A Minute with Miles

I can’t say for sure, but I would guess that most people have had what might be called recurring anxiety dreams… the kinds of dreams in which you find yourself in public with no clothes on, or about to take a test in a subject you’ve never studied. People’s anxiety dreams tend to be tailored to their particular personalities, circumstances, and experiences, and often to their particular professions.

A master class is a public lesson. A distinguished teacher—that would be the master—works with a student on a piece of music, but the teacher isn’t the student’s regular teacher, and instead of the lesson taking place in a private studio, it takes place in front of an audience. It’s a kind of double performance—the student is performing for the audience, but so is the teacher. And the idea is that whatever the teacher has to offer will be of value to both the student and the observers.

Gabriel Fauré is often referred to as one of the greatest French composers of the late nineteenth and early twentieth centuries. But I wonder if that description goes far enough. It’s certainly true that his contributions to French music, especially in the areas of chamber music, piano music, and music for the voice -- are remarkable. But they’re remarkable because they’re wonderful music , not because they’re French.

J.S. Bach composed his St. Matthew Passion in 1727. But for the better part of a century after that, the piece essentially disappeared, unknown to all but a few specialists. One of those specialists was the composer Carl Friedrich Zelter, who was the music teacher of a boy named Felix Mendelssohn. Mendelssohn was only about fourteen when his grandmother gave him a copy of the full score of the St. Matthew Passion – a score she had borrowed from Zelter….

I find it fascinating that many of the greatest composers of the 19 th century—composers such as Berlioz, Schumann, Chopin, Mendelssohn, Wagner, Brahms, Dvorák, and Tchaikovsky—knew one another, and in many cases had very friendly personal and musical relationships. Schumann, for example, wrote his piano quintet for his wife, Clara, a great piano virtuoso …and Clara played the first public performance of the piece.

In 1950 a musicologist named Wolfgang Schmieder published an enormous catalogue of J.S. Bach’s works, but Schmieder organized it by category, that is, by type of composition, not by date of composition. The catalogue is known in German as the Bach-Werke-Verzeichnis, or BWV, and that’s why you often see Bach’s works listed in programs with their BWV numbers.

Concert etiquette. It’s really just a matter of common sense and good manners. If you think you may be at risk of a coughing or sneezing fit, sit on the end of a row, not in the middle. If you’re bringing a child to the concert and the child tends to fidget, sit in the back, not the front. Don’t take pictures or make videos if you’ve been asked not to or if you may be blocking somebody else’s view, and don’t use a flash even if you haven’t been asked not to.

Do you find traveling glamorous? Sitting around in airports, waiting in lines, carrying luggage, eating in unfamiliar places, sleeping in unfamiliar beds? Well imagine doing that for about ten months a year, and imagine doing it alone, while having to prove, over and over again every single week, that you’re one of the best in the world at what you do.

Musicians, like actors, have to deal with something a drama teacher once called the “paradox of integrity.” On the one hand, you have to be completely “in character” when you’re performing—moved your self by the music in order to make it moving for others, and merged with the music, in a way… almost sub merged in it.

I won’t mention any names, but many years ago there was a great string quartet that was famous for its members not getting along. People joked that it was a tragedy for this quartet if they showed up in a town that only had three hotels. I don’t know if we can blame this particular quartet, but one theory that took hold was that the best results for chamber music groups are produced by conflict, and the resolution of conflict.