Eastman School of Music - Score Yearbook (Rochester, NY)

Page 32 text:

t rn Ar S ' - i - or Q fgaex ' i iii. L ct'-ti Nj' A L aww: 'X ' X fxk, f fy-Qx'ilQl m yi fx'-fi--H - . W I' -W , ,W W... ,, i mtv in iz ruin.-: Cleorig Iiricdricli Ilandcl ylht 1.a:.il'.i:i Xiiriji .-,,.r. 1... ,it lean Rix XML ilfit I iiilt' X Nltxlu x ICT .tl ,k,.. My i' y.-xl. lolianncs NI WVU Xdaygzo , . .. X. I c not Urns I: Brahms IX .. YC. . UNMC .ii-. Before a maior performance, a musician often experiences an extraordinary.consc1ousneSS of himself and of the passage of time.The fascination with time is almost morbid: he tabulates weeks and minutes as if he were budgetting his final moments before death. The performanCf3 lurks behind every thought, creating a self-consciousness which makes even the most mun- dane daily affairs seem strange. In the days before my concerto, time slowed greatly, I became obsessed with the inevitabili- ties of its approach. My relentless self-consciousness became exasperating, then boring, 35 I wished only to get the damn thing over with. I When I had only minutes left, suffering reed, and endurance paranoia, feeling Mr. I-Iendl S hand on my arm and hearing his slow and quiet reassurances, I suddenly felt my mind sl1P' ping away. The performance itself was a purging of self-consciousness. My rational thouSht5 were gone. I perceived only that my ego had finally left me and was passing out through the horn. .-'xfter my piece I wandered around rather lost, as if I had come out from anesthesia. I WSIS wide-eyed and bemused, struggling for a familiar sense of reality. Gradually I came down into a most secure atmosphere of family and well-loved friends. I telt silly to think I had taken the phenomenon so seriously. -differ fmiflg an GXPGFIGHCS, I was glad to slip back into an ordinary existence, in which time passed rapidly and inconsequentially. Melissa Bohl 28

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W It was so inspiring to watch and play for one of the greatest artists. I had gotten so used to recordings it was refreshing to actually see the mind and energy behind a perform- er like Szeryng. This type of experi- ence cannot even be put into words, to see one who has overcome so much and seeks only the joy in per- forming. It was an invaluable and essential moment in my musical experience and many felt the same. The anniversary this class was, I could celebrate everyday. Marcus Lehmann

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S 3 x i f----, E HY Consciousness lfbidz he tabulates l The performance err the most mun- ith the inevitabili- theri boring, asl l's eling Mr. Hend 'nd slip' felt my mi rational tl1oughlS htlie g out tlrroug anesthesia. l WJS ll-loved friendil ice, in whiCl1llme Melissa 50l'l