A Quote by Karen DeCrow
I enjoy practicing law too much to even contemplate retiring, but I often think about engaging in serious study of the history of art, of the intricacies of classical music. I could write a fugue, or perhaps learn to play the cello.
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I'd studied piano first and switched over to cello when I was about seven. I played mostly chamber and solo classical music. I got really involved with rock music when I was a teenager. I wired up my cello.
But music doesn't sum up my approach to literature - even in Vain Art of the Fugue. To 'fugue' I had to invent 'trap-words,' or words that would force the narrator to turn around and start his path anew.
The final, unfinished fugue from The Art of Fugue is the greatest piece of music ever composed.
I can think and play stuff in classical music that possibly violinists who didn't have access to other types of music could never do. It means I'm more flexible within classical music, to be a servant to the composer.
I went to school to learn guitar, solfeggio, and harmony. I wanted to know more about music, how it works. I wanted to take voice lessons, too, and that's when I discovered what I could do with my voice. At the beginning, I thought I would do classical and pop, but then I learned that I really liked the classical music.
There are so many different ways to talk and think about art. We just spoke about when attitude becomes form. But when I was a kid, I had these two art teachers, a couple, who were continuing a line of very classical, atelier art training, and they instilled in me a sensitivity to all the classical verities of line, shape, color, texture, and composition, which is only engaging if you're making two-dimensional objects.
Even my colleagues don't read classic criticism. And my feeling is that if you don't do that then you're not really practicing your craft. That's how you learn how to do it. You don't learn how to write about jazz just from listening to jazz. You learn how to write by reading the great writers and how they worked, the great music critics.
After my husband died, I could not write much - I could not concentrate. I was too exhausted most of the time even to contemplate writing. But I did take notes - not for fiction, but for a journal, or diary, of this terrible time. I did not think that I would ever survive this interlude.
I tried without much success to learn a little of the humanities and the arts, but even passing the courses in art history and music history was a challenge.
I keep saying if I ever get a good amount of quiet time that I want to learn to play cello. It's a very warm instrument. The tone of the cello and the movement - I don't know what is; I love it so much.
My father was able to play a number of musical instruments and I fell in love with classical music in my teens and I allowed it to influence me. I like to think I took and still do from classical music and various techniques, I have made classical albums and recorded seven different pieces of Bach on different albums and its all music too me.
I learned the cello , but I would still need a massive amount of practice. But I do play classical music, so I understand where that comes from.
No one ever told us we had to study our lives,make of our lives a study, as if learning natural historyor music, that we should beginwith the simple exercises firstand slowly go on tryingthe hard ones, practicing till strengthand accuracy became one with the daringto leap into transcendence, take the chance of breaking down in the wild arpeggioor faulting the full sentence of the fugue.
The history of music is nothing more than the history of art-music or classical music, the music that was commissioned by aristocrats.
I started to play noise on my cello because I felt a deep personal connection to it. I mean, I still love all the beautiful sounds of the cello as much as anybody but it's only when I play certain sounds I know that the cello really presents who I am; not my emotions but who I am as a person.
I would not want the limitations held by the name of a classical musician. I want many people to enjoy my music much beyond just classical music fans. I think the term, 'violinist,' keeps me distant from the audience. I want to communicate with them more.
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