Here’s a photo of some of my pennywhistles; in this case they’re all in the key of high D. Do you see the distinct crease in the Soodlum’s (Walton’s) Mello-D with the green fipple, second from the top?
That crease doesn’t affect the sound, so I still play that whistle often, because it does indeed have a mellow, sweet sound.
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Recently I ran across an article that mentioned that Jerry Seinfeld has for several decades kept a custom of coming up with a new humorous idea every single day, and that he’s never let it lapse --- a continuous line of red x’s marked in his calendar as he has concocted a fresh gag every day. Impressive!
Then coincidentally --- or providentially --- the same day as I was reading elsewhere I found that Dolly Parton has had that same practice since she was a child: dreaming up a new song idea every single day for her entire life. Wow!
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Although these three quotes are all from Classical performers, I think they apply to any genre of music and indeed to many roles in life!
This is an element of my own view of musicianship, as articulated by three of my favorite players. By the way, it's an honor to the Jewish people that all four of these guys are of that lineage (as are many other great musicians).
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On September 11 of every year my thoughts go back to our Trio StringWind: Phil Skeens, Ardie Boggs, and myself.
In 2001 we were about to celebrate the release of our live album Three-Fold Joy: a Williamsburg Christmas by giving a free concert at the Hennage Auditorium in Colonial Williamsburg, and the date was September 13, 2001. It was well advertised by the Foundation’s people, as usual.
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I usually write my own material in these blogs, but recently Linda Landreth Phelps wrote an article about my life and music for the magazine Williamsburg Next Door Neighbors, and I think she did an admirable job, so... here's her article!
If you’re a musician, do you keep in mind the whole length of the piece you’re playing? At the beginning, do you see ahead to the end and work with every phrase as a part of the journey toward that ending?
When I listen to a symphony or a piano concerto, my subconscious mind seeks to follow along on that trip, and the performers who speak to me the most are the ones who seem to be tapping into that overall arch.
...[photo: Serkin & Szell]
One of the ultimate forms in the Classical genre is the piano concerto, to which I have listened for my entire life with keen interest and involvement. As a hammered dulcimer player, I find particular inspiration in the great concertos, and I try to somehow transmute that mode to my playing with other musicians, even though it’s in a vastly different setting. (Or is it?)
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