tag:blogger.com,1999:blog-10079234975139045212024-03-13T07:53:40.204-07:00The Classical Music PlaceCarlos Rodriguezhttp://www.blogger.com/profile/16185572334311702652noreply@blogger.comBlogger18125tag:blogger.com,1999:blog-1007923497513904521.post-68754786310523393852014-08-24T07:52:00.002-07:002015-02-02T12:12:16.411-08:00Historically Informed Performance II: Instrumentation<span style="font-family: Verdana, sans-serif;">The second basic difference in modern recordings and HIP recordings is the instrumentation used. In short, HIP recordings try to use instruments and ensembles that the composer would have used in his time, and for which he would have composed. (I am not by any means an expert in this so I will cover this briefly.)</span><br />
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<span style="font-family: Verdana, sans-serif;">Let's take an example: Bach's <i>Wohltemperierte Clavier. </i>There are many recordings available for this set of Preludes and Fugues, and there are many choices of instrument out there.</span></div>
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<span style="font-family: Verdana, sans-serif;">Most people would probably think that the most obvious choice for a HIP recording is one on the harpsichord. In fact, that is mostly correct. Harpsichords were popular and widely composed on in 1722, and most of the Preludes and Fugues would have been intended for one. But is it the only instrument on which Bach would have heard them? </span><span style="font-family: Verdana, sans-serif;"><br /></span></div>
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<tr><td class="tr-caption" style="text-align: center;">Bach's original harpsichord, which he owned the last twenty years of his life</td></tr>
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<span style="font-family: Verdana, sans-serif;">In fact, sometimes we simply assume that all the pieces in WTC were all composed together for the same purpose. The fact is that Bach, when constructing this collection for his students and for his children, used older fugues and recycled new material. This poses tricky questions regarding interpretation, as some of these are unclear regarding instrument; some are even organ pieces.</span></div>
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<span style="font-family: Verdana, sans-serif;">A clear example is the A minor fugue from WTC I.</span></div>
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<a href="http://1.bp.blogspot.com/-KS_puPJ33wI/U_nav-Y9_8I/AAAAAAAAAKA/wms9SIAn5EU/s1600/bach.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/-KS_puPJ33wI/U_nav-Y9_8I/AAAAAAAAAKA/wms9SIAn5EU/s1600/bach.jpg" height="232" width="640" /></a></div>
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<span style="font-family: Verdana, sans-serif;">Highlighted in red, we can see the tonic pedal lasting four and a half bars, which is physically impossible to maintain without the use of a pedal (on a piano). The only other alternative is that this is an organ fugue arranged for keyboard (that pedal note being more metaphorical than not).</span></div>
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<span style="font-family: Verdana, sans-serif;">So, there are problems when interpreting these pieces, regarding instrumentation. I personally like Gustav Leondhart's harpsichord recording, yet the pedal in this fugue is obviously not played fully. So maybe it would be better to listen to the WTC set on an organ. </span></div>
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<span style="font-family: Verdana, sans-serif;">There <i>are </i>performers who record these on the organ, but then there are some pieces that are obviously harpsichord pieces! </span></div>
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<span style="font-family: Verdana, sans-serif;">This is mainly a matter of taste, therefore. Until now I have talked about the instruments that the composer would have used to write the music. But back then, like now, the instrument that the composer used was not necessarily the instrument that would have used in common households. A perfect example of this is the clavichord. The clavichord is like a smaller, weaker harpsichord which was usually used for practice or composition. However, many households had one, instead of a more expensive harpsichord. </span></div>
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<span style="font-family: Verdana, sans-serif;">Therefore, due to the fact that the WTC Preludes and Fugues would have been played extensively on a clavichord, shouldn't we also accept this as a genuine option for recordings? (I personally love the clavichord's sweetness and sonority).</span></div>
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<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-tVTQpC-7qBw/U_nquRpSBgI/AAAAAAAAAKg/H35SxwqxysQ/s1600/Bach_Clavicord.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://1.bp.blogspot.com/-tVTQpC-7qBw/U_nquRpSBgI/AAAAAAAAAKg/H35SxwqxysQ/s1600/Bach_Clavicord.jpg" height="213" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Bach's clavichord</td></tr>
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<span style="font-family: Verdana, sans-serif;">Furthermore, the clavichord was still around by the end of the 18th century, and people still owned the instruments in their houses, despite the modern advances of the fortepiano. We can therefore assume that many people would have played Haydn's and Mozart's sonatas on a clavichord, and even some of Beethoven's. In fact, I recently heard a beautiful and convincing recording of Beethoven's Pathetique Sonata on a clavichord, by Wim Winters.</span></div>
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<span style="font-family: Verdana, sans-serif;"><a href="https://www.youtube.com/watch?v=7hQzG-CATQM" target="_blank">Wim Winters plays Beethoven's Pathetique on clavichord in an historical setting.</a></span></div>
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<span style="font-family: Verdana, sans-serif;">It is most likely that this sonata was composed on a Viennese fortepiano. But people probably still played it on the older and smaller clavichord (and harpsichord).</span></div>
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<span style="font-family: Verdana, sans-serif;">So really we should redefine what the principles of instrumentation for HIP are: not "performed on the instruments the composer would have used" but "performed on the instruments the musicians of the day would have used".</span></div>
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<span style="font-family: Verdana, sans-serif;">But... if the composers were happy to hear their pieces played on a clavichord, harpsichord and fortepiano (such as Mozart or even early Beethoven), what prevents us from playing them on a modern piano / violin etc... ? Food for thought. I know what my answer to that question is, but I would like to find out yours. Please comment below and thanks for reading.</span></div>
Carlos Rodriguezhttp://www.blogger.com/profile/16185572334311702652noreply@blogger.com0tag:blogger.com,1999:blog-1007923497513904521.post-88374498464823371282014-07-05T05:47:00.003-07:002014-07-05T05:48:50.910-07:00Which is your favourite classical music CD?<span style="font-family: Verdana, sans-serif;">So, I've been thinking recently about what a gift it is to have music so easily accessible and of such high quality all around us. In particular, I've been thinking about CDs and classical music, after listening to John Eliot Gardiner's Bach cantata set. These recordings are worked at with precision, intelligence, fine musicians and great quality. Bach would most certainly be impressed.</span><br />
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<span style="font-family: Verdana, sans-serif;">Therefore I'd like to ask you, readers of this humble blog, which classical recording would you place at the top of your list? Would it be Glenn Gould's 1981 Goldberg Variations, Kleiber's rendition of Beethoven's fifth and seventh, Gardiner's <i style="background-color: white; color: #252525; line-height: 22.399999618530273px;">Matthäus-Passion</i><span style="background-color: white; color: #252525; line-height: 22.399999618530273px;">?</span></span></div>
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<span style="font-family: Verdana, sans-serif;"><span style="background-color: white; color: #252525; line-height: 22.399999618530273px;">Leave a comment below and explain why you like your recording. I'm excited to hear your suggestions.</span></span></div>
Carlos Rodriguezhttp://www.blogger.com/profile/16185572334311702652noreply@blogger.com0tag:blogger.com,1999:blog-1007923497513904521.post-17072743844500469162014-06-29T10:03:00.000-07:002014-06-29T10:03:52.295-07:00Piece and composer of the day: Tarquinio Merula and his Capriccio Cromatico<span style="font-family: Verdana, sans-serif;">After fighting my way through a heavy exam season, I think that I am ready to initiate normal life again. Therefore, to start the summer of with a bang, I'd like to show you all this piece which I've just discovered for myself.</span><br />
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<span style="font-family: Verdana, sans-serif;">You see, I have just started learning a new "set" of repertoire on the piano, and along with Mozart's 20th concerto, I thought that I'd better add some baroque into my life, as I haven't played any music from this era for a long time.</span></div>
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<span style="font-family: Verdana, sans-serif;">I chose Bach's "Chromatische Fantasie" as my baroque piece for this season and, whilst doing some background research, I found myself listening to the strangest piece of early baroque music. </span></div>
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<span style="font-family: Verdana, sans-serif;">Tarquinio Merula was born in Busseto in 1595- or 94, and was trained in Cremona. A fine violinist, organist and sacred composer, he achieved fame in his life along with several important positions such as <i>maestro di cappella </i>at Cremona cathedral. However, it seems that he was quite a Casanova, having been charged with indecency amongst his pupils. </span></div>
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<tr><td class="tr-caption" style="text-align: center;">Tarquinio Merula</td></tr>
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<span style="font-family: Verdana, sans-serif;">In fact, this general sauciness about him was present in his musical </span><i style="font-family: Verdana, sans-serif;">ouvre</i><span style="font-family: Verdana, sans-serif;">, composing very rousing works for the time, such as an opera (baroque opera is quite, well, erm... see for yourself), madrigals and canzonettas (both very romantic), which were all the rage amongst the Italian upper classes. One need not look any further than this chromatic piece to realise that Merula was one of those musical </span><i style="font-family: Verdana, sans-serif;">bon viveurs</i><span style="font-family: Verdana, sans-serif;"> that revelled in the fashionable and modern trends of his day, rather like Monteverdi. Also, he helped pioneer many musical forms, such as the aria and trio sonata.</span></div>
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<span style="font-family: Verdana, sans-serif;">I do hope you enjoy this chromatic little jewel by Merula. I recommend you listen to this great recording, with original temperament (because I'm that historically informed). Let me tell you though, that equally tempered music will sound about ten times better after listening to this recording.</span></div>
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<a href="https://www.youtube.com/watch?v=D5_bSrkEFXs" style="font-family: Verdana, sans-serif;" target="_blank">Tarquinio Merula: Capriccio Cromatico (Courtesy of Gabor Soos)</a></div>
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<span style="font-family: Verdana, sans-serif;">Enjoy!</span></div>
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Carlos Rodriguezhttp://www.blogger.com/profile/16185572334311702652noreply@blogger.com0tag:blogger.com,1999:blog-1007923497513904521.post-34303247415388223862014-05-18T15:18:00.002-07:002014-06-06T12:42:47.134-07:00Review: Andrei Gavrilov with the Bristol Ensemble (18-5-14)<div style="border-bottom: solid #4F81BD 1.0pt; border: none; mso-border-bottom-themecolor: accent1; mso-element: para-border-div; padding: 0cm 0cm 4.0pt 0cm;">
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<span style="font-family: Verdana, sans-serif;">When I first heard that the great Russian pianist Andrei
Gavrilov was going to play the two hardest piano concerti ever written in one
single concert, I was fascinated. Later on, when I heard that he would attempt
the monumental feat </span><i style="font-family: Verdana, sans-serif;">without a conductor </i><span style="font-family: Verdana, sans-serif;">I
was utterly shocked at the thought of such a concert. I was really looking
forward to this concert, and I can say that I’ve never quite seen anything like
it.</span></div>
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<tr><td class="tr-caption" style="text-align: center;">The Russian master Andrei Gavrilov</td></tr>
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<span style="font-family: Verdana, sans-serif;">The Bristol Ensemble conducted by the pianist himself and
led by violinist Roger Huckle started the evening of Russian music off by
playing Mussorgsky’s “Night on a bare mountain” with flaming bravado and true </span><i style="font-family: Verdana, sans-serif;">Sturm und Drang. </i><span style="font-family: Verdana, sans-serif;">The technicalities of
the piece were well executed by the orchestra, and the piece was conducted most
extraordinarily by Gavrilov, demonstrating his overflowing musicality and
passion. His freedom in leadership and his total dedication to the mood and
atmosphere of the music was captivating to watch and created an instant bond
with the audience, creating a thoroughly enjoyable experience. </span><span style="font-family: Verdana, sans-serif;"> </span><span style="font-family: Verdana, sans-serif;">Perhaps a minor drawback was the lack of power
from the string section, but I can almost certainly say that this was due to
the hall or to the amount of players (4 desks of first violins).</span></div>
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<span style="font-family: Verdana, sans-serif;">Then Tchaikovsky’s first piano concerto commenced, with its
loud brass figure at the beginning followed by punching and then lyrical strings.
Gavrilov started, and filled the hall with his sound, playing musically and
virtuosically. The music all seemed to flow naturally, with the piano cadenzas
captivating the audience and prompting me to the edge of my seat. This was a
sophisticated yet zesty performance, with a flawless third movement and a
lyrical and rich second movement.</span></div>
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<span style="font-family: Verdana, sans-serif;">However, Gavrilov’s sound was too aggressive and eager, probably due to the rather timid piano and the lack of a lid. At times, the attack was too much,
and the sound drowned itself out, not allowing a full sound to be produced and blurring
some faster passages. I can see why Gavrilov would do this, as the piano had to
be heard amidst the orchestra and its fiery playing. In spite of this, I do
feel that the sound could have been more moderate. </span></div>
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<span style="font-family: Verdana, sans-serif;">Having said this, I would
much prefer this to be played with Gavrilov’s ebullient sense of performance
and musicality however loudly and roughly, than with a shyer and less
passionate approach.</span></div>
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<span style="font-family: Verdana, sans-serif;">Following this captivating display came the outstanding performance of
Rachmaninov’s third piano concerto. This was tamer, with a less vigorous
approach, which I personally preferred. The first movement was taken at a
perhaps faster tempo than usual, which created a brilliant effect and allowed
the piece to flow much more easily. The second movement was rapturous, and
Gavrilov’s conducting really took the Bristol Ensemble to another level. This
swiftly progressed to the vivacious third movement, which was euphorically
performed with an incredible musical and technical prowess from Gavrilov. The
orchestra adhered to Gavrilov’s musical decisions wonderfully, and performed on
a different level than usual. This was also done in the Tchaikovsky. Solos were
handled very well, and Roger Huckle led accurately and coherently from the
front desk of the first violins, assuming an instrumental role in the
performance. The lack of conductor somehow brought the orchestra and the
soloist together, creating an essentially intimate affair which led to a
musically enthralling performance. </span></div>
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<span style="font-family: Verdana, sans-serif;">T</span><span style="font-family: Verdana, sans-serif;">he whole piece finished fantastically with Gavrilov
creating an explosion of sound and playing brilliantly. He
captured the essence of the music and was able to transmit that to the audience, even if it meant snapping a string at the end and leaving the piano rather traumatised!</span></div>
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<span style="font-family: Verdana, sans-serif;">After a standing ovation from the audience and persistent
clapping, Gavrilov returned to the stage and performed an exciting encore (Prokofiev?)
in a dramatic, but musically sincere way. This adventurous and essentially fun
piece finished the evening with a clear message: Gavrilov was enjoying himself,
and with his novel but rousing conducting technique and his gobsmacking
virtuosity he was able to make the audience enjoy themselves in this
unforgettable concert.</span></div>
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Carlos Rodriguezhttp://www.blogger.com/profile/16185572334311702652noreply@blogger.com0tag:blogger.com,1999:blog-1007923497513904521.post-8526719172141699092014-05-16T14:33:00.002-07:002014-12-10T14:48:39.573-08:00Historically Informed Performance I: Tuning<span style="font-family: Verdana, sans-serif;">I'm sorry guys, but it's difficult for me to avoid the elephant in the room any longer. Today is the day I shed light on my period performance tastes.</span><br />
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<span style="font-family: Verdana, sans-serif;">As any musician friend of mine will be able to tell you, I am ardently pro-HIP (historically informed performance) to the end. On this massive series of why I believe that it is the correct and should be the standard way to play any sort of music, I will give you all my reasons and allow you to make a historically informed decision.</span></div>
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<span style="font-family: Verdana, sans-serif;">Please note, although I said that I think HIP is the correct way of performing music, I would like to stress that that doesn't mean I condemn non-HIP performance, or that I can't appreciate or enjoy a non-HIP performance. In fact, there are many fine non-HIP performances out there, and of course it is your choice to choose which performance practice you like. (I even have some in my CD shelf...don't tell anybody.)</span></div>
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<span style="font-family: Verdana, sans-serif;">So in this first instalment of this series I would like to talk about the fundamental concept upon which the auditory experience of music relies on: tuning. </span></div>
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<span style="font-family: Verdana, sans-serif;">It is common knowledge that today's standardised frequency for the note A (A4 specifically) is 440Hz (Hertz meaning vibrations per second). Well, mostly, but I'll get on to that later.</span></div>
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<span style="font-family: Verdana, sans-serif;">It is also of fairly common knowledge that period performance practice uses the standardised tuning of A=415Hz. But why? How can the definition of a note change through time, and how do we even know?</span></div>
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<span style="font-family: Verdana, sans-serif;">In fact, how do we even go about <i>standardising </i>the scientific value of a totally relative and intrinsically subjective concept that is "A"? The answer is, we don't. </span><span style="font-family: Verdana, sans-serif;">It is important to establish that A has never been the same. It has always changed from period to period and from region to region. </span></div>
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<span style="font-family: Verdana, sans-serif;">But how do we know? In fact, period organs, period flutes, trumpets, horns and other non-tunable instruments can give us a pretty close idea.</span></div>
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<span style="font-family: Verdana, sans-serif;">The frequency of A differed greatly among the different regions of the western world in the baroque period. It can be safely said that pitch was higher in the north of what is now Germany than in the south, that pitch in Venice was higher that in Rome, and that pitch in France was a totally changeable concept dependant entirely upon the type of music being performed (to be expected from the French, obviously). </span></div>
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<span style="font-family: Verdana, sans-serif;">Actually, this clears up a lot of issues. For example, have a look at this excerpt from on of Monteverdi's (Venice) operas:</span></div>
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<span style="font-family: Verdana, sans-serif;">This is meant to be sung by a soprano. Now, an operatic soprano of nowadays might find this uncomfortable, at is is so surprisingly low. But, if we perform it taking into account the date and period where it was written, it would be easier to perform as the music would sound a semitone higher, according to our ears. </span></div>
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<span style="font-family: Verdana, sans-serif;">So how is this important?</span></div>
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<span style="font-family: Verdana, sans-serif;">Well, there are many examples like those we've just seen from baroque Italy, France and others, so that's a reason.</span></div>
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<span style="font-family: Verdana, sans-serif;">Another reason this is important, is that music is perceived differently depending on it's pitch. For me, Bach's Mass in B minor actually played in what is to day a B would sound weird.<br />It is also important for period instrument makers, but fundamentally, it is important for us, the listeners, as we should - in my opinion - hear music as the composer and contemporary audiences heard it.</span></div>
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Carlos Rodriguezhttp://www.blogger.com/profile/16185572334311702652noreply@blogger.com0tag:blogger.com,1999:blog-1007923497513904521.post-5164078991331566372014-05-09T15:06:00.001-07:002014-05-09T15:06:19.485-07:00Piece of the day: 7 Trio pieces for 3 Trautoniums by Paul Hindemith<div>
<span style="font-family: Verdana, sans-serif;">Firstly, I have to apologise to everybody for not posting for a while. Rest assured I am back and ready to carry on writing.</span></div>
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Onto our subject for today. I must admit I was pretty shocked when I heard these pieces. </span><div>
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<span style="font-family: Verdana, sans-serif;"><a href="https://www.youtube.com/watch?v=b87vFdI3qxU" target="_blank">Paul Hindemith - 7 Trio Pieces for 3 Trautoniums (Courtesy of ollavogala)</a></span><div>
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<span style="font-family: Verdana, sans-serif;">These seven barely-minute-long pieces written by Paul Hindemith in 1931 are a fantastically rounded set of rarities. They are written in an almost textbook expressionist style, but they never quite leave tonality, always charmingly resolving to a lovely triad at the end. This perfectly matches how the Nazis viewed him as a degenerate atonal artist, but the secretly hoped that he would continue to write in his early tonal style and become an iconic mainstream German composer.</span></div>
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<span style="font-family: Verdana, sans-serif;">Piece number five is a particular favourite of mine, with its undecided key of G major/minor at the beginning and its quirky style, it makes for a fun (or funny) listen. And number six, for its beautiful middle section and the ethereal sound that it makes. And number seven. And number two. </span></div>
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<span style="font-family: Verdana, sans-serif;">In fact I couldn't decide which one I like the most. I honestly love all of them!</span></div>
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<span style="font-family: Verdana, sans-serif;">But what is most outstanding of these three pieces is the instrument that they were written for. This bizarre electronic creature is called a "Trautonium". It was invented by Friedrich Trautwein in around 1929 and was developed by Oskar Sala until his death. Hindemith took a particular fancy to this instrument, composing various works on it including a Trautonium concerto with strings.</span></div>
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<tr><td class="tr-caption" style="text-align: center;">This strange looking instrument has a vague whiff of electric chair about it, methinks</td></tr>
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<span style="font-family: Verdana, sans-serif;">The instrument works by pressing a suspended wire down to a board, thus allowing the flow of electricity to pass and to create a note (or something like that!). There is also a mixer attached to some later models, allowing for sound effect and other possibilities. The expressive capabilities of this instrument are massive, as the player can produce vibrato and control dynamics. However the most important detail is that the player can control the "colours" ("Farben") of the sound, producing a wide variety of sounds that can sound rich, wiry, dense or light. </span></div>
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<span style="font-family: Verdana, sans-serif;">Hindemith used all of these fantastic features when writing these pieces. For me, they show a machine-like and industrialised black-and-white world of the early thirties. I like that.</span></div>
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<span style="font-family: Verdana, sans-serif;">Enjoy!</span></div>
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Carlos Rodriguezhttp://www.blogger.com/profile/16185572334311702652noreply@blogger.com0tag:blogger.com,1999:blog-1007923497513904521.post-69078417812293288912014-04-17T08:58:00.001-07:002014-04-17T08:58:22.169-07:00Piece of the day: Mass for Double Choir by Frank Martin<span style="font-family: Verdana, sans-serif;">Frank Martin (1890-1974) isn't a composer that you hear very much of. He was a Swiss composer who spent a large portion of his life in the Netherlands.</span><br />
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<span style="font-family: Verdana, sans-serif;">Among his works we can find an operatic setting in German of Shakespeare's "The Tempest", two piano concerti, a harpsichord concerto, a 'cello concerto, a violin concerto, a concerto for various wind instruments and six ballades for solo instruments and orchestra. We can also find a symphony, a chamber symphony, a ballet and a requiem mass among other works. His style is fundamentally tonal, but the composer had an atonality phase like most others during the early thirties. </span></div>
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<span style="font-family: Verdana, sans-serif;">What's surprising is that he had a great talent for the piano since his early childhood, when he apparently composed full songs at the age of nine before having received formal musical tuition. It seems that his musical studies were not very thorough, having studied music informally whilst reading maths and physics at Geneva University. Later on he worked with Dalcroze, the developer of Eurythmics (a method of musical teaching that focuses especially on kinaesthetic aspects).</span></div>
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<span style="font-family: Verdana, sans-serif;">But what seemed to spark an interest in the boy was hearing a performance of Bach's St. Matthew Passion when he was twelve. Hereon, we can observe a fondness for Bach and the choral genre: he wrote and played on the harpsichord and clavichord, wrote plentiful vocal settings of religious texts and his chamber symphony is somewhat evocative of Bach's fifth Brandenburg Concerto, as the harpsichord and harp perform as soloists, not as a <i>basso continuo.</i> </span></div>
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<span style="font-family: Verdana, sans-serif;">This mass in particular has something about it which makes it very individual. It is not like some pieces that feel as if they end prematurely or too late, but it is almost perfectly formed and has a particular sense of continuity in its programmatic style.</span></div>
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<span style="font-family: Verdana, sans-serif;">There are some features which I would like to point out.</span></div>
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<span style="font-family: Verdana, sans-serif;">First off, the piece is set brilliantly for double <i>a cappela</i> choir. The part writing shows a high level of craftsmanship, that we might expect from Martin's experience in choral writing.</span></div>
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<span style="font-family: Verdana, sans-serif;">The piece is really programmatic, with sections of the text being emphasised with the musical phrasing etc...</span></div>
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<span style="font-family: Verdana, sans-serif;">For example, in the Creed, the phrase "<i>et homo factus est</i>" is sung with a sudden tempo change, making it slow and reverent, almost reflecting the head-bow done in the mass whilst saying this phrase. </span></div>
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<span style="font-family: Verdana, sans-serif;">"<i>Crucifixus</i>" is sung with the interval of the tritone, giving it a sense of turmoil. Furthermore, before this, the tenors proclaim "decisively" "<i>begotten not made, consubstantial with the Father</i>" just to get rid of two or three heresies right there on the spot.</span></div>
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<span style="font-family: Verdana, sans-serif;">The final section that is the "<i>Agnus Dei</i>" sounds truly penitent and bleak, with one choir slaving away at a quasi-drone whilst the other choir sings a rather menacing melody on top of that, which overall really conveys a call for mercy. It also reminds me of the Hebrew slaves asking for mercy and reminiscing (see Psalm 137). </span></div>
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<span style="font-family: Verdana, sans-serif;">Overall, Frank Martin's Mass for </span><span style="font-family: Verdana, sans-serif;">double </span><i style="font-family: Verdana, sans-serif;">a cappela</i><span style="font-family: Verdana, sans-serif;"> choir is a great work of art which is great to listen to mostly due to its form and line. Especially recommended during this time.</span></div>
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<span style="font-family: Verdana, sans-serif;">Do tell me what you think!</span></div>
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Carlos Rodriguezhttp://www.blogger.com/profile/16185572334311702652noreply@blogger.com0tag:blogger.com,1999:blog-1007923497513904521.post-62883557012414347862014-04-14T05:41:00.000-07:002014-04-14T05:44:04.941-07:00Piece of the day: Concerto com molti stromenti RV558 by Vivaldi<span style="font-family: Verdana, sans-serif;">Now I must admit this piece is not so obscure.</span><br />
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<span style="font-family: Verdana, sans-serif;">I think we all need a bit more baroque in our lives though. I mean proper baroque, not Albinoni's Adagio (not actually by the man, although I do like it) which will be discussed in a future post; or baroque music played on an orchestra that's too big with modern instruments, modern tuning and very questionable musical and historical decisions (hint hint Karl Richter). Of course I have a lot to say on historical performance, but let's not go there yet because I might bite you.</span></div>
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<span style="font-family: Verdana, sans-serif;">This video which I'm about to share is - in my opinion - probably as close to perfection as one can get regarding baroque music. Take a look.</span></div>
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<span style="font-family: Verdana, sans-serif;"><a href="https://www.youtube.com/watch?v=A9QQQ0CU3CE">Vivaldi: Concerto com molti stromenti (Europa Galante)</a> (Courtesy of Nearness)</span></div>
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<span style="font-family: Verdana, sans-serif;">This work by the Red Priest is the concerto for two recorders, two mandolins, two chalumeaux (baroque forerunner of the clarinet), theorbos (big fat lutes that could be used in sonic warfare due to their 55cm + long strings that go as low as the third A below middle C), a single violoncello, and two violins "in tromba marina". Otherwise known as the Concerto com molti stromenti.</span></div>
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<span style="font-family: Verdana, sans-serif;">It is a late work, written in 1740 for a visit by Prince Frederick Christian of Poland to Venice. It is possibly one of his most unique and rounded works: I really really like it. You</span><span style="font-family: Verdana, sans-serif;"> need not look further than the instrumentation to see that this is a great piece of work.</span></div>
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<span style="font-family: Verdana, sans-serif;">Something I would especially like to draw attention to is the specification that Vivaldi wrote on the score: "Due violini in tromba marina" (that's and educated guess, using my terribe Italian skills, as the score is not available online). This literally means "two violins in the manner of the marine trumpet (tromba marina)". The tromba marina was a two metre long instrument with one string, that had such a setup that it created a buzzing when played due to its bridge position. This gave it a trumpet-like sound, hence the name (have a listen: https://www.youtube.com/watch?v=srWxpRxlTbc courtesy of Iconografia Musical)</span><span style="font-family: Verdana, sans-serif;">.</span></div>
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<span style="font-family: Verdana, sans-serif;">So what does Vivaldi think he's doing instructing a 59cm long instrument to sound like a 200cm long instrument?</span></div>
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<span style="font-family: Verdana, sans-serif;">What Vivaldi probably meant was that the violins were to recreate the <b>buzzing </b>that the hefty beast made when played. In the video, Fabio Biondi and the Europa Galante ensemble execute this fantastically, wherein the two principal violinists scrunch up some tin foil onto their bridges, creating a great buzzing sound. It would have probably have been done with paper originally. This, along with the theorbos, mandolins, recorders and cello, creates a highly developed and intricate texture which makes this piece a joy to listen to.</span></div>
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<span style="font-family: Verdana, sans-serif;">But what I love about this interpretation is its historical accuracy and the great sense of performance. The ensemble is stood up and arranged appropriately, with Fabio Biondi leading the whole thing in due course. Small rits and other slight nuances are performed, with some natural tempo variations that altogether make this a very alive and musical performance, despite my ardent dislike of Biondi's four seasons (why do people assume "historically accurate" means throw away everything people have done with the piece before and play it as crazily as possible?!). </span></div>
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<span style="font-family: Verdana, sans-serif;">This goes to all who think that historical performances are dull and unmusical. </span></div>
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<span style="font-family: Verdana, sans-serif;">Furthermore, the musicians are really enjoying themselves and are all playing with the greatest technical skill, whilst making intelligent, accurate and <b>musical </b>interpretation decisions as a coherent unit. </span></div>
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<span style="font-family: Verdana, sans-serif;">There. Done. Semi-perfection.</span></div>
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<span style="font-family: Verdana, sans-serif;">Don't forget to add opinions and to share!</span></div>
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Carlos Rodriguezhttp://www.blogger.com/profile/16185572334311702652noreply@blogger.com0tag:blogger.com,1999:blog-1007923497513904521.post-83063697595721636632014-04-13T13:19:00.000-07:002014-04-14T05:33:07.442-07:00Tone production on string instruments<span style="font-family: Verdana, sans-serif;">As all violinists and string instrumentalists out there will know, the technique of the violin (and other string instruments) is usually split into two sections: right-hand technique (bowing styles, tone production, dynamics) and left-hand technique (dexterity, intonation, vibrato). </span><br />
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<span style="font-family: Verdana, sans-serif;">Many people, myself included, spend a large amount of time addressing left hand technique, but do not quite match that with the time they spend on right-hand technique. Lately I have found that the main area of improvement that I need to focus on is </span><b style="font-family: Verdana, sans-serif;">tone production and bow changing</b><span style="font-family: Verdana, sans-serif;">.</span><br />
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<span style="font-family: Verdana, sans-serif;">So I want to share with you some of the things that I've been told, some of the things I've researched, and some of the things that I'm practising.</span></div>
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<span style="font-family: Verdana, sans-serif;">Tone production can be thought of being comprised of three main factors:</span></div>
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<li><span style="font-family: Verdana, sans-serif;">Bow position</span></li>
<li><span style="font-family: Verdana, sans-serif;">Bow speed </span></li>
<li><span style="font-family: Verdana, sans-serif;">Bow pressure</span></li>
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<span style="font-family: Verdana, sans-serif;">Bow placement is important, as one can easily loose track of where they are, regarding this. A problem that I'm sometimes encountering is that I realise that I'm playing too near the fingerboard when I should be nearer the middle or the bridge, which is crucial, especially for the staccato bow stroke (as in Wieniawski, not staccato articulation). The opposite is that I'm playing too near the bridge, as I live life on the fast lane and am a totally free spirit...</span></div>
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<span style="font-family: Verdana, sans-serif;">Bow speed ties in with this very closely. For example, to play a note on the bridge and to achieve a beautiful, wispy tone, you need to use a faster bow, whereas for a loud, gritty (not scratchy) sound near the bridge, you need to use a slower bow.</span></div>
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<span style="font-family: Verdana, sans-serif;">Bow pressure is also very important, as - for example - you cannot produce a good fingerboard sound with a heavy bow. </span></div>
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<span style="font-family: Verdana, sans-serif;">Lack of pressure control results in either scratching or, on the other end of the spectrum, a shy and timid tone. </span></div>
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<span style="font-family: Verdana, sans-serif;">Factors that I have found affect this are forefinger pressure (on the fingerboard, the little finger must be used to counter-act the forefinger's pressure); arm and elbow height (the elbow must be in a high position for soft tone production and in a relatively low position for forte tone production) and straightness of bow.</span><br />
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<tr><td class="tr-caption" style="text-align: center;">An interesting contraption used to keep violin students' bows straight.</td></tr>
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<span style="font-family: Verdana, sans-serif;">Also, different problems can be encountered at different points of the bow, such as the heel, where it is difficult to produce a soft tone due to its natural heaviness. This needs to be controlled in the arm and fingers in order to overcome these difficulties.</span></div>
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<span style="font-family: Verdana, sans-serif;">This can all seem basic, but everyone has these issues.</span></div>
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<span style="font-family: Verdana, sans-serif;">The problems that violinists encounter are due to a lack of control in these fundamental areas. Here are some exercises that I've researched or that I already practise, and that I think are effective:</span></div>
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<li><span style="font-family: Verdana, sans-serif;">Play a long note near the bridge, with slow bow speed and high bow pressure. Do this for both up and down bows, taking care with bow change and keeping tone even.</span></li>
<li><span style="font-family: Verdana, sans-serif;">Do the same, just that on the fingerboard, with fast bow speed and low bow pressure (taking extra care on the up bow)</span></li>
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<li><span style="font-family: Verdana, sans-serif;">"Press-ups": Place the tip of the bow on the string (bridge) and press down with the forefinger so that the bow hair touches the stick. This can also be done on other points of the bow, and is quite literally an exercise that should be repeated a couple of times.</span></li>
<li><span style="font-family: Verdana, sans-serif;">This exercise by my favourite violin pedagogue Ivan Galamian improves control of tone, despite the location of the bow (tip or heel). It is to be done on all strings, scales, double stops etc...</span></li>
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<li style="text-align: left;"><span style="font-family: Verdana, sans-serif;">This exercise by Dounis, whose studies aid and plague many students today, is brilliantly effective. I practise it every time I get the violin out. Apparently Leopold Mozart would get his students to practise a similar study, which means that Mozart Jr. probably did something like this.<br />The bow shouldn't be stopped for the accented notes, as the forefinger should be used to emphasise these. (Again, this study is for all strings, and all positions, preferably.) </span></li>
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<span style="font-family: Verdana, sans-serif;">Good luck with improving tone. Wish me good luck as well though!</span></div>
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Carlos Rodriguezhttp://www.blogger.com/profile/16185572334311702652noreply@blogger.com0tag:blogger.com,1999:blog-1007923497513904521.post-37747060516672125212014-04-12T10:13:00.000-07:002014-04-12T11:57:17.046-07:00Concert Etiquette: Too old-fashioned? Part II - Performers<h2 style="background-color: #fff9ee; font-family: Georgia, Utopia, 'Palatino Linotype', Palatino, serif; font-size: 12px; margin: 0px 0px 1em; position: relative;">
<span style="font-weight: normal;"><i><span style="font-size: large;"><span style="font-family: 'Courier New', Courier, monospace;">A </span><span style="font-family: Verdana, sans-serif;">[satirical]</span><span style="font-family: Times, 'Times New Roman', serif;"> </span><span style="font-family: 'Courier New', Courier, monospace;">proper guide to concert etiquette by Carlos Rodriguez, part the second:</span></span></i></span></h2>
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<span style="font-family: Courier New, Courier, monospace;">The presentation of performers is of the greatest importance in a concert situation. The audience expects strict adherence to basic rules of etiquette from the performers, which makes the concert experience more enjoyable.</span></div>
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<li><span style="font-family: Courier New, Courier, monospace;">The dress of the male performer is to be either:<br />a. White shirt, black trousers, black shoes and socks, black dinner jacket, black bow tie.<br />Optional elements include a cummerbund or a red flower in the breast-pocket.<br />b. Black suit with tails<br />c. Any of the above without the jacket, but with red cummerbund and red bow tie.</span></li>
<li><span style="font-family: Courier New, Courier, monospace;">The dress of the female performer allows for more scope of choice. Ladies are to wear a long dress, which is not too tight or loose. Long skirts are preferable to short skirts, as the audience is to be attentive of the music and not other entertainments.</span></li>
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<span style="font-family: Courier New, Courier, monospace;">(Exceptions:</span></div>
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<li><span style="font-family: Courier New, Courier, monospace;">Conductors are to wear a collarless black jacket.</span></li>
<li><span style="font-family: Courier New, Courier, monospace;">Sleeves are never to be rolled up.)</span></li>
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<li><span style="font-family: Courier New, Courier, monospace;">When arriving upon the stage, the performers are to bow once and assume their positions (This does not apply for orchestras, in which case the conductor bows after his entry which will be after the entry of the concertmaster. See below.) If desired, a brief introduction to the piece will be given, although this should be taken care of in the programme.</span></li>
<li><span style="font-family: Courier New, Courier, monospace;">Concert masters shall enter onto the stage first. Beforehand, deputy concertmasters are to tune the orchestra, asking for a general A from the oboe (or the concertmaster can do this themselves after they go on). Conductors shall then assume the stage.</span></li>
<li><span style="font-family: Courier New, Courier, monospace;">Post performance, the performers are to bow in synchronisation, and female musicians are to be given a kiss on the hand by male conductors (only in the case of section leaders or soloists) or accompanists. Section leaders of orchestras will be given a handshake (or kiss, as aforementioned) by the conductor.</span></li>
<li><span style="font-family: Courier New, Courier, monospace;">Encores are to be given only after insistent clapping, and preferably after four returns onto the stage. They must not be given before this, as it may be perceived as desperate by the audience.</span></li>
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<span style="font-family: Verdana, sans-serif;">Meh.</span></div>
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<span style="font-family: Verdana, sans-serif;">It's somewhat annoying for a performer to have to adhere to these rules in most situations. Here's why.</span></div>
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<span style="font-family: Verdana, sans-serif;">Musicians essentially want to <i>share</i>. That's what they've given up a vast portion of their lives to be able to do. Performances are for sharing. So surely, does dress matter? Does presentation, synchronisation, and the time for giving an encore matter? Yes. But they do not have to be looked at with such rigid uniformity and conservative traditionalism.</span><br />
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<span style="font-family: Verdana, sans-serif;">I enjoy going to concerts and playing in them. They are laid out very well, so I'm not trying to criticise all of the traditional structure.</span><br />
<span style="font-family: Verdana, sans-serif;"><br /></span><span style="font-family: Verdana, sans-serif;">But there are some ideas which I would like to propose.</span><br />
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<span style="font-family: Verdana, sans-serif;">The first is that performers should wear clothes that are suitable for the occasion, but also allow for some individuality (in chamber music and smaller ensembles, perhaps) and comfort. I can tell you as a violinist that it is not comfortable playing in a bow tie, for example. Take a look at what the German Symphony Orchestra has introduced in their casual concerts series:</span><br />
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<span style="font-family: Verdana, sans-serif;">I like this. It shows the performers to be more human, more accessible. Besides, traditional concert dress is simply the elegant clothing from roughly a hundred years ago. Why shouldn't we wear elegant clothes from <i>our</i> era in concerts?</span><br />
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<tr><td class="tr-caption" style="text-align: center;">An example of modern clothes that could be worn in today's concerts</td></tr>
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<span style="font-family: Verdana, sans-serif;">Swiftly moving on from fashion, my second proposal is that performers engage much more with the audience, and vice versa.</span><br />
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<span style="font-family: Verdana, sans-serif;">It has become standard for short introductions to be made before concerts. But what about between pieces, what about Q&As and audience feedback? These could all be applied in more informal, relaxed concert scenarios.</span><br />
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<span style="font-family: Verdana, sans-serif;">Unfortunately, I doubt that the concert (as a concept) could always handle such levels of audience interaction. My suggestions are idealistic and probably assume a perfect audience, but they would make a difference.</span><br />
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<span style="font-family: Verdana, sans-serif;">What I'm basically saying, is that concerts need to encourage the connection between the audience and the performers more. Even if it's just the aesthetics, or naming a concert "informal", or even ditching the word "concert" and calling it something else. Yes, they need social standards and they can't be pure spontaneity; don't get me wrong, I like concerts as they are, mostly. But, I think that performers should interact with each other and with the audience more, like how people do this in normal social situations, in order to make this an alive and accessible genre of music.</span><br />
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<span style="font-family: Verdana, sans-serif;">Do add opinions down in the comments!</span></div>
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Carlos Rodriguezhttp://www.blogger.com/profile/16185572334311702652noreply@blogger.com0tag:blogger.com,1999:blog-1007923497513904521.post-43404485601337129652014-04-10T09:37:00.001-07:002014-04-10T09:37:36.462-07:00Piece of the day: Piano Sonata no. 1 by John Field<span style="font-family: Verdana, sans-serif;">Today I want to share a piece by British composer John Field (1782 - 1837).</span><div>
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<tr><td class="tr-caption" style="text-align: center;">The Irish composer John Field</td></tr>
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<span style="font-family: Verdana, sans-serif;">He is best known for his nocturnes, which greatly influenced the work of Chopin, Liszt, Brahms and Schumann among others. These expressive works (especially for their time) are a bedrock of romantic piano music. His nocturne no. 5 in B flat major was the first piece of this sort that I learnt, before moving on to Chopin.</span></div>
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<span style="font-family: Verdana, sans-serif;">However in his piano sonata no. 1 (op. 1), we see a glimmer of what came before him. This lighthearted, almost Mozartian sonata was dedicated to his teacher and friend Muzio Clementi and reflects his compositional style with a simplistic salon </span><span style="background-color: #f9f9f9; color: #252525; line-height: 17.318559646606445px;"><span style="font-family: Verdana, sans-serif;">façade</span></span><span style="font-family: Verdana, sans-serif;">, favoured by Chopin and even Schumann.</span></div>
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<span style="font-family: Verdana, sans-serif;">The first movement glides along in the pacific key of E flat major, and then reaches an interesting development section, where the melody is played in the tonic minor, and turbulent arpeggios in the left hand accompany an angry melody in the right hand (scandalised is the word I like to use for these passages). These developments are a typical feature of Field's music. </span></div>
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<span style="font-family: Verdana, sans-serif;">After a neat resolution, the second movement </span><span style="font-family: Verdana, sans-serif;">(and last, interestingly) proves a jolly, but refined swagger. It's bouncy, it's fresh, it's simple. I like that.</span></div>
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<span style="font-family: Verdana, sans-serif;">Benjamin Firth plays this wonderfully along with Field's other works. I would really urge you to listen to his interpretation (at this point I would also urge you to get Spotify, if you haven't already, as you can listen to all of these albums I'm recommending for free). I can not recommend any other recordings due to unsatisfactory technique or interpretation (that wasn't meant to be so snobbish...).</span></div>
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<span style="font-family: Verdana, sans-serif;">Do tell me what you think!</span></div>
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Carlos Rodriguezhttp://www.blogger.com/profile/16185572334311702652noreply@blogger.com0tag:blogger.com,1999:blog-1007923497513904521.post-3758367164684040902014-04-06T16:45:00.002-07:002014-04-10T11:30:08.102-07:00Concert Etiquette: Too old-fashioned? Part I - Audience<h2>
<span style="font-weight: normal;"><i><span style="font-size: x-large;"><span style="font-family: Courier New, Courier, monospace;">A </span><span style="font-family: Verdana, sans-serif;">[satirical]</span><span style="font-family: Times, Times New Roman, serif;"> </span><span style="font-family: Courier New, Courier, monospace;">proper guide to concert etiquette by Carlos Rodriguez</span></span></i></span></h2>
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<span style="font-family: 'Courier New', Courier, monospace;">Pre-concert:</span></div>
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<li><span style="font-family: Courier New, Courier, monospace;">It is most unacceptable to arrive to the concert venue with shabby and vulgar clothing. One must always take great care in the presentation of their person in formal occasions, as not to stand out in the audience, and prove an unpleasant sight to all other concertgoers.</span></li>
<li><span style="font-family: Courier New, Courier, monospace;">Arriving late to a concert is of the utmost rudeness. One is to arrive at least ten minutes early, for a sociable glass of wine at the venue cafe and to be seated in one's allocated stall promptly and swiftly.</span></li>
<li><span style="font-family: Courier New, Courier, monospace;">Special attention must go into turning off all mobile phones and electronic devices, as to not disturb other listeners and to ruin what is a rigorously aurally-demanding listening experience.</span></li>
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<span style="font-family: Courier New, Courier, monospace;">Inter-concert:</span></div>
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<li><span style="font-family: Courier New, Courier, monospace;">Tapping, air conducting and humming are all strictly prohibited.</span></li>
<li><span style="font-family: Courier New, Courier, monospace;">All coughs shall be reserved until the end of a movement or piece.</span></li>
<li><span style="font-family: Courier New, Courier, monospace;">Drinking or eating is not permitted.</span></li>
<li><span style="font-family: Courier New, Courier, monospace;">Walking out of the auditorium to go to the comfort room is an utterly disgraceful lack of respect for fellow audience members and performers. A brief interval shall be given to allow for inconveniences.</span></li>
<li><span style="font-family: 'Courier New', Courier, monospace;">There are strict rules for the clapping during pieces:</span></li>
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<li><span style="font-family: Courier New, Courier, monospace;">Clapping is permitted only after the end of a piece<span style="font-size: x-small;"> (exceptions include opera performances whereupon one may clap after a virtuosic aria or the appearance of a diva. Of course, one is to wait after a sad or passionate number as to preserve the intimacy of the moment [see below]).</span></span></li>
<li><span style="font-family: Courier New, Courier, monospace;">A brief moment of silence is to ensue a sad or captivating number (audience's discretion), which is to last three to five seconds.</span></li>
<li><span style="font-family: Courier New, Courier, monospace;">Clapping between movements is most inappropriate <span style="font-size: x-small;">(apart from the first movements of concerti and aforementioned operas).</span></span></li>
<li><span style="font-family: Courier New, Courier, monospace; font-size: x-small;">P</span><span style="font-family: Courier New, Courier, monospace;">ieces shall not be interrupted by clapping, especially cadenzas.</span></li>
<li><span style="font-family: Courier New, Courier, monospace;">Stamping is not permitted at the final applause, as it is a thuggish display.</span></li>
<li><span style="font-family: Courier New, Courier, monospace;">Female performers may be called "brava" after their stage exit. Only male performers are to be called "bravo"; calling a female musician "bravo" is gross disrespect. If more than one musician is in question, "bravi" is to be used.</span></li>
<li><span style="font-family: Courier New, Courier, monospace;">Flowers are not to be thrown on stage.</span></li>
<li><span style="font-family: Courier New, Courier, monospace;">The request of an encore is to be held until the third appearance of a soloist or conductor. Any earlier attempts are premature.</span></li>
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<span style="font-family: Verdana, sans-serif;">So, what do we think?</span></div>
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<span style="font-family: Verdana, sans-serif;">Although I was exaggerating there, many people actually treat concerts as fundamentally social occasions with incoherently strict social rules. I have come across all of these "rules" as a result, and I have something to say about them.</span></div>
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<span style="font-family: Verdana, sans-serif;">First off, let's acknowledge that they're not all silly. Turning phones off, clapping between movements, waiting for a second to clap (although not exactly three to five seconds!) and not being a pain in the concert hall by coughing are all reasonable expectations. </span></div>
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<tr><td class="tr-caption" style="text-align: center;">Is this sacrilege, or do we not see this enough?</td></tr>
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<span style="font-family: Verdana, sans-serif;"><br />This whole situation boils down to one premise: concerts are for listening to music. The only "rules" (I prefer guidelines) that apply are those that go towards making it a better experience </span><b style="font-family: Verdana, sans-serif;">for all.</b></div>
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<span style="font-family: Verdana, sans-serif;">Therefore, calling a female performer "bravo", throwing flowers on stage, wearing normal clothes, clapping between movements (this one is debatable), clapping after cadenzas, drinking, discreet tapping, stamping during applause and requesting an encore <b>are okay.</b></span></div>
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<span style="font-family: Verdana, sans-serif;">Or so it should be.</span></div>
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<span style="font-family: Verdana, sans-serif;">In most concert halls, the guidelines are simple: turn phones off, arrive in reasonable clothing, do not disturb other audience members and do not take pictures.</span></div>
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<span style="font-family: Verdana, sans-serif;">This is perfectly alright. The problem is that there is a social stigma to going to concerts, especially among the newbies of the classical concert world. "Is there a special handshake?" "A special clap?"</span></div>
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<tr><td class="tr-caption" style="text-align: center;">Rest assured, no special clap is needed.</td></tr>
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<span style="font-family: Verdana, sans-serif;"><br />This needs to stop. Live concerts are special, intimate affairs, and we can't have people not wanting to come. </span></div>
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<span style="font-family: Verdana, sans-serif;">So what I want to say, is that concerts are simply places to <i>listen</i>. If any rules are unrelated to this, then they are useless and fussy. In an ideal world, they would change in all the posh concert venues. But... as that's not going to happen anytime soon, I suppose, we have to take matters into our own hands, making concerts more accessible and free.</span></div>
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<span style="font-family: Verdana, sans-serif;">We need to behave like this in our own concerts, talk about this to friends, and voice this wherever we go. </span></div>
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<span style="font-family: Verdana, sans-serif;">In conclusion, we want modern, friendly and vibrant concerts, as it was in the days of Mozart and Haydn. </span></div>
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<span style="font-family: Verdana, sans-serif;">And I say amen to that.</span></div>
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<span style="font-family: Verdana, sans-serif;">...Next installment:</span></div>
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<span style="font-family: Verdana, sans-serif;">Concert Etiquette: Too old-fashioned? Part II - Musicians</span></div>
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Carlos Rodriguezhttp://www.blogger.com/profile/16185572334311702652noreply@blogger.com0tag:blogger.com,1999:blog-1007923497513904521.post-14944933632516152272014-04-03T16:51:00.001-07:002014-04-03T16:51:07.061-07:00Piece of the day: "Weep not for me, O Mother" by Fyodor Ivanov<span style="font-family: Verdana, sans-serif;">I can actually say this time that this composer is truly unknown.</span><br />
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<span style="font-family: Verdana, sans-serif;">In fact, if it wasn't for one Youtube video kindly uploaded by VataliyGR then I'm sure that his legacy as a composer would have died.</span></div>
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<span style="font-family: Verdana, sans-serif;">Fyodor Ivanov lived from 1853 - 1919, and was the preceptor of the Moscow Church Choir. He is probably best known for conducting the premiere of Tchaikovsky's <i>"The Angel Cried Out" </i>in Moscow in March 1887. Apart from that, he is absent from most composer databases and is scarcely mentioned where ever you look over the internet. I can't even find a picture of him.</span><br />
<span style="font-family: Verdana, sans-serif;"><a href="https://www.blogger.com/goog_2041019362"><br /></a></span>
<span style="font-family: Verdana, sans-serif;"><a href="https://www.youtube.com/watch?v=Qrz15QJk164">Ivanov - "Weep Not For Me, O Mother"</a></span></div>
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<span style="font-family: Verdana, sans-serif;">This wonderful piece of choral music by him is simply heavenly. The lyrics are from the </span><span style="background-color: #f7f7f7; line-height: 21px;"><span style="font-family: Verdana, sans-serif;">9</span></span><span style="background-color: #f7f7f7; line-height: 21px;"><span style="font-family: Verdana, sans-serif;">th Ode of the Russian Orthodox Canon for Holy Saturday (somewhat appropriate for the season). They are words said by the expired Christ laying in the tomb and the weeping Virgin Mary beholding her crucified son. Death, stillness and pure sadness are captured in the music, especially within the languishing rising 6th sung by the first tenor in the beginning. However, the tone of the piece changes throughout, adopting a more meditative and somber mood, giving closure to Jesus's passing and waiting for the resurrection of the Christ. </span></span><br />
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<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-ISZvDDvoQ4k/Uz3zofK24UI/AAAAAAAAAFU/MkFA8YUiDTA/s1600/ribera-lamentation-over-the-dead-christ-NG235-fm.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://1.bp.blogspot.com/-ISZvDDvoQ4k/Uz3zofK24UI/AAAAAAAAAFU/MkFA8YUiDTA/s1600/ribera-lamentation-over-the-dead-christ-NG235-fm.jpg" height="228" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Jusepe de Ribera's "The Lamentation over the Dead Christ"</td></tr>
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<span style="background-color: #f7f7f7; line-height: 21px;"><span style="font-family: Verdana, sans-serif;">I love this piece. Share and enjoy.</span></span><br />
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Carlos Rodriguezhttp://www.blogger.com/profile/16185572334311702652noreply@blogger.com1tag:blogger.com,1999:blog-1007923497513904521.post-55011107214972125822014-03-29T07:14:00.000-07:002014-03-29T07:14:00.329-07:00Piece of the day: Piano sonata in G minor by Fanny Mendelssohn<span style="font-family: Verdana, sans-serif;">Today's piece of the day is a very unheard of piece by the female composer Fanny Mendelssohn. She was the sister of Felix Mendelssohn, and her compositions are elegant, yet grandiose and rich.</span><br />
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<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-O6_oAsC0bCc/UzbRZDMZgBI/AAAAAAAAAFE/cBf1Q16nGbk/s1600/mendelssohn.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-O6_oAsC0bCc/UzbRZDMZgBI/AAAAAAAAAFE/cBf1Q16nGbk/s1600/mendelssohn.jpg" height="200" width="163" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Fanny Mendelssohn</td></tr>
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<br /><span style="font-family: Verdana, sans-serif;">In her catalogue of works one can find a rather popular Piano trio in D minor, shed-loads of songs, an oratorio on scenes from the Bible, more songs, some string quartet writing and a fair amount of little piano pieces. </span><div>
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<span style="font-family: Verdana, sans-serif;">If I am to be honest with you, I'd expect this composer to be much more well known, like her brother. The piano sonata in G minor is a pianistic and grand piece. In spite of this, its short, sweet melodies make is somewhat fluffy and feathery, despite the rather sullen key of G minor.</span></div>
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<span style="font-family: Verdana, sans-serif;">This piece in its entirety is unavailable on youtube, apart from the first movement:</span></div>
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<span style="font-family: Verdana, sans-serif;">https://www.youtube.com/watch?v=UtlCpIoWQUo (Courtesy of Demian Panello</span>)</div>
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<span style="font-family: Verdana, sans-serif;">However, the whole piece, with more piano <i>Stücke, </i>is contained in a fine album by the pianist Beatrice Rauch, who performs the pieces sublimely. Thoroughly worth listening to.</span></div>
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<span style="font-family: Verdana, sans-serif;">Enjoy!</span></div>
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Carlos Rodriguezhttp://www.blogger.com/profile/16185572334311702652noreply@blogger.com0tag:blogger.com,1999:blog-1007923497513904521.post-3585933477814126832014-03-27T10:50:00.000-07:002014-03-27T10:50:02.088-07:00Piece of the day: Little suite by Witold Lutosławski<span style="font-family: Verdana, sans-serif;">T</span><span style="font-family: Verdana, sans-serif;">oday I wanted to share a rarely-played piece by the Polish composer </span><b style="background-color: white; font-family: Verdana, sans-serif; line-height: 19.200000762939453px;">Witold Roman Lutosławski</b><span style="background-color: white; font-family: Verdana, sans-serif; line-height: 19.200000762939453px;"> (</span><span style="background-color: white; font-family: Verdana, sans-serif; line-height: 19.200000762939453px;">25 January 1913 – 7 February 1994), who composed some great music.<br /></span><br />
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<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-g4TV4w1mg7o/UzRkUjzUCBI/AAAAAAAAAE0/nSlYyKmYrvw/s1600/lutoslawski.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-g4TV4w1mg7o/UzRkUjzUCBI/AAAAAAAAAE0/nSlYyKmYrvw/s1600/lutoslawski.jpg" height="200" width="165" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Witold Lutoslawski</td></tr>
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<span style="background-color: white; font-family: Verdana, sans-serif; line-height: 19.200000762939453px;">His compositions use traditional folk melodies of his native Poland, and in his mature years take on an individual sort of twelve-tone atonality that he developed.</span><br />
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<span style="background-color: white; font-family: Verdana, sans-serif; line-height: 19.200000762939453px;">This piece is absolutely brilliant, and has some great moments, like the alternating meter sections in the first movement, the joyful second movement, the languishing but discrete melodies in the third, and the up-beat feeling to the fourth. Enjoy!</span><br />
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<span style="font-family: Verdana, sans-serif;"><a href="https://www.youtube.com/watch?v=c7SPVUMY-yc">Witold Lutosławski, Little Suite</a></span><br />
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<br />Carlos Rodriguezhttp://www.blogger.com/profile/16185572334311702652noreply@blogger.com0tag:blogger.com,1999:blog-1007923497513904521.post-33770749940082335692014-03-26T10:45:00.003-07:002014-03-26T10:45:59.642-07:00Review: Chloë Hanslip, Ben Gernon and the Bristol Ensemble (20-3-14)<span style="font-family: Verdana, sans-serif;">On Thursday the 20</span><sup style="font-family: Verdana, sans-serif;">th</sup><span style="font-family: Verdana, sans-serif;"> March the Bristol Ensemble
conducted by Ben Gernon played an all-Sibelius program at the Colston Hall,
with internationally renowned British violinist Chloë Hanslip performing his
passionate Violin concerto in D minor. The program consisted of the Violin concerto, Sibelius’ 5</span><sup style="font-family: Verdana, sans-serif;">th</sup><span style="font-family: Verdana, sans-serif;"> symphony
and the great Finlandia, inspired by the Finnish patriotism of the nationalist
composer.</span><br />
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<span style="font-family: Verdana, sans-serif;">The first piece, Finlandia, was executed with great
musicality and with a flawless sense of sonority in all its musical colours, as
is typical of the Bristol Ensemble – a group that is especially musical and
reaches out to audiences brilliantly. Ben Gernon took to the stage with confidence
and plenty of expression and freedom in his conducting, which proved effective
and clear with the orchestra. The musicians played with technical accuracy and
a heightened sense of performance which made the piece a pleasure to listen to
amongst its sumptuous string melodies and fortissimo brass calls. </span></div>
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<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-7Ext1Xgh3bk/UzMRoDX4wPI/AAAAAAAAAEc/9OJeOpci98w/s1600/Ben+gernob.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-7Ext1Xgh3bk/UzMRoDX4wPI/AAAAAAAAAEc/9OJeOpci98w/s1600/Ben+gernob.jpg" height="213" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Ben Gernon</td></tr>
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<span style="font-family: Verdana, sans-serif;">After Finlandia, violinist Chloë Hanslip gave the most
fantastic performance of Sibelius’ violin concerto in D minor (op. 47), which
proved to be a breathtaking and heart-wrenching performance. The soloist played
with technical flawlessness and produced a rich, earthy sound on her 1737 </span><i style="font-family: Verdana, sans-serif;">Guarneri del Gesù </i><span style="font-family: Verdana, sans-serif;">violin. The first movement
was tranquil, emotional and ecstatic in its opening and through the rest of its
duration. The orchestra’s interpretation was sonorous and rich. This was then
followed by an impassioned interpretation of the second movement, which was
well executed both by the soloist and orchestra. </span></div>
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-rm1lLb4xWoc/UzMRzXIWpWI/AAAAAAAAAEk/F6JpYAigMQ4/s1600/chloe+hanslip.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://2.bp.blogspot.com/-rm1lLb4xWoc/UzMRzXIWpWI/AAAAAAAAAEk/F6JpYAigMQ4/s1600/chloe+hanslip.jpg" height="213" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Chloe Hanslip</td></tr>
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<span style="font-family: Verdana, sans-serif;">The tempestuous third movement was performed with great passion and true
feeling from the Hanslip, which was matched in its bravado by the orchestra.
Later on in the third movement, the soloist played with hear-felt emotion and
produced a wonderful sound: at times crystalline and at times gritty and
stirring. This penetrated the concert hall with its brilliance and passion. </span></div>
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Overall, the concerto was inspiringly performed both by the Bristol Ensemble
and by the brilliant Chloë Hanslip. I expect her to become a household name in
the near future. </span></div>
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<span style="font-family: Verdana, sans-serif;">Sibelius’ 5<sup>th</sup> symphony (op. 82) was heard after
the interval. This uplifting piece provided a great contrast against the dark
and moving violin concerto which was very well received by the audience. Ben
Gernon managed the orchestra beautifully and the musicians played very well.
The conductor rose to the occasion with zest and vigour in his free, yet fairly
traditional conducting style. Some general slips occurred during the
performance of this piece, which were very sparse. However, these did not
detract from the musicality of the performance. This piece was well executed
and showed the stamina and passion of the musicians, especially the brass, who
all delivered this well after playing a difficult and musically exhausting
programme. </span></div>
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<span style="font-family: Verdana, sans-serif;">This concert was thoroughly worth watching, and I highly
recommend attending future concerts given by the Bristol Ensemble, Chloë
Hanslip, or Ben Gernon.</span></div>
Carlos Rodriguezhttp://www.blogger.com/profile/16185572334311702652noreply@blogger.com0tag:blogger.com,1999:blog-1007923497513904521.post-56124001463702811892014-03-25T14:53:00.004-07:002014-03-25T15:26:02.414-07:00What is classical music? A not-so-easy question<h2>
<span style="font-family: Verdana, sans-serif;">What is classical music? A not-so-easy question</span></h2>
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<span style="font-family: Verdana, sans-serif;">Many times, when I've told people that I enjoy listening to classical music, I have been given a reply along the lines of "classical music? That's so old!".</span></div>
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<span style="font-family: Verdana, sans-serif;">I usually try to explain to these people that classical music spans over four hundred years of music, but </span><span style="font-family: Verdana, sans-serif;">I'm sure that plenty of classical musicians have thought this through to themselves along with many non-musicians: "When did classical music stop and when did everything else begin?".</span></div>
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<span style="font-family: Verdana, sans-serif;">Well, up to about the beginning of the 20th century most people have it very clear. Jazz hand only just started in New Orleans twenty years before, music in Europe was pretty much the same.</span></div>
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<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-9DluD6S0-HU/UzH2ctf9zAI/AAAAAAAAADg/tfKuy2Jijy0/s1600/music-historytimeline.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-9DluD6S0-HU/UzH2ctf9zAI/AAAAAAAAADg/tfKuy2Jijy0/s1600/music-historytimeline.jpg" height="528" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Music genres up to the dawn of the 20th century</td></tr>
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<span style="font-family: Verdana, sans-serif;">Then came Schoenberg. (Brace yourselves) </span></div>
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<span style="font-family: Verdana, sans-serif;">After a whole age of exploring tonality that Mahler, Debussy and Strauss had been participants in, the Second Viennese School (Comprised of Schoenberg, Alban Berg and more of his disciples) came to do with it. According to them, art was becoming kitsch and over-indulgent, and didn't reflect the realities of society, which as hard as they were to hear, still needed to be conveyed in new and expressive art forms. They overcame tonality in the midst of what could be considered its dying pains. From here on, classical music stops. There. Simple, right?</span></div>
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<span style="font-family: Verdana, sans-serif;">Well not really. Firstly, we must take into consideration that other romantic composers were still alive, such as nationalist Jean Sibelius (d. 1957). Surely classical music still existed whilst these composers were still alive?</span></div>
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<span style="font-family: Verdana, sans-serif;">Also, Stravinsky started writing boundary-defining, <i>tonal</i> music whilst Schoenberg was still on the block. Many people consider <i>The Firebird</i> classical music, whereas <i>Pierrot Lunaire</i> starts to get people thinking. (</span><span style="font-family: Verdana, sans-serif;">By the way, I recommend checking out all of the composers and their music that I've written about. They are all great).</span></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-66yGKy_Xleo/UzH9NgbP-5I/AAAAAAAAAD4/VSZ6lLo-RPo/s1600/pierrot.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://2.bp.blogspot.com/-66yGKy_Xleo/UzH9NgbP-5I/AAAAAAAAAD4/VSZ6lLo-RPo/s1600/pierrot.jpg" height="256" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Pierrot, the nostalgic clown that is the subject of Schoenberg's song cycle</td></tr>
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<span style="font-family: Verdana, sans-serif;">After expressionism (think Schoenberg) music - which had already branched off into Jazz and popular music - started to slowly evolve into what we now know as contemporary music. Composers such as John Cage, Leon Kirchner and </span><span style="line-height: 1.2em;"><span style="font-family: Verdana, sans-serif;">Olivier Messiaen started writing more and more dissonant music, experimenting with household sounds and silence. Does 4'33 count as classical music? </span></span><span style="font-family: Verdana, sans-serif; line-height: 1.2em;">Most people would say no. </span></div>
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<span style="font-family: Verdana, sans-serif; line-height: 1.2em;">Therefore, somewhere between the Second Viennese School and the start of these composers' careers, the concept of classical music just stops in our minds. This period of music is called modernism. The limits of tonality, rhythm and harmony were challenged and re-invented, following German Romanticism and its Wagnerian and luscious extended tonality.</span></div>
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<span style="line-height: 1.2em;"><span style="font-family: Verdana, sans-serif;"><br /></span></span></div>
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<span style="line-height: 1.2em;"><span style="font-family: Verdana, sans-serif;">So far so good. Here classical music stops and modernism starts. But what are we to do about composers such as Sibelius, still writing till his death in 1957?</span></span></div>
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<span style="line-height: 1.2em;"><span style="font-family: Verdana, sans-serif;">These composers weren't writing in the current genres that were being explored at the time; they were what was left of the older romantic school. The fact that they were alive doesn't mean that their style was alive; fashionable among the young artists, or new...</span></span></div>
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<span style="font-family: Verdana, sans-serif;"><span style="line-height: 19.200000762939453px;">Or does it? Well that's for you to decide.</span></span></div>
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<span style="font-family: Verdana, sans-serif;"><span style="line-height: 19.200000762939453px;">Back to modernism. At its end near the 30s, modernism ends and post-modernism starts, with composers such as John Cage shoving screws into pianos and playing with cacti </span></span><span style="font-family: Verdana, sans-serif; line-height: 19.200000762939453px;">in the 60s </span><span style="font-family: Verdana, sans-serif; line-height: 19.200000762939453px;">to explore the banality of household sounds, and silence. However, by that time the neoclassical composers such as Busoni and Prokofiev had written classical music in reference to older styles, such as </span><i style="font-family: Verdana, sans-serif; line-height: 19.200000762939453px;">Pulcinella</i><span style="font-family: Verdana, sans-serif; line-height: 19.200000762939453px;"> by Stravinsky. Jazz influenced artists such as Copland and Gershwin. These were writing till the 50s, with </span><i style="font-family: Verdana, sans-serif; line-height: 19.200000762939453px;">West Side Story</i><span style="font-family: Verdana, sans-serif; line-height: 19.200000762939453px;"> written by Bernstein in '57. Surely this is classical music?</span><br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-9p3EF-2izlU/UzH98PS0ZtI/AAAAAAAAAD8/xP2ZeN2Bs6M/s1600/cacti.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://2.bp.blogspot.com/-9p3EF-2izlU/UzH98PS0ZtI/AAAAAAAAAD8/xP2ZeN2Bs6M/s1600/cacti.jpg" height="180" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">John Cage's <i>Branches</i> for amplified cacti and plants</td></tr>
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<span style="font-family: Verdana, sans-serif;"><span style="line-height: 19.200000762939453px;">Minimalism starts in the 60s in New York, and sees the rise of Reich and Adams, writing repetitive and hypnotic music comprised of "cells" changing and evolving. By the 70s this form had reached its peak, and classical music "officially" ends with the start of contemporary music.</span></span></div>
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<span style="font-family: Verdana, sans-serif;"><span style="line-height: 19.200000762939453px;">To conclude this turbulent journey through the 20th century, we can see that romantic music had branched out during the beginnings of the century into various musical forms, some of which evolved further (modernism into contemporary), and others were left behind (neo-classicism). We cannot really decide on a cut-off point for the concept of classical music, although the best guess is that "classical" music might have ended at the Second Viennese School, and with the jazz-inspired writers like Copland and Bernstein. </span></span></div>
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<span style="font-family: Verdana, sans-serif;"><span style="line-height: 19.200000762939453px;">To further conclude, let's say it's subjective. That's why I didn't want to call this the "classical music place" originally, or to refer to my tastes as "classical". The murkiness of the term and the rich variety of composers and movements make this such a difficult word or concept do describe. Should we be challenging it?</span></span></div>
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<span style="font-family: Verdana, sans-serif;"><span style="line-height: 19.200000762939453px;">A lesson that we have learned from this is to use the word sparingly. Let's celebrate that we had composers a hundred years ago making our lives hard today by exploring, demolishing and redefining boundaries and conventions. The complexity of the 20th century in music is rich and full, and we've only just touched upon it here. However, as usual, there is some great music to listen to along the way, and that's what matters.</span></span></div>
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Carlos Rodriguezhttp://www.blogger.com/profile/16185572334311702652noreply@blogger.com0tag:blogger.com,1999:blog-1007923497513904521.post-83723840860755229792014-03-24T16:03:00.002-07:002014-03-24T16:03:43.898-07:00First post!<h2>
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<span style="font-family: Trebuchet MS, sans-serif;">Hello world! It feels quite exciting starting out a blog... there's something slightly gripping about speaking out to a world of a few known listeners. </span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">I am a young musician in Bristol. I play the violin and the piano to an advanced level, compose, and just love listening to music, exploring it and analysing it. That's it. That's all there is to know. But that's not what the spotlight centers on.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">On this blog I want to share some of my opinions, favourite pieces, news that stirs me, concerts that enthrall me and little snippets of goodness found online or through the wisdom of my friends or teachers. An unknown piece by an unknown composer, a recent discovery, a joke, a review, controversy, an artist, a little music theory gem, a book, a violin trick, a piano trick, a composing trick, a video, a masterclass...</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">So here I am starting out this blog, bursting with ideas. I honestly hope that you, dear reader, enjoy this blog. If your interest is classical music (what a broad and misty term that is today!), then read on!</span></div>
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Carlos Rodriguezhttp://www.blogger.com/profile/16185572334311702652noreply@blogger.com0