Check out this review of the last in my current Haydn / Bartok series.
http://lucidculture.wordpress.com/2013/05/13/haydn/
Sunday, May 19, 2013
Inconstancy not Fickleness
I love it when a blog reader questions a term or disagrees with a post. Thanks!
My recent use of the word "fickleness" to characterize many Dowland songs really was not accurate. I would change the word to inconstancy, a much more accurate characterization of the connection between form and content and also of more complex human behavior.
Inconstancy would be well depicted in the usage to which I referred in the Dowland, i.e., a seemingly repeated figure that, in fact, undergoes hidden variation upon "repeat" so as to form an elision with the following material. The hidden variation inevitably involves a shift of emphasis, usually both melodic and rhythmic.
The same reader asked if it is really true that I get up at 4:30 a.m. to publish my posts. Rest assured I do not. The 4:30 a.m. is Pacific Standard Time, 7:30 a.m. Eastern. I usually schedule the posts a few days in advance of their actual appearing and choose the hour so that the reader may start the day with the blog along with their (gluten-free) toast and tea.
My recent use of the word "fickleness" to characterize many Dowland songs really was not accurate. I would change the word to inconstancy, a much more accurate characterization of the connection between form and content and also of more complex human behavior.
Inconstancy would be well depicted in the usage to which I referred in the Dowland, i.e., a seemingly repeated figure that, in fact, undergoes hidden variation upon "repeat" so as to form an elision with the following material. The hidden variation inevitably involves a shift of emphasis, usually both melodic and rhythmic.
The same reader asked if it is really true that I get up at 4:30 a.m. to publish my posts. Rest assured I do not. The 4:30 a.m. is Pacific Standard Time, 7:30 a.m. Eastern. I usually schedule the posts a few days in advance of their actual appearing and choose the hour so that the reader may start the day with the blog along with their (gluten-free) toast and tea.
Saturday, May 18, 2013
Making It Happen - One Tone at a Time
The trouble with muscle memory is that it presumes a disengaged mind. I just undertook the incredibly difficult task of relearning to articulate my toes - yes, toes, as a result of a physical condition that had gradually reduced their independence and my control over them. I had to retrain my muscle memory by literally holding onto some toes so that the others could tell that they had the power to move independently. Sounds bizarre, but it worked.
It struck me how similar that is to the way most people learn to play the piano. Put this finger here and that finger there and then everything will be reliably in place and you won't have to think about it.
Yow.
There are two things wrong with that approach:
It leaves out hearing altogether.
It leaves out all trace of variability as a good, even welcome thing.
Children who learn this way inevitably fall apart in recitals when they are playing on strange pianos: different touch, different acoustics, different everything.
It struck me how similar that is to the way most people learn to play the piano. Put this finger here and that finger there and then everything will be reliably in place and you won't have to think about it.
Yow.
There are two things wrong with that approach:
It leaves out hearing altogether.
It leaves out all trace of variability as a good, even welcome thing.
Children who learn this way inevitably fall apart in recitals when they are playing on strange pianos: different touch, different acoustics, different everything.
Friday, May 17, 2013
A Fine Audience
Last night I had the privilege of performing Haydn and Bartok in my home for a wonderful audience of passionate listeners.
It was the recital on which I played my favorite Haydn Sonata. Before playing I informed them that of the three Haydn works one scared me, another was my favorite, and the third was completely untried and would receive its first performance that evening.
The release of being listened to so well made the whole experience participatory: I never played my favorite sonata better. The G minor (No. 44) went to the farthest extremes of despair before establishing a plausible equilibrium. The terrifying piece turned out to be humorous without inhibition. The first performance, new to all of us, exceeded any notion I had had of its potential.
There is much to be said for a close-up audience feeling its own presence, participating fully. It completely informs performance, in fact, it completes performance.
It was the recital on which I played my favorite Haydn Sonata. Before playing I informed them that of the three Haydn works one scared me, another was my favorite, and the third was completely untried and would receive its first performance that evening.
The release of being listened to so well made the whole experience participatory: I never played my favorite sonata better. The G minor (No. 44) went to the farthest extremes of despair before establishing a plausible equilibrium. The terrifying piece turned out to be humorous without inhibition. The first performance, new to all of us, exceeded any notion I had had of its potential.
There is much to be said for a close-up audience feeling its own presence, participating fully. It completely informs performance, in fact, it completes performance.
Thursday, May 16, 2013
Malaysians! Indonesians! Brazilians! Introduce Yourselves
Today came another surprise: Indonesia, Malaysia. and Brazil topped even Russia in the distribution of readers of this blog. Welcome to all of you.
Now please tell me who you are:
Now please tell me who you are:
- what brings you to the blog
- what you get from reading it
- how it relates to your own musical activities
- what your musical activities are
Clementi C Major Sonatina
As previously noted in this blog I am teaching a young adult to read music: I have been teaching this improvisingly gifted young man since he was seven. Reading never came easily to him so I did not push it, sure that if I had he would stop study.
Now he is mature enough to go along with the complexity of the enterprise. After several months working on Clementi Preludes (which I highly recommend on many levels) we are tackling the sonatinas, beginning with the C Major, Op. 36, No. 1.
Yesterday we enjoyed together one of the most stimulating lessons I have ever taught: We read it together, one note at a time, imagining what the next tone would be and then coping with Clementi's agreement or disagreement with our better judgment. It was a lot of fun, and deeply insightful into the working of Clementi's superlative genius. (How unfortunate that Mozart said a nasty thing about him in a letter to his father!)
In the process I learned a great deal about the piece and about the limitations of approaching music as if the point of learning it was purely technical.
Now he is mature enough to go along with the complexity of the enterprise. After several months working on Clementi Preludes (which I highly recommend on many levels) we are tackling the sonatinas, beginning with the C Major, Op. 36, No. 1.
Yesterday we enjoyed together one of the most stimulating lessons I have ever taught: We read it together, one note at a time, imagining what the next tone would be and then coping with Clementi's agreement or disagreement with our better judgment. It was a lot of fun, and deeply insightful into the working of Clementi's superlative genius. (How unfortunate that Mozart said a nasty thing about him in a letter to his father!)
In the process I learned a great deal about the piece and about the limitations of approaching music as if the point of learning it was purely technical.
Wednesday, May 15, 2013
Russia?
Okay. Today it happened. For the first time since I have been keeping this blog its readership in Russia has topped that in the United States.
I want to know who you are, you Russians who are reading this. And I want to know what you make of it.
The reason for my curiosity is my fascination with international and intercultural influence. Since the 1980s the influx of musicians from Eastern Europe (largely Russia) has had an impact on musical life in NYC in general, and on my professional life in particular.
Part of the result of that has been a clarification of my thinking on all kinds of musical subjects. But it is only since removing myself from the need to be diplomatic about my thinking that I am able to express my thoughts directly.
So I want to know what you make of my comments. Tell me what your musical involvement is, whether professional or not does not matter. Please let me know by posting comments on the blog. Thanks!
I want to know who you are, you Russians who are reading this. And I want to know what you make of it.
The reason for my curiosity is my fascination with international and intercultural influence. Since the 1980s the influx of musicians from Eastern Europe (largely Russia) has had an impact on musical life in NYC in general, and on my professional life in particular.
Part of the result of that has been a clarification of my thinking on all kinds of musical subjects. But it is only since removing myself from the need to be diplomatic about my thinking that I am able to express my thoughts directly.
So I want to know what you make of my comments. Tell me what your musical involvement is, whether professional or not does not matter. Please let me know by posting comments on the blog. Thanks!
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