WMV Music Web Log

Musical musings by Carl and guests

Sunday, March 02, 2008

Another reflection on the role of teachers, good, bad, and otherwise. The foolishness of teachers can be as much of a guide in the end as the wisdom, I guess. I have thought a great deal about something one of my teachers said long ago - it was the expression of an idea which I regard as an aphorism of the devil. It was words to this effect: that it does not matter what you, the performer, feel about what you are doing - the only thing that matters is the effect you produce on the listener. What is diabolical about this idea? It is that it is a recipe for loss of soul. Now, I sit down with a Chopin Nocturne and think to myself, the only thing that matters here is the delight that I experience with each note that I play, the same delight that Chopin must have experienced with these chords, sonorities, resonances. This is the delight that you are invited to share. Nothing, nothing else matters.

As long as I am in a philosophical frame of mind (Chopin does that to me), a thought about youth and age. To youth, the sentiments of age may seem incomprehensible or overwhelming (as I seem to recall). To age, the concerns of youth, which were once our own, may no longer be of interest to us. I would like to have enthusiasm for both, not thinking one better than the other. Art allows us community with both the young and mature Beethoven, for instance. I have thought the early works of Beethoven frivolous compared with later ones, but I might like to reconsider that view.


Comments:
From the viewpoint of one who listens to performances, I fully support your thoughts about what should matter to the performer. I want to believe, and even to see that the performer is moved, delighted, or inspired by the music. Otherwise I feel manipulated, which belittles me, the performer, the music, and the composer.

In a chamber music setting, as in WMV concerts, I, the listener, can often tell how the performers feel about the music. Even if I personally do not like a particular piece, it makes me glad to see the performers enjoying it. The invitation to enjoy is still there form me. This validates the performer as well as the music and the composer, despite my own feelings about the music. I
 
Not sure the first try got posted, here it is again:

From the viewpoint of one who listens to performances, I fully support your thoughts about what should matter to the performer. I want to believe, and even to see that the performer is moved, delighted, or inspired by the music. Otherwise I feel manipulated, which belittles me, the performer, the music, and the composer.

In a chamber music setting, as in WMV concerts, I, the listener, can often tell how the performers feel about the music. Even if I personally do not like a particular piece, it makes me glad to see the performers enjoying it. The invitation to enjoy is still there for me. This validates the performer as well as the music and the composer, despite my own feelings about the music.
 
The issue of emotional manipulation is of course the central objection to this idea, and one which bears thinking about. You are quite right that it belittles the listener, performer, music, and composer. People are pushing each other around in all kinds of ways and contexts. So music is not spared, but it is necessary to keep our eyes and ears open. When I hear music that is commercial in intent (all radio music), I only hear the money. Airport music stinks of sedative. Movie music is basically crude emotional manipulation. Concert music is often just acrobatics, designed to stun and impress. I have something very different in mind for my music - like, hasn't anybody ever heard of love?

I am grateful to you, Mike, as always, for your thoughts, and for your support of our efforts!

Carl
 
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