Activities at the Peavey Plaza the marktplatz as they're called for Summerfest 81 as we just heard from Dan Olsen just one part of the entire Festival the three-week event run through next Saturday and includes a wide variety of musical performances more than 22 hours of concerts all together. We're told many of them have been broadcast live on the NPR FM Network babe. You heard last night's all Schubert program, you've attended any of the concerts or heard any on the radio chances. Are you run across the piano Artistry of Jeffrey Siegel who is with us in our sleep all Studios this new one. Mr. Siegel was featured on the concert last night. As a matter of fact, he's one of three artists in Residence during the festival.His work has been acclaimed on both sides of the Atlantic has both the recital list and orchestral soloist. He's played with practically every major American Orchestra recently toured Japan as well. Will I give you a chance to put your questions to Jeffrey Siegel in just a little bit then chat with him here for a few minutes about one of the things that sets him apart a little bit from some of his colleagues and that is an effort on his part to bring concert music to people who might otherwise not be exposed to it folks who probably not listen to classical music if if they didn't have the opportunity the image of classical music of course is an attraction to some people who look on it as a sign of Good Taste of culture education and so on but Others May turn away from it, simply because they think of the images one of snobbishness stuffiness elitism.Things of that nature. Mr. Siegal, how did this image developing? What are books like you doing to change some of it in the minds of some people? I think it developed from the. Of time in which most of the music that we are concentrating on for the Summerfest that was actually written play the late 18th century early 19th century before the the Revolutions in in in Europe changed so much that music was really pretty much the property of the courts May or aristocracy and if a composer such as Mozart could not find a patron who would not only pay him for his work but the provide him with the opportunity to be heard various card. So he went without being heard at various times where someone like Saudi Arabia always did seem to find the patronage and his music therefore. It was very well-known and it's time we know today whose music has really survive more there is even in this day and age the feeling among many people.Classical music is only for the highbrow. So to speak certainly it is great music it's so one of the finer things in life that if one has the opportunity to talk to listen to more and more of it than most people I believe for the enjoyment of classical music would be an ever-growing one these keyboard conversations of mine are actually an informal concert presentation. It's it's a constitutes a full concert. I play everything through that's on the program just as I wouldn't in a white tie and Tails concert, but in addition to it I talk to the audience about the music prior to the performance in layman's terms non-technical language. This is has been enjoyed by music students a musician, but these are really aimed at the music lover or the person who would like to become a music lover. How does a piece of music come to be what it is? How does a proceed from beginning to end what musical material is being used? And how does the compose?Compose the work did a drop fully formed from heaven in one lightning bolt of inspiration. What makes a piece of music sound a certain way. Why does one composer use the piano with a certain treatment of of combination of sound and Tannerite and another use it in a very very different way what surprises are there is a piece of music on full scenes. We don't expect to happen at what game plan. So to speak is being followed. What formula and where does a composer pull away from the formula and do something different? Why are we surprised at certain things that happened in a music musical performance of a of a of a great composition what responsibilities does an interpreter have when the composers marks are unclear. This is something the general public and understand just as well as the as the music student. We talked about many of these things as well as what was going on at Beethoven's life. When he happened to write the Moonlight Sonata or the pathetique Piano Sonata both of these very popular Works, which will be on the keyboard Converse aThe program this Thursday the 6th of August at 7 at Orchestra Hall and that is a full-length concerts at you'll be presenting on and I must add that one of the very special features to me of these keyboard conversation programs is that I invited the audience to participate there is a question-and-answer. At the end of the program where they can ask whatever questions they like not only relevant to this specific pieces of music that were discussed and played earlier the program, but they can ask whatever questions they want because people seem to enjoy the opportunity of seeing that wall that for more formal Wall come down between the artist the public and have an opportunity to have an interchange with the artist and the first they seemed somewhat shy about asking certain questions even some that they have been really thinking about to Greater Grace. Like how many hours a day do you have to practice in this this kind of a question, but once one can get them going they haveOpportunity to have some interchange in to ask things of an artist musically and otherwise that they've always seem to want to ask. Well that's a grand opportunity to open. The telephone lines right now to 276 thousand is the phone number to call if you would like to put a question to Jeffrey see the last two Twin Cities number to 276 thousand out side Minneapolis-Saint Paul. 806-522-9700 800-652-9700. We don't have a piano in the studio, but you probably as much as you need to for the time being this has been a marvellous Festival so far out of my colleagues and I have been very very busy musically playing a vast array of repertoire and the public has just been wonderful the way they have really come out to to to hear these various concerts with various people playing it's been very gratifying seems like it's an endurance contest almost for you.Well, most people who are in my profession are in my profession because they enjoy making music and the more the better and when it can be caught up in this kind of a spirit of an informal concert presentation as he's so Summerfest concerts are and working with the distinguished colleagues such as Maestro slacking and so on and having a public that is so attentive and enthusiastic It Is by no means a Charizard great pleasure. We have the Mozart Marathon last week the Beethoven marathon coming up on Wednesday. I think it is. Yes, you're playing in that aren't you? I'm involved in four different compositions by Beethoven Marathon. I'm playing the a major cello Sonata with mr. Jameson the first jealous of the orchestra and the kreutzer violin Sonata in a major Beethoven with Mr. Matson the assistant concertmaster of the orchestra and with four colleagues from the woodwind section of the Minnesota Orchestra. I'm playing the Beethoven quintet.And I'm playing the appassionata piano sonatas my solo contribution. So I am very happy to be away from the piano. It's time to talk with you. Can you tell us how many times you and the other artists will get together to practice these pieces that you're going to be playing on Wednesday. We have rehearsals later today and then through the week up until Wednesday. So it's working by the time we walk onstage Wednesday night. We should all know these pieces and know each other quite well, we have a couple of folks on the line would like to chat with you Jeffrey Siegel. So we'll go to our first caller right now. You put your headphones on and you'll be able to hear the listener who is on the line high you're on the air now, but my question is Forgiven concert how to see the side with pieces. He's going to play it has he talked over with the conductor. Does he talk it over with management? Are they his own choice? How does he decide what it is? He's going to play.This is an excellent question. And one that we are very often asked when it comes to the piano and Orchestra repertoire what usually will happen is that when an orchestra expresses interest in engaging a particular artist the artist manager then sends a list of all the works for piano and orchestra that the artist plays to the specific Orchestra. So for example, when the Minnesota Orchestra wish to engage me for this Festival, theoretically they would have been in touch with my management Columbia artists in New York and my manager would have sent back to the Minnesota Orchestra a list of all the works for piano and orchestra that I play and the Minnesota Orchestra, but then choose from this list what concerto they would want to fit in out only with a evenings program. They had in mind but with the entire schedule of the winter and summer seasons past present and future as it is with this particular Summerfest because the repertoire has been very unusual.Miriam yardumian the very capable artistic administration of the artist herb is actually phoning me directly in conjunction with the request from Leonard slatkin because some of the works that I was playing such as the Beethoven Rondo in B-flat that we did opening night and indeed the Schubert Liszt Wanderer fantasy transcription are works that they did not expect me to have in my repertoire and they wondered and comparatively short notice if I would be willing to learn them especially for this Festival which is featuring unusually or shall we say rarely played works as well as the old Chestnut and I agreed to to to do these work so they had not been in my repertoire up to this point and I'm very happy that I did but in this particular case it was unusual that I was specifically asked to play something that was not on my concerto repertoire list which already has 40 concertos on it now you say you have 40 concertos on your list of things you play do you sit down and and have to brush up on these a little bitDo you know them so well that you can sit down and play them immediately or just met most of the 40 I have played in public many times and it's never been to my satisfaction that I can merely just sit down brush them up and sit down and be happy with the way they are. They are forever challenging is all great pieces of music car and its endless the preparation. So as many times as one has played for example of the Fifth of Beethoven piano Concerto the Emperor of which I'm going to be playing here next January with Klaus tennstedt in the Minnesota Orchestra, even though I played it about 40 times with Orchestra. I shall we have to dig in considerably to see if I can't yet try to play it better to 276 thousand is the telephone number to call the Twin Cities. If you have a question for Jeffrey Siegel who is with us the snowing outside Minneapolis Saint Paul 800-652-9700. We have another caller on the line with a question higher on the air.Mr. Siegal, I have a man listen and read music fairly easily. But I have problems with memorization. Could you give some suggestions for improving memorization? One of the problems in memorization is finding out what the problem is. Why are you having trouble memorizing certain pieces of music people try to learn by rote pieces of music. This isn't always the best idea because they're always Pacific places in the music where you can go into three different directions after a certain quarter a certain the scale and one has to make a mental note not rely just on playing by heart but a mental knows where the music is going to change from the pattern that we have been expecting to the pattern that we are going to so if I make one suggestion if it's the memorize away from the from the instrument that you play if you're happy and that's the way from the keyboard to think about the music and the hum the melody to yourself and to remember where where does the melody go into?Rocky and what cord must be played on what beat at this particular place and to know why this particular place you're not sure and that's a very good way of checking up on yourself. You're welcome. Thank you for calling we have more listeners on the line with questions high you're on the air but lift but listening to concerts for the person that does not understand and I don't know if I doubt it, but it's music by Scott. Okay. Thanks for the comment. It tells people that would like to know about it how to listen to what to listen for in a frilly Layman's language. I am all for reading whatever books can happen to be to be found or I think the true the true enjoyment of music comes in the listening of it and all the talkin about music and all the writing about it. It should never be divorced from the musical sound itself. I think it's very very important there for his part of these keyboard conversations that I do like whatever I'm talkin about regarding the music. I'm also sitting at the piano illustrating and musical tones. So it's not only words that the audience is picking up but musical phrases tones and and Melodies and that is the one thing we can do is performing musicians that the book cannot connect to make the sound itself into play did various different musical phrases and relate them and show how different composers would have used them and so on and so forth it sit there. Becomes more of a concert then other than a discussion or a theoretical Enterprise and that's why throughout most of these keep our conversations. All my talking is at the keyboard in music. We have another caller on the line with a question for Jeffrey Siegel High. You're on the air. YouTube about the album isolation, I think that's super I've been passed 22 that I've had have been really against the road business and all of that especially this one has been going note by note by note instead of especially like with impressionistic music and there's almost no way you know why they are playing it on which don't know that do you agree with that? I I think it's always a very good idea for each individual person to find out why he has a certain problem memorizing a certain piece. It becomes an individual and a specific thing. I think rather than a generalized one and I think if it your head one is having problems with the Debussy prelude for example, which can sometimes stretch one's tonality in one's feeling of exactly where the sound this, it's particularly why you're having trouble memorizing a specific Place. Why you as you can play let's say from bar 1/2 by 9, but add bar9 you seem to have a breakdown you don't seem to be able to get the bartender or know what's going to be coming. You have to be there for know what's happening structurally in the music. Something is happening. Perhaps that the couple that one of the most ingenious moments of the composer's creative work at this place is doing something very unexpected. And because it's unexpected. We therefore have to think about it quite a bit more and to have some idea of why it's the music. Not going where we expected to and I can usually be the genius of the composer that's responsible for this and one can can study this and be aware of it away from the piano. I'm very easily memorize by rote. It's always been very they can just sit down after playing a couple weeks into it, but they don't stay with me. Like they do know after I've been sitting down with them and away from McKenna like you were saying it's very much. You're welcome to call from Moorhead Minnesota on the watch Lion Witch is 800-652-9700 in the Twin Cities. The phone number is 227-6000. Guess this new one is Jeffrey Siegel. When you play a concert, do you do it all from memory or do you walk out there with the sheet music and have somebody turn the pages for you as you're going along? I think a solo piano piece or work for piano and Orchestra is usually have such complexity and difficulty that it's too late to be reading the music. You are your fingers in your mind that your heart have to fully have digested this piece before you would dare to walk on stage and then play before a public to certain degree. It's also true of chamber music, but because you are not only learning your own part, but many others who are playing with you you're at you must be aware of what they are playing. It is much easier when one is playing chamber music and having to coordinate one's own channel park with other instrumentalist. It's very very necessary. I think I have this car in front of you as conductors usually feel about having an orchestra's car in front of them. Caller from Mankato who did not want to go on the air has a question for you. And that is why no hiding on these programs during Summerfest. I don't know. It's a very good question. There are certain concertos, which could have been played Violin Concerto Cello Concerto piano concerto and Symphonies. I can only put myself in mr. Slatkin shoes and you've got so many programs and you have so many work that you want to do and somehow or other certain choices. I made I wouldn't be at all surprised if in the future hide and we'll figure very prominently. Can we talk just a little bit about children and music and how they get exposed to it and when they should begin playing an instrument GIF, they should have any thoughts about that and I'm not quite sure I agree that that children should not learn to read notes before they have learned to read words. That's an old-fashioned point of you and I'm not at all sure that it's true as with memorization the general questions that Previously, I am reluctant to make any general statement regarding music education or when someone should start to learn an instrument or when they should start going to concert. It's an individual thing and I would normally say that if there is even a spark of any interest if a child has heard some music over radio wants to go to a concert that wants to study an instrument if it says that spark of Interest it should then for their foot be encouraged. How can I how can a parent help a child pick an instrument or change from one extreme to another is a lot of patience. I have some very dear friends here in that Minneapolis whose whose children have been playing all kinds of different instruments in their in their school years. Is it from from bassoon to Viola and piano and flute and Son sometimes I think this is just a way of avoiding the discipline of learning one instrument quite well, but sometimes it can be looked at as it is a Pizza and Susie Astic interest with a different sounds of various instruments in the different ways in which instruments are played. I think that curiosity is a good thing and should be if if if possible it should be fed, but also the time comes where for 1 to learn a musical instrument. Well one has to concentrate pretty exclusively upon it. What is the most popular instrument for kids to begin learning? I think without question the piano and I think it's a very good idea because I'm beginning violin student. For example before he can or she could learn to draw a sound of any job you say beauty it takes quite some time and to be able to to to play even more than the open strings to find the notes becomes problematic worth of Keanu immediately once it's down and it's quite easy to play as soon as one learns how to push down the keys you already have your musical tones that they're there until they can be seen that can be found and I think one learns to read music from a piano score perhaps quite quickly. In comparison to other instruments, so I think it's a very good idea that people start with the piano when I was a former grade school Fiddler. I can certainly endorse your comments on that answer. We have more in line with questions for you are the phone number in the Twin Cities and there are a couple of open lines right now is to 276 thousand to 276 thousand. If you have a question for the honest Jeffrey Siegel outside Minneapolis, St. Paul 800-652-9700. Okay, let's go to Rain X listener high around the air. Hello. Yes and going to particularly piano concert. I've often wondered how often a performer will play a piece flawlessly completely to his or her satisfaction. I don't listen carefully enough to detector moments of error in decision or technical breakdown. Is that something that's an artist Encounters in his lifetime very frequently, I guess once again one can only speak personally rather than gently although I think I would speak for the majority of my colleagues when I would say that there has never been a performance in which we were pleased with every second of it. Certainly not been true of my own work one is always somehow I rather unhappy with how something whether it could go better and that's really the way it should be. I think these musical masterpieces that Dares to play in public for you people you music lovers these are better compositions and they can be played by anybody. There is no one performance of the Beethoven 5th Symphony that's going to tell you everything that there is in the Beethoven 5th Symphony of this infinite. And so the challenge is always tremendous and their of course have been performances where perhaps not a note was missed and not a balance was out of place, but there's so much more to music making than just the realization of the notes themselves. Actually that's where the music making begins not where it ends with just the realization of all the notes putting all the notes in their place. They have to represent something they have to communicate something and of course when one makes a recording one goes over lots of different places intercut send overdubbing and so on and so forth. They were not right the first time so that the records come out really is close to the as they can is to being perfect documents when one gives a live performance I filled Should be a different emphasis. It should be a performance. It should be live. It should be spontaneous. It may never be as perfect as the record but it's going to be much more alive than the record could be and I think that's the best to best Philosophy for making music aren't live records done much anymore. They are but the problem really in the recording techniques is such that it's very very hard to record the live concert and get the kind of sound in the performance that one could get in the studio. Right back right now. My husband is even comments now on your penis and diamonds * 23 + 4 + people don't realize even in this day and age how much time and single-minded dedication to the music that it takes to make a good musician Define concert on Orchestra musician. This is so important. Turn off. I'm not going to make it and it's very hard to get into in the first place and how important practicing is difficult to explain to people who are not in the field. And I think you've said it all very very well met him. I think of course the majority of people who play a musical instrument don't wind up learning their living this way and so their point of view about this is that if he does become a hobby because for the vast majority of people in the world playing a musical instrument, is it best to Hopi? It's not a profession is not the way of life. So when they are asking the question all your what what does your husband do for a living if he's a musician? If it really is quite I think an understandable question because for most people thankfully face after their living this way the second thing being of course the competition to get into a major Symphony such as the Minnesota Orchestra is tremendous if there is an opening in the brass section or they needed a second clarinet the opening or they have a strong opening. There are people who will come from all over the country. If not various places in the world to audition for that job. This are cluster is known throughout the world as being a very fine one and there are every year thousands of Conservatory students who graduate from leading musical schools throughout the world with no place to go there very accomplished. They've been very dedicated. They spent a lot of time preparing their craft and they have no place to go. There are also people playing in much smaller orchestras all over the world. Would love to come to a big city like the Twin Cities and to be part of the Great Minnesota Orchestra, so it's no surprise to me, but I hear for example if there is an opening and Particular Orchestra in a particular section. There can be as many as a hundred and twenty five applicants for 1 opening and many of these people who do come to apply have not only been music school graduate and have had some experience playing but sometimes are coming from other orchestras and would prefer to be here. So they're already fine players. They've already had experience and yet the standard is so high only one person will be chosen for that job. It's a it's a particular embarrassment of riches particularly in this country. But so many wonderful music schools the kind of musicians that have been produced. So if one is going to look at the musical profession as a ham be one isn't going to make it because it requires enormous full-time devotion dedication as you say and even then you have to have a great deal of luck be able to be having the opportunity to make music. It sounds like one of those fields that are so common where the supplier Fort about Co-op skills in demand. Yes, and of course, I remember my father used to The Chicago Symphony Orchestra up to until just a few years ago. And I remember within my own Lifetime and I'm in my mid-30s. When the Chicago Symphony was not a 52-week to your job at a 26-week a year job and almost all of the musicians had to do something else, but other half here part of the year to earn a living things have improved considerably in this country many cities now have offering their musicians that at least three-quarters of a year employment. More colors are on the line with questions for Jeffrey Siegel High. You're on the air. How old a child to be before you start an account with me? I think we talked about this in an earlier call. I think it's very difficult to generalize. There is the theory that the children should learn to read words before they learn to read notes. My feeling is if there seems to be a spark of Interest go with it. Don't push the child, but try to cultivate and to stimulate his interest in music whether it is a listener or somebody who wants to take lessons. The main thing is to keep the music lovers who up their life. That's that's first and foremost. Sometimes a very severe teacher can actually spoil a child love for music in in making it a drudgery. It it it it is more than fun. But it should not be a drudgery. They learning of music that should be a privilege and a pleasure. 262 Charlton second and third grade would I don't think it's too young at the child wants to and if he if it can be made interesting and fun as well as the fact that it does require some thought than a little bit of of dedication. And when did you start playing? I actually wanted to start that I'm told when I was four coming from a musical background. My father did not want me to be a musician and he put off giving me panelist until I was about six until finally it had to be done. And even then I had the opposite of Prodigy parents rather than saying practice practice practice to me. They said go out in the street and play baseball with the rest of your friends and so on and they were hoping I would cultivate other interest along with the music. But by the time I was in my early teens the urge to make music was too strong to really have considered anything else is of as a direction for my life's work. Well, I hope they're proud of you now. They seem to be good. We have more questions for you while you're on the air. I sort of get the feeling listening to classical music that several composers Jose in the seventeenth and eighteenth and possibly the nineteenth centuries. Music is a challenge to the artist to play them. Would you agree with that or disagree with it to a certain degree? Yes, certainly great performers who composed music for their own use such as Bach and Mozart and Beethoven certainly did write music for their own performing you send their own transcendental techniques and therefore not only did they write beautiful music, but they wrote music that advanced the the playing requirements of the day cuz they're music to calm not only a great difficulty in the musical interpretation. But in this year mechanics of having to play it because they themselves were great performers themselves. Call it in your own personal Google Play. Who do you consider the most difficult of the of the composer's to play the one I happen to be playing on any particular evening and your favorite. Well, let's see. My favorite last night was Schubert enlisted. My favorite. Next week is going to be Beethoven and in Stockholm the week afterwards where I'm doing a festival with their Orchestra. My favorite is going to be Gershwin just play it as it comes along. That's right. Thank you very much. Jeffrey Siegel who is one of the artist in Residence during summer fest in Minnesota Orchestra Festival is with us in the studio today and he's taking questions from listeners at 2 to 7 6100 the Twin Cities area outside Minneapolis, St. Paul. 806-529-7002 276 thousand in the Twin Cities is the phone number to call. We're chatting a little bit here about children and music and lessons and so forth and motivating kids to practice is always a problem. You have any suggestions along that line? I never wanted to practice either and I was motivated to do so simply because if one is going to take piano lessons in the money is going to be spent in the time is going to be spent one should realize that there is a certain work that goes with the font. It can't be excessive in either direction not to it shouldn't be made to be fun to the point where there's no work or work to the point where there's no fun. And it's a fine line and every parent has to judge that and every child has to judge that okay. We have more colors with questions for you how you're on the air? Hello, I what ways do you see the computer age in the technological Revolution affecting the traditional concert going public the classical concert going. You've asked a very very good question and I'm not sure I have much of an answer for you. I think in this automative age in which we live what seems to be happening as a feeling of being depersonalized be individualized and therefore it is my opinion, perhaps as a romantic music station that the need for good music for music that speaks so deeply it so intimately to a particular person is going to be even greater now in this automated society in which we live than ever before and I think concert attendance all over the Civilized world seems to be increasing with the increased technology. So I think my my opinion has been worn out already. In fact, I hope it continues We have another caller on the line with a question for Jeffrey Siegel High. You're on the air. Dance of the seniority I'm not quite sure. I understand your question regarding competence in seniority for Fort for what placement in what particular group? I have to just go by seniority. They can't balance competence in the factor that and how do you do that? I think I understand what you mean the entrance to an orchestra if there is a place for example is made by audition and not necessarily will the youngest or the oldest happened to get the job the one who's playing is best life by the musical director who makes the decision along with a committee regarding the quality of playing it will be made in that way now a certain Orchestra members insert a narcassist throughout the country. There is a retirement age. They must retire at a certain age that no matter how well they may play now I think to a great extent this has been changed now and I think it's an individual thing with each Orchestra, but I don't think seniority is a factor in terms of either getting a job or keeping it is the quality of the plane. Or how about advancing within the orchestra? I think that too was done by by audition. I don't think ages ages of factor. I'm not an orchestral player. I'm always invited guests with an orchestra. I don't belong to an orchestra, but my father has and many of my dearest friends are in various artists throughout the world actually and they're so I'm somewhat familiar from a distance to distance to Vantage Point. Let's move on to another caller. Hello, you're on the emulator question. Please some of the Gap that exists in of America in their lack of understanding and appreciation of classical music and I think that was quite a bit of America is that there isn't Dumb a lot of opportunity for four people to to play classical or band instruments. Unless they go the whole route and try to be on very good friends since when I was in seventh grade and there wasn't really any place to go with it. I didn't know anyone that, you know, the play the band instruments beyond beyond school. I'm pretty lucky. I can buy play the violin with a church Orchestra and things like that. If you're not good enough to play with a Lisa Civic Symphony or something like that or Civic band. There's really no place to to amuse on the the musical talents that picture your sometimes forced to learn when you're young. Well, I must take issue with a couple of things that you said, I don't think our musical education in this country is deficient. So I think I think if I may say so that the musical education in this country is perhaps better than anyplace else in the world and the fact that more and more people are going to concerts and buying records and enjoying music more and playing music themselves is indicative of that asked to learning a musical instrument for the purpose of playing it somewhere. There are many many many amateur musicians who love to get together and various groups are the rats band or orchestra or string quartets all over the country to play for their own Amusement animazement not necessarily for playing Public Work becomes our profession, but for their own enjoyment and people who have a certain Mastery of instruments, enjoy playing and Community orchestras are getting together for their own barbershop quartets of whatever various musical instrumental get-togethers they have and they got enormous pleasure out of this perhaps more. So now again then than ever before I thank you for calling we have another listener with a question high or on the air. really difficult for me to try to piece together what I want to say, but it boils down to I really feel that the manner in which musical education is promoted as I seen it is turned very linear and dissective approach to the music where one looks at the music and learns the notes and the emphasis is really on the technique of playing in and what I wonder is if you see any deficiency to that means of teaching the expression of sound music if one is talking about teaching it to somebody who is going to have to be playing it. I would have to say that's the only place that you can start one can theorize and philosophize about the beauty of Music. The one is blue in the face. But if the fingers don't work, I want doesn't know how to blow into the instrument or bow across the strings to produce a sound that this bearable it all this talk becomes only that talk to learn an instrument requires an enormous amount of study and practical application and developing physical skills. And unfortunately, there's no shortcut for this if there was I would have found it by now cuz I've been looking entire my entire lifetime for there is no I want to ask that your response because of my lack of awareness. It takes a great deal of disappointed and effort to develop a mechanical mechanism flux. Anyway, I am a fairly accomplished flutist. I've also gotten into playing the saxophone which I find is immediately a sociable with it. And I also I'm guitarist from Age 5 by my own interest and I have been composing my own music for I started composing when I was seven and I really think that an emphasis should be placed more strongly on once a certain amount of technical ability has been inculcated interested if they explore their own associations of notes and essentially get into writing their own music or else it. What does it become an expression of expression of one's understanding of someone else? It's understanding of the way sound can be bad interpretation as much out of ability to organize music, but when it comes to express I really think that we need to focus more on the individual's ability to find their own music. Thank you very much for the comment. Jeffrey only responds. It's almost like golf or baseball or football or anything. You really have to learn how to throw the ball or swing the club or swing the bat before you can become a competitor. We have more questions from telephone listeners and I will go to our next caller now how you're on the air to an excellent performer to experience music after school and I would just like to add that I'll be starting out as a music educator this coming fall and Teach me one of the more important thing is things is to make people understand that you don't have to be a performer to enjoy music and that the other Avenue is to be a listener and therefore the musical training you might have in school or anything like that would therefore make you a better listener? And that's all I care to say, maybe mr. Siegal would like to add something about that. I agree with you 100% will move on to another caller then high you're on the air to ask. Mr. Steve. If music is a language and can it be caught without the aid of a spoken language of communication among musicians rather than the spoken language. My goodness, you ask very very difficult question for concert pianists to answer is really not my field. I can only answer the last one that musicians do communicate essentially in musical tones with one another I have played with various are coasters in the world where the conductor spoke very little English. We didn't have a language in, and yet we managed either through singing a phrase back and forth or a rhythm or a balance. We somehow managed to communicate with one another what we wanted in terms of putting together a joint interpretation of a work. So obviously the music musical language is a language from that point to do it has its own logic and has its own vocabulary and it has its own in her sent its own inner structure as to your other questions. I don't feel I could possibly be expert enough to offer an opinion that comment that you made that brings to mind a question I had which is what do you do if you are working on a piece with a conductor in the two of you don't really see eye-to-eye on how it should be play.Either you don't agree with the orchestra is with the way the artist is playing at or the conductor doesn't like the way you're playing. This is almost never happened in the course of my many experiences and playing with various conductors and orchestras throughout the world almost never I think one of the reasons it may have been working out. So well for me is that most of the conductors and orchestras do treat you as an invited guest what you are and though the conductor may not agree with your interpretation. He feels you are the invited guests with his orchestra and they are there to try and accommodate your conception of the concerto. I have been times when I work with William Steinberg the Great Master conductor in the Pittsburgh Orchestra and in Boston several years ago where I think protect me because he may have like me he said why do you play this movement in? Oh, so slowly are why do you take such a retard here at when I remember hearing brahms's student conduct this piece that he didn't do it this way and it was of course a great.Ocean for me and I benefited greatly by having the interchange with a master conductor like that and it's often is Leonard slatkin and I have worked together in our music making goes back 17 years did when we were fellow students at the Juilliard School in New York Mets played many many different compositions together all over the world. We still sit down beforehand and have very extensive talks about the score before we dare to meet the orchestra. We must have a unified conception before we walk into the first rehearsal and generally because we're in some ways musical twins. I've been very similar musical backgrounds and ideas. We almost never disagree. It's really just a question of acquaintance one another with what's going to happen in a in a in a piece we haven't done before but sometimes we do in the end the end The Interchange is a considerable one.4 minutes before 1 Jeffrey Siegel with us this new only have a number of collars still on the line and not a lot of time. So we'll go to our next listening right now high are on the air. Do you remember? Mr. Siegal if you're always had a strong fingers, I mean even as a little child and not any of these in a bank robbery finger finger development is something that no one is born with I want all has to develop whether it's strong fingers are subtle fingers a soft thing as one plays the piano with an infant the degree of a different touch with the fingers and it has to be developed. Thank you for calling we have another caller how you're on the air your own music and if so, have you made any recordings of it? I haven't written any music that anybody hears, but me that is enough 18th, right music around I don't wish to and do it the Schubert fantasie in C that you played last night. No, thank you. Thank you for calling and one more color by your on the air. Go ahead, please. If a child of six or seven were brought to you and you are dissing him and piano would you be able to tell if he had the gift or not which person for health does necessity for I think the talent could perhaps the most often if there is a size of a pallet. It is obvious right away. This is true of any audition at Neah because too many people struggle to a full life type without the gift and they never realized I don't think one needs to have the gift to be a music lover one just has to like music not necessary have a gift to play it. Well, that's good. We need more of you. Thank you for calling 2 minutes before 1 one final question for you, Jeffrey Siegel thing. I've been curious about most musicians, of course take their own instruments with them wherever they go, they develop a real rapport with with the instrument. You can't do that. Of course, you have to play whatever is in the hall that you have. Is that a real problem. You think her it's an occupational hazard Panels are as different as people are even knows that I made by the same company in the same year have different personalities that have screaming highs or booming Lowe's or they're very quiet restrained instruments are they can be very powerful bright brass instrument and the same instrument backstage will sound quite different. Once they move the piano on stage Acoustics are the fact that this is a never-ending problem. They feel different in different humidity. They feel different than the air conditioning that they do when they move the piano off stage without the air conditioning and Janice simply has to get used to this. How do you like the piano dark strong? I think it's improved a lot in the two weeks that we have been here both off to clean and I have spent a great deal of time with with Cliff the man from the Arctic Circle looks after the the piano and I think that it has been improved considerably particular because they're Finch Aniston resident to just didn't come play take their check and leave we actually have stayed behind it there to improve the piano and he's he's helped enormously you certainly have gotten some beautiful sounds out of it. We look forward to hearing Only we can head you'll be playing Wednesday night the Beethoven Marathon Wednesday night at Orchestra Hall and then the informal keyboard conversation Thursday night at Orchestra Hall both concerts beginning at 7. Thank you very much for joining us this noon, Jeffrey Siegel one of the artist in Residence at the Minnesota Orchestra sommerfest Festival which continues through next week in Minneapolis.