VENUES: DISNEY HALL

by Alex Davydovich (MBGH)

 

Built relatively recently, the Walt Disney Concert Hall downtown Los Angeles, CA opened its doors on September 24th, 2003. It catches the eye not only with its sail-like exterior, but also with the beautiful and breezy interior.  It’s no surprise as the hall was designed by the two very talented men – the architect Frank Gehry (MGBH) and a master acoustician Matsuhiso Toyota (MGBH).  It seats 2,265 people and serves, among other purposes, as the home of the Los Angeles Philharmonic orchestra and the Los Angeles Master Chorale.  The walls and ceiling of the hall are finished with Douglas-fir and Alaskan yellow cedar while the floor is finished with oak.  The round auditorium features a sailing ship motif that the architect Frank Gehry likens to Noah’s Ark.  Columbia Showcase & Cabinet Co. Inc., based in Sun Valley, CA, produced all of the ceiling panels, wall panels, and architectural woodwork for the main auditorium and lobbies. (1) The Hall’s reverberation time is approximately 2.2 seconds unoccupied and 2.0 seconds occupied. (3).

The Library of Congress/Ira Gershwin Gallery, housed inside Walt Disney Concert Hall, was designed by Hodgetts and Fung Design Associates and made possible by a generous gift from the Ira and Leonore Gershwin Trust for the Benefit of the Library of Congress.  The gallery is situated on the second floor of Walt Disney Concert Hall and rotates its collection bi-annually. (3)

With the initial donation of $50 million made by the widow of Walt Disney, Lilian Disney, in 1987, the County of Los Angeles added $110 million and sold bonds in order to build the garage.   The Disney family later added $34.5 million with another $25 million from the Walt Disney Company.

 

Disney Hall consists of the Main Performance Hall and two smaller performance spaces.

Walt Disney Main Performance Hall

 

BP Hall is an intimate space with chairs, wood floors, walls, and ceilings that hosts pre-concert talks, musical performances, receptions, and private events for up to 500 guests.

BP Hall at Walt Disney Performance Hall

The Walt Disney Concert Hall Founders Room features a signature Frank Gehry sculptured plaster ceiling which rises 50 feet to reveal a skylight. This 4,800-sq. ft. dining room includes custom lighting, millwork, private dining patio with travertine stone, and landscaping of the exterior patio area.  The exclusive Founders room hosts pre- and post-concert parties for major donors.

 

Walt Disney Hall Founder’s Room

 

A REDCAT Theater performance space holds avant-garde and experimental music, dance, theater, movies, and art.

Walt Disney Hall Map

 

Since its opening, such pianists as Lang Lang (MGBH), Pierre-Laurent Aimard (MGBH), Daniil Trifonov (MGBH), Armen Guzelimian (MGBH), Keith Jarrett (MGBH), Helene Grimaud (MGBH), Benjamin Grosvenor (MGBH), Garrick Ohlsson (MGBH), Alessio Bax (MGBH), Murray Perahia (MGBH), George Li (MGBH), Krystal Zimerman (MGBH), Scott, Dunn (MGBH), Alpin Hong (MGBH), Emanuel Ax (MGBH), Eduardo Delgado (MGBH), and Yundi (MGBH) graced the stage of the main hall with their performances.

 

 

Frank Gehry’s Sketch of Disney Hall

 

 

In an interview with Deborah Borda (MGBH), Frank Gehry shares his experience of working on Disney Hall.

DB: It’s fair to say that the Walt Disney Concert Hall has changed the way how a concert hall should involve people.  When I first saw the design, I was absolutely blown away hoping to be a part of it.  When you worked on it, did you design the hall inside out of from the outside in?”
FG: Inside out. When people look at the buildings I designed, they assume I designed from the outside in.  That I make a form and jam stuff in.  And I think a lot of my colleagues do that, maybe.  But I don’t.

DB: What’s the one thing that stands out in your memory the most about the opening concert?
FG: I can’t help to remember taking the bow with Esa-Pekka […Salonen, the Music Director of Los Angeles Philharmonic] and the confetti and all that stuff.  I never experienced that before. Architects don’t do that very often.

DB: But you must have also had a special pride. We had designed those programs together.  You were the artist. That’s why you were up on a stage. I don’t know if people know, but you are one of the most regular concert attenders I know. What do you think now looking back ten years later, is the most successful aspect of the hall? From your point of view.
FG: Well, I think the clarity of the sound has got to be number one.  And the relationship between audience and performer is right up there. It’s subtle.  So when the orchestra is full on, they feel a receptive audience, because the audience can hear them. They feel it. It’s like a theater. You feel how you are coming across.  And when the orchestra hears that, it makes them play better, believe it or not. I think.

 

Disney Hall Pipe Organ, “The French Fries”

 

Inside the main concert hall we can see a beautifully designed 6,134-pipe organ, sometimes referred to as “French Fries.” Composer Terry Reily called it “Hurricane Mama.”

The organ was built by the German organ builder Caspar Glatter-Götz (MGBH) under the tonal direction and voicing of Manuel Rosales.  It cost $ 3 million to build, which was a gift to the County of Los Angeles from Toyota Motor Sales, U.S.A., Inc.  How many instruments have a building attached to them?  The building not only didn’t exist, its design kept changing.  “There were many hurdles that had to be overcome.  And they were civic hurdles and architectural hurdles,” Deborah Borda (MGBH), the President and CEO of LA Philharmonics.  “We studied all organs that we could find in history and did a thorough analysis of what they looked like,” said Frank Gehry. “And it seemed like there were a lot of variations possible.”  Mr. Gehry went back and worth with Manuel Rosales on the shape of the tubes. “I was told to walk off this project. This would ruin my career. This was insane.  The organ would be a complete disaster. Nobody would pay any attention to it.  It took two and a half years to reach this design and well over forty different models.[…] The organ went through many hoops to please the artistic sense of Frank Gehry.  I had to make sure that whatever he designs, works ultimately as a musical instrument,” shares Manuel Rosales in an interview.  “Because in the room like this, you don’t put sculpture, it’s focusing on the music, so we thought there was a rationale for the organ to have some spunk,” shared Frank Gehry in his conversation with Deborah Borda.

 

The concert hall houses celebrity chef Joachim Splichal’s (MGBH) landmark fine dining restaurant Patina designed by Belzberg Architects.  Open for dinner and late-night supper, French-born and trained executive chef Tony Esnault’s exquisite dishes are made from the best ingredients available from local and regional farmers, ranchers and fishermen.  Chef Esnault also offers a special tasting menu at the private Chef’s Table for nine, which offers guests an unobstructed, behind-the-scenes view into kitchen dynamics.

Accommodating 240 seated guests, including a private dining room for up to thirty, Patina welcomes guests into a warm, inviting interior undulating with organic ceiling curves and ripples of carved walnut walls. Patina also features an impressive bar display where guests can unwind before dinner or enjoy a late-night cocktail on the patio. (4)

 

Walt Disney Hall Community Garden, the Famous “Rose for Lily” Frank Gehry Fountain

On the third level of the building, visitors will find the community garden that features outdoors performance space and beautiful Southern California landscaping. The community garden is open for public and can be a cozy refuse from the loud noises of the busy city life.  In the middle of the garden is a beautifully carved fountain in the shape of a rose, subsequently named, “A Rose for Lily” in honor of the main donor for the Disney Hall – Lilian Disney.

A concert hall, an educational space, a park, an office, and a cultural landmark – all rolled into one.  Walt Disney Hall represents the best of the city of Los Angeles and the performing arts, an LA’s Phil is proud to call it home. (5)

 

 

 

REFERENCES:

(1) http://www.woodworkingnetwork.com/articles/columbia_showcase__cabinet_co_inc_-_an_acoustical_journey_127691448.html#sthash.S9HM2Erb.dpbs – retrieved March 16th, 2017
(2) http://www.nagata.co.jp/e_sakuhin/factsheets/wdch.pdf – retrieved March 16th, 2017
(3) https://www.musiccenter.org/about/OUR-VENUES/Our-Theatres–Concert-Halls/ – retrieved March 16th, 2017

(4) http://www.laphil.com/visit/patina-walt-disney-concert-hall – retrieved March 16th, 2017

(5) https://www.youtube.com/watch?v=pAEd1uDOZJE – timing 7:00 – retrieved March 16th, 2017

 

And All That Jazz: Interview with Shelly Berg

Interviewed by Tanya Levy (MGBH)

The talent of Shelly Berg, the 21st century jazz pianist is unique.  Like many talented people, he is talented in everything.  Throughout his career he equally managed succeed as a jazz musician, an educator, a composer, a music administrator, and an entrepreneur.  But most importantly, he succeeded in becoming a man of integrity and character.   

PPM: What was your home atmosphere like growing up with the musician father and a writer mother? Would you, please, share some of the your childhood memories of experiences that made you like music?
SB: There was always music playing in my home. My father had a large LP collection, and a large collection of 78rpm recordings.  He was both a classical and jazz musician, so the listening palette was large.  He began teaching me jazz when I was 11 years old, and we had a lifetime of making music together.  My parents loved to entertain and invited touring musicians to parties at our home.  Some amazing jazz artists played in my living room when I was a child.  In the early years of my jazz piano playing, my father would pull out three small nesting tables and use them as a drum set, teaching me to “leave space” and to be collaborative and attentive in playing music.  My mother knew the lyrics to hundreds of pieces from the Great American Songbook and sang them to me in the car, while she was cooking, etc. She instilled in me a contextual way of experiencing music.

 

PPM: What kind of writer was your mother?
SB: My mother wrote short stories and a novel.  Like so many of her day, she was a homemaker, so her writing was never published.

 

PPM: Please, share with our readers a little bit more about your father. What entrepreneurial activities was he involved in besides being a musician?
SB:  My father, Jay Berg (OBM), was a very talented musician.  He played principle French horn in the Camp Pendleton Marine Band during WW2 and played jazz trumpet with many legends, including Charlie Parker and Sonny Stitt.  After he married my mother, he decided to make music his avocation and embarked on a business career.  He had a successful aluminum siding businesses in Cleveland.  When that market became saturated, he moved the family to the Texas Gulf Coast. He invented a foundation pier for homes that were sinking in the Texas clay, and he remained in that business for the rest of his life.

PPM: Did any of your siblings play an instrument? What do they do now?
SB: I was the lone musical sibling. My eldest brother was a brilliantly talented visual artist who tragically passed away in 1990. My next oldest brother has had a varied career in business, and my younger sister is a prominent entertainment attorney in Los Angeles.

 

One week, after not practicing for a few days after my lesson, I forgot the keys my teacher had played in. At the following lesson, I played the assigned pieces, but in the wrong keys.   Subsequently my parents took me to the Cleveland Institute of Music, and I was accepted at 6 into a gifted program, which included private lessons, solfege, and theory.

 

PPM: At what point was it decided that you needed to take special instruction with Maxine Priest? What did she give you as a teacher?
SB: By the time I was four years old, I had discovered the piano, and I instinctively knew how to play it. One day, my parents overheard me playing the then popular song, “Alley Cat,” by ear with both hands. I was started in piano lessons when I was five, but the teacher failed to recognize I was playing entirely by ear. One week, after not practicing for a few days after my lesson, I forgot the keys my teacher had played in. At the following lesson, I played the assigned pieces, but in the wrong keys.   Subsequently my parents took me to the Cleveland Institute of Music, and I was accepted at 6 into a gifted program, which included private lessons, solfege, and theory.  Maxine Priest was my teacher for the next 10 years. She began my education in earnest, including etudes (such Czerny op. 299 and 740) and a wide variety of repertoire. She was a very nurturing teacher, and instilled in me a confidence that music could be my life.

PPM: Let’s talk a little bit about your other childhood passion – baseball.  Was that an alternative professional choice or just a hobby? Was there a time when you had to decide between baseball and music? Do you still play baseball?
SB:  I was a good baseball player in my childhood and spent more time in childhood summers with baseball than I did with music.  I developed an ability as a batter to put the ball in play and almost never struck out as I progressed through the various levels of little league and high school ball.  In fact, in my year of Pony League, I never struck out al all.  BUT, as much as I loved the sport, I would never have made it to professional baseball, because my talent was not at that level.  If I see anyone playing baseball or throwing the ball around I still want to join in!

PPM: When you were 12, your father started teaching you jazz standards and exposing you to jam sessions. Do you remember your first impression of being with a bunch of men playing jazz?
SB: I remember very well the first time I played at an adult jam session with my father.  I was 13 years old.  I got kicked off the stand!  I wasn’t ready.  As I sulked in a corner, the drummer came over and said to me, “Son, you’re going to be fine. You only need one thing . . . mileage.” Over the next year I worked very hard to acquire that mileage and grew to be accepted at jam sessions.  We moved to Houston when I was almost 16, and my father took me to a jam session with a Texas saxophone legend Arnett Cobb. We arrived early, and I began to play solo piano.  During the song other musicians arrived, and as I told my mother later that night, I heard the “whoosh” of great musicians coming in behind me.  It was the biggest thrill I had up to that time in music.  I’ll never forget the exhilaration, and it is a something I still experience today.

PPM: When was your first public performance? Do you remember the feeling of first performing in public?
SB:  My very first public performance was playing “Lavender’s Blue” at my teacher’s studio recital.  My feet didn’t reach the floor yet.  I felt a very strong connection to music even then.  I remember that it began my 30-year quest to overcome stage anxiety.  Today, one of the most important aspects of teaching for me is helping students enter a beautiful, anxiety-free space when they play.

Jam sessions are an important right of passage for jazz musicians.<..> The joy of playing jazz is the collaboration – the musical moments that feel telepathic.  It is indescribably wonderful to be “in the zone” with other accomplished jazz artists.

PPM: What does a jam session mean to a jazz player? Is it inclusive or exclusive?  Do musicians invite whoever is good or is it a cliquish activity? How are the players selected/invited?
SB: Jam sessions are an important right of passage for jazz musicians.  As I explained earlier, if you are not ready, they will send you “back to the woodshed.” If you are ready, it is not cliquish at all.  The joy of playing jazz is the collaboration – the musical moments that feel telepathic.  It is indescribably wonderful to be “in the zone” with other accomplished jazz artists.

PPM: What was the most important thing you learned from Albert Hirsch (OBM), your mentor?
SB:  I could write a book about things I learned from my greatest mentor, Albert Hirsh (OBM). When I was 17, I played for Rudolph Serkin (OBM), and he asked me who I studied with.  When I told him, he said, “There is no greater teacher than Albert Hirsch, and everyone should study with him.” Albert had an uncanny ability to find simple solutions to issues of technic and execution. He was also a master interpreter and helped me learn subtleties in approaching Haydn (OBM), as compared to Mozart (OBM), or Mozart as compared to Beethoven (OBM), etc. He was such a complete and compelling pianist himself that I worked even harder, simply knowing what was possible through his example.

PPM: While in college, you played in a band six nights a week, to help support your family.  What was that experience like and how did the things you learned translate into having your own band after you graduated?

SB: I had a dual education and learned as much in the evenings as I did in college.  Larry Martinez (MGBH) was the leader of the band I played in, and he was another great mentor.  Martinez is a world-class trumpeter, and the quality of the music we made was of utmost importance to him. But he also understood that there is always an audience, and if they aren’t excited to hear you again, you’ve missed a golden opportunity.  I learned from Larry that “entertainment” is not a dirty word, and it is possible to entertain an audience without pandering.  Classical and Jazz musicians sometimes forget that fact, but my saying is, “It is never the audience’s fault if they are not captivated by my performance.”

 I learned from Larry that “entertainment” is not a dirty word, and it is possible to entertain an audience without pandering.  Classical and Jazz musicians sometimes forget that fact, but my saying is, “It is never the audience’s fault if they are not captivated by my performance.”

PPM: Your first teaching job at Jacinto College…. Although you stayed there for only two years, seems like you did a lot for their music program. Among many other things, you directed a Jazz band, which became one of the top bands in the country. You created Music Business and recording arts program that is still there. Why teaching at college, which is somewhat restricting vs. pursuing a full-time career of a jazz musician?
SB: I was actually at San Jacinto College for twelve years, the first two at the North Campus and the remaining ten at the Central Campus. As a dean now, I would have to hire four professors to do what I did at San Jacinto, which included directing the athletic band, concert, band, and jazz band, while teaching courses in theory, ear training, music business, jazz improvisation, and about a dozen private students each semester. I am very proud of the nationally prominent program we built, and along the way I learned so much that I use today.  I have always loved teaching, and had my first private student when I was 15.  In my undergraduate years I was a student conductor of university orchestra and choirs, and I was subsequently awarded a teaching assistantship in Music Theory and Composition for graduate study.  By the time I obtained my Master’s Degree, I was 23 years old, and had two children.  I knew I didn’t want to play every night for a living, so I applied for and was given the job at San Jacinto College. It is now my 39th year in higher education!

PPM: We know that besides being a jazz performer and an educator, you have developed a successful commercial jingles career. How did you get into it? Where you still in Texas or did you already move to Los Angeles?
SB: Raising a family is expensive! When my children were young, I had a band that played over 100 events a year, including wedding receptions, bar mitzvahs – you name it.  I wrote my first jingle when I was 20 years old, for a local wedding photographer. Throughout the next fifteen years I continued to develop writing clients, and I had moved up to national jingles by the time I moved to Los Angeles in 1991.  In LA I met the late Dick Marx (OBM), who was the country’s undisputed king of jingles. Dick took me under his wing, and together we wrote not only jingles, but also album orchestrations, television themes, and movie orchestrations and scoring.

Bill taught me that the one note that will never be forgotten is infinitely more valuable than a stream of virtuosity.

 

PPM: In 1986 you started working with Bill Watrous (MGBH), a jazz trombonist. What was that collaboration like? What are some of your memorable travel performance memories with him?
SB: My greatest jazz mentor, after my father is Bill Watrous, who I spent twenty years with.  Bill is one of the few greatest trombonists ever.  His sound and technique inspired a generation of followers.  As I played with him more and more, I realized that behind the dazzling display was a lyricism as great as any I’d heard.  Bill taught me that the one note that will never be forgotten is infinitely more valuable than a stream of virtuosity. Bill and I played all over the world, most memorably at some big jazz festival Like Montreux and North Sea.  Before every concert Bill would look at me and say “who gets the brass ring tonight?” which was his way of challenging me to bring my “A game” every time.  At the end of each performance, we would usually agree which one of us earned the brass ring.  I would not be who I am today without Bill.

PPM: Please, tell us about your first jazz album.
SB:  As I said earlier, I had a “casual” band when my children were young, and although I practiced a great deal, I was not seriously contemplating a jazz career.  By my late 30’s I was overdue to record my own project. A great bassist, Lou Fischer (MGBH), and an equally great drummer, Randy Drake (MGBH) also toured with Bill Watrous, and we had developed a rapport.  Through Lou, I began to play with another fabulous drummer, Steve Houghton (MGBH). It was decided that we would do a trio project with Lou on bass, and Houghton and Drake splitting the drum chair. A few years earlier, I was a finalist in the “Great American Jazz Piano Contest”, and that was during my “stage fright” days.  I was very worried that I would suffer debilitating anxiety at that competition, on national television!  So, I wrote a song for my three children and put their picture on the pin bloc of the piano where only I could see. As a result, I wasn’t nervous, and I had discovered one of the secrets to escaping performance anxiety.  I named that song, “The Joy”, and it is the title of my first album.

 

PPM: When did you start writing for TV and film?
SB:  When I met Dick Marx in Los Angeles, we worked together to pursue TV and film writing.  We had so much fun, and Dick became another of my valued mentors.  One of our shows, “Fudge” (ABC), became the #1 program on Saturday mornings, and we worked on several other TV projects and major studio films.  Dick had great success in the jingle business, and was very wise. Whenever I would agonize over a musical decision, he would say, “Will your new idea sell another Pop Tart? If not, you probably already have what you need.” I tried so hard not to make in error in score writing. When I felt my score was perfect I would bring it to Dick. Hearing it in his head, he would make comments like, “Oh, this is great, very interesting, etc.” We never got through a score without him saying something like, “Isn’t this note supposed to be F natural.” He was uncanny.

In writing for TV and film, I learned how to deal with a multitude of competing opinions, while navigating the politics of an industry.

PPM: In 2005, after you started composing for jazz trio, you released your second CD called “Blackbird,” which reached #1 on jazz radio and stayed there for eight weeks, which means, people liked it.  What was it like working on this album?
SB: “Blackbird” was magic to me. I booked two days in the studio with Chuck Berghofer (MGBH) on bass, Gregg Field (MGBH) on drums, and my long-time engineer collaborator, Les Williams (MGBH). There were no expectations.  I brought in a bunch of charts, some of them to original songs, and we picked the ones we liked best.  The album felt easy to make because we got into that “zone” that athletes and musicians talk about.  We weren’t overthinking, because we weren’t trying to make a “successful” recording. We just wanted to play and collaborate. There is a lesson in that experience.

PPM: Between 1994 and now, you did over a dozen of album orchestrations. What does this type of work entail?
SB: I have done many dozens of album orchestrations in the last twenty years.  I have been privileged to work with artists who I admire greatly, including Gloria Estefan, The Count Basie Orchestra, Renee Fleming, Steve Miller, Chicago, Richard Marx, Dionne Warwick, Carole King, Kurt Elling, and many others. I even did a record with KISS.

I love orchestrating, which is very much like being an accompanist.  My first responsibility is to get inside the head of the artist and to feel what they are feeling. If I do my job well, my orchestration will inspire the artist to her or his most compelling performance.  I believe that the introduction of an orchestration should transport the performer and listener into the emotion of the song.

PPM: Please, tell our readers about the Jazz Cruise.
SB: I am the Musical Director of The Jazz Cruise, which is arguably the World’s best seven days of jazz each year. There are over 100 of the greatest jazz artists, and 2,000 fans onboard. Four venues are programmed day and night, and many of the shows feature combinations of artists that can only be seen on the cruise. It is the one week of the year when I am not a music school dean, I am solely a jazz pianist.

PPM: What does your jazz pianist life look like today?
SB: My life as a pianist today is very fulfilling. I don’t have an agent or manager, because I am fortunate to be asked to perform as much as I can handle with my career at the Frost School of Music. My performances cover a wide range, from jazz clubs to festivals and performing arts centers. I am equally happy to accompany a great artist as to perform in my own project. For instance, lately Steve Miller and I have been producing “Jazz Meets Blues” shows at Lincoln Center. I have been privileged to perform in the last few years at the White House, Hollywood Bowl, Royal Albert Hall, the Apollo Theater, etc.  I’m having fun!

PPM: Please, tell us a little bit about your children. What are they like and what life paths are they on?
SB: I have three children in their 30’s (Lindsay, Kyle and Ashlyn) and a stepson (Dylan) who is 27. I also have two grandchildren (Jackson who is 14, and Noelle who is 12) and another grandchild on the way.  Jackson and Noelle are both musicians. If I could never play a note again, I would derive infinite happiness from who my children are and how they lead their lives. They are happy, successful, and compassionate.

PPM: What do you like about living in Miami vs. Los Angeles? Are there times you miss LA?
SB: Miami has been an amazing experience for my wife, Julia and me. By the way, Julia is my muse, and my music changed profoundly after we met. Miami is very diverse and very open. It feels easy to meet anyone, and the mix of cultures is inspiring. If I hadn’t moved to Miami, I wouldn’t have met Gloria and Emilio Estefan. They have become dear friends and collaborators. I love LA as well, and am fortunate to be there regularly to perform, record and connect with old friends.

PPM: What are your hobbies?
SB: My life doesn’t allow much time for hobbies besides music. When I have free time, I want to practice! I am a runner, and try to run at least three times per week. I also love to snow ski, but haven’t gone in four years.

PPM: What do you usually do on Sundays?
SB: I don’t have a Sunday routine. If I am in the middle of a composing or orchestrating project (which is most of the time), I have to work when I am not at the Frost School. My writing sessions are often very late at night or very early in the morning. So, a free Sunday for writing is a welcome day! If I don’t have a writing project, and I am not on the road, Sunday is very special. I can read the entire New York Times by the pool, take a long run and spend relaxed time with Julia.

PPM: How did becoming a grandfather affect you as a human being?
SB: I don’t think becoming a grandfather has changed me. I have had such wonderful and close relationships with my children that becoming a grandfather has felt like an extension of that. The joy of being a grandfather is that it has widened the world of love in my life.

PPM: Let’s focus on the topic of your TEDx Miami talk, which I found very interesting and, I hope, our readers will do to. What is its main idea? (* We will include the video of the talk in our “Amazing Videos” section as well as on the bottom of the interview).
SB: MY TEDx talk has two central ideas.  First, music is an example of how we learn.  We strive to master the techniques of anything we do, whether piano, sports, math, speech, or any other endeavor.  Then, we naturally think that the world wants to see a display of our “prowess.”  My point is that it is our “intent” that truly resonates with others, and technique gives us the tools to express intent.  The last point of my TEDx talk has to do with what music teaches us about life. As a musician, I must tap into the original inspiration of a piece, so that I fall in love with it anew with each performance. If we can transfer that approach to our relationships and life situations, then we have found the secret to life.  If every time I say, “I love you” to Julia feels like the first time, then our love will be infinitely renewing.

The last point of my TEDx talk has to do with what music teaches us about life. As a musician, I must tap into the original inspiration of a piece, so that I fall in love with it anew with each performance. If we can transfer that approach to our relationships and life situations, then we have found the secret to life.