By Dan Visconti
There’s no opening measure, line of verse, or premise so beyond redemption that it couldn’t possibly be spun into a successful whole.

By Dan Visconti
In looking for answers, we often come to reevaluate the questions.

By Dan Visconti
Any way you slice it, the recommendations process is sure to be absurd, uncomfortable, and excessively bureaucratic for all involved.

By Dan Visconti
When I first slapped a double bar on a 5-line staff, I had no other pieces that I was building off and no need think ahead; if I took this same approach with each successive piece, I think what might have happened is the compositional equivalent of ordering chocolate ice cream all the time.

By Dan Visconti
When I say that “don’t be cool” became some of the best and most useful advice I’ve ever received, what I really mean is: be your own person.

By Dan Visconti
Having several times witnessed conductors of symphony orchestras restart a movement or section of a piece, I’m intrigued thinking about the dangers in presenting a less than familiar opera; after all, that’s kids stuff compared to what can go wrong when lights, props, and staging directions are added to the mix.

By Dan Visconti
A desire to make sure one’s music is physically performable is one thing, but an excessive desire to please soon becomes a form of pandering.

BY Dan Visconti
Here are a few of the more negative comments I’ve been accosted with following performances of my music, some just plain out of line and some richly deserved.

By Dan Visconti
I’ve been to enough concerts of my music to have heard all kinds of comments from listeners, positive, critical, nonsensical, and everything in between.

By Dan Visconti
Strads don’t immediately reveal their greatness when played like any other instrument; it is only when the performer ceases to play “normally” and lets up a bit that the Strads begin to shine.