Unknown (an improvization)

What must it be like to play an instrument in an enormous orchestra such as the Philadelphia Symphony Orchestra? Do those ladies and gents get enough acknowledgment? This arcane thought popped into my head while marvelling at the accurate timing of an instrumentalist in the Philadelpia's rendition of Beethoven's 9th which I listen to on every auto trip around town. (LA is huge: to go swimming is 17 miles round trip whether I go to Pasadena or East LA. That is, if I want a laned, 50 meter pool. Nearby, 25 yards, is only 1 1/2 miles each way.) 

The delight provided by Beethoven is due in large part to the skills of the instrumentalists, the conductor, and the recording engineers. I've never heard the piece in a concert hall. In that setting it must be truly overwhelming, especially part four which contains the Chorale. In the van (six seat Mazda) the singing sounds a bit shrill because all those voices can't be handled by such a small CD player and speakers.

The part (of four) that sounds the best, audio that is, is the transitional section, part 3. That section is utter perfection; thrilling is the only word for it. Even hard-hearted Michael, just turned five, and wants you to know it, has come around and agreed it is "pretty." There was a time when Michael complained extravagantly that Beethoven "hurt his ears."  

Lionel Richie (the black singer/composer?) has a fav. song of mine, "We are the Children."  Makes my heart leap. Richie kinda leads the children in song. It's as good as Beethoven, no kidding.

Barry