The Phenomenon of Sound

"I recently conducted a rehearsal of the www.hotelsrnamavrovo.com Chicago Civic Symphony in the Prelude to visit web site Tristan und Isolde. This rehearsal provided me with a platform to discuss my thoughts on sound."

On Silence and express cialis delivery cialis price in canada express cialis delivery Sound

In the beginning, there was silence. And out of the silence came the sound. The sound is not here. The Fifth Symphony of Beethoven existed in his brain as he was imagining it and buy viagra internet comes into being every time a group of musicians get together somewhere on this globe and cialis canadian cost literally bring the sound from space. They bring it into the discount generic viagra usa rx world. The sound does not exist in this world. It comes and goes. It is ephemeral. It is here at one moment and order viagra us then it goes.

There are many types of it-rechtsanwalt.at silence. There is a silence before the note, there is levitra 20mg price a silence at the end and cialis vs levitra there is a silence in the middle. This whole Prelude to Tristan und Isolde, the whole beginning of the prelude, is built on the it's cool use of cialis from canadian pharmacy silence as a means of expression.

 

On why it is important for musicians to follow link listen to how they fit in, to listen to the changing musical landscape.

This is important for the same reason that it is important for a human being to know his place in society and non prescription viagra to know his place in the world. You can’t feel well in yourself and with yourself if you don’t have an idea of what your place is in relation to society and in relation to the world and real viagra online in relation to nature. In the same way, you can have a musician playing with total disregard to everything around him, just by himself, – even very well, but it has for me exactly the same attribute. Everything is always connected in music. The volume - is it too loud so that something more important cannot be heard? Is it too short, thereby diluting the viagra 100mg tablet importance of the harmonic progressions? Is it too long, therefore not making the harmonic change audible? Does it have too much intensity so that it doesn’t blend in the chord? Is this a passage where there is one main voice and generic viagra online paypal cialis price generic viagra online paypal the rest are accompaniment? There are hundreds of possibilities. Is this place in the musical composition a transition or is levitra pfizer 50 mg it the discount generic viagra usa rx arrival of a new statement? In other words, are we in a situation of revistaneon.net being or are we in a situation of becoming?

 

On the relationship of intensity and generic cialis next day shipping loudness in terms of viagra seizures energy

I think that intensity and volume are two elements that could be interrelated but are totally independent of each other. Volume is exactly what the word says, how loud it is. Intensity is an inner energy within or outside that volume. Very often, one needs a much greater intensity to buy viagra for cheap play very softly than to play very loud. And unless one has mastered the art of playing fortissimo volume with low level of intensity and pianissimo dynamic with a high level of intensity, one has not really achieved control of this very important means of expression. It is like, when speaking, if I really want to buy levitra in england threaten somebody with something very dreadful, I don’t shout it at him but I whisper it with great intensity. And if I whisper it with great intensity, I am speaking with much more intensity than if I am actually speaking louder.

 

On the importance of playing with courage.
Is it a psychological or a physical phenomenon?

The two things are inseparable. It is related to the principle of levitra profesional oneness of music and buy real viagra online without prescription the principle of oneness in life. In some cases, it is a psychological inhibition; in other cases, it is physical. I think it is a combination of it-rechtsanwalt.at both.

There are many examples: The first one that comes to mind, as a piano player, is when there are big jumps in the piano. The easy way out is, instead of jumping from one extreme of the keyboard to the other, to divide between the two hands, and play the low note with one hand and viagra professional the high note with the generic for viagra other. What happens then? It is practically impossible or it requires an extraordinary amount of concentration and us cialis something totally artificial to make up for the lack of effort because the viagra 100mg tablet effort of follow link the distance between the notes is an integral part of the expression. This is one example, one very simple physical example.

A slightly more complex example is when there is a crescendo in the music and then there is a subito piano. It is much easier to make the crescendo to a certain point and cialis once daily then just before the subito piano to either make a break in the sound or stop the crescendo at the very end so the transition is, as it were, smoother. The element of revistaneon.net courage is to online viagra overnight carry something to the very end without really taking into account the consequences and viagra online without a prescription then, when absolutely necessary, like walking to a precipice, only then really stopping it. These are two examples.

 

On Maestro Celibidache’s statement that "nothing is worth a damn unless the orchestra musicians feel it for themselves and can play it directly."

Any orchestra of able musicians and buy ultram without rx buy ultram without rx of willing musicians can actually play in a way that the viagra online pharmacy generic conductor wants them to play, regardless of what they think or what they feel or what they know or what they want to avoid. Anybody can do that – as in daily life, one is www.aca1213.cz able to deal with situations that are required by politeness, regardless of what one thinks and feels. Any human being with a relative amount of intelligence and good manners can do that. But this is not what music is about. It is very possible for a conductor to tell an orchestra exactly how to levitra 20mg price play. But it is the generic for viagra musicians in the orchestra who make the sound and therefore the conductor can influence the orchestra, can teach them, can change their way of playing drastically but at the moment of buy levitra in england the performance, it has to come from the players. It is the players themselves who make the music. A conductor can cajole them, inspire them, animate them to visit web site make the crescendo grow more and more and to stop them from starting too soon. But this is not really the importance of making music. The importance of music making is that the crescendo starts out of nothing and it begins to boil and that needs the internal aspect, not the external aspect. Besides, if an orchestra plays only the viagra online pharmacy generic buy levitra tablets without prescription way a conductor tells them to play, they are merely reacting. It is a reaction. It is not action. They are the ones who actually have the duty of the action and bio viagra herbal bio viagra herbal this is very important because it has to do with the whole attitude. It has to do with the attitude for orchestral players that it is not possible to think we play the notes as well as we can, in tune, perfectly correctly – and the conductor makes the music. Totally impossible – a contradiction in terms and, by the same token, a conductor says, "I am a great musician. I make great music." No conductor makes great music. A great conductor is able to bring an orchestra to the point that it makes great music because they are the ones who actually make the sound.

 

On the analogy of levitra profesional sound as a stick of butter

Sound is often talked about in a very subjective way, as if it had a colour. This is a bright sound, this is a dark sound. I don’t believe in that because I think that is much too subjective. But the weight of the sound is something very objective. If one could measure it, we could weigh it in so many kilos or so many pounds, like a piece of butter in the refrigerator. It is cold and it is very solid. But if you take it out on cialis sale online a hot day and you leave it out long enough, little by little it begins to dribble and it becomes liquid. For me, the perfect analogy is cialis on line canada of a sound that is sustained absolutely against all attempts by silence to www.aca1213.cz draw it away. It is sustained very solidly, like the buy levitra tablets without prescription butter in the refrigerator, and then with the diminuendo, as it becomes softer and it goes toward silence, it is exactly like the solid stick of butter becoming more and more liquid.

 

On young conductors aspiring to make a career in music:

What do they need to buy viagra for cheap do to be it's cool successful?
Are today’s young conductors afraid to rehearse with real orchestras?

I think that very often young conductors don’t have the knowledge to rehearse because they learn scores through recordings and then they can’t even begin to understand the cialis from canadian pharmacy problems of online viagra overnight the execution because, in the recording, these problems have been solved in some way or another by the orchestra who is playing it.

I think the most important knowledge that a young conductor needs to cialis on line canada have is to understand exactly what the sound does, how the piece is constructed, what are the different means of expression, what can one do with the volume, with the intensity, with the speed and, most important of all, how does one interrelate all these things and not take the easy way out? Again, we come to the question of courage – to say this is the speed, now let’s see how we can play it. It only is right when the speed is the exact one for the content.

 

On tempo

We have become completely slaves of tempo as if the tempo were an independent phenomenon that controlled everything. The tempo doesn’t control anything at all. The only element that tempo controls is how long a piece takes. Does it take 3 minutes or does it take 5 minutes? Basically, this has nothing to do with the content. It gives the possibility for the contents of the music to come to the fore and be audible or not. But this is about all.

It is as if you are going on a trip and you don’t have a suitcase. What do you do? Do you buy a suitcase and www.hotelsrnamavrovo.com see what you can put in it or do you try to imagine what you want to take: how many pairs of shoes, how many books, how many this, how many that and then you find the right size suitcase. The tempo is the suitcase. If the suitcase is too small, everything is completely wrinkled. If the tempo is too fast, everything becomes so scrambled you can’t understand it. And if the viagra seizures suitcase is much too large for what you are taking, all the objects inside swim inside and cannot really stay in place as they are supposed to. If the tempo is too slow for the content, the whole energy of the music dies away and there is no continuation. This is what tempo is. It is very clear that the wrong tempo for the content can be catastrophic. Therefore, it is the last decision to be taken by a performer but in many ways the most important.

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