
At the same conference there was a showing of a wonderful documentary where Henry Brant presents a scale model of his "ideal music performance space." I'd love to see that again. I remember it being essentially a Shakespearian era style theatrical building constructed on a barge that physically transports the audience out into open water for each performance. His aesthetic is striking in its rare ability to incorporate audience considerations within some aggressive avant garde conceptualizing.
Later that same year I found myself sharing a ride with Henry Brant on the way to a concert in downtown Toronto. He was running late for a pre-concert discussion. All the way down he was telling me how tired he was of talking about his music and he wasn't going to talk about it tonight. He said, "if anyone asks me to talk about my music I'll just talk about skeletons instead." And that's exactly what he did. "Have you ever seen your own skeleton? I bet you haven't. You wouldn't even recognize your own skeleton if it came walking up to you from across the street." Which oddly enough captures an essence of Brant's music. I remember thoroughly enjoying his piece (programmed last on that evening) as it was completely devoid of pretense or forced seriousness. It had a great Ives-like quality mixed with the wonderful "acoustic surround" of the spatial placement of the players. It was like a concert-hall rendering of the perspective from within a marching parade. Words and recordings simply don't do it justice. (That said, the recordings of Brant's music that are available are really good).
Brant's ideas and aesthetic came to mind as I was absorbed in the experience of attending major league baseball games last week with an ear focused on the sonic environment. The sounds of the game

Henry Brant's music, personality and ideas are a reminder to keep one's ears fresh and open to the experiences of life. I find disarming wisdom in his comments about skeletons. If my own skeleton approached me from across the street I'd hope to be observant enough to realize that I'd become a formless puddle while my skeletal system was away. Which pretty well sums up the plight of "classical" music within this current cultural climate. (A topic of frequent deliberation on several music blogs). Perhaps the contrast in attendance and enthusiasm between "high-art" music and baseball wouldn't be so vast if we could drop the serious pretense and quit "making bones" about "classical" music. Each experience is richly rewarding for the mind open enough to take in the experience.
Though I do wonder what would happen if the respective economics of orchestras and baseball switched places. In such a world Patricia Mitchell would be an all-star oboe player making ten million dollars a year with her very own bobble-head doll and trading cards. And the Yankees would be struggling to pay for their own road trips while they attempt to market games to a younger audience without alienating the blue-haired old ladies who faithfully subscribe every season (even though several quit coming after they introduced that "modern" designated hitter rule).
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