the classically trained controversy

["Rick Walker/Loop.pooL" <GLOBAL@cruzio.com>]

someone, I think it was Gary Lehman wrote:

"Also, here's some loop content--what classics do ANY of you loopers
integrate into your performances?  Any familiar tunes pop up?  Is everybody
improvising?"

On my first CD (he confesses for the first time) I used a beautiful string
orchestra snippet from Samuel Barber's 'Adagio for Strings' as a loop on 
the
final track of that CD called "The Sadness of Leaving".  I have a strong
preference for never using
anyone else's loops in my compositions but this one just really had the
emotion that I was feeling at the time in it.

I wrote that song when I found out that one of my good friends (and a
brilliant musician
and occasional loopist) Michael Haumesser (aka NOT MICHAEL) was leaving
Santa Cruz for Rhode Island.  We had been friends for 20 years and I knew
that he was leaving for good.  That piece still brings tears to my eyes, as
simple as it is.


this is why I would take a little bit of exception to Stuart Wyatt's
comments about
classical training and how it can be detrimental to creativity.

Who is to argue with the greatness of Pierre Boulez conducting the New York
Philharmonic
performing Bartok's CONCERTO FOR ORCHESTRA?

or the sublime genius of Sir Adrian Boult conducting the New Philharmonium
Orchestra
performing Ralph Vaugh Williams THE LARK ASCENDING?

or Stravinsky conducing his own FIREBIRD SUITE?

There were probably numerous stereotypically stiff, non-improvising
classically trained
musicians in those orchestras but the results are not only brilliant but
have
made my own life a little more worth living (especially during some hard
emotional times
when I was younger).

It's all good guys and gals!!!!

see ya all at NAMM............wear those L.D. t-shirts proudly!!!!

Rick Walker