WEBVTT

00:00:00.000 --> 00:00:02.370 align:middle line:90%


00:00:02.370 --> 00:00:07.170 align:middle line:84%
This next one is still
really new, really future.

00:00:07.170 --> 00:00:09.480 align:middle line:84%
It's so future, I haven't
really made up my mind

00:00:09.480 --> 00:00:10.380 align:middle line:90%
about the title.

00:00:10.380 --> 00:00:13.530 align:middle line:90%
I'm terrible about titles.

00:00:13.530 --> 00:00:16.079 align:middle line:84%
I tend to write them
last, only when I

00:00:16.079 --> 00:00:18.670 align:middle line:84%
have to put some handle
up there at the top.

00:00:18.670 --> 00:00:20.880 align:middle line:84%
So this one I'm not
too happy about.

00:00:20.880 --> 00:00:22.470 align:middle line:84%
So if you have any
better suggestions

00:00:22.470 --> 00:00:24.900 align:middle line:84%
let me know
afterward over punch.

00:00:24.900 --> 00:00:26.850 align:middle line:84%
Right now I'm
calling it Reprise,

00:00:26.850 --> 00:00:28.260 align:middle line:90%
but I don't like that anymore.

00:00:28.260 --> 00:00:31.530 align:middle line:84%
I liked it a month ago,
but I don't like it.

00:00:31.530 --> 00:00:32.565 align:middle line:90%
It's in three sections.

00:00:32.565 --> 00:00:36.180 align:middle line:90%


00:00:36.180 --> 00:00:38.190 align:middle line:84%
You probably know
already that embochure

00:00:38.190 --> 00:00:41.670 align:middle line:84%
is the position that the
mouth takes on the instrument.

00:00:41.670 --> 00:00:43.170 align:middle line:84%
I'm going to read
this one for Lois.

00:00:43.170 --> 00:00:45.960 align:middle line:90%


00:00:45.960 --> 00:00:47.200 align:middle line:90%
Reprise.

00:00:47.200 --> 00:00:47.700 align:middle line:90%
One.

00:00:47.700 --> 00:00:50.350 align:middle line:90%


00:00:50.350 --> 00:00:53.410 align:middle line:84%
You cannot see the horns
from where you sit,

00:00:53.410 --> 00:00:56.410 align:middle line:84%
only another row
in common black.

00:00:56.410 --> 00:01:00.760 align:middle line:84%
When their clear melody comes in
to represent a grieving heart,

00:01:00.760 --> 00:01:04.690 align:middle line:84%
it will do so as a brook
rushing over stones,

00:01:04.690 --> 00:01:09.100 align:middle line:84%
approximates a flock of birds
rising or, as the peacock,

00:01:09.100 --> 00:01:12.110 align:middle line:90%
sounds like human speech.

00:01:12.110 --> 00:01:15.940 align:middle line:84%
Now, the empty instruments
are raised to attention

00:01:15.940 --> 00:01:18.250 align:middle line:90%
as I open the first cadenza.

00:01:18.250 --> 00:01:22.420 align:middle line:84%
The weight of my arms and
shoulders striking the keys,

00:01:22.420 --> 00:01:27.010 align:middle line:84%
keys in turn hammering the
hidden strings, driving triumph

00:01:27.010 --> 00:01:29.140 align:middle line:90%
from the concert grand,

00:01:29.140 --> 00:01:31.780 align:middle line:84%
and when the
multiple voices join,

00:01:31.780 --> 00:01:36.140 align:middle line:84%
when the horns in that
famous passage surprise you,

00:01:36.140 --> 00:01:40.540 align:middle line:84%
it seems we've touched the
vocal center of the world.

00:01:40.540 --> 00:01:45.190 align:middle line:84%
The audience is a blur on my
right, musicians on my left

00:01:45.190 --> 00:01:48.700 align:middle line:84%
as I face into the wings
across the keyboard

00:01:48.700 --> 00:01:51.010 align:middle line:90%
and its broad extension.

00:01:51.010 --> 00:01:55.270 align:middle line:84%
Playing, I have no more
choices to be made.

00:01:55.270 --> 00:01:57.190 align:middle line:90%
Playing, I am no one.

00:01:57.190 --> 00:02:00.895 align:middle line:90%


00:02:00.895 --> 00:02:01.395 align:middle line:90%
Two.

00:02:01.395 --> 00:02:04.220 align:middle line:90%


00:02:04.220 --> 00:02:07.490 align:middle line:84%
A child sits on the
round embroidered stool

00:02:07.490 --> 00:02:10.190 align:middle line:84%
screwed to its
full height, a box

00:02:10.190 --> 00:02:12.470 align:middle line:90%
over the pedals for her feet.

00:02:12.470 --> 00:02:16.850 align:middle line:84%
The wooden lip is raised and
she taps at the row of teeth.

00:02:16.850 --> 00:02:20.300 align:middle line:84%
Suddenly, a passage
from memory, and a bird

00:02:20.300 --> 00:02:23.450 align:middle line:84%
startles into its
territorial cry.

00:02:23.450 --> 00:02:27.050 align:middle line:84%
Then she hesitates,
tries an accidental.

00:02:27.050 --> 00:02:29.990 align:middle line:84%
This is the hard
part, the new part,

00:02:29.990 --> 00:02:32.870 align:middle line:84%
she doesn't like
to make mistakes.

00:02:32.870 --> 00:02:35.720 align:middle line:84%
Thinking his opinion
matters, the teacher

00:02:35.720 --> 00:02:38.270 align:middle line:84%
clicks the rhythm
with a pencil, but I

00:02:38.270 --> 00:02:41.960 align:middle line:84%
would like to move those
fingers by remote control

00:02:41.960 --> 00:02:46.100 align:middle line:84%
to make her go ahead, take
a chance, play something.

00:02:46.100 --> 00:02:49.880 align:middle line:84%
The piano itself seems
to grow impatient,

00:02:49.880 --> 00:02:53.960 align:middle line:84%
waiting as the tired
upright waited for me

00:02:53.960 --> 00:02:56.450 align:middle line:90%
in the damp Victorian parlor,

00:02:56.450 --> 00:02:59.570 align:middle line:84%
a secret under
its fringed shawl,

00:02:59.570 --> 00:03:03.035 align:middle line:84%
the songs in the fat
book almost in reach.

00:03:03.035 --> 00:03:07.760 align:middle line:90%


00:03:07.760 --> 00:03:10.380 align:middle line:90%
Three.

00:03:10.380 --> 00:03:13.620 align:middle line:84%
I didn't simply
stop getting better.

00:03:13.620 --> 00:03:17.790 align:middle line:84%
Pushing a stone, one
cannot stop on a hill.

00:03:17.790 --> 00:03:21.360 align:middle line:84%
The dancer's legs,
the poised embochure

00:03:21.360 --> 00:03:24.930 align:middle line:84%
want to be part of
a sleeping animal.

00:03:24.930 --> 00:03:28.920 align:middle line:84%
I can still name the train's
declining note, the pitch

00:03:28.920 --> 00:03:31.440 align:middle line:90%
growing flat as it recedes.

00:03:31.440 --> 00:03:35.160 align:middle line:84%
On the street in a crowd
I can duplicate the chord

00:03:35.160 --> 00:03:37.720 align:middle line:90%
implied beneath a random noise.

00:03:37.720 --> 00:03:42.090 align:middle line:84%
So much music in the universe,
in the practice halls,

00:03:42.090 --> 00:03:45.510 align:middle line:84%
or in the deadened air
of their small carrels,

00:03:45.510 --> 00:03:49.080 align:middle line:84%
apart from us,
musicians are laboring,

00:03:49.080 --> 00:03:51.240 align:middle line:90%
themselves the instruments.

00:03:51.240 --> 00:03:52.800 align:middle line:90%
It is a service.

00:03:52.800 --> 00:03:55.320 align:middle line:84%
And like the tired
wife who never

00:03:55.320 --> 00:03:58.680 align:middle line:84%
meant to forswear
her chosen joy,

00:03:58.680 --> 00:04:04.650 align:middle line:84%
I merely gave a lesser portion
of myself, poco a poco,

00:04:04.650 --> 00:04:09.150 align:middle line:84%
until my hands no longer
strained against the leash

00:04:09.150 --> 00:04:13.110 align:middle line:84%
and then no longer
could outrun my eye

00:04:13.110 --> 00:04:18.470 align:middle line:84%
and soon, soon I could
not even bear to listen.

00:04:18.470 --> 00:04:22.000 align:middle line:90%