Archive for March, 2009

Cellist: Johannes Moser, Disney Hall, 3/27.09

March 29, 2009

Engagingly youthful ply of Mendelssohn’s Symphony No.3, A minor, Op 56, “Scottish.”
Ah, Johannes. Strutting over strings,  a gallant song, a fitful ode to impishness, ebullience, with the sweet saw and skip, mince and prance, soothing dance of chords vibrant and at the same time loutish. His bow flits fancifully, fast, and fractious. The acoustical triumph of old wood burnished by time pinioned firm between his thin knees.  Light reflects off the instruments and the orchestra’s black patent leather shoes, off the white silk-blend formal vests, the sweat on their foreheads. The energy of a warm fog alternating with both up-lifting and cascading notes flowing,
embracing us all under the billowing wooden sails.
We are all of his sound, particulate matter,  floating over Los Angeles looking down.


Andras Schiff plays Beethovern Opus 90, 101,106

March 26, 2009

The man was not his best this evening. He seemed remote. Distant from his instrument, foreign to his keys. Without intermission (big mistake), Schiff dutifully delivered a performance that might well have been phoned in.  I heard murmers as we left Disney Hall that some thought it was the “Beethoven.” Others felt it was Schiff, a man seemingly adrift in the beautiful Disney Hall of wood wherein the sheer beauty of the many grains and warm cherry, mahogany, and umber stains should elevate a man’s soul — not overwhelm it.  While my opinion is merely mine, I hold to the conclusion that Schiff did little to bring to the fore any heartfelt resonance with the music.

What if music is nothing more than clusters of particles? Constantly in motion, changing from positive, negative or neutral status? Constantly clumping in new, ever changing combinations of infinite proportion? And all in need of direction and flow that emanates from the music maker? What if Schiff had little direction this eve? One would say shame on Schiff for not rallying from within to give his audience their due: his soul on fire.

Particle Physics and Music

March 26, 2009

Me thinks: The popularity of a series of notes strung together is in direct proportion to the number of individuals who possess the requisite resonance.
Interestingly, the music maker is not
necessarily the resonant originator. He/she may be
merely playing someone else’s resonance or, if his/her
own composition, may be parroting back from the
original inspiration and source. On listening to Beethoven’s Opus 90, it would seem the
greatest composers are those who most capture
and express in the most communicative way
the most resonance.