This is the third “installment” to my blog and I want to thank all of you who have taken the time to read it thus far. Let me also offer a special thanks to those of you who have contributed comments. I have found your observations to be both insightful and stimulating and have discovered myself spending even more time considering the topics because of your input. In fact, my subject for this week grows directly out of one of those comments, and I would encourage all of you to use this blog in a similar way. If you wish to “comment” on a “comment” instead of something I’ve said, then please do so. I imagine this blog can only be made richer and more useful with a growing number of readers willing to participate by sharing their thoughts.
Now, to my “thought” for the day. I found Olga Espinola’s remarks about memorization to be illuminating. As the only member of MOS functioning without “visual” sight, I believe she is in a unique position to discuss the topic of memorization. As you may have noticed, Olga sings every concert without the aid of a printed score. Yet, every time I look at her at the end of the first row of sopranos she appears to be totally involved in the experience of making music. Her blog comment mentions what happens when one moves beyond mere memorization and muscle memory to the point of truly “feeling” a piece of music. She states, “You’re no longer focused on the notes, breathing and breaking at just the right places, counting beats…because that’s all a part of you now. Instead, you can rejoice in the sharing, the dialogue among the voices and instruments, that intangible energy generated by all the participants…I guess freedom and elation might come closest to describing what it is like for me.”
What I find especially meaningful about Olga’s observation is that it really goes beyond the subject of memorization. Obviously, much of what she says might be more easily accomplished when music has been memorized, but it seems to me that it could also be experienced while singing with the benefit of a score. The most important thing is to be free to make music “beyond” the printed page (whether that page is in one’s hand or in one’s mind). When we possess that freedom we also have the opportunity to communicate with each other (performers, conductor, audience) in such a way that something miraculous and magical may occur. What do you think?