Similarly, when Montero improvises, it seems almost as though she is remembering the future, entraining to something that doesn’t yet exist. She intuits all the possibilities contained within a single theme, between its notes, inside its silences … and then picks one path to follow, plucks one shimmering thread from the tangle of possibilities and follows where it leads. The principle of least action manifests itself in her improvisations, then, not in that she plays what’s easiest; rather, that she plays what occurs to her to play, what comes as she lets herself drift along with time. She
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