Word: musicalizations
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...alternative dimension sometime after their fortieth birthday. It works the same way with men in this city. You think you're talking to a college student, what with his rock 'n' roll T-shirt, his skateboard, his bong collection, and his extensive knowledge of low-fi British indie music, then you find out he's fifty-eight, with six kids and three percent of Google. What do these people do to themselves?...When I tell people my age in L.A., they can't believe it. But you look so much older, they try hard...
...musicians as your influences yet you are very active in the contemporary indie scene. You worked on albums with Beth Orton and Cat Power and you co-produced one of Jenny Lewis's albums. Do you listen to contemporary stuff now? Not as much as I listen to older music. I'm definitely inspired by music that's happening today and the music of my friends, but my biggest influences are still older records...
Last year you made a record with Zooey Deschanel under the name She & Him. How did that project come about? I was doing music for a film that she was starring in called Go Getter. The director had an idea to put us in the studio together to record a Richard Thompson song. So we met in L.A. and got along really well and eventually she sent me her demos and I thought they were incredible, so I told her you know, "Let's make a record." She came up to Portland and it took about no more than...
Classical musicians and music lovers believe that prized string instruments are enriched by the generations of virtuosi who have played on them. In the case of the great Cremonese instrument maker Antonio Stradivari, whose violins and cellos have been the choice of the world's best musicians for three centuries, this belief is coupled with the theory that Stradivari was an inimitable genius on the scale of Mozart and Beethoven. What else could explain why Stradivari's instruments remain the best in the world so long after the death of their creator...
...even if scientists were to establish a unified theory for Stradivari's greatness, musicians will always be inclined to spiritual explanations that reflect the numinous and otherworldly qualities of classical music itself. In October 1987, my father, Lynn Harrell, a cellist, performed at London's Royal Festival Hall a week after the death of Jacqueline du Pre, the beautiful and extravagantly talented British cellist whose career was cut short at 28 when numbness in her fingers turned out to be Multiple Sclerosis, a disease that eventually killed her. It was an emotional experience: by that time, my father was playing...