A Quote by Karen DeCrow

Most experiences are either sensual or intellectual. Chamber music, played by a small group so the listener can follow what each player is doing, is both. — © Karen DeCrow
Most experiences are either sensual or intellectual. Chamber music, played by a small group so the listener can follow what each player is doing, is both.
In its beginnings, music was merely chamber music, meant to be listened to in a small space by a small audience.
My training in music has been very eclectic - as first a flute player from classical chamber music to jazz, Greek, Brazilian and African music to contemporary concert music.
We were very rich culturally. One Sunday each month, we would do this thing called Chamber Pots at somebody's house. A classical music group would come over and we'd have dinner. There were thirty people - parents and kids - and we'd sit on the floor and listen to this beautiful music.
I started directing chamber orchestras, then adding bigger pieces, adding winds, adding small symphonies. I've always loved chamber music, and I've done a lot.
I have this ideal listener, as John Cage did. This listener doesn't bring expectations that my music will fit into some part of music history, or that it will do any particular thing. This listener is just open to listening.
Music is at once the most wonderful, the most alive of all the arts- it is the most abstract, the most perfect, the most pure- and the most sensual. I listen with my body and it is my body that aches in response to the passion and pathos embodied in this music.
My goal is to connect with people emotionally. I take life’s experiences and translate them into music — music that hopefully creates an impact on the listener.
When I write my music I see all the rivers flowing... sensual, spiritual, religious, animal, intellectual.
Each one of us had a little story to tell and each recording was based on that. Lou played all of the music but we both sort of kicked around some cords during the writing phase.
And y'know what they decided the number one threat was? The destructive and disruptive capability of a small group. That's what they're worried about most... they're terrified of a small group with a committed goal.
Even though I started playing the violin when I was four, my early chamber music experiences helped build a strong foundation for my solo work, as all music is a rich language and dialogue that is shared on stage, no matter what the size of the ensemble.
It doesn't matter what kind of music you like or what kind of person you are or what you're used to listening to, or whether you know me or not. It doesn't matter, either way you can be inspired by it [my songs]. Each way I want to make it relatable to that group, but most of all keep the inspirational part of it, for sure."
The chamber music repertoire is so vast that if one is genuinely curious about music, the art of listening, understanding and responding to a score, the elementary skills and requirements of chamber works are easily applicable to that of any solo playing.
When I talk about the early years in Oakland, I don't want to take anything away from who that player was, because that player was still a heck of a player, that player was just young. I played off the field the same way that I played on the field.
You know, music is sex. It's a sensual driving mode that affects people if it's played a certain way.
If you are in an improv jazz ensemble or a small chamber group, you learn to think fast on your feet and how to be flexible and to collaborate and compromise, and that may yield a creative outcome.
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