When the Music Stopped: Discovering My Mother by Thomas J Cottle
By Thomas J Cottle
A son's coming to phrases together with his mother's selection to desert her profession as a live performance pianist to be able to increase her childrens.
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Extra info for When the Music Stopped: Discovering My Mother
Sample text
The more I play them, the deeper I go into them. They are difficult to penetrate, because they lead one so far from the ordinary world. When I play them it is something deeper than my conscious self that is playing. But perhaps that is the test of real music and true introspection. It is so easy to put pathos and personal vibrato into superficial and sentimental works. Modern music of the real kind is far from sentimentality. It goes deeper. Therefore it is more difficult to get at. But that is why it gives me so much joy to play it .
In the Chicago Symphony Orchestra program’s “Soloist of the Week” section, one reads that on the occasion of my mother’s first appearance with the symphony she had already appeared with major American orchestras: New York, Philadelphia, Cincinnati, Los Angeles, Minneapolis, and St. Louis. ) Her European career was inaugurated in 1928 with a series of recitals, but she did not play with a major European orchestra until 1934 when she performed with the Warsaw Philharmonic. Not so incidentally, the trip home to America that year embarked from Naples on the ocean liner the Rex.
The [Adler] daughters were living there and they ordered eggs for breakfast and they didn’t say, “I’ll have two . . ” I wasn’t used to that. I said, “What the hell is this? Rahther difficult to manage with a fork, you know . ” Luther was two years older than I, sixteen years old, blond hair, blue eyes, a young Greek god. When I left our home there never was a girl [friend coming] there because I was never allowed to play with anybody. When I came back after one year in New York, we had a harem .