Birthday

After a week, I'm still 39.

On my birthday, I went for a drive to Zephyr Hills 30-some miles from Lakeland. It's a town with a water-bottling plant and an old-fashioned touristy strip of buffets and waffle houses.

On the drive back, I heard this moving interview with Fleisher that touches on his relationship with Brahms First Concerto and his struggles with his hand.

I also heard a portion of another interview with a musician. Unfortunately, I didn't learn who it was that was being interviewed, but the important and timely thing for me was his description of a time in his life when he started asking what he would contribute to the musical world. Perhaps I'm entering that type of season, too. I realize that it is probably time for me to determine some priorities amongst my many goals and focus time and energy on the most important of my goals.

Feelings

Here are some ideas that help me.
I was reminded of them as I worked with piano students this week.


Be the best you. Noone else has the opportunity to do that.


Feeling the music is an expression of your intuitive grasp of the music. Your subconscious understands the structures of the music that you think about in theory class. Don't let the thinking-about stop the feeling. Being conscious ought to help you feel with greater sensitivity.


What should you feel as you play? Sometimes it's the momentum of a phrase. Sometimes it's conviction about a rhythm. Feeling and movement are linked. Some passages require that your body learn them through drumming or dancing, and that's what you should be feeling when you play them.


relevant paraphrases:

St. Augustine - rhetoric involves conveying structures with appropriate feeling

Fleisher - everybody has feeling, the job is to pour that feeling into the shape of the vessel (piece of music) before you

Humility and Revelation

This week we saw performances of both the National Players and the North Carolina Symphony here at Chowan.

The Players presented Shakespeare's As You Like It, and as always, I left that performance with refreshed admiration for Shakespeare.

I was also really impressed by the way the actors seemingly selflessly pour themselves into their roles. For the most part, each one seems to seek just the right angle and right amount of energy for their characters. They don't seek to show off talent without regard to the demands of the character and drama at hand. This is really admirable as well, and could prove very instructive for musicians. We are often tempted to over-perform, to put too much or the wrong thing altogether into the musical vessel at hand.

Fleisher speaks of pouring one's musicality and so forth into the musical vessel. His playing also tastefully and compellingly snuggly fits the works he plays. Click here to see Fleisher playing Chopin Nocturne No. 8 on Youtube.

The NC Symphony played many Christmas carol arrangements on their concert. The real revelation was a work by Malcolm Arnold from the film The Holly and the Ivy. Arnold's imagination for orchestration was the star of the evening for me. One passage of particular beauty used oboe solo accompanied by the horns. Another novel passage was "Away in a Manger" played on xylophone accompanied by timpani and other percussion.

The NC Symphony has a great mission of being the symphony for all North Carolinians. They also have a roster of very engaging solosists who appear with them at various locations around the state. Two examples this season are Robert Levin and Marc-Andre Hamelin.