September 21, 2012 at 5:43 PM
I went to the symphony last night. They started with Brahms Tragic Overture. It brought back a flood of memories. I recalled the first time I ever heard it. I remembered how I got the ticket, who gave me the ride, the drive home and much of the rest of the program 45 years ago with the Phoenix Symphony and conductor Guy Taylor. The memory of those two opening chords is still big and immediate.Last night's performance was very good but I won't remember it. The German Requiem was also on the program . Also an excellent performance but I spent the time wishing for this sound here, that tempo there etc. etc.
The problem? I have heard these works so many times that it is hard to get the same level of enthusiasm I had those years ago when I owned a handful of LPs. I doubt I will follow through with deleting my tracks but I listen to recorded music less and less.
Even the greatest music cannot continue to excite when it is available on demand and played incessantly.
I resolve to make more live music and attend more live performances. I resolve to turn off the radio and the iPod more and more. If it isn't live it needs to be silent.
The violin repertoire is big, but the one that I like is not as big (I mean, we can have classical peices that we like a little less too...)
When I'm fed up of the same peices, I take a break of classical records and fast ennough, I want to listen to classical music again!
I often find live performances less good than my favorite recordings but... not always, it depends.
Interesting thoughs!
This entry has been archived and is no longer accepting comments.
Violinist.com is made possible by...
Dimitri Musafia, Master Maker of Violin and Viola Cases
Miroirs CA Classical Music Journal
Coltman Chamber Music Competition
Johnson String Instrument/Carriage House Violins
Discover the best of Violinist.com in these collections of editor Laurie Niles' exclusive interviews.
Violinist.com Interviews Volume 1, with introduction by Hilary Hahn
Violinist.com Interviews Volume 2, with introduction by Rachel Barton Pine