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Juilliard Quotes

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Juilliard Quotes

“It was one of those times when you can feel the air in a room. Everything stood still. I can remember the T-shirt I was wearing and the bag I was carrying. I don't think I breathed for 15 minutes. It was a devastating moment. They said they wanted me to experience more things. OK. I began contemplating things. Maybe I should take LSD or become a hooker. I left Juilliard and was just meandering and drifting for a while. Thank God I had support from my family and close friends. Bad times.”

“Pianists of extraordinary talent, such as Christina Petrowska,spend a large part of their early lives perfecting technique…Miss Petrowska,a Canadian with a phenomenal ability to play the most difficult music cleanly, gave a demonstration of her achievements at Carnegie Recital Hall. A product of the Juilliard School who studied with Karlheinz Stockhausen and Gyorgy Ligeti in Europe, Miss Petrowska built most of her program around fiercely difficult contemporary works. She has fingers that work like chrome-plated pistons, and her high-seated position let her bring pulverizing power to bear.”

“Some friends of mine in the class ahead of me in college were auditioning for graduate school in New York, and then a few of them got into Juilliard, and it sort of opened my eyes. I didn't really know anything about it, but it opened my eyes to a possible next step after school, where I could just deepen my knowledge and also not be responsible for life and stay in school.”

“I think part of the bad thing is that skill is emphasized so much that a lot of people, by the time they get to Juilliard, well I think they kind of forget why they got into music in the first place and if they're performers - this is a simplification, but a lot of them are trying to win a competition and play more accurately, or better, or more beautifully, whatever can be measured, than somebody else.”

“I was a regular kind of academic music student. I was at Juilliard. I had to study all the contemporary music of the time, and changing that language very radically was just a sign or a signal that I was going to try to do something very different. I find that that's what I feel closest to. I found no real inner response in me in a non-tonal language.”

“Before I got to Juilliard I remember that I had learned the first few bars to all the Sachse etudes in several different keys because I knew what was coming. So in the first year he was throwing these Sachse etudes at me and I would knock off the first eight bars and fly right through it. He would say, 'Alright, that's good enough.' But, in my third year, he said 'Get out the Sachse book.' I couldn't understand why. So I pull it out and he said, 'Here, start in the middle.' I was in trouble! He said, 'Hey Balm, I took you for a guy who knows how to transpose-you're nothing but a bugler!'”