Once, a long time ago (maybe it was 1946) a new 1st trombone player joined an orchestra far away; he was by far the best brass player in the orchestra. The other players in the orchestra were what we call now "old school," and it clearly stayed "old school" for many years after the new 1st trombonist arrived; the horns were primitive, the trumpets were symphonically ignorant and the trombones and tuba were pretty much the same. They did the thing all untrained brass players do; they played late. The new trombone player was the only one who made an effort to be on time. Of course, in comparison with the other
During these years of
And in another place long ago and far away there was a remarkable young trombonist and composer, it was in the early 70s. He was so far ahead of the rest of us that he captured our imaginations, our vision and pointed out to us a new direction. He knew that he was in new territory and that he was opening minds; he liked his role in the
Here's the artistic danger sequence: Motivation, Perception, Growth, Dogma, then Stagnation. It didn't happen to Stravinsky, he grew until he died. It hasn't happened to Boulez or
When the pensioners sit on a bench and stare at the sea, what do they think about?
Between Tokyo and Hiroshima, Japan. November 15, 2004.