The Greatest Living Legend in the World of Classical Music


by Warren L. Woodruff


I am a servant of the Fine Arts. I have no job, but I do have a career and a mission:  to illuminate the greatness of the living art of classical music to young people.

One time after returning to Atlanta from New York City and I found myself completely undone. My visit to the Big Apple was to indulge my borderline insane fanaticism for the great pianist Martha Argerich, who is, to me, the greatest living legend in the world of classical music.

I must confess to having little interest in pop culture, but do admit to being the worst culprit of all when it comes to possessing a pop culture-like hero-worshipping fetish for Martha—I’m a true disciple. While a doctoral student under the great pianist Ivan Davis, he proudly claimed her as his lifetime best friend and asked me if I knew who she was. When I said I did not, he proclaimed "she is the ultimate pianist’s pianist. It’s time you know that.”

I immediately purchased her legendary rendition of Tchaikovsky's First Piano Concerto and from that point forward, I’ve been bowing to this high priestess of classical music. Since the opportunity had availed itself to see my heroine, I arrived in New York with enormous anticipation and was greeted with sensational news from my friend with inner connections:  she had obtained tickets to a private rehearsal at Avery Fisher Hall to watch Martha, conductor Charles Dutoit and the UBS Verbier Festival Orchestra rehearse.

At exactly 3:12 PM on that Thursday afternoon, my heroine came out of a left stage door and I found myself instantly overcome with tears. There she was. In full flesh and blood, the pianist of all pianists walking casually onto the stage, exchanging amusing faces with Maestro Dutoit, and then flashing a glimpse of her staggering right hand technique. I nearly passed out. The musicians proceeded to perform Prokofiev's dizzying Third Piano Concerto and I had the privilege of hearing my favorite parts of this work not just once, but over and over as she shouted directions to various instrumentals, like “the flute is a bit too loud” or “a bit more crescendo for the tympani!” It took many minutes to regain any sense of composure, but finally I managed. I had a bird's eye view of her hands.

The night of the concert proved to be one the greatest experiences of my lifetime. There I sat on the front row to the right of the piano, able to witness Martha's face directly and watch her hands from the reflection off the shiny piano lid.  She performed this demonically exciting concerto with the powers of an Olympian goddess. Nothing fazed her as she triumphed her way through endless devilish passages and created the most intense, unforgettable music imaginable.

After the masterwork had been completed, I stood and cheered with thousands of others, all screaming “Martha! Martha!” as though she was a rock star. I, nearly eaten alive with the sheer electricity of that unfathomable performance, can’t remember ever sitting back down. And once again, thanks to my friend, after the concert I had the privilege of meeting Martha personally in the “Green Room.” I have to confess the magnitude of shaking the hand of THE Martha Argerich was almost more than I could withstand, and thankfully I had the wits to retrieve her autograph and the sacred pen as a keepsake. Sleeping later that night was not an option. The combined power of Martha Argerich, Maestro Dutoit, UBS Verbier Festival Orchestra, Prokofiev’s Third followed by Berlioz’s Symphonie Fantastique thundered through my veins until daybreak.

When I wrote my young middle grade fantasy novel, Dr. Fuddle and the Gold Baton, I imagined the power of Martha’s performance in the sixteenth chapter, when I described the Messengers of Music witnessing the inspirational power of the virtuoso Franz Liszt in action, right before their climactic battle to retrieve the sacred instruments and the Gold Baton.

I dream of the day when millions of young people will cheer for great legends like Martha Argerich, filling newly built concert halls to overflowing. May the immense power of classical music long live!

Amazing Singing Plants Phenomenon

singing plants - Music of the plants is beautiful and relaxing.

Plants are very much alive. Not only do they dislike human noise but they also posses the capacity to learn and communicate. 

Perhaps even more astonishing is that plants can also make music. 

Have you ever heard the incredible music of the plants? Plants can actually sing and compose music and listening to it is truly beautiful and relaxing! 

Ever since 1975, researchers at Damanhur, in northern Italy have been experimenting with plants, trying to lean more about their unique properties. 

Researchers use devices which they have created to measure the re-activity of the plants to their environment. The devices judge the plants' capacity to learn and communicate. 

Using a simple principle, the researchers used a variation of the Wheatstone bridge, an electrical circuit used to measure an unknown electrical resistance by balancing two legs of a bridge circuit, one leg of which includes the unknown component. 

...  The experiments have shown that plants definitely appear to enjoy learning to use musical scales and also making their own music with the use of a synthesizer.

Although there is currently little scientific research conducted on this subject, one cannot deny that listening to these beautiful plants is a joy for the soul.




Que up to 2:10 minutes to where the music starts.


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Dr Fuddle's Musical IQ Test 54

Answers to Musical IQ Test 53

1,  b.    George Frideric Handel
2.  c.     Franz Liszt
3.  a.     Moved, lively
4.  c.     Franz Schubert
5.  a.     Franz Liszt



Reader's Review: Dr. Fuddle and the Gold Baton is an entertaining new children's fantasy novel.


By Donna Burtch

It follows five contemporary, middle-school aged American kids on a journey that sets them against a backdrop (a magical land called Orphea) that is part 18th century European high-society and part classical Greek mythology. The result is unlike anything else around; it is innovative, intelligent, and extremely charming. 

It is a must-read for anyone who loves music and/or an imaginative, other-worldly adventure. This delightful book rescues classical music from the long-abandoned trunk in Grandma's attic, packed with moth balls amid other `relics' such corsets and petticoats, and dusts it off for the 21st Century. It presents classical music as fresh, relevant, high-tech, and most importantly to teens, cool. One of Dr. Woodruff's stated goals is to instill a love for classical music in generations to come. This story (all while entertaining and provoking thought) will surely succeed in that respect.

JonathanRyan Howells Rhapsody



Jonathan Ryan winner of the prestigious Jordan II International Organ Competition.  

Lauded for his strong communicative skills in a variety of styles, exceptional use of the instrument's capabilities, and creative programming, he has emerged as one of North America’s premier young concert artists.  With a repertoire spanning the 16th- to 21st-centuries, he ranks among the few organists ever distinguished with six First Prize awards at major international and national competitions.

Israeli pianist Inon Barnatan sees strength in numbers

BY KYLE MACMILLAN

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Today’s classical music world probably boasts more top-drawer piano soloists than ever before, but Inon Barnatan does not fear the competition. In fact, he doesn’t see it as competition at all.

 “As I pianist, I feel we’re all so different,” the Israeli-born virtuoso said. “I never believed that if somebody is getting a concert, they’re getting a concert that could have been mine. Or vice versa. feel like if you do what you believe in and if you’re good enough, there will be a spot for you.”

Barnatan, 33, who returns Aug. 26 to the Ravinia Festival for a recital and appears Oct. 28 as part of the Symphony Center Presents Chamber Series, believes it is harmful for artists to look over their shoulders and worry about their counterparts’ success.

“I look at my friends and people who are doing well [in the field], and we are friendly with each other,” he said. “We feel like we actually get more out of learning from one another and collaborating than from cutting each other’s throats.”

Competition or not, the fast-rising soloist has little to fret. He has carved out a niche for himself with consistently intelligent, insightful playing and an uncommon appetite for new and unconventional works, often imaginatively interspersed on his programs with older classics.

This interplay of the old and new is evident on his latest album, “Darknesse Visible” (Avie Records). It mixes contemporary and classic French and English works that were all inspired by literary or other musical compositions and all display elements of both lightness and darkness. 


In addition to works by Maurice Ravel and Claude Debussy, it includes Ronald Stevenson’s Fantasy on Benjamin Britten’s opera, “Peter Grimes,” and Thomas Ades’ 1992 piano adaptation of John Dowland’s 1610 song, “In Darkness Let Me Dwell.”

“I found it very interesting,” Barnatan said of the Ades piece, “how he can make something modern and fresh-sounding without changing a single note or rhythm from a song that was written 400 years ago.”


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