Have you ever seen a grand piano miked up—that is with its lid wide open and not one but two microphones hanging down suspended from somewhere high above the vulnerable open-lidded piano?
It almost reminded me of being at the dentist, all bibbed up and feeling apprehensive about the little tray of sharp picks and tools you have spied. Any minute now, the dentist will approach at your right, lean in with a smile, and say OPEN WIDE.
I do because I’m a good girl. A treat awaits me for good behavior. At the dentist in NYC where I grew up that meant a brand new tooth brush in a small bag accompanied by a small tube of toothpaste, tied with red ribbon and, of course a good mother who I know will take me to the nearby Schraffts for a sweet treat.
This is self-defeating of course but a ritual to be admired. So it was with the Hartford Symphony concert on April 12, 2024. BUT here the treat paid off!
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First, we heard the pre-concert talk, organized and offered by Carolyn Kuan, the Music Director. She is personable, fun and smart. Usually there is some history about the players, soloists, and composers, yet it’s not heady. If there is a concerto featuring one of the instruments or its soloist that player is invited to the stage to talk about her or his instrument. One I most remember of course is the tuba, and what I remember about that is how very heavy a tuba is, how little it is featured in most pieces, and that the player sometimes polishes it, raising a shine bright enough to reflect his own grinning face. If the tubist were a woman I imagine she could put on a fresh coat of mascara and grin. The line between beauty and vanity is never absolutely clear anyway! And the tuba is always part of a symphony orchestra.
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But back to the yawning piano, all primped and ready for pianist and composer, Brazil-American, Clarice Assad, often known as a musical polyglot. She played the piano inside and out, once even crawling inside to pluck some strings with her fingers to illustrate the theme of connectivity in her musical piece, FLOW. She wrote the music with the Erie
canal in mind.
Geographically, the Erie Canal, was built in 1825 to facilitate commerce between Albany and Buffalo. Simultaneously, it facilitated the “flow of ideas”—what people thought and felt about life itself, their cultures, religions, and the exchange of ideas and feelings—almost like a memoir would.
Divinity, in its many expressions, must also flow along, just like the canal, always thrumming the flow of my own heart, and facilitating the divine connective presence in all things. In short, let’s go with the flow. I wonder who will serenade the Strait of Hormuz?
GO WITH THE FLOW. EMBRACE THE CRAZINESS. YES, WE DID!
