I have told people often, in all seriousness, that I became a cellist in my teens through learning the solo literature, but that I became a musician in my twenties from playing in the Emerson String Quartet.
The New York Philharmonic is a strange creature. Often it is good but a bit bland. Sometimes it's downright boring. And sometimes it makes you sit up in your seat and think what a historical and good orchestra this is.
You can get a taste of what's turning on classical music in Seattle at the Walt Disney Concert Hall this weekend when Ludovic Morlot, the Seattle Symphony's sexy young music director, conducts the Los Angeles Philharmonic in Mozart, Beethoven and Henri Dutilleux.
Perahia's remarkable lack of excess is actually a luxury to hear -- so many pianists run to excess of one kind or another; it was a delight to hear music that wasn't pushed to its limits, trying hard to wow the crowd.
Maybe you're like me and know next to nothing about classical music, string quartets, and the men and women who perform it. But none of those things kept me from enjoying A Late Quartet, an impressive indie film.
I get to see the clammers at 7 a.m. going to work in the bay, the herons, osprey and migrating warblers. I hear the sounds of life that participate around me and those experiences bring unique perspectives incorporated into my painting.
I love that I live in a city where anything is possible, where one person can make a difference, where there is room enough to create and live out loud with the general support of community and government.
Not quite sure how it happened, but I'm turning fifty years old in a couple of days. Time sure does fly. To mark these double occasions, I've put together a list of 50 classical music recordings, arranged alphabetically by composer, that have given me particular pleasure over the years.
It's a moment that calls for some music, something that will calm, edify, enthrall, engage, distract and transport the little darlings to sleepy-land, so that the adults might move off to an appropriately distant room and watch Game of Thrones.
We in the arts face major challenges, including, but certainly not limited to, the short-term economic situation in which we all work. But simply suggesting that 'things must change' without giving us concrete proposals is not helpful. What exactly do these people mean by 'old models' anyway?
At classical music concerts, there are a great many "clap here, not there" cloak-and-dagger protocols to abide by. if I could clap when clapping felt needed, laugh when it was funny, what would that be like?
Why are teenagers listening to music that their parents were dancing to 25 years ago instead of rebelling against it? When I was 13, I may have had some knowledge of pop stars from a quarter century earlier, but I certainly didn't like any of their music.