A Quote by Michael Hersch
There are times I'm completely uncomfortable with my works being performed publicly, and I haven't attended certain concerts because the prospect is akin to having a diary read on stage. But there are also situations - whether with an audience of one, or many - where the concert experience can be deeply special, and those experiences are often unpredictable, and wonderful when they occur.
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There are certain times in a concert when I'll call an audible because I feel like God is calling me to play a different song. But truthfully, I feel called to play for the church whether it's song being played on Christian radio or it's concerts I'm doing primarily in churches.
I like to compare the first experiences of the Internet - the fortuitousness, the chance - with reality, with the experience, for example, of being in a city that you don't know. Many times - and I don't know if I can totally defend this argument - I've found that the way one experiences the world, and daily life, we are constantly dealing with these perceptions. And it seems like it works, this superficial perception of determinacy, but it's completely ridiculous.
When I was 4 or 5, I attended my father's concerts. He very often played Strauss waltzes as encores and I saw something happening with the audience.
I performed six concerts all over the U.S.S.R. during the time of Gorbachev. The entire audience was Russian. There were no Indians. Period. The audience turned out in large numbers and gave standing ovations to all my songs. They knew each song. That was an amazing experience.
I love music but I never went to a concert in my life. The first time I went to a concert I performed on a stage with Drake.
The first concert I attended was an Elvis concert when I was eleven. Even at that age he made me realize the tremendous effect a performer could have on an audience.
In horror movies, you can write music that if it was performed on the concert stage would have the audience running out of the room with their fingers in their ears. But in a movie, all of a sudden it becomes incredibly accessible and appreciated.
Theatrical times are different from concert times, to put it simply. Taking a figure like [Mahatma] Gandhi and setting him on a stage requires thinking about what theater is about and what the whole experience is about and what we're trying to communicate in that way, so you get into certain less abstract considerations.
I do not believe that I am now dreaming, but I cannot prove that I am not. I am, however, quite certain that I am having certain experiences, whether they be those of a dream or those of waking life.
I Repent of ever having recorded one single song, and ever having performed one concert, if my Music, and more importantly, my Life has not provoked you into Godly Jealousy or to SELL OUT MORE COMPLETELY TO JESUS!
We are fans of Mozart and Beethoven, as well 'South Park' and Borat. We believe that we can attract many people who eschew the serious ambiance of concert halls and don't go to classical music concerts because of such reasons. However, there is a 'serious humor' on the stage: funny and ridiculous. That is important!
If the audience walks out of a concert thinking, What a wonderful experience, then we have done our job.
The 'phenomenal concept' issue is rather different, I think. Here the question is whether there are concepts of experiences that are made available to subjects solely in virtue of their having had those experiences themselves. Is there a way of thinking about seeing something red, say, that you get from having had those experiences, and so isn't available to a blind person?
Normally classical music is set up so you have professionals on a stage and a bunch of audience - it's us versus them. You spend your entire time as an audience member looking at the back of the conductor so you're already aware of a certain kind of hierarchy when you are there: there are people who can do it, who are on stage, and you aren't on stage so you can't do it. There's also a conductor who is telling the people who are onstage exactly what to do and when to do it and so you know that person is more important than the people on stage.
My conception around being a woman in 2016 has definitely been shifting over the past year, because I feel like I'm proud of womanhood, and I feel attached to it, and at the same time I'm someone who doesn't believe in having a gender binary, and so often times I separate those two concepts in my mind - the concept of being a woman and the concept of being a girl or being female, being kind of attached to a certain gender identity.
There was one tour where I thought, "If I can't get this feeling back of being excited to be on the stage, then I will quit." Because I have friends who have dialed it in and I watch their concerts and shake my head. I'm sure the audience can tell, too.
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