Two Day Training With Lenzie – Spring ’09

This past weekend I was once again able to attend one of Lenzie’s workshops. The two days were–as always–filled with a lot of information and great experiences.  Lenzie often talks about how we get "little pieces of the puzzle" from all the experiences we have in Tai Chi, from our practice, workshops, camps, and lessons. The pieces of the puzzle at first might not make much sense but that we note it and file it away, and that later the pieces start to link up and we start to get an understanding of all of those gems.  Certainly after this workshop I had a strong experience of this as it seemed that a few pieces of the puzzle in regards to articulation of the waist and sinking started to come together. 

It was also great to see the members of the school there, both those whom we regularly see and those from out of town we get to see on occasions like this.  It was also nice to meet new people as well as seeing other guests (it was particularly nice seeing Veera from Utah).  It’s always great to get together with good people to learn and experience Tai Chi and to enjoy community and friendship.

Categorized as Tai Chi

Gubaidulina, Bruckner, and Kurt Masur

On Friday, we had a chance to hear Kurt Masur conduct Sofia Gubaidulina’s "The Light of the End" and Anton Bruckner’s Symphony No. 4.   Regarding the Gubaidulina, I found that I didn’t quite get into the general writing with mostly a singular line being moved around the orchestra with ostinatos being performed, and things which I thought were supposed to be somewhat dramatic felt flat to me (i.e. loud stabs of brass).  There were certainly some brilliant moments, of which I found myself really quite involved (the passage near the end with the tuba, cello, and horn was quite excellent).  Throughout the piece I kept thinking of Bartok’s "Duke Bluebeard’s Castle" and Bartok in general, and perhaps that interfered with listening to what was there. It may have been that my own taste lately has been for music with more individual parts, or that the piece was simply new to me, but overall I didn’t find myself that into the piece.  I would like to hear the piece again in the future though to see what my impressions would be on a second listen.  I do have to say, it really was neat that Gubaidulina was in attendance, and I still have the utmost respect for her and her work.

As for the Bruckner, I had not heard the 4th in quite some time and never live.  Quite a bold piece! The symphony really did play out with great effect, but I found that the timing of the more fragile exposed sections were problematic.  Granted, the offset in the parts are a bit tricky to keep in time, but I think my expectations were quite high, especially since the bolder sections were done so well.  Sitting behind the orchestra in the center terrace afforded a great view of the conductor and I felt that during the more fragile sections that Masur could have done more to keep the timing more precise. If it weren’t for these sections slightly tugging at themselves in time, I think it would have been a phenomenal performance.  I think it is my own deep concern for time that makes me a bit sensitive to these things, but it really did stick out to my ear. 

Regardless, I was glad to once again be at the symphony listening to the orchestra.  I think it would be nice to attend the symphony as much as possible before we move later this year.

Philip Glass – Music in Twelve Parts

Last night, Lisa and I went to the performance of Philip Glass’s “Music in Twelve Parts” performed by Philip Glass and his Ensemble at Davies Symphony Hall in San Francisco. I was very excited to be going to this performance as I had missed an opportunity to hear a full live performance in New York when I lived there.  Overall, I enjoyed the performance very much and had a wonderful time, though it also brought up many questions I have been asking myself lately.

On the performance itself, the concert was broken in 4 sections: Parts 1-3, a 10 minute pause, Parts 4-6, an hour dinner break, Parts 7-9, a 10 minute pause, then Parts 10-12. The first half sounded out of balance with the volume of the synthesizers dominating the hall, making it hard to hear the flutes, saxophones, and soprano.  (This was a bit of a shame as parts 1 and 4 are favorites of mine…)  The balance of the sound in the second half was much better adjusted and really did just sound fantastic.  Beyond the balance, there were a few places where things got off but the performers would recover on the next iteration of the pattern, and overall I was very impressed.  Having listened to recordings of the piece many times, I often forget how athletic a piece it is, and throughout the piece there was energy and attention in the performance.

Regarding the piece itself, I had not listened to it in a long while but I found it pleasantly familiar last night.  Sitting and really paying attention to the piece, beyond the familiar I also enjoyed hearing aspects of the piece I had not noticed before.  I was surprised at how quickly the time went by, the concert starting at 5:00pm and ending around 10:15pm.  I think the pauses and long break were great for absorbing the piece as my ears did not ever feel fatigued and physically I did no feel uncomfortable from sitting long periods of time. (Listening to the music also brought back a number of fond memories of being in college and visiting New York, shopping for CD’s in used CD stores and places like Kim’s and Other Music…)

During and after the performance, I found myself comparing the experience of the piece with the performance of Feldman’s String Quartet II we had heard in New York some years ago.  Music in Twelve Parts has such a physicality to it; certainly the volume of sound had a large presence, as well as did the rush of the constant rhythm in a singular time. In a piece like this I found myself feeling sometimes mesmerized by the rhythms.  In contrast, I think back to String Quartet II, how almost loosely time flowed on, how much the thickness of the silence was felt, and how present the sounds were too, though not from their volume so much as being framed so well to allow observation of their details in the midst of the space around them.  In a music like this I often find my attention very focused, though I never felt a sense of a loss of self in the moment as I did with Glass’s music, but rather a stronger presence of self as well as everything else, and deep sense of observation and contemplation.

I left the performance last night thinking of these two pieces and how both are of value and have very unique experiences. I think these days though I find my own tastes drifting towards more of the quieter, contemplative music than the more physical experiences of sound. Last night was very enjoyable though, and not having gone to see a live performance in quite some time, I was very glad we went and was inspired for music by it all.