As Lars, our director, says, "it's the piece I want to have played at my funeral." I agree with him. It is one of the most uncharacteristic uses of the bassoon to a modern listener yet its long, flowing lines interplay with the accompanying instruments create an incredibly supple atmosphere. It was our encore piece, too. My mother, who flew from Canada to join my extended family and friends in watching our performance at Saint John Smith's Square on the 11th, told me that it reminded her of a hymn. How right she was.
|The teatrino in the palazzo reale, Napoli.|
Polimnia sits second from left.
Photo courtesy of Rafael Roth
The hall wasn't simply decorated with statues, paintings, ornaments and the like, it was a temple to the muses. In fact, I realized, despite their varying degrees of decor, each hall we visited on our tour had been that same temple. It's very easy to lose that focus, however, when that context isn't readily apparent. It's that mindset, or mindspace which we must attempt to enter in order to bring forward an enlightening performance, and my moment in the teatrino saw me take two steps further in the right direction.