Last Thursday I went to what was the final show at Dreamland and was able to get a copy of the cassette release of Chris Kincaid’s Overshot for String Quartet and Electronics (listen to excerpts of it below). This is something I recorded for Chris back in June of last year (as well as an earlier version for multiple cellos) which he used in sound installations. It’s now the latest of a growing catalogue of album releases on which I appear. I’m often asked why I don’t have any solo album releases or if I plans to do one. Usually I’ll respond that I have a few on the back-burner that I haven’t had the time to complete.
As I book out into 2019, I’ve been thinking a lot about how I got to this point in my musical life. There’s the received wisdom for most artists in any field that until you make it, you should keep your day job so you can have a solid financial foundation while you work at your art. The downside is, with a day job, you generally have less time to focus on your art which in turn decreases your ability to turn it into a full time career. It’s a delicate balance between having no time to do your art because of the time you put into your day job, as opposed to spending less time at a job (and thus having less financial security) to focus more on the art. The ideal balance is to transition into turning your art into your full-time job.
The risk of that, though, is burn-out.
Six years ago, I wrote a post called the perils of having too many bands… and at the time I thought I was coming to an upper limit, but little did I understand our capacity to reorganize time when pressed. The image above is a collage of many of the groups I’ve had the pleasure of performing with last year, and doesn’t come close to including a number of pick-up or sideman gigs I took. In the well over 200 events I performed at in 2016, I played with nearly 40 different configuration of musicians and performers in dozens of genres.
One of the hallmarks of the Classical Music Crisis viewpoint is the idea that Classical Music, as a field, is insular and cut off from what has been variously referred to as the “Wider World,” “Outside World,” or “Real World.” The purpose of this kind of rhetoric is to contrast the Classical Music field with the world-at-large by showing how cut-off and unconcerned it is with issues that loom in the world outside of it.
One of the things that is striking about the early accounts of Classical Music is how provincial it was. Until the 20th century we didn’t really conceive of Classical Music as one unified field. In other words, there was a lot of diversity in the genres and repertoire performed. This coincided with what we could call a fragmented audience along ethnic lines for various genres and repertoire.