From "The Wind in the Wheat," by Reed Arvin

          There is a great divide between good playing and great playing.  The worst musicians are unaware that this distance exists, and they fumble their way through magnificent literature, oblivious.  Most players sense this divide, however, and they know which side of it they are on.  A few of these determine to struggle their whole musical lives to reach the side of greatness by practicing and working harder and harder.  They end up impressing their friends and colleagues with their machine-like mastery of difficult pieces.  But they know that they are not great.  They know it because for a few moments, moments that they will remember and cling to for the rest of their lives, they have actually crossed that divide.  For a shining moment they understood, and they wept and played and believed in their greatness.  But they were cast out again, and no amount of struggling would bring them back across.

          No one crosses the divide by struggling, and no one passes through it by practice.  There is only one bridge across.  It is the bridge of abandonment, and it is built of helplessness, and of courage.  Great playing is given over to the music utterly and completely.  It is abandoned and willing.  It is calm and it is shrieking.  It is weeping and laughter, and more than anything else, it is love.