Johannes Moser, Cellist

Renowned Cellist Johannes Moser joins the show to discuss how he decided on cello, his thoughts on living a creative life, the amazing things about being a concert cellist, as well as the hard work that goes into this field.

For more information about Johannes Moser, check out the links below.
Website: http://www.johannes-moser.com/
Instagram: @cellistjohannesmoser

Transcript

Tammy: Hello and welcome to another episode of Creative Peacemeal Podcast. This is Tammy and today I am joined with cellist Johannes Moser. Hailed by Gramophone magazine as one of the finest among the astonishing gallery of young virtuoso cellists, German-Canadian cellist Johannes Moser has performed with the world's leading orchestras such as the Berliner Philharmonika, New York Philharmonic, Los Angeles Philharmonic, Chicago Symphony, BBC Philharmonic at the Proms, London Symphony, and more. He is a dedicated chamber musician and currently holds a professorship at the prestigious. Welcome to the show!

Johannes: Thank you very much thank you for having me.

Tammy: It's exciting to have you on the show. I follow you on Instagram and it's always very interesting to watch your practicing and and the way the way your mind works with that.

Johannes: Yeah I mean, I'm always torn because of course with the open practice sessions that I do offer a really an unrestricted view behind the scenes and often you know as a musician you wonder well do you do you really want to tell all show all or do you want to keep a sort of air of mystery. But then I felt especially during the pandemic that it was hard to well obviously it was hard to perform but it was also hard to to connect with people because everything we were all zoomed out and I felt well why don't I take it to the next step here and just open up my practice room and and that's been resonating quite well with people it seems and I do those live so there is there is no makeup there is no you know retouching there is there is no editing it's just what it is. And I can tell you that I'm very focused during these sessions as you can imagine so that's also an added benefit for myself but I do enjoy sharing that online for sure, yes.

Tammy: I think it's really neat. It's a wonderful way to really be transparent about the struggles and the triumphs in terms of practicing everything from the little stuff but also even the physiology of playing and practicing and how you sit and and where you put the bow on the string. And great for not only younger players but also for people who are more experienced and thinking 'okay how can I up my game?' 

Johannes: Yeah there is that element for sure I think people can distill from it what they

what they like you know and I've had some some good feedback. Actually, you know people
send me messages and ask well I saw this on your practicing session why do you do that? And then you know if someone comes back with with an interesting question of course I'm more than happy to answer it. That's the I guess that's the great benefit of social media it's not that it's not a one-way street, but actually you you know you communicate on sort of a level playing field if you want if you wish and and that's, that's very nice for me because of course that in a time when when it's hard to go out it's it adds a sort of personal touch to the whole thing and it's not just you know you're not just broadcasting into the unknown nothingness of the internet but uh it seems that it reaches people so that's good, yeah.

Tammy: You recently performed in London. Would you like to us a little bit more about that?

Johannes: Well you know the London Proms of course are an institution that that is legendary and before such a performance usually you schedule trial performances you know with other orchestras and in other cities and you build up to the event and in this case of course there was no building up because there is no season going on at the moment. So the last concert I had played was like seven weeks ago and to get from the point of let's say zero to one thousand in one second was was just really quite tough to build up to and when I say tough I I really mean tough in the sense that as a performer one needs to go through that whole buildup of um adrenaline and to raise the temperature the performance temperature to a certain level.

And if you do that after your summer vacation and you can hold that temperature throughout the season, then you're sort of floating on that level of excitement and on just a level of adrenaline and you don't always need to build up to each performance but you're sort of floating from one to the next.  If you have to you know go from cold turkey to just tearing your heart out in front of 3,000 people and also half a million people or a million people I don't know live on the BBC radio that's a big gig and so it took me a while to get to terms with that that's what I will have to do. And there again social media helped me a little bit because I found that I've got a forum where I could actually practice beforehand openly. I could perform small bits openly and sort of already get myself used to the idea that I'm performing for people and not just in my practice room.

In the end I mean it was quite very exciting to be there. It was great to be in front of a public again, the Proms public is very special because the problems obviously is you know for connoisseurs but also for people who don't usually go to a concert and so that adds another element of excitement that hopefully you can take both the people that know about classical music and also the people that do not know so much about classical music on that journey with you and now I think it worked it would work quite well.

Tammy: Excellent and I'm sure not only is it just a special honor to play for the Proms but also I'm sure it was emotional after you know the kind of years that creative artists have had lately.

Johannes: You know yeah for sure and the orchestra felt the same. I mean last year there was no Proms and now there was a Proms again. So that was uh for sure for sure an emotional aspect is when everybody you know has has had different experience in the last 18 months and so to sort of generalize, or to or to say you know who who takes who takes the price for the biggest suffering, it's hard to say. I mean it's been just so individual, but when you come together at a concert as a collective then suddenly you have all these individual stories come together at that moment and manifest themselves in the exchange of music and to have such a unifying experience is amazing and to have it not just with soccer which we recently had here, but to have it with music is great. So yeah I was very happy to be there. 

Tammy: It's a beautiful thing for sure to be able to make music. And you've been playing since you were eight years old, I was wondering you know who or what inspired you to become a musician and why did you pick the cello?

Johannes: So the cello I picked because I needed to get away from the violin. So it was my escape route. My parents are both musicians and I'm now fifth generation in our family of musicians so it was kind of you know family business if you want,  but with music I mean everybody has to make that decision themselves and really think hard about that decision if you want to dedicate your life to music and if that is something that you want to pursue because even in years without pandemics it's it's bloody hard. It's really, it's really extremely challenging and the travel is very hard the the hours are you know not necessarily socially friendly. 

You never know when inspiration strikes and when you actually feel that you want to work and then you need to disappoint other people because you've made made other plans. It's, yeah it's it's not the easiest job and it's certainly not a nine to five. And um so when I saw my parents live that life of musicians I got a pretty good idea what it means to be a musician because they they were doing different things. My mother, she was a soprano and you know she was a traveling artist, a soloist. My dad played in an orchestra and so I got to see these two different aspects of musicianship and what it means and how it can be lived in a in a good way.

And at first I wanted to become an orchestra musicians like my father, and then I got lucky at the 2002 Tchaikovsky competition in Moscow and that sort of changed around the plans a little bit.  Suddenly I found myself confronted with this prize and what to do with it and it was really, if if that prize did anything it it started a thinking process of what to do with my life other than you know get a good position and it was a very adventurous time. And you know to decide to become a musician is one thing but that's like saying well I'm just gonna study law. But that doesn't mean that you're that you know what you're gonna do later on like you can become a lawyer. You can become a judge you can go into social work you can work for Mckinsey. You can you can do so many different things.

I think when you decide to become a musician you need to keep that openness is that, yes you want to learn everything you can about music. But what you're going to do with it later in life remains to be seen and I have a lot of friends that studied music that actually did ended up working for Mckinsey because being a musician is a...you need a very structured approach to working and to problem solving and that's exactly what they need in these consulting firms.

So yeah. Making that decision to become a musician also asks for openness and creativity now more than ever because now we have we have less and less opportunity for for fixed jobs that you you know that you hold between the age of 25 and 70 until retirement. But I think as musicians you need to be, you need to have the openness to be versatile and to apply your your craft to wherever is possible and and that's what I've been trying to do. 

Tammy: And also in being able to adapt to the changing times and you know. Like you're involved in social media and that's a way to get music across and connect with fans and listeners and or even people are doing online lessons now and and being able to share the love of music and teaching music to people all around the world in different ways which is always nice.

Johannes: For sure yeah.

Tammy: If you didn't do music what other creative art do you think you would pursue?

Johannes: I was always interested in performing arts so I think the theater or film business would have had me for sure. My mother as I said earlier, she's a soprano and my aunt is a soprano as well. They were both working in the opera world so I was exposed to the stage very early on and to staging and what that actually means and and I was always very attracted by that. And I thought that's a great, yeah just a great thing to pursue and there's this magic moment that someone in Greece discovered 3500 years ago is that when you put someone on stage and someone off stage listening, that there is a sort of exchange and magnetism going on between the two.

I guess it dates you know far far earlier by just people sitting around the fire and telling stories to each other and and singing and you know dancing around the fire, and to this day that's why I love theater to this day I am so excited when I'm sitting in the audience and I witness that moment of performance because I feel it holds a lot of magic and it holds a lot of mystery and that mystery doesn't need to be explained, it just needs to be experienced. And to also find myself on the other end of the spectrum actually being the performer that sends out energy into the into the public. I love being on both ends both the receiving and both the giving end of that spectrum and uh to this day. I love that art form of you know be it theater be it ballet be it music be an opera that combines all of those those art forms. It's a mystery but it's fascinating.

Tammy: Very true very true. You've performed a lot of pieces in a lot of places. Is there like a dream setup of a concert you would want like a certain venue with certain pieces that you've always wanted to program?

Johannes: Well I'm lucky in a sense that all my bucket list items have sort of been been fulfilled you know like I played with the Berlin Philharmonic which was sort of my dream orchestra growing up. I played all the big cello concertos and now have the luxury to commission pieces by myself. I think if if I were to say what I what I like doing most at the moment, um is that juxtaposition of playing the classics like Dvorak, Elgar, Schumann, Haydn, and Lalo, and also bringing new pieces to life. Right now I'm in the process of creating a project for electric cello and eight speakers, and I have pieces written for that and an octophonic setup so it's a surround experience that you're gonna have as a listener and this is new new ground to be broken and nobody's been doing that before on sort of you know the classical music playing with with a with a cello and you know bringing it to to concert venues and I find that incredibly exciting that I'm dabbling in something that hasn't been done to death if you know what I mean. 

On the other hand I play the Dvorak concerto which you know every cellist has in their repertoire, and doing sort of unknown things and doing new things inform very much what I do in Dvorak and Schumann and Elgar and they yeah they keep all these pieces fresh and that's why these pieces never get old, you know because I I have enough other projects to counter sort of the you know the feeling of normalcy shall we say and and then every piece of music suddenly is exceptional. And that is a dream come true I would say.

Tammy: What's it like you know going back and forth from your beautiful Guarneri cello to and this modern electric I mean is it almost like having to put on different shoes?

Johannes: There are there are two different instruments that can be played with cello technique but they are different instruments so I don't even consider them both in sort of the same arena. But I'm lucky that through my cello technique I can actually play that electric cello because the electric shadow really is is only interesting in conjunction with a computer and with effects and the sound of itself is not so appealing and so whereas I do all my colors and and all my you know differentiation on the normal cello with with my bow in my my left hand and with the weight of my body. With the electric cello you do all of that with electric effects and so that's a completely different way of thinking how to shape sound and how to create a mood and the problem is of course that nowadays we have so many tools available for for an electric instrument that suddenly that ubiquity of possibilities seems almost stifling and so in a way in order to stay creative you need to limit yourself to just what you really need and you need to have a very clear vision and that sort of clarity of vision is also something that I that I love for my more standard pieces because it means that I sharpen my tools and I sharpen my awareness for for what I actually want to apply.

Tammy: Everyone's creative process is different and honed over the years. How do you approach one of the standard cello repertoires?

Johannes: Well, first of all I burn my music my sheet music every two years of the classics and i through that I feel like I get a fresh part I can have fresh ideas I can I can use fresh fingerings. And I don't fall in love with our old ideas which you know something that that can happen easily is that you you become your own museum or you become your own cover band if you know what I mean and I want to, I want to stay away from that and um yeah it's a it's it's a process that I that I impose on myself because I just want to keep my my pieces fresh and then what I what I try to do is I isolate myself from recordings so I'm not listening to anyone else while I'm in the process of working or learning or reworking a piece.

But I really try to stick to the music as if it was a new piece of music and I try to get in contact with the composer as good as I can

now of course when you know someone like

Dvorak who unfortunately passed away

100 years ago

I don't have his phone number but um

what I what we do have is a manuscript

and that handwriting tells you a lot

about the emotion that goes into the

piece and how it's crafted

and

the

manuscript of the dwarf character is one

of the most exciting things to read

because you can see the process that

he's been going through and the struggle

that he's been going through

so that's a good way for me to approach

the composer and and to get close to
20:34
as close as i can to to what they have
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left
20:37
and in elgar's case for example
20:40
there are two recordings of the piece
20:41
that nobody listens to everybody listens
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to jacqueline de pre
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and there are two recordings with elgar
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conducting
20:48
with beatrice harrison at the cello
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phenomenal playing and
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i mean
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i would
20:55
give so much
20:57
to
20:57
hear how dvorak was conducting his
20:59
concerto or how beethoven wanted to have
21:02
his
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cello and piano sonatas played
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and here we have an example of a
21:07
composer conducting his own piece and
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so i'm
21:11
i'm thrilled about that source
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yeah
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and then of course after you've compiled
21:17
all those sources and you've compiled
21:19
all that material and and informed
21:20
yourself in the best possible way then
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you have to make it your own
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and
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you know
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[Music]
21:28
transform all that knowledge that you've
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um
21:31
compiled into something that works for
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you
21:34
for example if i
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read the accent or swartzato or
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mezzo-forta or piano
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in the score
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i'm not only
21:44
playing an accent but i'm trying to
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think well what does that accent mean to
21:48
me personally
21:50
yeah
21:51
and um
21:52
how
21:53
how does that speak to me what i read
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and i think it's that
22:01
process of transformation of um taking
22:04
all the information and making it yours
22:06
is what really leads to interpretation
22:09
and
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that
22:13
that leads to the pieces really fitting
22:15
like a glove
22:16
you know and then you you
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fit those pieces to your needs
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and that's a wonderful process and
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that's a lifelong process actually i
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mean with pieces like georgia canalgar
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i've played them for for decades
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and uh still i discover new things you
22:31
know
22:32
yeah
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and both pieces are just some of my
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absolute favorites pretty much anything
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written for the cello i love
22:40
good stuff you guys get the best
22:42
repertoire seriously
22:45
we get good repertoire and and we're
22:47
lucky in the sense that we had
22:48
protagonists over the
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centuries
22:52
that inspired composers to give us their
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best material
22:56
because of course if you
22:58
if you're a composer and you have
23:00
let's say
23:01
within a month you have five great ideas
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well how do you divide those ideas right
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i mean do you give the best ideas to the
23:07
violin or to the cello or to the
23:09
clarinet or to a symphony or
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to a chamber piece
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and i guess each piece asks for it for
23:16
different things but
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schumann
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once said that
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each idea comes with its inherent form
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and i love that idea
23:27
that's why
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in the schumann concerto you have
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so many different
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formats coexisting at the same time
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in the beginning it sounds like
23:37
you know just a
23:38
great aria and then
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in the exposition it sounds very sounds
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very chamber music-y and then in the
23:45
second movement it sounds song-like and
23:48
then
23:49
the tutti uh going
23:51
you know from
23:52
from the
23:53
first movement
23:54
exposition to uh
23:56
to the second part uh sounds very
23:58
symphonic so he he goes through all
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these different formats within a
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concerto and
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i love that idea that that different
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ideas bring their own form and sort of
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you know don't
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can't just be applied
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with without their shell so to speak
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that is certainly wonderful to think
24:20
about it sounds like you do a lot of
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deep thinking when it comes to composers
24:25
and pieces
24:28
um
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i think i do
24:31
i think i do and it comes also with my
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second job which is uh being a teacher
24:37
being a professor
24:38
at the whole school of music contents in
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cologne
24:42
[Music]
24:44
if you want to learn something you need
24:45
to teach it right so that's that was a
24:47
nice nice thing to discover that that's
24:48
actually true
24:50
um
24:51
but
24:52
through working with students and
24:54
through them experiencing pieces
24:57
for
24:59
the first time you always get a fresh
25:01
view on repertoire that you thought you
25:02
know
25:03
and so you
25:05
of course you
25:07
bring to the table what
25:09
you've studied and what you believe to
25:11
be true
25:13
but then to hear it through through the
25:15
ears and eyes and and also through the
25:18
hands of someone else
25:20
is
25:21
is a very interesting process
25:23
and
25:25
i mean i i try to to read a lot i should
25:27
read more um
25:29
but
25:30
i certainly read more than my students
25:31
and
25:33
i i wish they did more reading uh i
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think it's it's vital
25:38
and
25:39
it should be just an inherent interest
25:42
you know
25:43
um
25:45
there's
25:46
so many so many people have had great
25:48
thoughts about music and
25:50
great inspiration all around and if we
25:53
can tap into that
25:54
um that knowledge and also that
25:57
emotional knowledge that has been
26:00
recorded over the centuries through good
26:02
writing then you know that's
26:04
that's a fantastic thing and should not
26:05
be left wayside as some secondary thing
26:09
you know
26:10
most of my students they believe that
26:12
you know practicing is the only thing
26:14
and
26:15
it's important but it's it's certainly
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not the only
26:18
way to approach music i find agreed
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what are some books that you find
26:23
recommending that you recommend a lot to
26:25
students
26:27
so i'm a big fan of nicolas hanenkur
26:30
he was a
26:33
writer in well a
26:36
cellist first of all and then he became
26:37
a conductor and he's a musicologist and
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he's great inspiring figure
26:42
then he became a writer
26:44
he was one of the first people that
26:46
brought back
26:48
baroque performance practice
26:50
and
26:52
he
26:53
connects in the most
26:55
interesting way and most most beautiful
26:57
way music and language
27:00
and how
27:02
music has a certain grammar
27:04
and a certain meaning
27:07
that
27:08
mostly can be of course understood of
27:10
the people of the time because it's
27:12
their music and so it's their grammar
27:15
but as
27:16
people that you know we approach the
27:18
music
27:20
100 to 200 300 years later after it's
27:23
been written
27:24
we need to get in touch with the grammar
27:26
rather than just the notes because if
27:29
you just learn the notes then you just
27:31
learn syllables and
27:36
numbers
27:38
and
27:39
to actually form the syllables to words
27:41
and to sentences
27:43
and to poetry
27:45
i think that you know
27:46
you need to know the grammar
27:48
so
27:49
so that's where
27:50
where he comes in i also like uh the
27:52
unanswered question from leonard
27:54
bernstein uh his book um of course he
27:57
alludes to the
27:59
uh piece by charles ives unanswered
28:01
question
28:04
where he also connects language and
28:05
music which is great
28:08
[Music]
28:09
right now i've been reading some essays
28:11
by susan sontag
28:14
um
28:17
it's a very interesting essay on called
28:20
against interpretation
28:22
where she
28:24
you know
28:26
vehemently speaks against
28:28
art just be trying to be understood and
28:31
categorized rather than seeing art as it
28:33
is and not trying to apply the filter of
28:36
interpretation
28:37
uh which sort of you know stands between
28:39
you and the artwork and i think that is
28:42
as
28:43
very interesting for me because
28:44
obviously i
28:47
my my job is interpretation
28:49
yeah um
28:52
so
28:53
how much do i actually
28:56
bring into a piece from myself and how
28:58
much do i just let the music speak i
29:00
think that's that
29:02
cannot be quantified it just needs to be
29:04
an ever ever changing and ever
29:07
reevaluated
29:08
process um
29:10
between you and the artwork
29:13
but i do think
29:14
that if you
29:16
always approach
29:18
uh
29:18
music or art or
29:20
like you know painting or books
29:23
with the question well what did the
29:24
author want want to say or what did the
29:27
author have in mind then
29:29
you
29:30
sort of distance yourself from the
29:32
artwork because you're not
29:34
just confronting yourself with what's
29:35
written
29:36
but you want to
29:38
sort of transform what is written into
29:40
sort of a higher meaning
29:42
or or distill the meaning out of it
29:45
and i feel that that sort of you know
29:47
puts a distance between you and the
29:48
artwork and so i mean i i really enjoy
29:50
her writing
29:51
it's very uh
29:53
incredibly smart and kind of
29:54
intellectual sometimes i need to read a
29:56
passage three times to actually grasp
29:58
what she means but
29:59
you know that's that's me being slow and
30:01
so i i love the challenge of reading her
30:04
i'll definitely have to look that up it
30:06
sounds so interesting you know the idea
30:08
um of course you know it's so important
30:10
to appreciate the work of art for what
30:13
it is
30:16
very interesting for sure
30:21
i was wondering how has your life in the
30:23
creative arts been different than you
30:25
imagined
30:33
well
30:37
i think that the
30:39
pursuit of
30:40
any kind of art
30:42
whether it be music or writing or
30:45
photography or painting
30:48
is so much more than than just itself i
30:50
mean that the process of creating
30:52
artworks is is wonderful but also
30:54
it gives you a sharper image of life
30:57
and and that's what i that's what i love
30:59
about
31:00
the pursuit of music especially
31:04
you get a whole new relationship to the
31:06
sound world around you
31:08
and
31:08
[Music]
31:10
like
31:10
john cage said there is there is no
31:13
silence
31:14
uh you know when when you quiet down you
31:16
just hear more of your inner self or you
31:20
hear more of what is going on around you
31:22
and
31:23
uh
31:25
yeah
31:26
to to have that heightened awareness
31:28
of your surrounding i think it's a
31:29
wonderful thing that
31:31
at least comes with music and i guess if
31:33
you
31:33
you know i'm a little bit into
31:35
photography so so after a day of
31:37
photography
31:38
like i i look at the world differently
31:41
and
31:43
i'm not a very good writer but but if i
31:45
if i do have to write something then
31:47
then suddenly i
31:48
have much more appreciation for
31:51
for words and then for what language can
31:53
do and what language can transform and
31:55
and how how
31:57
how much much more rich our language
31:59
actually is than what we use on a
32:00
day-to-day basis
32:02
um
32:03
and well you know i
32:05
i use english but my german my language
32:09
is of course german and
32:11
i that's where i feel at home and and
32:14
where i
32:15
you know i can i can play with a
32:16
language
32:17
and and i i love that
32:20
it's wonderful that you you know pursue
32:22
other creative arts you know as a hobby
32:25
and and as another passion to really
32:27
enrich your life
32:29
oh yeah for sure and um i mean very
32:32
early on i was clear to me that
32:33
creativity inspires creativity so if i
32:36
feel uncreative at the cello
32:38
but i i need to get going then you know
32:41
going on out with my camera
32:43
like you know gets that gets those
32:46
creative synapses going and then i can
32:48
take that to the instrument as well so
32:51
what's a common myth or stereotype about
32:54
being a musician that you hope to break
32:56
with your work as both a performer and
32:59
a professor
33:02
[Music]
33:07
i think the myth is that
33:09
probably that that we're married to
33:11
music
33:12
and
33:14
i don't know i think life is just so
33:17
much more rich than just limiting
33:19
yourself to one thing
33:21
so i'd rather be married to life i don't
33:24
know it's it's it's hard to say that's a
33:26
stereotype that i encounter a lot that
33:28
you know musicians just live in a
33:30
practice room and all that and
33:32
i don't know i think there is there is a
33:34
time for music and then there is also
33:35
time when to turn off music and and just
33:39
do something else
33:40
and i think that's important and that's
33:43
that's also what i what i tell my
33:44
students is like be really focused on
33:47
your music but then
33:48
look around and
33:49
don't don't shut out life you know
33:53
which which i feel like a lot of
33:54
youngsters also do they're like oh yeah
33:56
i stopped with soccer and i stopped with
33:58
reading and i start with
33:59
uh working out and i stopped with
34:01
swimming because now i'm only going to
34:03
do music and i'm like well that's that's
34:04
the beginning of the end
34:06
and that that is also not
34:09
how we are nowadays anymore right like
34:12
as as a musician like you also need your
34:14
to be your own pr firm with with social
34:16
media
34:17
and as a musician you need to be your
34:19
own advocate and you need to be an
34:21
educator you need to go into schools and
34:24
and work with youngsters and you need to
34:25
be a teacher
34:27
and it's just so many different things
34:29
so many different hats that you have to
34:31
wear that if you limit yourself early on
34:34
with just being in the practice room
34:36
you're not going to acquire the skill
34:38
set that is required of you as a
34:40
musician i would say
34:43
very true very true it's so important to
34:45
be well-rounded and cultured and
34:48
experienced life because then you can
34:50
bring those experiences back to the
34:52
music because i mean the composers
34:54
obviously lived fulfilled lives you know
34:57
they didn't necessarily shut themselves
34:58
in a room and do music 24 7.
35:01
right
35:03
one final question before we go
35:05
in your own words what does it mean to
35:07
live a creative life
35:14
um that's a big question
35:18
for me personally
35:20
it means
35:23
um
35:25
when i feel creative or when i feel like
35:28
i'm doing something creative i feel the
35:30
most alive
35:32
and it means that i'm tapping into
35:35
an energy that is
35:37
bigger than the sum of its parts
35:40
and so
35:41
no matter what creative avenue i open up
35:44
if i'm able to
35:46
tap into creativity that sort of
35:49
mysterious energy field
35:51
um
35:52
then
35:54
then i feel alive and then then i feel
35:56
that ideas come to me i don't even need
35:58
to look for them but somehow they they
36:00
manifest themselves
36:02
and
36:05
to
36:06
be creative
36:09
uh if if it doesn't come to you
36:10
naturally then
36:12
what i like to do is just put two
36:15
completely foreign ideas to completely
36:17
foreign objects to completely foreign
36:20
approaches
36:21
next to each other and try to make
36:22
something of it
36:24
and marrying these these two elements uh
36:27
will bring forth a third
36:30
product and and you've created something
36:32
and
36:33
and that is sort of a good exercise if
36:36
you know some if people find themselves
36:39
sort of you know stuck with creativity
36:42
and
36:45
yeah creative life is
36:48
is maybe life itself yeah i i feel like
36:51
if i'm creative then i
36:53
i don't feel
36:55
any layer in between myself
36:58
and life anymore yeah but but it's it's
37:01
it's in i'm in direct contact
37:04
and
37:06
that's a good feeling
37:08
and
37:09
something that i that i don't want to
37:12
ever give up in anymore in my life
37:15
agreed agreed
37:17
excellent well thank you so much for
37:19
being on the show and listeners you can
37:21
catch johannes mosher
37:23
online and checking out his live
37:26
practice sessions as well as wonderful
37:30
already recorded concerts and upcoming
37:32
concerts thanks again for being on the
37:34
show thank you so much thank you