(Update with photos, March 22, 2005) As I sit here working, I’m listening to the SLSQ’s recording of the Schumann String Quartets. I love listening to recordings of people I know performing. Their playing is so familiar, and hearing idiosyncrasies like Geoff’s audible breath just before an entrance conjures up a vivid image of him sitting up on stage…

Friendships with travelling musicians are intense. It’s a week of constant companionship, followed by sometimes months of separation. You’d think I’m talking about an S.O. or something, but since I’m currently without, my friends and family are all I’ve got.

Anyway, I heard the most amazing chamber music concert two nights ago. A description:

Acclaimed pianist Charles Wadsworth is credited with igniting America’s chamber music renaissance with the creation of the Chamber Music Society of Lincoln Center. As founder and artistic director of Spoleto Festival USA’s Chamber Concert Series, Wadsworth appears with his handpicked ensemble of some of the nation’s most regarded chamber musicians. Chee-Yun, violin; Andres Diaz, cello; Todd Palmer, clarinet; Steven Prutzman, piano; Charles Wadsworth, piano.

$44/$40 (ADULT) | $22/$20 (STANFORD STUDENT)

PROGRAM

Camille Saint-Saëns: Sonata No. 1 in D Minor for Violin and Piano, op. 75

Antonín Dvorák: Waldesruhe for Piano, op. 68, no. 5 (four hands) and Slavonic Dance for Piano, op. 46, no. 8 (four hands)

Johannes Brahms: Trio in A Minor for Clarinet, Cello, and Piano, op. 114

Claude Debussy: Premiere Rhapsodie for Clarinet and Piano

Felix Mendelssohn: Piano Trio in C Minor, op. 66

I took Vienna to the show, which was fun. A nasty old woman in front of us gave her a dirty look and cursed, “Don’t do that!” when Vienna woo’ed at our friends on stage. I’ve always had a tremendous dislike for the Lively Arts audience, which is about as homogenous as an audience can get. At $40 for a normal ticket and $20 for student admission, the hall was virtually devoid of youth; instead, what we got was a sea of white heads so entrenched in traditional suffiness that showing appreciation for the performers in a youthful manner was looked down upon — even during the classically appropriate moments. Well, that woman can take her cane and shove it up her F hole. (ha ha — a dirty music joke!)

Prior to that show, I had been worried that true enjoyment of classical music was slowly slipping beyond my grasp. These days, I have less and less time to develop bonds through musical kinship — through growing (together) as musicians through consistent rehearsal. That part of my life is over. But for the past few days I have been really enjoying classical music again, complete with face-clenching moments that would be horrible to have in public. :)

I enjoyed their show tremendously, and kind of feel like it connected all of those dots again in my head. And while it was also a clear demonstration of abilities far beyond my reach, it at least provoked strong emotional responses within me. Anyway, this is all related to the first paragraph because I knew most of the performers on stage.

I have some pictures, which I’ll insert here later.

Vienna Teng and Warren Wu at the Treehouse, Stanford

Chee-Yun and Stephen Prutsman, after a performance in Mountain View

The hall at a new arts school in Mountain View

Chee-Yun wanted me to photograph her fancy shoes, which are apparently embedded with Swarovski crystals

Todd Palmer's feet

Todd Palmer, clarinetist extraordinaire

Warren and Todd hang out in Chee-Yun's hotel room

Chee-Yun and Todd

In front of the Left Bank in Menlo Park (Chee-Yun, Todd Palmer, Warren Wu, Robin Fribance)

Chee-yun and I compare skin color

Chee-yun and I compare skin color

Todd is apparently explaining something very serious to Robin

Cellists Warren Wu and Andres Diaz

Rachel, me, and Chee-Yun at Left Bank

Chee-Yun, in San Francisco