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CENTRAL PARK EARLY MORNING
The park glistens in the gold September light.
Dogs chase across the freshly mowed grass.
A few joggers in surgical masks and Day-Glo sneakers lumber by.
It might be an ordinary day, but the soundtrack intimates that its full of promise.
Orchestral music rises like mist off the grass: quivering strings, a wistful clarinet, a tintinnabulation ofcrotales.
Wait, this isnt a movie it only feels like one.
I pull off my headphones, and the scene reverts to the dull haze weve become accustomed to.
Anxious thoughts and shards of preposterous news ping my pre-coffee consciousness.
Ellen ReidsSoundwalk, composed for and performed by the New York Philharmonic, is an interactive glamorizing machine.
These are tough times for symphony orchestras, which belong in the forbidden indoors.
It will be months three, eight, 24?
It might have been a gimmick, nothing more than a silly update to the personalized playlist.
Instead, its a work thats found its ideal form.
She is a talented composer with a feel for the subtle relationship between physical and musical landscapes.
ButSoundwalkis at once open-ended and rigorous, glossy and improvisational.
The result emulates an immersive VR session: When you turn, so does the music.
