Classical music and the artistic practice

Earlier this week, I went to see a retrospective on Ruth Asawa's art at San Francisco's Museum of Modern Art. The exhibit was a comprehensive look into Asawa's work, tracing her first obsessions with overlaid patterns using laundry stamps on paper, through to her more mature work of woven metal wire sculptures. I've always loved these pieces, how they’re at once abstract yet evocative, highly manipulated yet still totally organic. They remind me of flowers, of strands of DNA, flowing lava, even pods of string beans, all at once. They are elegant and gorgeous objects, and the breadth of MoMA's exhibit made me marvel at the sheer quantity of what Asawa produced during her lifetime.

What struck me maybe even more than the art, however, was how the exhibit portrayed Asawa as a human being. Her art was always at the forefront of what she did, but it seemed to pour out of her. From paintings of eggplants growing in her garden, to clay 'life masks' of her loved ones, to the giant carved redwood doors that she sculpted to mark the entrance to her San Francisco home, she was a practicing artist through and through. She seemed to lead her life with an open mind, selflessness, and an unwavering trust in her own self and intuition.

I've been thinking about this a lot recently: how can my own art be a life-long creative practice? I've struggled over the years with seeing how playing the violin fits into the art world at large. Most of the time in my life and career, I travel to perform a piece or program pre-determined a year or more in advance, then go home to prepare for the next. Where does the creative journey live in that equation?

I feel that there is opportunity to squash creativity out of classical music at nearly every turn: it takes incredible skill and specificity to hone one's technique on an instrument, then some amount of brain to analyze and interpret an already-written score. With these parameters, it’s easy to fall into the trap of attempting to be perfect and pristine. The flip side of this is that one can become so fixated on the pursuit of perfection that we lose the essence of what the music is trying to say. I've personally tried to shift my mindset into one of more creativity: I try to really listen to myself and let intuition dictate my decision-making when it comes to music. Much of the time, these days, I consciously avoid making any decisions about phrasing, fingerings, or bowings in advance of a performance, and let pure intuition and feeling guide me through the piece. I find this is helps me stay present, even when interpreting a score that may have been written centuries ago. I think this is why I also enjoy playing new music and working with composers: I love getting close to creativity.

But is what I do inherently creative?

A lot of my time this year has been devoted to exploring things outside of music. This is something I've always done to an extent, but either never allowed myself to fully commit to a hobby, or just thought I didn't have time for them. A freelance musician's schedule, after all, is a chaotic mess, constantly swinging between having all the time in the world and being away from home for weeks on end. This year, I'm trying to be more intentional with my time, and more protective of my time off. In a way, this is in order to explore other activities (pottery, dance, languages, fitness), but on a deeper level, it is to attempt to reawaken my creative spirit. I say 'reawaken' as I remember a time when I was a child that I made art for art's sake, in any medium that spoke to me. I feel that that spark has dulled over the years.

What this will lead to, I'm not sure, but I'm inspired by Ruth Asawa (as just one example) to find art in the everyday. For us artists, ideally, art is holistic. It is of course our livelihood and our work, but I believe the spirit of art should glow and encircle everything in the artist's life. I love the idea of treating art as something intangible; not a mission with a destination, but a passion, a practice, an exploration. And in our high-energy, fast-paced world, where immediacy and efficiency is valued over all else, it takes great strength to let things unfurl.

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Meditations on Samuel Barber and John Cage

This past year, I was one of several musicians selected to be a part of the Artist Propulsion Lab, a program created by New York City’s classical radio station, WQXR. This program offered the opportunity to create content for the radio medium, something which I’d never done before.

I chose to create a podcast episode that centers around American composers Samuel Barber and John Cage, for which I wrote the script and performed the musical selections. The process was a fascinating one. In the episode, I discuss the philosophies of these two icons of post-war American music, as well as my feelings and thoughts on playing their compositions. You can listen to the episode using the player below, or by following this link.

Pianist Janice Carissa joined me in studio for Barber’s Canzone and Cage’s Six Melodies. The podcast also features my recording of Barber’s Violin Concerto with the Bellingham Festival Orchestra from July 2023.

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Things I'm Loving Lately, Volume I

1. Sullivan Fortner's new album, Solo Game

My first introduction to the pianist Sullivan Fortner came through one of my favorite jazz vocalists, Cécile McLorin-Salvant. I remember listening to her 2018 album "The Window," entranced as always by her indescribably colorful, fluid voice and colors for days, then found myself increasingly drawn to what the piano was doing. I recently heard Cécile and Sullivan live at the Village Vanguard, where they played a set largely from The Window. Sullivan’s playing blew me away. He’s like a sculptor, working in seemingly infinite mediums. His playing carves wood, molds wet clay, chisels stone. What he is able to do on the piano transports me to some of the farthest reaches of sound and harmony that I've experienced and flows seamlessly and elegantly between worlds. On his new album Solo Game, his virtuosity, heart, wit, and creativity are on full display. I can't recommend this album enough. Listen again and again and be moved, amazed, and surprised each time.

Favorite tracks: King's Table, Space Walk

2. Pigeon pose

I've been getting back into yoga lately, after a years-long hiatus brought on by a persistent wrist injury. I used to be somewhat obsessed with hot vinyasa yoga, and that obsession seems to be creeping back into my life. Beyond the comfort of a hot room in these chilly fall/winter months, I leave the room with my whole body vibrating and my mind calm. I have a few favorite poses: revolved triangle, virasana (hero's pose), dancer...but maybe my favorite of all is pigeon. I walk a lot on a daily basis, so my hips are always tight. There's nothing like spending a few breaths (or, even better, several minutes in a yin sequence) on each side. I'm always surprised at how much tension I'm holding and can begin to let go within a few breaths. We’re so lucky to have so many amazing yoga studios and teachers here in NYC. I've been trying a few out over the past couple months and really finding some gems.

3. A new untitled cocktail

I improvised this recipe randomly one day because I a) love easy 1:1:1 ratios, and b) had a bunch of limes and a container of cherry syrup from some amaretto cherries lying around. It's sort of like a Naked & Famous but with fewer specialty ingredients.

1oz mezcal
1oz Montenegro amaro (can replace with any other amaro, also try any sweet-ish liqueurs!)
1oz lime juice
1/2oz cherry syrup (or other syrup of choice)


What I'm listening to this week, Volume I (click here for the Spotify playlist):

Alexi KenneyComment