else. Like going from a big symphony to a piano piece is great and very refreshing, I find. And then going from that to a big concerto, and then having to go out and play.
Never was I so devout as when I composed The Creation. I knelt down each day to pray to God to give me strength for my work....When I was working on The Creation I felt so impregnated with Divine certainty, that before sitting down to the piano, I would quietly and confidently pray to God to grant me the talent that was needed to praise Him worthily.
One of the most memorable live performances of my career took place on the 2002 American Music Awards show when I had to the opportunity to sing with Elton John. I was moved by the way he played the piano onstage.
Never mind, put any book on the piano, and someone can turn from time to time, so I need not look as though I played by heart.
I had piano lessons when I was younger, but I quit because I didn't want to sit and learn the scales.
Piano playing consists of common sense, heart and technical resources. All three should be equally developed. Without common sense you are a fiasco, without technique an amateur, without heart a machine. The profession does have its hazards.
I couldn't help but feel very different from everybody, so I think that's why I found such a big world in music, and that's why I kind of - I was an introvert as a kid, but I loved the piano, and that's where I felt at home.
I was very quiet until I got at the piano, and weekends, lunch breaks, after school, before school, I was just making music.
Melody is the first thing that comes to me when I'm songwriting. I learned piano classically first, and then I went into soul, and so melody has always been the first. It's so important.
My mother played the piano and my father the violin, I can remember my dad teaching me how to waltz; I had my feet on his, my mother playing the piano, and my husband will tell you the lessons weren't very successful.
I grew up playing classical piano and percussion.
The Conversation was a movie I saw probably for the first time in the early 2000s. I immediately loved the piano and just how simple it is.
I went to see "The Piano" with Holly Hunter when I was in a Paula Vogel play, and I was just gone. I couldn't focus at all. It took that creative part of my brain with it so absolutely.
Some people do piano lessons after school; I do movies.
I don't know why people enjoy what I do. I play piano and sing a few songs - and that's about as exciting as I want it to get. The people who come to my shows will have to bring a good book!
Piano performances by Condoleezza Rice are better than Hitler's paintings.
I sat on the piano bench next to my mother in church. Something happened before I set foot on this planet. I was crawling around inside of her. She was a church pianist. My dad was a brilliant singer. I was hearing it.
I did a concert at five years old in the garden of one of the church members, and we raised some money to buy a new piano in our little church.
Of course, if you think of a European or American household in the '50s, so what were the things that when people started climbing up the ladder, what did they buy? A fridge, a TV, I think piano was the number three item in say '53 or '54.
I sing songs from the theater and pop songs. When I say 'pop songs,' I mean from the 90's. And I tell jokes. So it's sort of a stand up show meets a concert - not your traditional lounging across a piano cabaret show. It's much looser.
As a young composer I had a particular fondness for Liszt's Beethoven Symphony arrangements for the piano, and to this day I enjoy playing non-piano music at the piano.
I enjoy the challenge of taking something which was not meant for the piano, distilling its essence and writing or improvising it for/at the piano, but having the listener forget that he or she is listening to a piano.
A lot of my approach to the instrument, especially as I've gotten older, is to treat the piano in ways that are not very pianistic - to consider the sounds I'm after first, and to deal with technical considerations later.
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