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Joanna MacGregor Quotes
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In a lot of classical playing there isn't much expressiveness: I don't hear a voice in the playing. What I really admire about jazz musicians is that they develop a sound early on and it's unique to them. Classical players are screened from that by always playing other people's notes.
Joanna MacGregor
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You don't rely on a great army of people to spoon-feed you. Today's classical-music world is very self-defeating. I love the fact that all these corporations are falling apart. They're sinking millions into acts and getting it wrong. And I know why - it's not about the music, or the audiences. So in many ways this is a very encouraging time.
Joanna MacGregor
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What was most odd was that teachers would tell you what to do and what to think and they would write everything on a blackboard and you would copy it all down. The Evening Standard - 04/07/2002
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I got my apprenticeship, with the Young Concert Artists Trust, playing all these warhorses in Raymond Gubbay concerts. Some are not for me anymore, but I'd still play the Grieg at the drop of a hat; it's so fresh. I'm very careful to keep on playing a lot of mainstream repertoire. I'm not into being the court jester who just does the wacky stuff. Making the connections and taking people down new paths is what I enjoy.
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School was strange, rather amusing - with a teacher standing at the front telling you what to write. The camaraderie was interesting. I tend to remember the things you can't recreate on your own - queuing up for your dinner, learning team games, which were a complete mystery to me. I remember having to pretend I knew how to play hockey, that kind of thing. The Mail on Sunday - 06/02/2000
Joanna MacGregor
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Memory is the fear, and I play most of my repertoire from memory.
Joanna MacGregor
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I have absolutely no difficulty in coming out and saying Bach and Beethoven are great composers. You must school young people into great classical music, but you must also allow them to hear other music as well. At one point classical music colonised the high ground. Now we're reaping the backlash for that.
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I wasn't part of that hothouse thing. I didn't go to the Yehudi Menuhin school. I grew up with the idea of trying to make music available to people of all abilities. The Guardian - 26/05/2000
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You can give music variation without changing the notes. When you get close to a piece there will inevitable be tinkering. I sometimes wonder if concert pianists expend so much effort and energy finding new ways to interpret that what they really need is some more direct form of self-expression.
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I'm becoming very interested in non-Western things, and in Europe a lot of what's offered to me is the Western tradition I've grown up with. Now I've got to find a way out, but the problem is that the piano is just about as Western as you can get. The piano's my instrument, and I wouldn't want it any other way, but I'm gravitating quite naturally towards things that have developed my sense of rhythm. I've come to all this incredible Indian classical music and its more modern formations late in the day; the Messiaen I've played has led me down that road, and I've been following my nose all the time.
Joanna MacGregor
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If you want a nine-to-five existence with weekends off then don't be a musician. I wouldn't be doing what I'm doing now if I had children. But it hasn't worked out like that.
Joanna MacGregor
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My education was very intensive and I applied that training later on to playing the piano. I had always played, but having no one to compare myself to, I had no idea if I was any good.
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A lot of musicians are going to have to retrain. It's nonsense to say that traditional classical music is more complex. Contemporary pieces by Harrison Birtwistle are much harder to play than Mozart or Wagner. I know a lot of people don't want to hear that.
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I'm trained quite classically but quite freely by my mum, so even when I was little, I had this rather freewheeling approach. When I trained more seriously in my late teens at college, it was: here are the notes, here is what is expected of you. I didn't mind because you need technique, particularly on the piano, which requires a lot of stamina. And it was natural that once I had done that, I would want to go beyond classical music. How can you be yourself if all you do is reproduce someone else's notes? The Guardian - 05/10/2001
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The freedom of improvising over a bass line disappeared from music only in the 19th century, and we're still paying for it. There's a culture among classical musicians of being passive, and it stems from following the notes, rather than one's own instincts.
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We're really not very good about putting music in a social and political context, particularly classical music. It's all sort of above everything. But in South Africa, everything is politicised. You play a piece of classical music out there and you are making a real cultural statement. Or you play with a marimba band and you are saying something else. I think that's the way things should be. The way people write about music makes it seem completely devoid of social context. And audiences drift away as a result.
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I've played Bach since I was a little girl. I can't let a day go by without playing him. He's so witty and secretive and funny and mathematical and brilliant.
Joanna MacGregor
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As I get older I realise that start has made me rather, well, different. It set down a tremendous template for the rest of my life. I grew up believing the piano is a great instrument because you can play everything on it.
Joanna MacGregor
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I was given so much advice. About how my hair should be, what I should wear, which competitions I should enter, what stuff I should play. None of that was relevant for me. I just had a kind of instinct.
Joanna MacGregor
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I can see it must seem strange, but to me it was normality. Really, my memory of my childhood is that the sun always shone and I spent all my time playing in the park. Since then I've discovered that some of the great musicians I admire - Charles Ives, John Cage, even Bob Dylan - had quite unconventional childhoods. Evening Standard - 04/07/2002
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I want to move away from complexity. I've done my time as far as virtuosity and piles of notes are concerned. It's what puts me off a lot of contemporary classical music - there are so many notes. In fact, I think I'm moving away from classical music altogether. I'm not sure that in 10 years' time I'll be playing it at all.
Joanna MacGregor
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I didn't go to school until I was 11. On your own you develop imagination.
Joanna MacGregor
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I quite like shutting the door, putting the answering machine on and sitting at the piano for six or seven hours.
Joanna MacGregor
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Not only was I fiddling around at the keyboard but there were all these other children of all backgrounds wanting to play every sort of music bits of classical, jazz, pop, improvisation. The Guardian - 26/05/2000
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The musicians who interest me most are people like Nitin Sawhney, Talvin Singh, Django Bates. They are not just writing music but performing it, recording it, putting tours together and running their own labels. That is what real musicians are, rather than over-publicised specialists.
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I don't really go along with this sense that you sometimes pick up - that is, classical music is superior to everything else. I think classical music is a very great music form, but I can also think of other great music forms. And certainly within each field, you have absolute geniuses operating. Over the years, I've tried to bring together different people from different fields, and I do try to put Bach and Beethoven next to other types of musicians.
Joanna MacGregor
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As a musician you can cover everything. I'm not just a concert pianist.
Joanna MacGregor
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Classical music has struggled to keep up. Unlike any other art form, it keeps on looking backwards all the time. It used to have a real museum culture. Then it went: "Oh my God, what are we going to do? Call for Nigel Kennedy. Quick!" Classical musicians have got to change or die,' she asserts strongly, 'but they just don't know how to. Audiences for classical music have dropped. The old blue rinse audience is dying out, and young people aren't coming in.
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Being a specialist is a 20th century thing, and now rather old fashioned as an idea. I realised early on that you can be the kind of superstar who jets around playing the same programmes all over the world, or you can be the sort of musician who perhaps can be a little influential.
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As a professional I practice six or seven hours per day, though it depends on my schedule. That's how it is as a musician. It's only when you reach grade five you take them more serious. Until then I saw it as fun. I used to learn them by play pop tunes on the piano. They have harmonies and broken chords and can be used as building blocks to help you with scales.
Joanna MacGregor
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William Lamb, 2nd Viscount Melbourne
Joanna MacGregor
Born:
July 16, 1959
(age 65)
Bio:
Joanna MacGregor is a British concert pianist, conductor, composer and festival curator. She is Head of Piano at The Royal Academy of Music and a Professor of London University.
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