Every performance is an installation, every painting a performance. All poems are music, and every sculpture is a dance. Crayons and brushes are pencil and paper, or computer keyboard, or violin and bow, or space to fill-up on stage in a theater. A pianist is a singer, is a dancer, a maker of line drawings, a teller of tales, a weaver. The designs and stories are new and old. The spinning has never been done before, never … [Read more...]
Archives for November 2009
Extempore
In the Classical music world, it is as if most musicians have forgotten how to talk -- or never learned. They can't communicate with easy ordinary extemporaneous speech. Can't express themselves in daily conversation. Instead, only scripts -- the detailed record, the detailed notation, the traces of music. We are always reading, never speaking for ourselves. Never communicating just what's on our minds or in our hearts. We are mute, unless the … [Read more...]
Just before 8
A few minutes before 8 p.m., my heart beats faster. So many concerts start at this time -- after years in the business my body is trained! The particular ritual of the concert brings a kind of order to living. Concert days culminate in a seventy- or eighty-minute period of time that begins at 8:05, or 8:13 (late ticket buyers still in line). Of course, at Wigmore Hall, this "8 o'clock" is 7:30 (often 7:33), in Rome it's 9. Unlike the … [Read more...]
Case Law
Setting out to learn a piece of scripted classical music, a pianist usually looks at print. Some musicians listen to recordings. A celebrated American violin pedagogue sent her young virtuosos to listen to five or six recordings of a new piece. The kids calculated the speed of each performance with a metronome, averaging the numbers together to determine the right tempo for their own performance -- a focus group for tempo! Other teachers … [Read more...]
Mr. Brendel, thank you
My introduction of Alfred Brendel last night in Boston: In classical music, there are those who believe that thinking about music can compromise feeling -- compromise our emotional response to music. Alfred Brendel's example vividly shows us that such notions are foolish. Mr. Brendel scrutinizes the canonic texts of the piano repertory. He examines the behaviors of piano playing and musical life, and he's shown that deep reflection can yield … [Read more...]
Iowa was the name of the Star
I'm from Iowa. Born there. Grew up there. Studied music there. I wasn't a prodigy. I took lessons from the lady down the street. (Her name was Joy Lord.) In high school, I played concertos with several Iowa orchestras. In a big city, I wouldn't have had the opportunity. I wasn't playing all of Chopin's etudes. Nothing like that. Being there gave me a chance, to dream bigger than I was. What is musical talent? It is an ability to hear and … [Read more...]