MOST PROFOUND MUSICAL EXPERIENCE

[Bonn1827]

I'm wondering if contributors to these pages could identify the single most important moment in their music-loving (or performing) lives. When was that epiphany? When did the lightning bolt strike from the Heavens? When were you literally brought to your knees by a musical experience - performing, listening, at a concert etc.

For me, it was in Notre Dame Cathedral in Paris in May, 2009. We arrived on a Sunday morning for a "multi-cultural" Mass. All of a sudden the organ broke through with its thundering, reverberating, grand and golden tones. I was struck dumb. Moved beyond tears, I suddenly looked about me at the magnificent architecture, the solemnity of the mass and its ritual and listened to the music (played by American organist Philip Baker from Austin, Texas). I couldn't stop the emotion but decided to give myself up to it completely. Later that day we returned to the Cathedral for a "free recital" - the same organist playing Bach and, a revelation, "Homage a Perotin" - an organ transcription of a piece written by Myron Roberts for brass instruments (I found out later). Same effect as during the previous Mass, only this time the ghosts of the Notre Dame School and early polyphonic music were invoked on that very, very special day. Extraordinary.

[jamesofedinburgh]

I'm wondering if contributors to these pages could identify the single most important moment in their music-loving (or performing) lives. When was that epiphany? When did the lightning bolt strike from the Heavens? When were you literally brought to your knees by a musical experience - performing, listening, at a concert etc.

For me, it was in Notre Dame Cathedral in Paris in May, 2009. We arrived on a Sunday morning for a "multi-cultural" Mass. All of a sudden the organ broke through with its thundering, reverberating, grand and golden tones. I was struck dumb. Moved beyond tears, I suddenly looked about me at the magnificent architecture, the solemnity of the mass and its ritual and listened to the music (played by American organist Philip Baker from Austin, Texas). I couldn't stop the emotion but decided to give myself up to it completely. Later that day we returned to the Cathedral for a "free recital" - the same organist playing Bach and, a revelation, "Homage a Perotin" - an organ transcription of a piece written by Myron Roberts for brass instruments (I found out later). Same effect as during the previous Mass, only this time the ghosts of the Notre Dame School and early polyphonic music were invoked on that very, very special day. Extraordinary.

This is another good idea for a thread and I will respond thoughtfully in time.

In the mean time, Bonn1827, you know the prejudices of the poms, that Australians are uncultured, good for nothing but swimming (at which they excel) and typified (at best) by Neighbours. You are a living contradiction to the stereotype

[Peter]

This is another good idea for a thread and I will respond thoughtfully in time.

In the mean time, Bonn1827, you know the prejudices of the poms, that Australians are uncultured, good for nothing but swimming (at which they excel) and typified (at best) by Neighbours. You are a living contradiction to the stereotype

You missed out Rolf Harris!

[Peter]

I find it a very hard question to answer as I can think of so many moments. One of my earliest musical memories is being deeply moved at school in our carol service by the beautiful descant singing of the soloist in 'Once in Royal David's city'. Another great early experience was playing in a youth orchestra on tour in Portugal in 1979 when we were feted by lots of students in Lisbon after a rousing performance of Tchaikovsky's 6th symphony and Elgar's Enigma variations. More recently that 2003 recreation in Vienna of the Dec 22nd concert will always remain with me.

[Michael]

I didn’t discover “classical” music until I was 20 or so. In the late sixties, the record companies started reissuing their older mono recordings very cheaply, so I started buying them in a haphazard fashion. I started off with Tchaikovsky’s Sixth and quite liked it, so I then bought the Fifth. At this stage, I considered myself quite an expert on the symphony and, at the prompting of a friend, I invested in Beethoven’s Sixth. I was amazed to read on the sleeve that it had five movements, and the opening was described as “happy and thankful feelings on arriving in the country”.

“Well,” I said to myself, “this Beethoven fellow doesn’t know much about symphonies. Everybody knows a symphony should be in four movements and should not be happy.”
I placed the record on my turntable – and my reaction was immediate. Never in my life had I heard such music. Dull, monotonous, repetitious! Where were all the lovely soaring melodies I was getting from Peter Ilyich? I complained to my workmate and the only answer I got was: “Wait.” He was right. Within a few weeks I was driving everybody in our house to distraction by playing the “Pastoral” day and night.

Anyway, to get to the “most profound experiences”, my three earliest MFE’s were, of course, generated by our friend, Beethoven. I remember listening to a recording of the Eroica second movement one night and having an epiphany. I loved the funeral march but it did seem to go on and on. I had no knowledge of musical theory or form, but suddenly listening to this music, I grasped the shape of the whole movement. It was like I had been wandering around inside a great cathedral for weeks, but on this occasion I stood outside the building, as it were, and saw it as a whole. I was amazed to find how simple the design was (actually a rondo, as I learned later). After that, I never found the movement (and indeed any other) to be lengthy.

Let me be a bit pretentious and call that a “conceptual” breakthrough. My next MFE took place very shortly after and it was an “emotional” breakthrough. Up until then, Beethoven was still CLASSICAL MUSIC to me – profound stuff that you listened to with a different pair of ears from your normal ones, i.e. the ones you reserved for the Beatles & Co. Well, I put on the Seventh Symphony, which was my latest purchase, and somewhere during the first movement I sat up straight and said: “This guy is having a ball! He’s enjoying himself !” All my underlying unease about this symphonic music vanished and I let myself go.

The next big one was slightly later. I had purchased the First Razumovsky Quartet but was finding it very tough going. But my method was to keep playing music in the background until something clicked. (Actually, everything clicked because I had a very cheap turntable). However, I remember coming off night duty one spring morning, and putting on my headphones before going to bed, and listening to the slow movement of Opus 59 No. 1.
I should spare you all the clichés about the hair rising on the back of the neck or the tingling down the spine but I’m afraid that’s exactly what happened.

So there are my earliest “profound” experiences, none of them “live” and all of them Beethoven. And they go on and on. Rather like my posting.

[Bonn1827]

It was a joy to read about your experiences, Michael, and, as usual, it was laced with the usual hilarious humour. Yes, great music can be "tough going" - your description is apposite. No pain, no gain as they say! But LvB was writing for musicians and audiences like those of us who are devoted enough to want to write about music when some of us (ahem) should be preparing for Christmas with the family!! (I've always instructed them: "under no circumstances buy me books or music - I'll buy my own thank you!")

[Bonn1827]

Well, I don't know if this comment fits into this Thread but I've just secured a ticket to a lecture in Vienna at the Musikverein delivered by Alfred Brendel on 25 February. It is entitled, "About Music". I'm worried my German won't be good enough to understand most of it, but I'll be trying like all hell to do so!!!!

[jamesofedinburgh]

So, evidently Brendel is not fully retired! I have heard him play live and also heard him give a lecture on the radio though he was speaking in English. He has great stage presence and his performances were the finest live music making (on the piano) that I have ever heard.

I don't really know how to respond and thereby contribute to the theme of this thread. There have been so many such moments that I am trying to choose one, I am sure I will eventually do so. It is certainly interesting to read the varied responses.

[Bonn1827]

Brendel is involved in pedagogy, I understand. In 2009 he lectured at the Salzburg Festival and again next February in Vienna. But his concertizing days are far behind him. I'm hoping for English notes (as was the case in Salzburg) but, if not, I hope I can pick up something from it. I just want to be in the small auditorium with the man and a few others!! A bargain at 11 Euros!!

Today I received in the mail my Musikverein Membership card - this was a huge buzz. (This time in 3 weeks I'll be winging my way to Vienna).

Have a great New Year's Eve and 2011 everybody, and keep submitting those profound musical experiences.

[SR]

Many special moments. Two stand out, playing Coplands Fanfare For The Common Man. Second was playing Saint-Saens Organ Symphony, on stage in front of the pipe organ during the last movement sends chills down the spine.

I played french horn.

Oh and listening wise must have been as a 7 year old hearing the Denver Symphony play Dvorak's New World. It was my first time in a room with an orchestra


Steve

[Cocchini]

For me, these two works have always produced a profound emotional experience:

http://www.youtube.com/watch?v=Ac02mnZJmiQ

http://www.youtube.com/watch?v=izQsgE0L450

[Megan]

For me, these two works have always produced a profound emotional experience:

http://www.youtube.com/watch?v=Ac02mnZJmiQ

http://www.youtube.com/watch?v=izQsgE0L450

I love those pieces too Cocchini.


But when I was in my late 30's and going through a difficult chapter in my life, I happened to hear a most beautiful, mystical and haunting piece of music that brought all my bottled up emotions gushing forth, unstoppable tears flowing. I know it is odd how a piece of music that can suddenly grip ones emotions like that.

It was the Theme from Picnic at Hanging Rock.


http://www.youtube.com/watch?v=cvVo2...eature=related

[Sorrano]

Many special moments. Two stand out, playing Coplands Fanfare For The Common Man. Second was playing Saint-Saens Organ Symphony, on stage in front of the pipe organ during the last movement sends chills down the spine.

I played french horn.

Oh and listening wise must have been as a 7 year old hearing the Denver Symphony play Dvorak's New World. It was my first time in a room with an orchestra


Steve

Many years ago I was listening to the Organ Symphony with headphones and must have turned up the tempo in the last movement prior to the entrance of the organ. I must confess that I ripped those headphones off when that fortissimo entrance nearly blew my brains out. That may not have been quite so profound, but it left an indelible impression on me.

[Michael]

I love those pieces too Cocchini.


But when I was in my late 30's and going through a difficult chapter in my life, I happened to hear a most beautiful, mystical and haunting piece of music that brought all my bottled up emotions gushing forth, unstoppable tears flowing. I know it is odd how a piece of music that can suddenly grip ones emotions like that.

It was the Theme from Picnic at Hanging Rock.


http://www.youtube.com/watch?v=cvVo2...eature=related

That same movie soundtrack features a large amount of the slow movement of the Emperor Concerto.

[Megan]

That same movie soundtrack features a large amount of the slow movement of the Emperor Concerto.

Gosh, I never realized that Michael, I am going to listen to B's second movement of the Emperor again more carefully, and see if I can recognize similarities.