This is my certainty: those who don’t sing don’t know the greatest joy.
This is the best Milhaud that will survive the time: the light but well constructed, the simple but ingenious. And I am afraid always not-‚polytonal’… at least not in the experimental levels that some works have. Because no one can really stand a ‚rigorous‘ so called polytonal piece for too long.
The Song is the most basic nutrient of the musician. If you lose contact with it, you lose contact with music itself.
Powerful Music has always a will that is equal to its substance. This will is what makes music unravel and move forward. But the will is also defined by the resistance it encounters, by its inherent resistors but also by resistance from outside of it. We get an idea of the power of this will by feeling along with it its resistance.
I am also a very big Fan of the lyricism of Vaughan Williams and share his love for English folk songs.
The melodic sensibility of this composer is absolutely amazing. I have discovered some works by him that I am certain, I will keep coming back to them
We all know: It arrives when it wants. However, we as musicians have to seduce it. To know how to invite it at any time, to have it at its best all the time. This is achieved by letting us fall. The muse likes renunciation, likes simplicity. When we make music we inhabit the melodies, harmonies and rhythms, we move away from the everyday world and we start to communicate with spheres that remain silent in the day to day life. What we do is activate a sixth sense to enter a state of absolute sensitivity and inner singing. This is an extremely important notion for music in all its areas. When we listen to a melody we can only understand it if we sing it internally while listening to it. This is the difference between listening actively and passively. This is the difference between having access to deeper works or staying on the surface. Singing is the beginning of all musical activity and is present in all its expressions. Why do some musical works do not manage to touch us and leave us cold in a slight intellectual satisfaction but nothing emotional? The answer is in large part: because they do not awaken the internal singing in us, because they keep us away and do not force us / invite us to sing internally. It would seem that good music is an invitation, a seduction to become with the line, to sing internally. But I would dare to say that good music forces you with a soft violence, with a violent tenderness to enter it and to renounce one’s will to submit to the will of music itself.
It could be said, then, that the inspiration state is a renunciation and letting go to sing. Precisely that availability is what ignites in us a childish enthusiasm, an indescribable joy.