Edward Dowrick: These questions start to promote this exploration into the domain of what we call music, in the sense that it is a language, or a marriage attempt between what I would think of as causing realms, or things that are not seen, but more or less felt, and bridging them with the carnality, or with the life that I experience - the touching, on a piano, your fingers are touching wood keys.
But there's a theater of watching the hands as they touch the keys. And it itself becomes a dance. And you're witnessing it through these eyes, or through eyes.
And just like in music tuning forks, where you have a tune, an A here that vibrates A here, something someone speaks
about resonates in you and you feel it and you're with that person, or you're with that moment they're describing. And suddenly your system - your hands or your mind - begins to want to do that dance to kind of fully explore it.
And all of these elements that I started to speak about earlier, which is this continued gain of trust, the exploration of the senses, the exploration of the senses with thoughts and sentiment, and how we interact, the embracing of how different we are, the embracing of the unknown, and the love of the unknown, the love of being able to go into a circumstance and feel awkward.
The opportunities that I've had to be able to play live in the moment unrehearsed are the most precious moments. Because I believe they're the moments when we can actually grow into something that we've never experienced before, or stretch beyond what is in our, say, footlocker thus far.
I don't think of the music as music. It's really an attempt to be with something, and to be with the moment of something. And to be able to be participant and experience the moment, but also be witness to the moment where one is able to be inside of something, or to be participating in something, and at the same time to be listening to something.