"Music from the Inside Out" is a sympathetic look at what makes symphony orchestra musicians do what they do. However, it is less successful at its purported, self-congratulatory goal of exploring the wider mysteries of music and music-making through their narrow artistic experiences.
The film makes an effort at showing that not all the musicians of the Philadelphia Orchestra are former child prodigies from elitist homes suffused in dead white men's high culture and long hours of rigorous practice that isolates them from the soundtrack of their peers' lives and practically sounds like child abuse. Ironically, that seems who was mostly in the New York audience as they learned more from a few of the musicians' personal forays into jazz, Latin, bluegrass, Arab modalities and contemporary music than from the standard, repetitive descriptions (and violist jokes). In group discussions many of the ethnically diverse musicians make generalized somewhat smug comments about their reactions, motivations and expectations about music that extrapolates from Brahms that are wincible to fans of, say, blues and jam band improvisers or songwriters, let alone music from around the world. (At least the film includes a few minutes of Stravinsky to counter some of their comments.) It is not clear why the musicians who enjoy these avocational experiences chose high culture as their career instead, such as the percussionist who was turned on to his instrument by the Beatles.
The many scenes of following the orchestra on a world tour only paid two interest dividends: watching the musicians enraptured by a street accordionist in Europe interpreting Vivaldi and when they explored native instruments in China which they then learned to incorporate with a Tan Dun composition back in the States, an interaction we see far too briefly. We also very briefly see an arts education class, but the kids ham for the cameras.
The last quarter of the film is the least illuminating and drags, as all these talented, articulate folks submerge their individuality into a rehearsal and performance. I was surprised that there was only a brief look at chamber music, as that would have provided a discussion of the difference in the dynamic of personal interactions and self-expression without a conductor. A symphony musician of my acquaintance commented that he appreciated that the film focused on the players and not on the conductor, as most documentaries do.
The film successfully preaches to the already converted who subscribe to the usual symphony series canon.
The film makes an effort at showing that not all the musicians of the Philadelphia Orchestra are former child prodigies from elitist homes suffused in dead white men's high culture and long hours of rigorous practice that isolates them from the soundtrack of their peers' lives and practically sounds like child abuse. Ironically, that seems who was mostly in the New York audience as they learned more from a few of the musicians' personal forays into jazz, Latin, bluegrass, Arab modalities and contemporary music than from the standard, repetitive descriptions (and violist jokes). In group discussions many of the ethnically diverse musicians make generalized somewhat smug comments about their reactions, motivations and expectations about music that extrapolates from Brahms that are wincible to fans of, say, blues and jam band improvisers or songwriters, let alone music from around the world. (At least the film includes a few minutes of Stravinsky to counter some of their comments.) It is not clear why the musicians who enjoy these avocational experiences chose high culture as their career instead, such as the percussionist who was turned on to his instrument by the Beatles.
The many scenes of following the orchestra on a world tour only paid two interest dividends: watching the musicians enraptured by a street accordionist in Europe interpreting Vivaldi and when they explored native instruments in China which they then learned to incorporate with a Tan Dun composition back in the States, an interaction we see far too briefly. We also very briefly see an arts education class, but the kids ham for the cameras.
The last quarter of the film is the least illuminating and drags, as all these talented, articulate folks submerge their individuality into a rehearsal and performance. I was surprised that there was only a brief look at chamber music, as that would have provided a discussion of the difference in the dynamic of personal interactions and self-expression without a conductor. A symphony musician of my acquaintance commented that he appreciated that the film focused on the players and not on the conductor, as most documentaries do.
The film successfully preaches to the already converted who subscribe to the usual symphony series canon.