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You know, I 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 ballet shoes audiobook 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 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.

Q And you have to keep track of each particle of it?, A Yes, So the way Schumann has notated this would be fine for a soloist, But it’s very, very difficult for a large group of people to play this, And having worked on this for quite a number of years at this point, I gave it some thought: “You know what? I’m re-notating ballet shoes audiobook this.” … I haven’t changed the notes; the notes are exactly the same, But the way they look, because of the way the bar structure is, is much easier to understand, You can understand the actual musical design far more clearly..

Q You’ve done this already?. A Yes, I’ve done it. Q And you’ve performed it that way?. A No, I haven’t performed it, but I’ve worked it out with the library. So our parts now — when you come to this end of the movement, there’s a few new bars there. It’s the same music, but it looks different. Q Were the musicians surprised to see it? Did anybody object?. A They haven’t seen it so far. Of course, with a large group of people, it’s possible somebody may object. But I don’t think so, because it will be so much easier for them to do it that they’ll be able to get themselves into the spirit of the music much more freely and, therefore, more pleasurably.

And sometimes that can happen just by my being very clear in the spaces that I’m giving, because I love to give space to the musicians for them to do their particular magic, And sometimes it can be something as specific as this: “OK, let’s actually re-notate this.” Or, you saw in the other room, these scores, the parts from which we make the music, These are often sets of parts which I have developed over years, which have a lot of additional markings in them as far as balance and quality of articulation and many ballet shoes audiobook things like this..

A That was the Liszt “Hexameron” (which he will perform with five other pianists at his 70th birthday concert at Davies Symphony Hall in January). Q And then you’ve been conducting for 50 or 51 years; I think you started in 1963. A Yup. Something like that. Q So I wanted to ask you this: You have had, and you are having, such a life. A (He laughs.). Q And when you think about it, about the many remarkable people you’ve known very closely — whether Stravinsky or Bernstein or Copland — is it something you look at with nostalgia? Does it ever seem not real? Or maybe it just seems very normal: “This is what I do, and how I live, and these are the people I’ve met along the way.” Outsiders like me might romanticize it, but what does it feel like to you?.

A (Long pause) It seems to me to have been about many of the same things from the beginning, That for whatever reason — the way I’m wired, the way my molecules are, that the kind of feeling I got about music and life in my parents’ home, the patience and ballet shoes audiobook devotion that my teachers so generously gave me — I’ve just tried to stick with these qualities, And along the way, these various people that I met seem to be, in some ways, people I already had known, There was a sense of recognition somehow between me and them — you know, in different ways, It wasn’t all the same kind of experience..



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