ok. here's the second music dream- this one came about a week after the master class dream i talked about last entry. this one was more philosophical- i woke up remembering ideas rather than events. but i've never quite thought about music this way before.
i learned: there are 3 basic kinds of music. (there would be combos, exceptions etc, but this is the main point-) and as musicians, it's up to us to decide at which frequency the music resonates- what vibe it has. if this happens and the music and the musician are in agreement, then there's a direct connection between composer, performer, audience. if this synchronicity doesn't happen, people get bored- impatient- cynical- sleepy- and all the things we've been when attending a concert.
SO: there are 3 "frequencies" of music, vibrationally- high, medium and low.
high= transcendental, celestial- brings us up out of ourselves and we are transformed.examples for me are: barber adagio. ravel GM piano concerto mvt 2. schubert CM quintet.https://youtu.be/p5hPdIhTrd4https://youtu.be/penNqSSZTIs
medium= music that has elements of more than one, moments or sections. each piece is different. most of chopin, most of beethoven. most lieder.https://youtu.be/ThvKrhqh3fE
low= music that grabs you in an earthy, visceral way. mahler, most of it. bruckner. WAGNER.https://youtu.be/QDwCE13nyPo
so our job as performers- to decide where you want the piece to resonate, where in the body (chakras?) you want to feel it- and play it in a way where a listener can understand it that way as well. so- let's say something is "low frequency (root/sacral chakra.) does it stay there? do we focus on the sensuality and revel in it? (example: salome') does it get tempered by the middle frequency where intellect and emotion make sense of things? does it want to move one way or another (bernstein) or is it happy talking about us as humans and living right there?(brahms)... does it seek to transcend? (late schubert, mozart, some liszt) if so, is it successful? what about music that starts out in the ether-(arvo part, ravel?) is it less profound than wagner, who slogs away for 13 hrs before the world comes to a full stop and everything is somehow made simple in the last 3 minutes of the Ring? or more so, since it never dealt with lower basic stuff at all? and what about the mid-range stuff...beautiful and all, but which never plumbs the depths nor does it ascend past human experience? after all, is that not where most of us live our lives?
so it's not at all arbitrary- or simple- or easy- and it has everything to do with who we are either as performers or listeners at any given time, and also to do with how much "self" we invest...whose vision is it? composer's? performer's? audience? 2 people sitting next to one another at the same concert- one is checking his phone and making laundry lists- the next person is openly sobbing and wondering if she can make it through the performance without making a scene. or other things. or not.
but it's up to us. writer- performer, listener- all are important. WE HAVE TO DECIDE.