But if I can be convinced and then through the work that we do together, the orchestra can really be convinced of the big sweep of that communication that the piece suggests, then the audience will get it and it will be a good experience for all of us.
Extreme volume in music very often disguises a lack of actually important content.
The way you survive in the performing arts is by having a sense of your audience, and doing things which entertain and satisfy the audience, but in a more important way, cause the audience to question many things.
A conundrum of music is that music brings people together, yet to become a skilled musician involves a certain amount of lonely time in which you're just figuring it out, practicing.
But without the experience of actually singing or playing these things yourself, you don't have the same kind of involvement or understanding of what these musical moves mean. And that is a very big problem in addressing the future of music.
In earlier times, so many people sang much more. You know as a kid you'd go to some kind of religious training and or summer camp or whatever it was and you'd learn to sing a lot of songs.
They are representations of many shared hours of collaboration between us all. That's the real nature of the relationship the orchestra and I are trying to build.
I think music needs to be presented in a way so that kids can grasp songs, dances, simple music that's associated with some particular defining moment in human experience.
But those musics do not address the larger kind of architecture in time that classical music does, whatever each one of us knows that classical music must mean.
