Condoleeza Rice and the Chamber Music Effect

Last month I read a news item in the New York Times, describing the devotion that Condoleeza Rice, our current Secretary of State who has been on a mission to promote the Iraqui war, has to playing the piano with a weekly chamber music group. Being a violist myself, and a regular in my own amateur chamber music circuit, I was, quite frankly, surprised. I know that is a strong word, but the story almost came across as an oxymoron--Condoleeza Rice and chamber music in the same sentence?

For me, playing chamber music is pretty close to sacred--or at least special in an intimate and spiritual and listening and cooperating sort of way. Actually, in my smugger and more idealistic moments, I have even believed that playing chamber music holds the key to future peace in the world. Yes. Seriously...

Which brings me back to Condoleeza Rice. I hear that she plays well; beautifully in fact, with sensitivity and a good ear. It takes a lot of practice--and I mean a lot--to be a good chamber music player. First there is the sheer mastery of your own individual instrument. And then there is learning your unique part. Only after that comes listening, looking, feeling, sensing the subtle, but powerful nuances of rhythm, intonation, dynamics, phrasing, the breath... It is such an organism, a chamber music group and the piece of music being played. By its very nature, chamber music playing requires give and take, listening, compassion, courage, intuition and hard work.

There is no doubt in my mind that Ms. Rice is intelligent, talented and a very hard worker. But how is it possible to hear the pathos of a Beethoven piano trio, the depths of despair and longing, the agony of dissonance, and warm comfort in the resolution of that final chord--without also hearing the screams of civilians bombed, and feeling the terror of families made homeless by GI'S following the orders from her generals "to bomb".

I know, she didn't actually say "bomb" those people, but that is my point. Anyone who appreciates chamber music and especially those who play it, gets how the theme has variations, and that it can sneak in at the most unexpected moments, and that it gets traded off by different members of the group, in each of their solos and duets. In other words, every member of the group is responsible for the outcome, and each voice is integral to the entire system.

If Condoleeza Rice only got that her voice, like her piano, is integral to the system, and any change in one part, automatically affects the other parts and can lead to a completely different outcome...

Which brings me back to the chamber music effect. I say, put down your arms, and pick up your cellos. Even a scratchy, untrained string player sounds way sweeter to me than a gunshot.

And then it's only a beginning, not an end.

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