A Minute with Miles

The members of the violin family—the violin, viola, cello, and double bass—are made of wood. But on any one instrument you may find four or even five different kinds of wood. The top, also called the “table,” or “belly” of the instrument, will be made of spruce—a strong, light, but soft wood. The back, and the sides—which are also called the ribs—will almost always be made of maple, which is a very hard wood. Maple is also the wood from which the scroll, the neck, and the bridge are carved. The

Did I ever tell you that I once won ten dollars from Leonard Bernstein? When I was a student at Juilliard I learned the Viola Concerto by William Walton, and one evening I played through it for my violinist friend Alexis Galpérine. Alexis noticed that the Walton reminded him very much of the Violin Concerto in D Major by Sergei Prokofiev, and on closer examination we saw that there was no question that Walton had indeed patterned his concerto directly after the Prokofiev.

For at least six hundred years, composers have been borrowing the melodies of folk songs and incorporating them into their compositions. And there’s a good reason: they’re good melodies; they’re melodies that have stood the test of time—that have never lost their hold on people. And even when composers haven’t borrowed actual folk melodies, they’ve often borrowed the style of folk melodies. In 1884 the composer Max Bruch, famous for his beautiful melodies, wrote a letter to his publisher, Fritz

In a famous letter to his father, Mozart once wrote, “you know I become quite powerless whenever I am obliged to write for an instrument I cannot bear.” He was talking about the flute, and the occasion of the letter was a commission Mozart had received to write several flute concertos and quartets for flute and strings. In fairness to Mozart, neither the flutes nor the flutists of his day were terribly reliable, but it’s also possible that Mozart had just been procrastinating, and inventing an

Performers are always seeking the most effective and compelling ways to bring a composer’s musical ideas to life. I stress the plural, “ways,” because there’s never just one way. Some musicians sometimes forget this, unfortunately, but the best musicians, and the best teachers never do. When I was a graduate student, the string quartet I played in was working on a Bartók string quartet, and our faculty coach was Robert Mann, founder and first violinist of the Juilliard Quartet. Now, if ever

When musicians and music scholars prepare performances of works by dead composers, they often get stuck in arguments over determining what the composers’ “original intent” was. And while I certainly recognize the importance of scholarly accuracy and authenticity, and of staying true to the composers’ wishes, I think that sometimes musicians forget that dead composers were once alive. Back in 1980 a pianist I know was preparing a performance of the Copland Piano Concerto, a performance that Aaron

Composers during the Baroque period wrote plenty of chamber music, especially trio sonatas, and sonatas for such high-voiced instruments as the violin and the flute. But the chamber music repertoire that today’s audiences are most familiar with probably begins with the piano trios and string quartets of Joseph Haydn. After Haydn, the floodgates opened. Mozart and Beethoven, for example, both composed enormous quantities of great chamber music in a variety of forms… and with the exception of

You could write a book about the life of the German composer Georg Philipp Telemann– and as it turns out, Telemann himself wrote three – three separate autobiographies. One of the things he wrote about is the time he spent in Poland in his early twenties. He became familiar with Polish and Moravian folk music during this period—he wrote that he experienced it in “all its barbaric beauty”—and he also heard the music of Eastern European gypsies. But he didn’t just listen: he incorporated some of

I had the enormous good fortune as a young man to get to work with the great cellist Mstislav Rostropovich. Rostropovich, or “Slava,” as everybody called him, was the music director of the National Symphony Orchestra when I played in that ensemble, and with all his other engagements he still somehow made time to give master classes just for members of the orchestra. I learned a tremendous amount from him, and to this day I don’t seem to be able to give a master class myself without quoting Slava

In the world of instrumental and vocal teaching, most teachers approach their students with certain basic principles in mind. For me, one of those principles is that whether we’re dealing with individuals or with ensembles, there’s no separating technical goals from musical goals. I don’t believe, in other words, that it makes sense just to learn the notes first and then somehow to “plug in” the music later. Sure, there are certain fundamental techniques that all beginners have to master, but