Interview with Richard Markson

Virtual Sheet Music Interview No. 1 - September 11th, 2010

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Ginavon on November 3, 2015 @9:39 pm PST
Such a lovely interview. You can tell that Richard Markson is also such a lovely man !
Fabrizio Ferrari - moderator and CEO, on November 4, 2015 @8:01 am PST
Thank you Ginavon for your kind comment. I am very glad you enjoyed this interview, and of course, I agree with you, Richard Markson is a very kind and knowledgeable man. Thank you for your feedback again!
Ismael Osornio on October 16, 2010 @8:22 pm PST
Wonderful interview. "He is not only music... he is life!" Mr. Markson is one
of the great misicians from this century.
I´d like this interview played in all musical sites over the world¡
Jean Wulkan * VSM MEMBER * on October 15, 2010 @4:18 pm PST
Excellent interview. Fabrizio did a great job asking sensitive questions.
As a violinist in the Toronto Symphony for 42 years, I have played for some great musicians who were also conductors!
rob hodgetts * VSM MEMBER * on October 14, 2010 @11:51 pm PST
Richard Markson's comments on Position change I believe are very relevant, so to the comment on practice of scales. Great interview.
Roger O. Williams * VSM MEMBER * on October 8, 2010 @3:39 pm PST
Congratulations on a wonderful debut interview. As a pianist and composer, I found the comments about being an all round musician regardless of one's instrument to be so important. The information about Arrau, Casals, Fournier and others was fascinating. Maestro Markson is that rare individual who is not only a great talent but very articulate. Nicely produced, well researched.
Jamie Ryan * VSM MEMBER * on October 7, 2010 @7:03 pm PST
I liked what Mr. Markson said about innate musicality and applying it, when practicing technique.

Also loved learning the interesting bit about Casals training under a violinist.

I enjoyed the whole interview very much.

Congratulations, Mr.Ferrari. I wish you continued success!!
Debra Poane on October 7, 2010 @7:26 am PST
Passion to play is so deep but I am starting at a later stage of my life to learn the cello... Suggestions on learning this beautiful instrument as an adult. Self taught CD's is what I am looking for at this point. I have been taught by 2 instructors but working a full-time job has been tough for me to fit in time for lessons. I would love to know if you could recommend instructional CD's -
Questions selected for this interview: 10
 1. What suggestions do you give students for producing marvelous tone?by Karyn Grove
 2. Would you give us some suggestions for daily warmup and scale practice?by S.R. Ross
 3. How do you control nerves when playing in public?by Anne Finlay-Brown
 4. What technical advice would you give to an ex-violinist who wants to play cello?by Gail Tivendale
 5. What's the best experience you ever had in your musical career?by Fabrizio Ferrari
 6. What do you consider to be the most important lesson learnt in your musical career?by Matthew Ventura
 7. What made you feel cello was your instrument rather than violin, viola or bass?by Maggie George
 8. Are there any pieces of music you recommend for beginning cellists?by Christine Krueger
 9. Can musicality be taught?by Orlando Manta
 10. What makes a great conductor?by KM Hall
Other questions posted but not selected: 46
 1. What techniques may one use to produce a rich, mellow sound on the A string?by Penelope Dee
 2. What encouragement can you give to an adult learner of the 'cello?by Brian Haney
 3. What is your own practice routine?by Orlando Manta
 4. When new to the cello, how did you approach practicing alone, between lessons?by Carole Silva
 5. How would you encourage regular school students to become passionate about their instrument?by Allegro13
 6. How did you get into conducting?by Maggie George
 7. What qualities do you look for in a bow in terms of sound, speed, tension; what bow do you play withby Dr. Denise Chevalier
 8. As a violinist, I often tend to get very shaky when playing in public. How can I overcome this?by Fletch
 9. How would you describe "playing with your heart," and how do you achieve this?by Fletch
 10. Bow hand motion: do you prefer firm wrist or a more flexible paint-brush type of motion?by Orlando Manta
 11. Who were your cello role models when you were growing up?by Orlando Manta
 12. What are your favourite piano trios?by Gail Tivendale
 13. Do you prefer concert performance or chamber music?by Maria Bashford
 14. How did you come to realize the cello as your passion?by toodance
 15. How much have you sacrificed to be with your instrument?by Abigail Wrenn
 16. Tortelier and Fournier: what were the main differences in their approach to left hand technique ?by Orlando Manta
 17. Do you have any general principles when you play the Bach Suites?by Orlando Manta
 18. When you're studying a piece should you listen to recordings?by Orlando Manta
 19. As a recent convert from viola to cello, what is the most important aspect of my daily practice?by Dave Freeman
 20. are there any other instruments you'd like to play?by claudia nathan
 21. When in your formative training experience did you register the fastest progress? Why?by Audrey Rahedi
 22. Can the over 50's start to learn cello and realistically hope to achieve an advanced level on it?by Keith Barnett
 23. Is your assessment of the quality required of the bow based on technical or artistic considerations?by T. A. Lancaster III
 24. How would you compare the quality of the instrument versus the quality of the bow?by T. A. Lancaster III
 25. When deciphering a new piece, should I stick to the printed bowing/fingers or improvise?by Shushan Artinian
 26. What do you think of Casals and his recording of the Suites ? Do you like them?by Orlando Manta
 27. Is there such a thing as a wrong interpretation?by Orlando Manta
 28. Do you teach, and if so, what do you emphasize in your lessons ?by Orlando Manta
 29. What are some common problems of students?by Orlando Manta
 30. Have you ever been a juror for competitions?by Orlando Manta
 31. What new challenge do you see yourself taking on regarding your continued growth in playing cello?by Sandy Hargrove
 32. Now that everyone is multi-tasking, is it realistic for students to achieve greatness?by Jena Dickey
 33. Where did you train, and to what do you attribute your success in marketing yourself as a musician?by Ian McGlynn
 34. Why does the standard repertoire have more piano than violin concerti and the cello the fewest?by Milan
 35. What was it like to play the double concerto with Maud Tortelier?by Adrienn Salazar
 36. Voce coloca toda a Teoria na prática ou vai só improviso?by Adélia Regis Berg
 37. What is your opinion of the bach cello suites transcribed for viola?by Maria Bashford
 38. If you had to choose one cello treatise/tutor book as the best for a beginner, what would it be?by Keith Barnett
 39. How long does it take you to learn a new peice of music?by Jeffery M Ball
 40. How did you deal with the dificulty of reading a full score?by Hatem Daoud
 41. What would you recommend to a keyboard player to study Bach's cello suites?by Luis Villalba
 42. How would you encourage beginners out there to keep practicing to eventually play like you someday?by Fletch
 43. Which one is your favourite among the Beethoven string quartets?by Mats Hamberg
 44. Milan Somboracby Milan
 45. What is your pet's nrdlby Robert gall
 46. How can I prevent thick callouses forming on the tips of my left hand fingers resulting in numbness?by Keith Barnett

Fabrizio Ferrari: Hello and welcome to this first Virtual Sheet Music interview. My name is Fabrizio Ferrari and today our guest is Richard Markson. Hello Richard, and thank you for joining us.

Richard Markson: Hello, Fabrizio.

FF: And its a great pleasure to introduce you to our audience today. Richard has just arrived here in Los Angeles from Mexico for a concert hes going to have in a few days at the USC.

Markson is one of the finest cellists of our time. He had his debut in Orlando in 1970, at which The Times proclaimed him a quite outstanding cellist. But how did his career start? Richard Markson began to study the cello at the age of 12, with Paul Tortelier who actually invited him to become one of his pupils. And thats really amazing to me, Richard. How actually that did happen?

RM: Well, I started the cello actually before that. I mean, I started when I was eight. My mother was a musician. She was a pianist and she was determined that I should choose a more sensible profession than music. But my then cello teacher was very insistent that since this was my wish, and I really wanted to be a cellist, I was quite sure about this from a very early age that I should pursue it. And Tortellier happened to be coming to Glasgow, which is my hometown, to perform, and so she arranged for me to play to him. And I went there with my mother, and he listened to me and seemed to say the kind of things that every mother likes to hear about her son. And it was absolutely unequivocal that I should leave school, I should come and study with him straight away. And this was sort of an afterthought, he turned around to me and said, And how old are you, my boy? and I said, Im 12. And he thought about it forĶ Its a little late, but we will manage.

FF: Thats pretty funny. So did you move actually in Paris?

RM: Yes. My parents have lots of sleepless nights.

FF: I see, well, I believe you. And so after that actually, you worked with Pierre Fournier?

RM: Well, I stayed with Tortelier for about six years. And after that, I began to work with Fournier, and that was slightly different relationship because with Tortelier, I was seeing him very intensively. I was a part of a class of the Conservatory in Paris, which met twice a week for four hours with him. And with Fournier, it was a more adult relationship, and it lasted until he died. I was, I suppose, for about 17 years. I continued to go to Geneva to have occasional lessons from him.

FF: So, your soloist career started with your contact with Fournier in some way?

RM: Well, I think I was always playing. I think all through my studies, I was giving some concerts, but Fournier was particularly active in talking to people on my behalf.

FF: Oh, I see... I know that actually you played anywhere in the world and now that you made more than 26 world tours extending from Far East to South America and you are always around. And then in the mid-80s, you began your conducting career.

RM: Yes.

FF: So under what circumstances did that start?

RM: Well, I think the first thing I would say is that I think whether you want to be a cellist or violinist or trombonist or flautist or conductor, you need to be a musician. And I think that my interest in music perhaps was stronger than any particular interest in an instrument. Although I adore the cello, I fell in love with the cello, obviously, but the solo repertoire for the cello is very small by comparison with the repertoire thats available to you as a conductor. So I was fascinated by the possibility of becoming involved with so much music. That was a very important factor.

Another factor was that I had also become very interested in teaching, and I think that a conductor in many ways is also a teacher. And, I have enjoyed very much working with orchestras where I have been able to somehow make use of my experience both as a teacher and as a cellist to develop the orchestra.

FF: Thats wonderful. In fact about the teaching, I know that you have been involved in teaching your entire career and you had master classes anywhere in the world. I have a list of countries here where you taught: U.K., the United States, Jamaica, Brazil, Mexico, Australia, Colombia, Hong Kong, Peru, Taiwan, Singapore and India. Did I forget something?

RM: I am not sure. Im not sure.

FF: Its amazing. How many pupils do you have around the world?

RM: Well, I wouldnt say they were all pupils. Occasionally, out of curiosity, Ive sort of Googled myself.

FF: Really?

RM: And found pupils claiming to have studied with me that I dont remember anything about at all.

FF: I understand. I dont want to forget also your recent appointment to a senior fellowship at the Trinity College of Music in London. Thats quite an accomplishment. Congratulations.

RM: Thank you!

FF: Also, Richard has recorded several CDs during his entire career. And, the latest ones include the complete Bach Suites, the complete Beethoven and Brahms Sonatas with Jorge Federico Osorio, and the Dvoraks Cello Concerto with Orchestra Filarmonica de Queretaro conducted by Jose Guadalupe Flores in Mexico. And he also took care of our best sheet music editions, such as the major cello repertoire and much more. You can go on our website at to find out more about Marksons CDs and sheet music digital editions.

So, lets move on with the questions we have been collecting the past few days on our website from our audience. Weve got actually more than 50 questions, so we could pick the most voted ones and organize them by topic.

The first questions are about music performance in general, and the most voted one was by Matthew Ventura, who asks: What do you consider to be the most important lesson learned in your musical career?

RM: Very difficult to say. There are so many lessons. Very hard to say. I think a theme that would run through all my experience is the importance of being an all-around musician and the importance of not looking at music through any particular instrument but really standing back and seeing music in a different scale.

I remember for example, Tortelier made his career initially with Don Quixote. That was the piece that propelled him to fame when he played it with Sir Thomas Beecham in England. When you read the novel of Cervantes, the physical description of Don Quixote resembles Tortelier a great deal. He looks very much like the knight of Don Quixote. And on stageTortelier who was also a wonderful comedian and a wonderful actoron stage, he actually lived the part. Died at the end and things like that. Dropped his, bow, and it was quite theatrical. But what I remember after all theseĶthings would happen on the stage, I remember coming back homethis was in GlasgowI remember him coming back after performance with Don Quixote and sitting at the piano without any reference to the score and simply going through the entire piece and analyzing it and explaining to me about the different harmonies that Strauss used and why he had done this rather than that. And how his genius had enabled him to come up with this rather than that, And he knew absolutely every single note of the piece and hed really studied it so, so deeply. And this impressed me, because whatever showmanship there was in the public performance, there was such a serious musician underneath, which is why he was Paul Tortelier, of course. So that impressed me as being perhapsĶperhaps you could say that was the important lesson about music.

FF: Okay, the second question is actually by myself. I posted this question, but I didnt think that people would have voted for it so much, and the question is, I can ask you directly: Whats the best experience you have ever had in your musical career?

RM: Well, I have to ask you, do you mean as a performer or do you mean justĶ

FF: In general.

RM: As a musician?

FF: Yes, as a musician.

RM: Ill give you two different answers. As a listener, there are just certain performances that I attended that were, for me, sort of unrepeatable and could never be equaled again. Brahms D Minor Piano Concerto with Claudio Arrau, (who) happened to be one of my mentors and somebody who I was very close to and that I admired perhaps more than any musician. Hammerklavier with Rudolf Serkin, when I heard him play that in Paris. Brahms C Minor Symphony with Kurt Masur and Leipzig Gewandhaus in Mexico once. There are certain performances, which just somehow rather stood up. Kurt Sanderling conducting Tchaikovsky 4 in London at the Festival Hall when it was 87. Ive never heard that symphony sound so wonderful before or since, and I never will. Im sure I never will. So these were a handful of performances that to me were in the highest possible musical, spiritual and inspirational level by people who are absolutely giants in their field.

As a performer, thats more difficult. I sometimes feel that one movement or one piece went quite well. Ive had enormous pleasures as a conductor in getting to know certain works, getting to know them more intimately. Like the opportunity in Brazil a few years back of spending a month with nothing on the agenda, except Faures Requiem and working with everybody. Working with the choir, working with the solos, working with the orchestra and just living that piece. That was something absolutely amazing for me.

Last year, I learned for the first time the Scottish Symphony of Mendelssohn, and I fell in love with that piece, absolutely. I was in another world with it.

FF: Okay, the third question is by Orlando Manta, who asks: Can musicality be taught?

RM: The quick, short answer I think is no. I think musicalityif thats the wordmusicality is innate, but obviously, if you have musicality, theres an enormous amount that you can do to develop it into musicianship. I dont think musicality and musicianship are necessarily the same thing, but I dont really think you can be a musician if you dont have an innate musicality.

FF: And then we got an interesting question about conducting by K.M. Hall, who asks: What makes a great conductor?

RM: Well, Ill go back to my Leitmotiv and say that I think you have to be a great musician. Thats the first thing. I think you cant be a great cellist or a great conductor without being a great musician. And thats the first thing. But a conductor, I think there are specific things. Actually, a lot of people have gone into conducting without really training andĶ

FF: I know what you mean.

RM: I thinkĶ

FF: Ive been a violinist in orchestras for many years, and I know exactly what you mean.

RM: Youve been in a long sufferer, yes?

FF: Yes, absolutely!

RM: When I met my teacher, who was a wonderfulĶhe was a great master, Ezra Rachlin, he was a protg of Fritz Reiner. Actually, he was a phenomenal pianist; he gave his first piano recital when he was four or five years old, I think he was. But anyway, when I went to himalready at a fairly mature stagehe asked me whether Ive had any conducting lessons. And I said, No. And he said, Well, thank God for that. And he then started to train me properly, because there is a lot, which on a purely technical, physical level, which can make things a lot easier.

Ideally, you want to be able to get up in front of an orchestra and say nothing, and the orchestra should be able to understand exactly what you mean. Ideally. Not always possible. ButĶalso, I think the force of personality, I mean you actually need to be able to persuade a hundred or so musicians to do what you want them to do. You have to persuade everyone to phrase something the way in which you want the piece to go, and that requires personality, as well. It needs a certain personal magnetism, I think.

And I would have said perhaps some kind of psychological ability to know how to handle people. It may be that you handle them with charm, maybe that you handle them with absolute relentless persistence. It may be that you are the kind of conductor who explodes and has tantrums and all the rest of it. But whatever you doand maybe you need all of these at different timesyou have to be able to command the authority necessary to persuade, not necessarily holy sort ofĶ

FF: Terrorism?

RM: (Laughs) Not everybody in the orchestra is necessarily well-disposed to the conductor. I would say, in fact, its the exception rather than the rule when orchestra musicians actually like the conductor; they dont like conductors on the whole. They get very annoyed with conductors, very irritated with conductors, whod stop and give them long lectures about things. They just want to know where to come in and where to stop and they want someone to beat time clearly and everything and justĶ

It can be very difficult to handle the musicians, to sense the dynamics of how to get the best out of everybody. So yes, first and foremost, you have to have the authority of being a really fine musician. But then I think there are lots of other things.

FF: I agree. I think you got the point the right way. And then we have several questions about the cello itself and the technique related with that. And the first question is by Karyn Grove, who asks: What suggestions do you give students for producing marvelous tone?

RM: Well, bowing technique is the most important thing. I mean the bow is what produces the sound, not the left hand. The left hand has to be in the right place at the right time. There is, of course, vibrato, but vibrato is almost like an extra quality. Its almost like the varnish on top, but really the essence of the sound comes from the bow. And I think bow contact, which has to do with how you position the bow, the speed of the bow, how close to the bridge or far away from the bridge, how much weight, how much naturalĶfinding natural weight, rather than force.

Again, I was tremendously influenced by Claudio Arrau on the piano, because he was brought up in the Liszt tradition. He studied with Martin Kraus, who was a pupil of Liszt, and the whole philosophy was that the upper body should be entirelyĶall the muscles should be entirely loose and relaxed, and you just play with the natural weight. And Arrau succeeded, even in fortissimo, never to make a harsh sound. And I found that actually very interesting, and I think I perhaps adapted some of what he had to say to the cello. But it has to do with being relaxed, using a natural weight, and above all, having bow contact, which in the case of a string instrument involves the use of the fingers a great deal. The wind players have the embouchure, which involves the interplay between the tongue and the teeth. And I think its very important on a string instrument that we use the phalanges, and that we really control the sound from it with the tips of the fingers.

FF: Are there in the cello, like in the violin, different techniques to handle the bow with the hand?

RM: Absolutely! But everything we do comes from the violin. I mean, Casals was never taught by a cellist, he was only taught by a violinist.

FF: Thats right, actually. Okay, so the next question about the cello is by S.R. Ross, who asks: Would you give us some suggestions for daily warm-up and scale practice?

RM: Thats an interesting question. We have debates in various musical institutions as to whether scales and exercises should be part of the curriculum. Some people are strongly in favor, and some people are strongly against. I just feel that one should never really separate music from technique, and if you are going to work at technical exercisesand I think you shouldalways do so in a musical way. You should play a scale as if you were playing a Mozart Sonata. It should never be just something that, Well, okay, this is a mechanical thing I do to warm up, the same way as I might brush my teeth, or whatever. It has to be something thats musical.

But having said that, and having myself done all of that as a studentĶnowadays, I dont really believe in it very much. I think its far better just to start with the music, to have a musical conception, and to work at the technique in the most detailed and physical way, but in relation to that musical conception. And then from there, it might be the case that you would develop specific technical exercises that would assist you, but it should always be led by a musical conception. Thats the way I feel about it, nowadays.

FF: Absolutely, I agree with that, completely. Thank you. The third question about the cello is by Gail Tivendale, who asks: What technical advice would you give to an ex-violinist who wants to play the cello?

RM: Well, funnily enough, I have known a few violinists who picked up the cello, and the problem is always the angle, because they tend to playĶtheir hands are a little bit twisted, their arms are a bit twisted. I think its very important on the cello to have a fairly square position. I think the left hand should be perpendicular to the fingerboard and the bow. Actually, the position of the cello is in some ways more natural than the violin. I think it should be more natural.

FF: Thats right, it is more natural.

RM: But in general, I found violin students tended to angle their positions too much in relation to the violin. So, I think thats the main thing, is to correct that.

FF: Perfect, thank you! And the fourth question is by Anne Finlay-Brown, who asks: How do you control nerves when playing in public? Thats something that interests me, too. (Laughs)

RM: Well, you know, there have been many books written about this, and many people have done their Ph.D. thesis on this subject as well. But, I actually think that the only answer is the answer that Pierre Fournier gave to a student in my presence. He was asked,and I still remember him sitting there smoking a cigar when this pupil said But maestro, what do you do about nerves? and he took a puff of his cigar and said, Learn to play with them. That was all.

FF: Easier to say than to do.

RM: But its true. I think people sometimes are nervous about the fact that theyre nervous. I think people think, oh dear, Im nervous.

FF: Well, yeah, thats right. Thats absolutely right.

RM: Of course theyre nervous. Were all nervous. And I say to my students, that if theyre nervous, they havent seen anything yet. Just wait another 10years or 20 years, theyll be even more nervous.

FF: So what youre telling us, theres not a technique to avoid having stage fright.

RM: Being prepared, I mean learn the pieces properly, be really very solid musically and technically and everything, so that you dont have a bad conscience. I think that would be good advice, perhaps. But apart from that, just accept the fact that you will be nervous, and perhaps even play better because of it. But having said that, I think its also true that there are certain people that I would say have performing temperaments. Certain musiciansno matter how nervous they getwhen theyre out on stage, it somehow, brings the best out of them. And there are some people, unfortunately, who are just not performing animals, and who perhaps will play better at home than they do in public. But I dont think theres any particular psychological preparation that helps. Not really, no.

I think its important that youre concentrated. And you focus on what youre doing. I dont think you should be going out playing basketball five minutes before you have to go on stage or things like that. You have to be focused on what youre doing. And I think in my case, I often find that what helps me with nerves is just to be really concentrated on the music.

FF: Absolutely. Thank you. And the sixth question about cello, actually the fifth question, sorry, is by Maggie George, who asks: What made you feel cello was your instrument rather than violin, viola or bass?

RM: I just heard the cello when I was very young. Actually, I mentioned earlier that my mother was a pianist. She studied with a very distinguished pianist and conductor called Walter Susskind, whos first wife, Eleanor Warren, was a cellist. That was how I heard the cello for the first time and just asked my parents if I could have a cello. Simple as that.

FF: Thats very simple. Alright, and then we have the sixth question, which is by Christine Krueger, who asks: Are there any pieces of music you recommend for beginning cellists?

RM: Well, Im not sure what she means by beginningĶbeginners.

FF: I think beginners.

RM: I tend to feel that in the early stage, people are kept in the early stages too long. For example, if you think that the fingerboard of the cello is like a keyboard. I mean, I remember the first lesson I had from Tortelier, he put the cello on his lap and he said, Now, we have a keyboard. And this was to illustrate the importance of the angle of the hand being square and all that sort of thing.

But actually, if you were playing the piano, for example, you wouldnt spend so many years working at pieces that only went from middle C to one octave above and one octave below. You wouldnt limit yourself to any particular part of the piano. And, I think its a big mistake that so often cellists are actually kept in the first four positions before you get thumb positionfor years and years and years. And then when they do learn thumb position, it becomes such a major adjustment that they are never quite comfortable with it. Whereas, I think, if you actually incorporate thumb position almost from the beginning or very near the beginning, you have the position of your hand.

The reason Im saying all this is that this would then enable people not to be so restricted in repertoires. But even if you were not playing in thumb position, the Vivaldi Sonatas are wonderful music. Wonderful music! And I think thats obviously something that would be good to play when youre young, when youre starting up. I dont see any reason why a reasonably gifted beginner couldnt, within say 18 months or so, attempt to play some of the Vivaldi Sonatas. And, its far better than some really silly little pieces that are given to beginners.

FF: Yeah, I think this will make happy a lot of people. So they may start playing advanced pieces of music before than expected, so thats great.

Okay, I think we are done with the questions from our audience. My final question is: How many times do you plan to come here in Los Angeles again in the near future?

RM: I have no idea. I have absolutely no idea. I never know whats around the corner. The last time I was here, I didnt know I was going to be here now. I thought it was possible, but I wasnt sure. But I hope very much to come back soon.

FF: Yes, we really hope to see you again. Thank you very much, Richard.

RM: Thank you.

FF: And thank you for watching. Thanks.


CDs and Music Downloads
© 2003 Regis Records
Brahms cello sonatas performed by Richard Markson and Jorge Federico Osorio Buy it on Amazon
© 1999 ASV Quicksilva Records
Beethoven cello sonatas performed by Richard Markson and Jorge Federico Osorio Buy it on Amazon
Dvorak Cello Concerto performed by Richard Markson and Filarmonica de Queretaro
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Dvorak Cello Concerto edited by Richard Markson Get it on Virtual Sheet Music
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Elgar Cello Concerto edited by Richard Markson Get it on Virtual Sheet Music
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Saint-Saens Cello Concerto edited by Richard Markson Get it on Virtual Sheet Music
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