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Archive for the ‘Classical’ Category

Day 114. Paganini.

Sunday, June 20th, 2010

After playing the Beethoven violin sonatas a bunch today, Celia really seemed to be getting into violin playing. I put on some of the Paganini violin / guitar duets after breakfast (wafflepalooza for dads) this morning and Celia really liked those as well. She also learned the word ‘violinist’. So I went downstairs and dug up the rest of my Paganini for tonight. And as I started to listen to more and more of his work (I have a stunning amount of Paganini CDs it turns out) I started chuckling to myself more and more. There really are time in his music that are just simply ridiculous. Like – how in the world did anyone think of putting that many notes down at one time for a single instrument to play ridiculous. Like Bugs Bunny playing Liszt with both hands and ears ridiculous… and that is when I made a connection. Celia (and Mira) are going to love this music. It is fun, flashy and just a little silly sometimes. At others, it is operatic. Sometimes very serious, and sometimes SOOO serious that it becomes comic again. Music historians have often compared the early romantic period virtuosity of Paganini and Liszt. It broke away from the classical restraint that so much music of the late 18th and early 19th century sometimes had, and pushed the virtuosic into another realm altogether. So it is no wonder that this music would show up in Looney Tunes, which both of my daughters have taken a serious liking towards. And the fast, joyful playing of Paganini’s violin, I imagine, doesn’t strike Celia as too different from the music she has been hearing in those cartoons.

Of course, as a musician I also find this work fun from the technical standpoint. It really is pretty crazy at points, and having tried to play some of it I appreciate how amazing any of these players are. Even more astounding to me is that, even in Paganini’s music that seems to be just for light entertainment (the violin and guitar duets, or the guitar quartets), I’m surprised at the demands placed on the players. And while so much of the writing is flashy and showy, it is also very musical. Technically it is amazing, but that is only after it is amazing musically.

This is a point of frustration to me with so many composers today, especially in academic circles. There seems to be a need (or expectation) that music should be challenging and difficult (to play as well as listen to). And I certainly think new work should push the art along. But often what I hear that is challenging isn’t that engaging. There are composers who explore complex approaches to composition but want the work to sound un-complex (then why do it???) and there are others that want to write something that just isn’t playable. Just because we can compose out of time, subdivide rhythm into impossible ratios and pitch into minute distinctions doesn’t make the music good. However, if the music is good and requires that such demands are made, then that is a different story. In Nono’s string quartet ‘Fragmente Stille, An Diotima’ there is a wonderful chord that happens about 2/3 of the way through the piece, and I know that Nono knew it. It lasts longer then just about anything else in the work (including the long rests), and when I was doing an analysis of the piece I was surprised to see how it was built. Within the piece, it is a moment of clam beauty. On the page, it is built with quarter-tone dissonances which, from the sight of it, should be jarring. But within the context of the whole work, it is a shimmering moment of beauty that had to happen. I have no way of knowing for sure how he came up with this chord, but it is the perfect one. And it is challenging to play and tune. It is technical complexity that comes from a musical need, and I see a connection between this and the demands Paganini placed on his performers. To make it worse, the result of these passages needs to feel effortless. Virtuosic performers can make it sound like their fingers know where they are going, but virtuosic musicians will make it sound like there is simply no other way to do it.

Day 113. Beethoven and Brahms.

Saturday, June 19th, 2010

Tonight I grabbed a few discs from the back of the shelf. Anne-Sophie Mutter’s complete Beethoven violin sonatas with Lambert Orkis, as well as her recordings of the Brahms sonatas with Alexis Weisenberg, and a collection of Renaissance music. I remember quite well the hype of the Mutter/Orkis complete Beethoven. They spent a year touring, performing the complete set over two nights at each venue, and the recordings were going to be the culmination of the work. The recordings were also all live (which I was particularly excited about… I love live recordings). In the classical music world, you often don’t have a set of discs anticipated for months, but these certainly were. I got a promotional set of them, and while I won’t say I was disappointed, I was certainly underwhlemed at the time. I don’t remember why, I just remember thinking… ‘eh’. And while I remember that feeling, I can’t think of what recordings before then that I would have suggested. No matter… but this is the reason these discs found their way to the back of my shelves rather then the front (where the Menuhin/Kempff discs lived). But listening to them tonight, I am finding them much more interesting. I would even use the word enchanting. I put on the A minor (number 4) before I started typing this, and it is great. Perhaps I just needed to be older or to know these works better, but I am excited to listen to this set again now. The last movement of the A minor is amazing (I’ve played it three times now). I love how much her bowing and tone color can vary, and Orkis’ playing is very dynamic. Most of all, the two really seem to be breathing together. Now this is something that I definitely appreciate more now then I used to. Not that it used to bother me, just that it wasn’t something that I noticed as much as I do now. Anyways – I know what I’ll be playing tomorrow morning as I make waffles with Celia for father’s day breakfast.

Day 109. Ravel and Mahler (mostly with Herbert von Karajan)

Sunday, June 13th, 2010

So, more about Richard the loyal Tower customer. He once told me that he rated conductors by how he thought they would be in bed. Some of these rating were quite graphic and won’t be shared here, but for any given piece he would have a couple conductors that he thought would get the job done and others that he thought would leave you wanting. Almost always near the top of his list was Herbert von Karajan. And after a few required listenings in the classical room to this work or that work, I began to agree more and more. Karajan certainly had a way to shape phrasing, and certainly knew when to pause for a breath before continuing on… pacing quite often seems to be everything in Karajan recordings. And though he could handle the classical and romantic repertoire just about better then anyone else, I think it is also good that Karajan knew when there was area he couldn’t handle. The number of recordings of his that break into the 20th century avant-garde are few (his recording of Stravinsky’s ‘Rite of Spring’ is good to hear, only because you can really see how much of a problem even a great conductor can have with it). But with the 20th century works that grew out of late romantic works, he could be brilliant. His Debussy is very well done, same with his Sibelius and Richard Strauss. But the recording that I remember Richard suggesting to me above all else was Ravel’s ‘La Valse’. Karajan conducted the Viennese new year’s concerts a number of times, and he certainly knew his was around the Strauss waltzes like few conductors do. But his recording of the Ravel is stunning. And if there is a work that needs Richard’s ‘good in bed’ rating system, ‘La Valse’ is certainly one of them.

But here was the trick – the CD of this recording was, in the 90s, long out of print. It also featured the Orchestre de Paris, and may have been the only recording he did with the group. I was able to find a vinyl recording a couple years later at Amoeba in Berkeley (oh Amoeba, I miss you so). The LP was in good condition, but the recording level was VERY low for the first part of the bass (the rumbling basses). But it wasn’t until about two years ago that I finally found a CD pressing during a trip to Copenhagen. This was one of three CDs or so that I looked for at every used record store I would go into, and after 8 or 9 years, I had finally found it.

It’s so good.

Also on the disc are good recordings of ‘Le Tombeau de Couperin’ and ‘Rapsodie espagnole’, but it is ‘La Valse’ that is the highlight. And it is damn sexy.

Also ripped tonight was lots more Mahler, including a few harder to find Karajan recordings (the 4th and ‘Das Lied von der Erde’). I have way too many recordings of the 9th and ‘Das Lied von der Erde’. But one find in the stack was the Herreweghe recording of ‘Das Lied’ with the Schönberg chamber version. Quite beautiful.

Day 108. Ravel, Debussy and Mahler.

Saturday, June 12th, 2010

After last night’s Pascal Rogé fun, as promised I searched for the other recordings of his that I have. The disc with the violin sonata took some time to find. It was literally the last place I looked in the back row of discs, at the bottom of a shelf. Didn’t find the piano trio disc yet though. Along the way, came across his Debussy London two disc set. And I also saw (by other artists) a number of Ravel chamber music discs, piano concertos, and scattered about, a number of Mahler symphony recordings. So I grabbed those for tonight as well.

The Rogé discs are on the speakers tonight though, in more ways then one. Celia wanted some different music for her room, and when I told her about ‘Mother Goose Suite’ she was open to Ravel. So the second disc of that set has been beaming through the house over her room monitor. The high notes are represented quite well. I ripped the disc with the violin sonatas first, and that has been on for a bit already. The disc features Chantal Juillet on violin, and Truls Mørk joins in for the violin and cello sonata. I forgot about the recording of ‘Tzigane’ on this disc which features a kind of prepared piano – the ‘piano luthiel’, which consists of an attachment to the harp of the piano that makes it sound like a cimbalom. Very cool. When this disc came out originally it was only available on Decca which, at the time, wasn’t available in the US. It’s presence was revealed to me by one of Tower’s regular customers named Richard who really knew his classical music (there will be a second Richard story probably tomorrow night… another disc I associate with him was in my ‘ooohhh… look what I found’ stack tonight). Richard regularly bought then returned discs to keep his library rotating, and since he usually bought more then he returned, we didn’t have too much of a problem with this at the Berkeley store. For me, the stuff her returned was always quite good, so from my point of view, we had good music to play once he brought it back. Anyways – Richard picked the disc up during a trip to Europe (I believe for a ‘Ring’ cycle) and let me borrow it. I brought it back to him a week later and was visibly sad to give it up again… but I imagined that since it was on Decca, at some point it would be released here in the states on London. About a week later  I saw the release of it announced, but it wouldn’t be coming for another six months! I told Richard about it and that I was excited it would eventually be coming in, and about a week later he brought it back to the store with a post-it note on the disc saying ‘Don’t postpone the pleasure! I’ll get another soon for myself.” I still have the post-it note in the liner notes… it really was a very nice thing to do, and it is still one of my favorite discs that was ever given to me.

The Rogé Debussy is quite well done, and just playing a few tracks tonight was fun.  The other discs were a couple of Klemperer Mahler symphonies. The Mahler 2nd (a live recording) is just damn amazing. And the recording of the 9th is still one of my favorite recordings of that symphony. The beginning is just about perfect… pulsing and dying at the same time, until finally the spring of life finally comes out of the strings playing the first melody. Just beautiful. Also in the stack is the soundtrack to ‘Un Coeur en Hiver’ featuring all Ravel chamber music. And for a soundtrack, the performances of the pieces on the disc (the trio, violin sonata and violin and cello duo) are great. It might actually be my favorite recording of the trio and IS my favorite recording of the duo.

More tomorrow as I keep working through the stack of fun…

Day 107. Stravinsky, Ravel and Josquin.

Friday, June 11th, 2010

Some Ravel, some Stravinsky, some Josquin. The Josquin is a disc of motets, another with some of his music played on viols. The Stravinsky discs are a Philips ‘Two-fer’, CD re-issues of usually pretty good older recordings that were priced two-for-one. The two discs cover his ‘Symphonies and Concertos’, the stand out being Igor Markevitch’s recording of the ‘Symphony of Psalms’. Great performance and recording. I first got to know this piece by playing it at UC Berkeley (as part of an all Stravinsky program) and, compositionally, it comes to mind quite often. In some ways the work is quite classical (as Stravinsky would do at times). The opening chord and the melodic material between them has a bit of an echo of Beethoven, if not in content and color, but in how repetition and time are used. The violin concerto recording is also very well done, with Arthur Grumiaux on violin. Grumiaux is one of my favorite violinists in general. His Bach recordings are phenomenal, and his Stravinsky is right up there as well.

The Ravel disc is also a two-fer, but in the Decca / London version (the Double-Decker). Funny how classical music used some of these marketing schemes. Again, the performances are amazing… in this case, it is Pascal Rogé’s complete Ravel piano pieces. This is, and has been, one of my favorite discs for some time. Ravel is one of my favorite composers, and these discs are a big part of what got me into him. So much shimmer in his music… wonderful use of register and texture. These discs offer great performances of these works as well. They are older recordings though, a bit quiet, and could probably do with some clean-up. But one thing the background hiss caused me to do with these discs is not play them too loudly. And the funny thing is, it is because of this technical flaw that I actually started to listen to most of my classical music at proper volumes. There should be dynamics that allow the performance to go from a whisper to a roar. And while there is tape hiss in these recordings, it is better then having to deal with the compressed dynamics that so many digital recordings offer now. The piano is quiet on the Rogé discs when it is supposed to be quiet, and it is quite loud at other times. The recordings benefit as a result, and if you grab these yourself and find that the sound is sometimes very soft, that is probably because it should be. My suggestion would be to start the third movement of ‘Gaspard’, and find a comfortable (but loud volume), then don’t touch the knob on your stereo. Just enjoy the full range of sound and color on these discs.

More on Rogé and Ravel later – possibly tomorrow. Now I want to dig up his recordings of the trio and violin sonata… both are LOTS of fun as well.

Day 104. Kempff (playing Schumann and Brahms).

Monday, June 7th, 2010

Tonight’s rips were a 5 CD ‘Original Masters’ DG collection of Wilhelm Kempff recordings from the 1950s. I love Kempff’s playing, and this set is nicely done (from mostly mono recordings, they sound superb). Most of the set consists of Schumann and Brahms, but the last disc contains three Beethoven sonatas and a smattering of transcriptions (including some Bach, Couperin and Rameau). His playing in these earlier 50s recordings is a bit more forceful (especially his Schumann Symphonic Etudes… they are amazing). The set also brought me another recording of the late Brahms piano pieces, probably my favorite music that Brahms wrote. Like late Beethoven, there is quite a bit of room for a great interpreter. I have a later recording of these works by Kempff as well, and the differences can be pretty astounding. Just little touches here and there bring different voices to light, or make the piano resonate a little differently (which counts for quite a bit in many of these pieces where harmonies are broken apart and even smeared across the changes of bass and probably harmony). These pieces certainly share some of the tonal break down that Wagner had been experimenting with, and the tonal ambiguity at times looks ahead to Stravinsky in some ways.
The end of the 11th ‘Symphonic Etude’ by Schumann just played, and I had to back it up. The last couple of notes in the melody were some of the saddest I think I have ever heard. Not quite gasping, or resigned. It just seemed to quietly give up and almost fall apart. The dynamic Kempff plays at the end is a physical one. It sounds like he is pressing the keys so lightly that the note may not even sound. He slows down unevenly, and it is beautiful. The perfect lead into the more youthful, almost heroic beginning to the last etude.

Day 102. Bach and Nancarrow.

Saturday, June 5th, 2010

I’ve spent a couple days getting through a couple of box-sets picked out by the girls. Mostly it has been a busy few days, and I’ve also been trying to stay away from the computer a bit more this weekend. So – this will be a short (though still overdue) posting.
The two box-sets were: Davitt Maroney’s excellent performances on harpsichord of Bach’s Well-Tempered Clavier (with the Art of the Fugue and the Musical Offering thrown in) from Harmonia Mundi, and the Wergo 5-CD digital recordings of Conlon Nancarrow’s studies for player piano. Kind of a pre-piano / post-piano combination.
The Bach of course is such a standard in piano repertoire and practice, that it can be hard sometimes for pianists to think about the differences between their instrument and the one that it was written for. While the most common instrument that is thought of from Bach’s time is the harpsichord, and performances of the ‘48’ on that instrument are the most common, it isn’t out of the question to hear these works also on organ or even lautenwerk. But on harpsichord, the lack of a wide dynamic range for single notes – and the focus on texture and multiple voices for creating changes in dynamics – is usually much more clearly heard. Fugues get louder as more voices enter. The C-minor prelude from book 1, with it’s two voice continuous 16th note texture that eventually thins out to basically a single voice followed by dense chords and rapid melodic flourishes. The dynamics here come from the number of notes sounding at any one time and their orchestration, and on the harpsichord these changes to texture are quite dramatic.
The Nancarrow studies come about well over 200 years after the Bach works, and as a body of work is just as significant. The works were composed on the piano rolls themselves as Nancarrow punched holes into the paper, having measured out horizontal space as time, and calculating where the pitches he wanted needed to be punched. This liberation from both the pianists hands and the written mensural notation led to all sorts of interesting manipulations that were often based still on compositional concepts from Bach’s time and earlier. Canons are especially prominent, though they may be well outside the reach of a single pianists two hands. And they may also go through transformations that would be difficult for a human reader to comprehend, especially in respect to time. Time intervals are stretched and contorted, sometimes accelerating according to the laws of physics rather then the subdivision of the beat. And like Bach, where the popular dance music of the day often influenced some of the form and content of the Preludes in the Well-Tempered Clavier, the influence of jazz and boogie-woogie piano playing appear in Nancarrow’s works.
When I first came into contact with the player piano studies, I actually remember seeing a light-bulb go off in my head. The idea of time being measured in distance rather then simply as divisions of a measure seemed so intuitive! Our system of rhythmic notation suddenly seemed so restrictive to me! And once this occurred to me, my thinking in electronic music also greatly changed. Time and music could have pulse, and it could also disappear. Like pitch, intensity and any other musical parameter, rhythm too could be dynamic when it is thought of as a portion of time rather then just the division of a measure. It still surprises me how simple this approach can seem, and how complex the results of it can be.

Day 101. It’s A Beautiful Day, Beethoven.

Tuesday, June 1st, 2010

I spent most of last night working on a recording while ripping the Alexander String Quartet recordings of the complete Beethoven Quartets. So, blog writing took a back seat. Still have a couple of discs to do tonight, and I also added in two albums by It’s A Beautiful Day, both the self-titled first album and ‘Marrying Maiden’.

Around the time I was starting to work at Tower (almost 20 years ago!) my dad had placed a special order at the Tower on Watt Ave. for the first It’s A Beautiful Day album with ‘White Bird’ and ‘Hot Summer Day’ on . He had the vinyl of the album, but he had also heard that a CD of it had been made on the label ‘SF Sound’ which, ironically, was only available as an import. Randy Mendonza (who was the Tower regional manager, akin who I would later learn quite a bit from) found a way to get it for him. To say that he was excited would really be an understatement. The label had all sorts of other stuff as well from late ’60s SF, including Moby Grape’s albums and Quicksilver Messenger Service. I saw ‘Marrying Maiden’ come into the store as an import shortly after I started to work at Tower, and he was just thrilled to get it. It was a strange period… here was my dad, tracking down music that he already had, but was searching for it to get it again on the still somewhat new medium. As CDs now look to be on life support, it blows my mind that these albums are available now to get within minutes of searching. eMusic, iTunes… probably even as MP3 downloads from Amazon. Pretty stunning to see how CDs – the medium that would store music in pristine digital form FOREVER! has, already in 20 years, pretty much been replaced by the online database. And while things still do ‘go out of print’, I also wonder when such a notion will finally be a thing of the past.

The reason I threw these onto the computer last night though was because another friend of mine got his subsonic server also up and running, and I noticed Quicksilver Messenger Service on his library. He had gotten it from his dad, and I asked if he had heard It’s a Beautiful Day. He hadn’t, and within 10 minutes it was loaded onto my server, ready to stream. Pretty mind blowing to me that musical conversations, now with online examples, can happen so quickly (through Facebook chat no less).

The Beethoven quartet recordings with the Alexander Quartet is my favorite overall set. The group made this repertoire their sole musical activity for a number of years, and would tour with the Beethoven quartets to be played only by memory, at the request of the audience. They would start the concert by taking a poll of which early, middle and late quartet to play, then play them. This is so ideal on many levels. One the one hand, they obviously know this music at the level where they don’t need to look at the page anymore, and there is something pretty amazing about a chamber group that can truly pay attention to each other, creating a true musical conversation. Second, they were mostly supported in this by San Francisco State University where they were the quartet in residence and held chamber music workshops (workshops that I imagine produced some very fine chamber music musicians). Third, they were able to make a living by playing repertoire that is rather well-known and well-played, and the difference in their playing really stands out (the recordings have some astounding musicianship in them). Finally, to be a performer of this music and to show up at the gig and ask the audience what it wants to hear – AND have the audience be able to tell them. Wow.

The group has expanded its repertoire in the past decade or so, performing more of the classical repertoire as well as works even well into the 20th century. The other recordings of theirs that I have heard give the sense of a group that really relies on all the players to guide the performance. Their Mozart ‘Haydn’ quartets are beautifully done. But it is their late Beethoven that is really some of the best recordings of any music that I think I have heard. The A minor quart (op.132) is otherworldly. If you ever happen to see them coming to your area for a performance, make sure to get a ticket, and ask for it.

Day 100. Kagel, Liszt and Aretha Franklin.

Sunday, May 30th, 2010

Today marks the 100th day (though not quite the 100th consecutive day) of working on DAC. Since nice round numbers tend to give us pause and time to reflect (10th anniversaries, the millennium, your car hitting 100k miles, etc.), I spent part of today thinking that I should rip something special today. What should be the 100th days music selections? Well – by the time Celia was getting ready for bed, I still hadn’t thought of anything in particular to grab, so we ran downstairs as usual. And now that I think about it, I’m glad that is how it worked out. One of my favorite parts of this whole project has been involving my girls with it, and seeing what they are drawn to. It keeps things unexpected for me as well.

Celia keeping with her visual magnetism to all things pink, went for the Kagel discs I have on Montaigne (nice, bright cardboard packaging) as well as a Rhino collection of Aretha Franklin (because she liked the picture of Aretha on the cover). And next to that was a Vox Box set of Liszt’s ‘Years of Pilgrimage’ with Jerome Rose, so I grabbed that too.

Over the past 100 days, I have pulled quite a few discs onto the drives downstairs, and while not every disc has found me with something to say, I knew the music on those discs pretty well. And so, with Celia grabbing the ‘Sankt-Bach-Passion’ by Kagel tonight, we do have a special first. I have never listened to this CD. I know the story behind the piece, and have been curious to hear it (curious enough to buy the disc!), but have never listened to it. So I thought – ‘well! I’ll listen to it after I throw it on!’ and I still might, but in the mean time I am streaming a Quicksliver Messenger Service disc from my friend Daniel. Daniel has access to my server of music, and thought it was so cool that tonight he set up a Subsonic server for his music, and while I was browsing around on his I saw Quicksilver (an old face from growing up… as I type, ‘Mona’ is chugging away over the speakers. Man – what a great song, and I would be really surprised if the Kagel could top it, so I’m not going to mess with it).

The Liszt though is another one of those discs that Tamiko and I used to play in her apartment in Berkeley. Haven’t listened to it in some time, but I’m looking forward to hearing it. The recording in particular is, well, pretty bad. VERY resonant and blurry. But it is an excellent example of liking the first version you hear of something. I have another excellent recording of these pieces (the Bolet recordings I believe) and they are crisp and clean, and very well played. The Jerome Rose recordings are played well also, though I think there is a lot of pedal, and a lot of reverb (probably from the space). Tamiko and I would put these discs on as background quite a bit, sometimes for when we were eating, and the sound quality of them was perfect. At times, the piano sounds almost bell-like, almost like you are hearing it from across the street. We were also able to hear the bells of the Campanile from where she lived in Berkeley, with a similar sound quality. So even though I have better recordings of these pieces now, this would still be the ones I would put on. And will put on… because the notes might be the same, but it is this music that I remember when I think about Tamiko and I cooking together in her apartment on Arch St.

This project, and this blog, was supposed to be part escapism for me. And it has served its purpose well. It was given me great distraction at times over these past few months when things have been less then great. It has also given me a new faith in nostalgia, and brought back many happy memories. What has surprised me a little is how intense some of those memories have been. The smell of the air from 20 years ago creeps into this musical moments sometimes. Goosebumps sometimes appear on my arms as I hear something the way I did the first time I heard it.

But another aspect that was important to me with this project was listening again to music that had, for some time, just sat on a shelf. It has given me a chance to remember how much music is out there on the one hand, as well as how much I have to get to know again. And to share. Mira this morning asked to hear the ‘Bunny Music’ (the Barber of Seville overture), and tonight when Celia was getting ready for story time, she asked me to put on Bach (we listened to the lute suites). And in a couple minutes, I bet I can put on the Liszt that I am ripping right now, go sit next to Tamiko, and she will pause her typing for a minute, look at me, and smile. I’m so lucky to have all this in my life, and while I started to realize this early in this project, at 100 days, it is amazing that the coincidence of a number, and the events of the day, shows me how important it is for me to get all this music playing again in my house.

Day 99. Mahler, Mozart, Berlioz and Stravinsky.

Saturday, May 29th, 2010

I’ve been a little slow to get to CDs this past couple of days, so I took the chance to throw some recent purchases from eMusic onto the computer. After a couple of playlists of orchestral music, I realized that I had so far been pulling off music that I had played while in the orchestra at UC Berkeley under Prof. David Milnes. I got to play in the orchestra for three years. Unfortunately, this was the bulk of my orchestral playing experience. I have subbed a couple of times for orchestras here in Seattle, but these are VERY few and VERY far between. And I think it was playing orchestral repertoire that did more for my playing then just about anything else I ever did. My first concert had Berlioz’s ‘Symphonie Fantastique’ on it, and there are some seriously difficult bass parts in that piece. Or – at least they were for someone who wasn’t really that experience playing double bass. That first concert was one of the best studies in rhythm and intonation that I ever had.

So – the pieces I went ahead and transferred over tonight were the Berlioz, the SF Symphony recording of Mahler 1, the Scottish Chamber Orchestra recordings of the last four Mozart symphonies and Bernstein’s recording of ‘The Rite of Spring’. I played quite a bit more in orchestra, but these pieces were a few turning points for me. Obviously, the Berlioz being my first orchestral piece is pretty significant, but even then, while it was amazing to be part of a group so big, I still saw the orchestra as a requirement. Later that year though, we did an all Stravinsky concert that included the ‘Rite of Spring’ and the ‘Symphony of Psalms’. This was the concert that got me hooked. First – it was amazing music to play, and difficult. I hadn’t practiced so hard on a piece before ‘Rite of Spring’, and felt like I got back WAY more then I put into it. It was an amazing experience. The best part though was on the second night. The performance was as tight as I could imagine any performance could be. And with the last chord, the most beautiful sound happened. There was nothing, absolutely nothing for about 3 seconds. Then the sold-out crowd went crazy. It was the best feeling in a performance I’ve ever had, and I have wanted to create a piece of my own that could create that kind of silence after the piece was over. I’ve cheated… but I haven’t done it yet.

My second year of orchestra, I felt like I knew what I was doing and had more confidence in general. We read through Mozart #41 for an upcoming concert, and it was a blast. VERY hard, but very fun to play. i felt like it was going pretty well when one of my biggest lessons was taught to me. Two weeks before the concert, we learned that a reduced orchestra was going to be playing the Mozart, and I didn’t make the cut. I was crushed. I really wanted to play this piece, but the more I thought about it, the more I realized I was playing pretty sloppy. It was a good lesson (and one I got many times at Berkeley). Mostly – it didn’t matter in music how hard you tried. If someone was doing it better then you were, they were going to get the gig. There were no A’s for effort. You had to perform to perform.

So – by the time we got around to Mahler’s 1st, I was taking my chair (near the end of the row) in the double bass section very seriously. I rehearsed and practiced when I could, and was much more disciplined about it. By the time I left Berkeley, I was still no where near where I needed to be to focus on performance on the bass. But, I was much more serious about how to prepare for pieces then I ever would have been without that education. Thanks Prof. Milnes – I learned a lot.