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And what about those musicians—Beethoven being only the most famous of many—who can hear combinations of pitches in their heads—chords, harmonies—and can invent, just in their heads, sequences of harmonies that have never been heard before?

And what about those musicians—Beethoven being only the most famous of many—who can hear combinations of pitches in their heads—chords, harmonies—and can invent, just in their heads, sequences of harmonies that have never been heard before?

A violin may look perfectly symmetrical from the outside, but on the inside it’s not symmetrical at all.

A violin may look perfectly symmetrical from the outside, but on the inside it’s not symmetrical at all.

Bernstein stopped and said, “I’ll give ten dollars to anyone who can tell me which piece this Walton Concerto is directly modeled on.”

Bernstein stopped and said, “I’ll give ten dollars to anyone who can tell me which piece this Walton Concerto is directly modeled on.”

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.

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.

Now, if ever there was a musician who was entitled to say of a Bartók quartet, “This is the way it goes,” it was Robert Mann. He knew those quartets inside out, and had recorded them more than once.

Now, if ever there was a musician who was entitled to say of a Bartók quartet, “This is the way it goes,” it was Robert Mann. He knew those quartets inside out, and had recorded them more than once.