Last week I talked to double bassist Sarah Hogan Kaiser about the Carnegie concert, coming up this Friday night, March 20, in New York City. She talked about the famous Carnegie acoustic, without in any way denigrating the acoustic in Powell Hall. Powell has a great sound too. But one of the biggest differences, she told me, was the acoustic on stage. At Carnegie, she will hear instruments she has not heard before. During Tchaikovsky’s Symphony No. 4, for instance, Kaiser usually is seated behind the cellos, but on the Carnegie stage she will hear a lot more than the celli–the oboes, perhaps, or even the triangle. It makes for different choices in her own playing, different ideas about blending, or providing contrast or support. It makes for a different Tchaikovsky 4, because music is a living thing, changing, shape-shifting, taking different forms wherever it goes, whether in mid-town St. Louis or mid-town Manhattan.