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Darling is quick to emphasize, especially
to classically trained musicians, that they don't have to become jazz
players in order to improvise.
"At all my concerts, I play a rhapsody for cello, and it's always
made up on the spot. But it has the textures and timbres of Bloch's Schelomo
and the Dvorak Cello Concerto, and Sain-Saens, Shostakovich, and Bartok."
Darling says one of his tasks is to help classical musicians overcome
their skepticism and believe that they can play music that's not printed,
"...to have the guts to walk onstage wih nothing prepared. It's just
amazing to me that you have someone who's trained themselves for years
and years, they have scales down, they have thirds down, they know 13
modes, and if you ask them to play something, they say 'no, I can't, I
didn't bring any music.' Well that's just absurd. Music should be something
that isn't served just by the notes, it should be somethig that's about
the human condition of expressing oneself through notes."
-- Reprinted from Strings #34, by Joshua Rosebaum
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