Piece of the day: Mass for Double Choir by Frank Martin

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.

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. 

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).

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 basso continuo. 

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.

There are some features which I would like to point out.

First off, the piece is set brilliantly for double a cappela choir. The part writing shows a high level of craftsmanship, that we might expect from Martin's experience in choral writing.

The piece is really programmatic, with sections of the text being emphasised with the musical phrasing etc...

For example, in the Creed, the phrase "et homo factus est" 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. 

"Crucifixus" is sung with the interval of the tritone, giving it a sense of turmoil. Furthermore, before this, the tenors proclaim "decisively" "begotten not made, consubstantial with the Father" just to get rid of two or three heresies right there on the spot.

The final section that is the "Agnus Dei" 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). 

Overall, Frank Martin's Mass for double a cappela 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.

Do tell me what you think!

Piece of the day: Concerto com molti stromenti RV558 by Vivaldi

Now I must admit this piece is not so obscure.

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.

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.

Vivaldi: Concerto com molti stromenti (Europa Galante) (Courtesy of Nearness)

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.

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 need not look further than the instrumentation to see that this is a great piece of work.

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).

Tromba Marina

So what does Vivaldi think he's doing instructing a 59cm long instrument to sound like a 200cm long instrument?

What Vivaldi probably meant was that the violins were to recreate the buzzing 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.

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?!). 

This goes to all who think that historical performances are dull and unmusical. 

Furthermore, the musicians are really enjoying themselves and are all playing with the greatest technical skill, whilst making intelligent, accurate and musical interpretation decisions as a coherent unit. 

There. Done. Semi-perfection.

Don't forget to add opinions and to share!

Tone production on string instruments

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). 

Why, just the book!

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 tone production and bow changing.

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.

Tone production can be thought of being comprised of three main factors:

• Bow position
• Bow speed 
• Bow pressure

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...

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.

Bow pressure is also very important, as - for example - you cannot produce a good fingerboard sound with a heavy bow. 

Lack of pressure control results in either scratching or, on the other end of the spectrum, a shy and timid tone. 

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.

An interesting contraption used to keep violin students' bows straight.

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.

This can all seem basic, but everyone has these issues.

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:

• 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.
• Do the same, just that on the fingerboard, with fast bow speed and low bow pressure (taking extra care on the up bow)

• "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.
• 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...

• 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.
  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.) 

Good luck with improving tone. Wish me good luck as well though!

Concert Etiquette: Too old-fashioned? Part II - Performers

A [satirical] proper guide to concert etiquette by Carlos Rodriguez, part the second:

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.

• The dress of the male performer is to be either:
  a. White shirt, black trousers, black shoes and socks, black dinner jacket, black bow tie.
  Optional elements include a cummerbund or a red flower in the breast-pocket.
  b. Black suit with tails
  c. Any of the above without the jacket, but with red cummerbund and red bow tie.
• 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.

(Exceptions:

• Conductors are to wear a collarless black jacket.
• Sleeves are never to be rolled up.)

• 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.
• 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.
• 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.
• 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.

Meh.

It's somewhat annoying for a performer to have to adhere to these rules in most situations. Here's why.

Musicians essentially want to share. 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.

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.

But there are some ideas which I would like to propose.

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:

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 our era in concerts?

An example of modern clothes that could be worn in today's concerts

Swiftly moving on from fashion, my second proposal is that performers engage much more with the audience, and vice versa.

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.

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.

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.

Do add opinions down in the comments!

Piece of the day: Piano Sonata no. 1 by John Field

Today I want to share a piece by British composer John Field (1782 - 1837).

The Irish composer John Field

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.

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 façade, favoured by Chopin and even Schumann.

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. 

After a neat resolution, the second movement (and last, interestingly) proves a jolly, but refined swagger. It's bouncy, it's fresh, it's simple. I like that.

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...).

Do tell me what you think!

Concert Etiquette: Too old-fashioned? Part I - Audience

A [satirical] proper guide to concert etiquette by Carlos Rodriguez

Pre-concert:

• 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.
• 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.
• 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.

Inter-concert:

• Tapping, air conducting and humming are all strictly prohibited.
• All coughs shall be reserved until the end of a movement or piece.
• Drinking or eating is not permitted.
• 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.
• There are strict rules for the clapping during pieces:

1. Clapping is permitted only after the end of a piece (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]).
2. A brief moment of silence is to ensue a sad or captivating number (audience's discretion), which is to last three to five seconds.
3. Clapping between movements is most inappropriate (apart from the first movements of concerti and aforementioned operas).
4. Pieces shall not be interrupted by clapping, especially cadenzas.
5. Stamping is not permitted at the final applause, as it is a thuggish display.
6. 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.
7. Flowers are not to be thrown on stage.
8. The request of an encore is to be held until the third appearance of a soloist or conductor. Any earlier attempts are premature.

So, what do we think?

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.

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. 

Is this sacrilege, or do we not see this enough?

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 for all.

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 are okay.

Or so it should be.

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.

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?"

Rest assured, no special clap is needed.

This needs to stop. Live concerts are special, intimate affairs, and we can't have people not wanting to come. 

So what I want to say, is that concerts are simply places to listen. 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.

We need to behave like this in our own concerts, talk about this to friends, and voice this wherever we go. 

In conclusion, we want modern, friendly and vibrant concerts, as it was in the days of Mozart and Haydn. 

And I say amen to that.

...Next installment:

Concert Etiquette: Too old-fashioned? Part II - Musicians

Piece of the day: "Weep not for me, O Mother" by Fyodor Ivanov

I can actually say this time that this composer is truly unknown.

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.

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 "The Angel Cried Out" 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.

Ivanov - "Weep Not For Me, O Mother"

This wonderful piece of choral music by him is simply heavenly. The lyrics are from the 9th 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. 

Jusepe de Ribera's "The Lamentation over the Dead Christ"

I love this piece. Share and enjoy.