The Choral Contrarians

Richard and Eric try to locate the intersection point of emotion and performance.  They not only attempt to differentiate the difference between how emotion works for the audience versus performer, but also debate the value and perception of emotion's usefulness as a performer of music.  Do we overvalue, or misjudge, emotion in the act of performance?

Richard and Eric wonder about the goings-on of music and performance in dreams.  What piece is heard there?  Who wrote that piece?  What ensemble performed the piece you heard in the dream?  Is there anything to be learned from those questions?  Maybe there is something similar going on when a conductor references their mental/aural imagery when adjudicating and rehearsing their ensembles.

Richard and Eric gather round the old fireplace to chat about a variety of things, including reading a wonderful note from Swedish composer Mattias Sjöberg.  High-back chairs and a roaring fire is a wonderful time to reminisce and celebrate hygge during the dark, winter season.

Eric and Richard ask the question no one is asking (and maybe for good reason): Is there an intersection between the concept of liminal space and choral music?  They discuss this fairly defined aesthetic phenomena and posit if any aspect of it can be seen in the light of music performance.  Oh, and they rank their favorite solfege syllables.  Just riveting in every way.

Richard and Eric dive deep into an article in The Critic, entitled "Have I Seen the Future of Music; On a performance in three dimensions for all five senses [https://thecritic.co.uk/issues/november-2023/have-i-seen-the-future-of-music/]," by Norman Lebrecht.  The article largely reviews pianist Yuja Wang's recent collaboration with renowned English artist David Hockney.  The author posits that, through the use of technology and three-dimensional space, this performance hints to not just a navigable way forward for music and music performance, but an exciting possible future filled with multi-sensory elements.  Are there issues to ponder with this type of thinking?  What do we mean when we say the 'future of music'?  What might we think the future of music will really be like? https://thecritic.co.uk/issues/november-2023/have-i-seen-the-future-of-music/ [https://thecritic.co.uk/issues/november-2023/have-i-seen-the-future-of-music/]