1. chris says:

    That <a href="http://www.apollonian.org/funfunfun.jpg" rel="nofollow">looks</a> <a href="http://www.apollonian.org/world.jpg" rel="nofollow">familiar...</a>

    Hope you're ok. :(

  2. Jhfhmh says:

    Bruce In my improvising trio Cerberus and in our Classical Improvisation Class we exeeirmpnt with ways to change or extend the normal performance parameters of classical concerts. One of these is where we sit. We may sit in standard formation for a trio, quartet, octet, etc, but on the other hand, we may sit in many other ways, including in a checkerboard fashion, spread out around the hall, perhaps some players even in the audience, or backstage or some onstage and some in the hall, or on both sides of the stage, etc., and we may change that during the piece. Acoustics aside, it does get the attention of the audience, who are really awake for our performance because something is different. Memorization I was always terrified of that, but started (finally) getting into it a couple years ago and have found that 1) it takes more time to prepare but 2) performance is more certain that reading off paper. I try to work up at least one piece for every concert memorized now. I'm not sure I'll ever do that with chamber music, although improvised chamber music is of course easy and natural not to use ink. I think in general it's more interesting when you can try different ways of performing that is, connecting with the audience, getting its attention including memorizing piece (at least sometimes), changing the seating arrangement, and moving around the stage (or even off of it).When things change, people wake up. When they are alert, they enjoy it a performance more. Food for thought.

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