Author Archives: Dan Visconti

Making Room for New Arrivals

By Dan Visconti
When I first slapped a double bar on a 5-line staff, I had no other pieces that I was building off and no need think ahead; if I took this same approach with each successive piece, I think what might have happened is the compositional equivalent of ordering chocolate ice cream all the time.

Don’t Be Cool

By Dan Visconti
When I say that “don’t be cool” became some of the best and most useful advice I’ve ever received, what I really mean is: be your own person.

The Show Must Go On

By Dan Visconti
Having several times witnessed conductors of symphony orchestras restart a movement or section of a piece, I’m intrigued thinking about the dangers in presenting a less than familiar opera; after all, that’s kids stuff compared to what can go wrong when lights, props, and staging directions are added to the mix.

Balancing Act

By Dan Visconti
A desire to make sure one’s music is physically performable is one thing, but an excessive desire to please soon becomes a form of pandering.

The Chef Has Ruined My Soup!

BY Dan Visconti
Here are a few of the more negative comments I’ve been accosted with following performances of my music, some just plain out of line and some richly deserved.

Compliments to the Chef

By Dan Visconti
I’ve been to enough concerts of my music to have heard all kinds of comments from listeners, positive, critical, nonsensical, and everything in between.

Learning Curve

By Dan Visconti
Strads don’t immediately reveal their greatness when played like any other instrument; it is only when the performer ceases to play “normally” and lets up a bit that the Strads begin to shine.

Music, the Spirit of Giving…and TUBACHRISTMAS!

By Dan Visconti
This holiday season I have become acquainted with a 35-year-old tradition a great deal more fun than roasting chestnuts on an open fire. This would be TUBACHRISTMAS, a very special ceremony of timeless carols and extremely low, ponderous sounds.

Negative Capability

By Dan Visconti
When we permit ourselves to stop grasping and just let the experience happen, accepting it, then therein lies the greatest possibility for eventual understanding, albeit on a level we may not have expected to engage.

Listen in a Different Way

By Dan Visconti
I have heard the term “unmelodic” applied both by a grandmother decrying some techy death metal band and also by and pop/rock-loving teen explaining to me why the Barber Adagio was boring, and I have witnessed someone who just swoons over Vivaldi claim that Jimi Hendrix was too “rhythmically repetitive” for her tastes.