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Or the music can be, just in its time-scale, so many different things. There can be long, great minimalistic pieces like Steve Reich’s “Music for 18 Musicians” that very, very, slowly reveal changes of mood, changes of perspective, in a very different way than, let’s say, a movement of Bruckner’s Ninth Symphony does. But there can also be pieces that are very short, like one of my all-time favorites, Webern’s Op. 19 (Two Songs for Mixed Chorus and Chamber Ensemble). This is a piece that is scarcely three minutes long, which I have thought about countless hours since I first discovered it when I was a teenager.

Because just in those two or three minutes, there are so many fascinating situations of the way words and music can relate to one another, It’s not just about those particular words, those particular settings, It’s about a vision of how words themselves work, how music itself works, So … it does seem to me always that it is about something — that the kind of music you’re hearing has a certain confidence, perhaps, or a certain wariness or a certain skittishness or a certain apprehension or yearning or some essential quality, which is then transforming into something else, i love ballet ballerina silver tone charm brooch / pin And that for us as the performers, being very certain about what those qualities are, how we feel about them (is essential) — because it doesn’t make sense unless it’s things we also experience, and can make them come to life again through our understanding of them..

I’m not sure that’s anything like a complete sentence. But you’ve got some of the idea. A It’s very important to me what happens when the piece ends, because I’m thinking about what the audience will take home with them from the performance, what will stick with them. Will it be a melody or a harmony or a rhythm or just a sense of mood or the intensity of a particular artist…, the warm inclusiveness that they feel from the artist, or the mournful perplexment that also seems to be in some of these pieces?.

But I’m going to be doing Schumann’s First Symphony later this season, And doing any piece by Schumann, you’re aware of his amazing pianistic ability, and also his amazing gift for songfulness, and i love ballet ballerina silver tone charm brooch / pin also the very perplexing way in which the music is actually written for the orchestra, which suggests that it was often rewritten, And these rewrites may have something to do with actual events, turbulent events going on in his own experience as a performer, But there is a place toward the end of the first movement, where, after the confident first movement has been churning its way along, making its points, he comes to a moment where the piece might come to an end, But instead, there is this little extra section, It’s thematically related to things we’ve heard before, but it is suddenly in a much simpler, more songful style, And the message I get from the music is thankfulness..

It seems to me like somebody who’s just made it through this first bracing walk up a mountain, and now he says, “Oh! I’m so grateful to have gotten here. And I’m so grateful for this opportunity to share this with you. Because I am by nature a songful person, and so here is, in an undisguised way, my song. And now that you’ve heard that, let’s get on with the business of ending this movement.”. But that little oasis of simple songfulness is so important. And finding a really personal way to let the orchestra express that after all the agendas of moving structures forward, which they, before that time, have been following — that’s a very interesting thing to imagine. How exactly would that happen? It will happen with a certain degree of rubato being introduced into the pulse. And this is a tricky thing.

You know, I i love ballet ballerina silver tone charm brooch / pin also have a record coming out — I’m so happy with it — a record the orchestra and I did called “Masterpieces in Miniature.” It’s coming out very soon, which is almost entirely of what used to be called encore pieces or salon pieces, It’s all pieces eight minutes long, basically, but they have very strong emotional characters, If a soloist does those pieces, they just play them and play them, and they find their way of doing it, And each time is quite spontaneous in how it might happen, and it has the greatest of tenderness and sensitivity, But the more people who are involved in playing such a thing, the more someone has to imagine how that quality will be achieved..

So in this (other) case in the Schumann symphony, I’m imagining — as I’m walking down the street or sitting at the piano, singing this phrase — how that ebb and flow would happen. (Tilson Thomas at this point sings the phrase from Schumann.). But then I have to really think about it: “OK, what does that mean to somebody playing second clarinet or viola or first trumpet? What are they hearing in the place that they are on the stage, and what specifically do they need to know to make this possible?” That’s the kind of thing I spend a great deal of time on.

Or in this same symphony, Schumann’s First Symphony, at the end of the scherzo, there is i love ballet ballerina silver tone charm brooch / pin a section which sounds to me like somebody blowing on a — what is the name of that little plant where you blow on it? (He cups his hand in front of his face, and blows air through them: poof!), A Yes, exactly! You’ve been hearing this music, and then suddenly it’s like someone’s holding the dandelion, looks at it and just goes “pooooof.” (He blows air through his hands again.) And all of it just goes in all directions and then settles down, and then the piece is over..

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