A few years ago, I ran across an article detailing one pianist's experience of presenting a small tour of intimate recitals in the homes of various friends and family members throughout the country. The idea intrigued me, but I wasn't certain it would be something I would be interested in. It seemed like so much work without much return or benefit. The concept returned to my mind last week when I was able to watch a preview recital of pianist Richard Fountain via Facebook that he played in a home while visiting family out of town. The success of this experience has led me to once again consider the pros and cons of home recitals.
The home recital is more relaxed and intimate by its very nature. It is a perfect situation for the performer to try out new repertoire before appearing on the main stage. Additionally, it allows the audience the opportunity to interact with the artist in a casual setting and encounter music with which they may not be familiar. A reluctant concert goer will be more comfortable experiencing something unfamiliar in a friend's home than in a stuffy concert hall.
One of the things that most attracts me to home recitals is the opportunity to share my passion for music with an audience in a non-threatening, relaxed manner. There is no pressure to be "informed" about the music; the audience simply gets to enjoy the sounds while sipping a beverage in a comfortable chair. Questions about the music and the learning process are welcome, but the discussion will likely be less academic than that which might be commonly encountered in a traditional concert setting.
A few challenges immediately come to mind when considering a home concert. Obviously a quality instrument needs to be available to the performer. In most metropolitan areas, a piano can be rented for a nominal fee if one is not already available in the home. While I would prefer to play on a nice grand piano, it is possible to elicit beautiful sounds from consoles and uprights that have been properly maintained as well. If we are willing to play on instruments that might be "less than ideal," the experience might be less intimidating for the audience as well as the prospective host.
Another concern for many performers is audience size. The purpose of the home recital is not to reach the masses with our music. Rather, the focus of these concerts is found in the intimacy between the audience and performer while allowing the artist to test our repertoire in a small venue. An audience of twelve to twenty guests would result in a packed house (literally!) in many home recital venues. With the use of technology that is readily available to many today, it is possible to expand the concert's audience beyond the geographical boundaries of the host home with minimal equipment.
The artist is probably not going to earn much money from a home performance. I would honestly be surprised to receive much more than a meal and possibly lodging. So why play a home recital? In addition to the benefit of trying out new repertoire alluded to earlier, it is also a way to reconnect with friends and colleagues while making new acquaintances (that might lead to future gigs). Most importantly, it is another opportunity to share the music we love with an audience we may never encounter from the concert stage. As a professional artist, some of the expenses associated with the home recital may be tax deductible; you will just want to speak with your tax professional before embarking on your adventure.
What are your thoughts? I'd love to hear about your experiences with home performances as well as your thoughts about their benefits and potential pitfalls.
Showing posts with label concert. Show all posts
Showing posts with label concert. Show all posts
Thursday, July 30, 2015
Thursday, July 16, 2015
Does Attire Really Matter?
This blog is devoted to all things related to music. So why in the world would I address the topic of attire in this week's post? Isn't it true that my performance is the only method of communication with which I should be concerned? We would like to think so, but the reality is that our wardrobe speaks to our audience long before the first note has sounded. If our clothing communicates negatively with the listener, it can be a very difficult task to regain their trust.
Discussions about clothing can be hot button topics. "How dare you comment on my wardrobe when it is my sound that you are judging!" I've repeatedly heard this cry of frustration during recital hours and jury exams at schools around the country. Before going any further, let me be very candid. I am not a fashionista by any stretch of the imagination. When given the option, I much prefer casual and comfortable. I have been guilty of making questionable choices related to wardrobe in performance. Having learned from my personal mistakes, it is my aim to help young musicians avoid some of the awkwardness I've experienced first hand. In that spirit, here are some practical tips related to performance attire.
1. Recognize the power of the initial appearance on stage. When stepping on stage, it is important to exude confidence and professionalism. While our posture and countenance help to convey these attitudes, clothes can either enhance or detract from our message. The more professional your appearance, the more confidence the audience has in your abilities. This allows them to relax and creates a better performing environment for you.
2. Every performance should be viewed as a potential job interview. You never know who is in your audience and what opportunities they may have available for you. If two singers perform with equal skill, the ultimate choice of who to hire for a gig may be entirely subjective. Appropriate attire can be the tipping point in such situations....so never allow your clothing to become a detriment.
Whether it's fair or not, my experiences suggest that vocalists tend to be held to a higher standard than other musicians in relation to performance attire. This can be especially difficult for performers in academic settings. My suggestion is to elevate your clothing options any time you are performing for your studio in the middle of a busy day of classes by wearing at least what qualifies as business casual attire. This clothing sends the message that you understand the importance of your performance while allowing you to maintain a level of comfort for the rest of the day's activities. Departmental recitals, juries and master classes should be treated more formally, similar to an early evening recital. In other words, semi-formal attire is appropriate, meaning that men should probably wear a coat and tie. The performance is formal, but we have not reached the elegance of a black tie event. Tuxedos and evening gowns are reserved for large ensemble performances and important solo recitals.
3. Never be under-dressed! Just as you would not attend a funeral wearing a Hawaiian shirt and Bermuda shorts, you never want to walk on stage dressed worse than the members of the audience. Since you will be in the spotlight as a performer, you want to be one of the best dressed people in the room. While in school, information about appropriate attire for various performances often becomes clear as you get to know the situation better and follow the example of upperclassmen; if you are in doubt about appropriate attire, dress semi-formally. You will never be penalized for looking too nice on stage.
Speaking of knowing the expectations of a specific circumstance's appropriate attire, it is also important to realize that the dress code for any event can be adjusted over time. Just because the event was business casual last year does not mean it will always be that way. As standards change, the message will be communicated by those in authority and may include gentle comments about appropriate attire. If your attire has been addressed by a conductor, director, or faculty member in a past performance situation (whether you agree with the statements or not) and you return to a similar situation without making a significant modification, do not be surprised when you are called on it! (Additionally, it would not be out of the range of possibility to earn lower marks or pay as a result of your attire.)
4. Fit matters! It is also imperative that your carefully selected clothing fits well. Clothes that are too tight are uncomfortable and will distract you during the performance. On the flip side, overly baggy attire presents a frumpy and disheveled appearance, generating ideas that you failed to thoroughly prepare in the audience's minds.
It is generally advisable to do some rehearsal in full concert attire. There are several questions the artist wants to consider prior to the recital. Does the jacket inhibit my range of motion? How does the jewelry I've selected (especially watches and bracelets) respond to the bowing patterns? Ladies should carefully consider the effects of high heels on their balance and breath support. While it can be fun to select new outfits for special performances, it is never a good idea to see how the garments respond for the first time in the heat of the public performance!
The concert stage and the performance is greatly served as we err on the side of modesty in apparel selections. Thought should be given to the effects of stage lighting on the selected fabric. The audience's proximity to the stage (both distance and angle) can influence choices of hem line and neck line when selecting a dress or evening gown. Modesty and adherence to traditional wardrobe selections on the concert stage should not be viewed as an attempt to stifle personal expression; rather, it is an effort to avoid potentially uncomfortable situations for the artist as well as the audience.
What aspects of clothing do you take into account when selecting concert attire? Have you had a wardrobe malfunction during a performance that resulted from poor planning? Add your voice to the discussion in the comments below.
(N.B. I'm enjoying a vacation with my family next week, so I won't be blogging. I plan to return to Collaborations on July 30.)
Discussions about clothing can be hot button topics. "How dare you comment on my wardrobe when it is my sound that you are judging!" I've repeatedly heard this cry of frustration during recital hours and jury exams at schools around the country. Before going any further, let me be very candid. I am not a fashionista by any stretch of the imagination. When given the option, I much prefer casual and comfortable. I have been guilty of making questionable choices related to wardrobe in performance. Having learned from my personal mistakes, it is my aim to help young musicians avoid some of the awkwardness I've experienced first hand. In that spirit, here are some practical tips related to performance attire.
1. Recognize the power of the initial appearance on stage. When stepping on stage, it is important to exude confidence and professionalism. While our posture and countenance help to convey these attitudes, clothes can either enhance or detract from our message. The more professional your appearance, the more confidence the audience has in your abilities. This allows them to relax and creates a better performing environment for you.
2. Every performance should be viewed as a potential job interview. You never know who is in your audience and what opportunities they may have available for you. If two singers perform with equal skill, the ultimate choice of who to hire for a gig may be entirely subjective. Appropriate attire can be the tipping point in such situations....so never allow your clothing to become a detriment.
Whether it's fair or not, my experiences suggest that vocalists tend to be held to a higher standard than other musicians in relation to performance attire. This can be especially difficult for performers in academic settings. My suggestion is to elevate your clothing options any time you are performing for your studio in the middle of a busy day of classes by wearing at least what qualifies as business casual attire. This clothing sends the message that you understand the importance of your performance while allowing you to maintain a level of comfort for the rest of the day's activities. Departmental recitals, juries and master classes should be treated more formally, similar to an early evening recital. In other words, semi-formal attire is appropriate, meaning that men should probably wear a coat and tie. The performance is formal, but we have not reached the elegance of a black tie event. Tuxedos and evening gowns are reserved for large ensemble performances and important solo recitals.
3. Never be under-dressed! Just as you would not attend a funeral wearing a Hawaiian shirt and Bermuda shorts, you never want to walk on stage dressed worse than the members of the audience. Since you will be in the spotlight as a performer, you want to be one of the best dressed people in the room. While in school, information about appropriate attire for various performances often becomes clear as you get to know the situation better and follow the example of upperclassmen; if you are in doubt about appropriate attire, dress semi-formally. You will never be penalized for looking too nice on stage.
Speaking of knowing the expectations of a specific circumstance's appropriate attire, it is also important to realize that the dress code for any event can be adjusted over time. Just because the event was business casual last year does not mean it will always be that way. As standards change, the message will be communicated by those in authority and may include gentle comments about appropriate attire. If your attire has been addressed by a conductor, director, or faculty member in a past performance situation (whether you agree with the statements or not) and you return to a similar situation without making a significant modification, do not be surprised when you are called on it! (Additionally, it would not be out of the range of possibility to earn lower marks or pay as a result of your attire.)
4. Fit matters! It is also imperative that your carefully selected clothing fits well. Clothes that are too tight are uncomfortable and will distract you during the performance. On the flip side, overly baggy attire presents a frumpy and disheveled appearance, generating ideas that you failed to thoroughly prepare in the audience's minds.
It is generally advisable to do some rehearsal in full concert attire. There are several questions the artist wants to consider prior to the recital. Does the jacket inhibit my range of motion? How does the jewelry I've selected (especially watches and bracelets) respond to the bowing patterns? Ladies should carefully consider the effects of high heels on their balance and breath support. While it can be fun to select new outfits for special performances, it is never a good idea to see how the garments respond for the first time in the heat of the public performance!
The concert stage and the performance is greatly served as we err on the side of modesty in apparel selections. Thought should be given to the effects of stage lighting on the selected fabric. The audience's proximity to the stage (both distance and angle) can influence choices of hem line and neck line when selecting a dress or evening gown. Modesty and adherence to traditional wardrobe selections on the concert stage should not be viewed as an attempt to stifle personal expression; rather, it is an effort to avoid potentially uncomfortable situations for the artist as well as the audience.
What aspects of clothing do you take into account when selecting concert attire? Have you had a wardrobe malfunction during a performance that resulted from poor planning? Add your voice to the discussion in the comments below.
(N.B. I'm enjoying a vacation with my family next week, so I won't be blogging. I plan to return to Collaborations on July 30.)
Thursday, April 2, 2015
The Importance of Concert Attendance in Music Education
One aspect of music education that is often overlooked by students and their parents is the importance of attending concerts of all types. Regardless of the genre of music, hearing live concerts provides positive reinforcement of concepts learned in private lessons. Here are just a few of the additional benefits students receive while going to a concert.
- They are exposed to a variety of sounds that widens their musical interests. Music comes in many different styles. As a growing musician, it is important to experience a variety of them. Most of our students are familiar with pop, country, and R&B through what they regularly hear on the radio. Concerts are an easy way to check out other types of music as well. Consider attending a concert featuring blues, jazz, or classical music. Hearing these sounds may develop an interest in learning more about music of a certain era or written by a specific composer.
- Students develop their aural skills. Music lessons train the hands and muscles to make music. However, the ears must be trained as well. Exposure to high-quality performances allows students to more clearly recognize their own mistakes and develop the ability to distinguish between what is great or mediocre playing.
- Concerts provide a standard of playing. While sitting in the audience, students hear a performance to compare themselves against in areas such as tone quality, rhythmic precision, dynamic contrast, and overall performance. Additionally, these live performances show students the level of playing that they can obtain with consistent study and effective practice.
- Students explore the sounds of other instruments. Did you know that a pianist can learn a lot from listening to a trumpet or cello? While some issues discussed in private lessons are unique to the instrument being studied, other concepts can be heard clearly in other instruments. A pianist can strive for a smooth connected line like a violin would play or the sharp attack that might come from a trumpet. Exposure to a wide variety of instruments helps students explore the possible sounds of their own instrument.
- Concerts connect the student to a larger community of musicians. It is often easy to develop the false assumption that you are the only one practicing so hard when you don't interact with other musicians. It's fun for students to realize that the person on the stage was at the same level they currently are once upon a time. Additionally, many concerts provide opportunities for students to briefly speak with the performers after the final curtain.
- Attending concerts is FUN! After all, isn't the joy of music why we're taking lessons in the first place?
Thursday, February 20, 2014
Symphony Surprises
On Monday evening, I returned to my alma mater to hear the University of Memphis Symphony Orchestra present its first concert of the semester. While many of the faces on stage have changed, I was extremely impressed with the quality of music coming from the stage.
When I looked at the program upon taking my seat, I didn't have high hopes. The performance featured winners of the 2013 Soloist Competition. There have been some wonderful winners in the past; my problem was with the instruments listed. Winners played clarinet, cello, and EUPHONIUM! Really? I was expecting a night that I simply had to get through without falling asleep.
The opening piece, Concert Fantasia on Motives from Rigoletto by Luigi Bassi, was lively and well played. I was mesmerized by the student's technique; I was distracted by my dread of the next piece on the program. (Hey! I'm just being honest!) When John Stevens' Euphonium Concerto (2004) began, I was delighted to realize just how wrong my preconceived ideas had been. The first movement of the concerto was an adventure in sound that delighted. Soloist Geoff Durbin displayed absolute control of the instrument and masterfully colored sounds.
The highlight of the concert, however, was Schelomo by Ernest Bloch. The piece for cello and orchestra is described as a Hebraic Rhapsody, inspired by the writings of Solomon in the Biblical book of Ecclesiastes. Cellist Nathan Cottrell's playing grabbed my ears and refused to let go. His passionate performance conveyed a sense of the questioning and searching of the Hebrew people. I was reminded of how much I have enjoyed listening to Bloch's music and again made a mental note to check out more of this composer's repertoire.
One of the things I love most about music is its ability to surprise and invigorate listeners despite their expectations. That's the mark of great music and powerful performances.
When I looked at the program upon taking my seat, I didn't have high hopes. The performance featured winners of the 2013 Soloist Competition. There have been some wonderful winners in the past; my problem was with the instruments listed. Winners played clarinet, cello, and EUPHONIUM! Really? I was expecting a night that I simply had to get through without falling asleep.
The opening piece, Concert Fantasia on Motives from Rigoletto by Luigi Bassi, was lively and well played. I was mesmerized by the student's technique; I was distracted by my dread of the next piece on the program. (Hey! I'm just being honest!) When John Stevens' Euphonium Concerto (2004) began, I was delighted to realize just how wrong my preconceived ideas had been. The first movement of the concerto was an adventure in sound that delighted. Soloist Geoff Durbin displayed absolute control of the instrument and masterfully colored sounds.
The highlight of the concert, however, was Schelomo by Ernest Bloch. The piece for cello and orchestra is described as a Hebraic Rhapsody, inspired by the writings of Solomon in the Biblical book of Ecclesiastes. Cellist Nathan Cottrell's playing grabbed my ears and refused to let go. His passionate performance conveyed a sense of the questioning and searching of the Hebrew people. I was reminded of how much I have enjoyed listening to Bloch's music and again made a mental note to check out more of this composer's repertoire.
One of the things I love most about music is its ability to surprise and invigorate listeners despite their expectations. That's the mark of great music and powerful performances.
Thursday, February 7, 2013
Searching for a Life Jacket
This weekend, Union University will host its Benjamin Britten Centennial Celebration. In addition to interesting lectures and masterclasses, the music department is presenting a production of Noye's Fludde. I am actively involved in many of the festival's activities and am keeping my eyes open for life jackets and life preservers to make sure I don't drown during the Flood! There are lots of interesting insights I have gained while preparing for the festival that I'll be sharing in the weeks to come. In the mean time, send good thoughts and lots of prayers my way. If all goes well, I'll see you again next week when all the flood waters have subsided and I find myself once again with my feet on dry ground.
Monday, September 24, 2012
Improvisation
Last weekend, I had the good fortune of hearing Gabriela Montero play the Rachmaninoff Rhapsody on a Theme of Paganini, Op. 43 with the Memphis Symphony Orchestra. Montero's playing was exquisite and exhilarating. While I enjoyed the Rachmaninoff, what most caught my attention was what happened upon her return to the stage for bows.
Montero explained that improvisation had been a tradition of many great composers throughout history and was something that she had enjoyed since her childhood. She then proceeded to improvise for the audience. What I found most impressive was that she accepted a suggested theme from the audience; the selected song was Elvis Presley's Hound Dog. This was certainly one of the last songs I would have thought to consider for improvisation. The resulting experience was phenomenal! As I left the auditorium, I began to consider the role of improvisation in my own music making and in the lives of my students.
Montero mentioned that she had always enjoyed improvising and seemed to imply that it was something she could simply do. Did she really have no one teach her about improvisation? Is improv something that you are simply born with or you don't have it? In my own musical life, I have never considered myself imaginative and thought that only composers can create new sounds. While I understand harmonic progressions, I find myself tied to the page when I play. When I attempt to improvise, I am afraid to depart from the sounds that are defined as safe and acceptable.
I have equated improvisation with a skill set needed in jazz performance only. Since I am not a jazzer and have no aspirations to become one, I have never seen a need to develop my inner ear. After witnessing Montero's performance, however, I realize that I have been shutting out an entire dimension of music making that can only enhance my own performance.
So the question becomes how do I begin to learn how to improvise? It certainly doesn't come naturally to me. I struggle to simply let go and follow the music wherever it may take me. Often I find that a figure reminds me of a melody I know and I begin to play that work. How do I get past the fear that I'll make a mistake that will simply not be acceptable? While I'm learning how to improvise myself, are their exercises I can introduce to my students so we can grow in this area side by side?
As you can see, I don't have any of the answers.....just lots of questions. I don't think I'm the only one out there that is petrified at the thought of improvising in front of an audience. I would love to hear from those of you who have explored the magical world of improv and found comfort, joy, and personal success. Where did you start? What tips are you willing to pass on as I begin my own journey into this foreign realm of music making? Leave your experiences, stories and suggestions in the comment section below.
Montero explained that improvisation had been a tradition of many great composers throughout history and was something that she had enjoyed since her childhood. She then proceeded to improvise for the audience. What I found most impressive was that she accepted a suggested theme from the audience; the selected song was Elvis Presley's Hound Dog. This was certainly one of the last songs I would have thought to consider for improvisation. The resulting experience was phenomenal! As I left the auditorium, I began to consider the role of improvisation in my own music making and in the lives of my students.
Montero mentioned that she had always enjoyed improvising and seemed to imply that it was something she could simply do. Did she really have no one teach her about improvisation? Is improv something that you are simply born with or you don't have it? In my own musical life, I have never considered myself imaginative and thought that only composers can create new sounds. While I understand harmonic progressions, I find myself tied to the page when I play. When I attempt to improvise, I am afraid to depart from the sounds that are defined as safe and acceptable.
I have equated improvisation with a skill set needed in jazz performance only. Since I am not a jazzer and have no aspirations to become one, I have never seen a need to develop my inner ear. After witnessing Montero's performance, however, I realize that I have been shutting out an entire dimension of music making that can only enhance my own performance.
So the question becomes how do I begin to learn how to improvise? It certainly doesn't come naturally to me. I struggle to simply let go and follow the music wherever it may take me. Often I find that a figure reminds me of a melody I know and I begin to play that work. How do I get past the fear that I'll make a mistake that will simply not be acceptable? While I'm learning how to improvise myself, are their exercises I can introduce to my students so we can grow in this area side by side?
As you can see, I don't have any of the answers.....just lots of questions. I don't think I'm the only one out there that is petrified at the thought of improvising in front of an audience. I would love to hear from those of you who have explored the magical world of improv and found comfort, joy, and personal success. Where did you start? What tips are you willing to pass on as I begin my own journey into this foreign realm of music making? Leave your experiences, stories and suggestions in the comment section below.
Tuesday, January 31, 2012
Humor in Music
Last night, I had the privilege to attend Carole Blankenship's faculty recital at Rhodes College in Memphis, Tennessee. I came to know Carole during my graduate work and have always respected her musicality and thorough attention to detail. This performance certainly met my expectations and provided an exhilerating evening of music.
I was intrigued by the program from the outset due to the inclusion of a work by Libby Larson that I was not familiar with. The cycle Me was conceived for soprano and piano based on the writings of Brenda Ueland. The cycle traces one woman's development from childhood, through her awkward teen years and the devastation of a failed marriage and the death of her parent. With lots of humor provided for both the soprano and pianist, the song cycle takes the audience on an emotional roller coaster ride until its final "goodbye".
Perhaps it is due to my personal mindset at the moment, but while I find the cycle as a whole to be quite successful, I think it is the humorous settings that hold the entire work together. As concert goers, we anticipate hearing music that is serious in nature at classical performances. However, when we attend, we are not always hoping to find deep answers to life's questions; we are hoping to be entertained. For me, humor is a key element to personal entertainment.
One of my most pleasing experiences as a soloist involved my discovery of music's humor. At Pepperdine University, I was assigned Haydn's Sonata in C Major, Hob. XVI/50. I vividly remember my struggles with the opening single-note staccato theme in my desperate attempt to "say" something with my music. I was especially perplexed when I began to work through the open pedal passages that occur later in the work.
After confirming that notes and rhythms were solidly under control, my professor wisely told me to simply have fun with the piece and to allow "Haydn to help me laugh." As I began to see the sonata's humor, I experienced success with the piece and learned a valuable lesson: in order to have merit, music does not have to be "serious" and "mature." Now I find myself returning over and over again to explore works filled with bubbling laughter and those that poke fun at the musical establishment.
What pieces do you go to when you need a good laugh? I'm ready to have my funny bone tickled again by the strains of beautiful music.
Monday, January 9, 2012
Sick of Cycles?
Since I'm still enjoying a little down time before the new semester takes off next week, I've gotten to spend some quality time on various social media sites. I've been struck by the number of orchestras who are doing Mahler projects right now. The two most notable -- it seems -- are San Francisco's with Thomas and Los Angeles' with Dudamel. A company working through the symphonic cycles of a composer is nothing new and not surprising. Numerous orchestras have done the Beethoven cycle; not to be left out of the cycle frenzy, it seems that opera companies around the world are mounting Ring Cycles. This apparent trend raises a couple of questions in my mind.
While I was an undergraduate student in southern California, the Los Angeles Philharmonic played a lot of Stravinsky. For a while, it felt as though the orchestra was unable to perform a concert that DIDN'T include something by the composer. Early on, I was fascinated. I looked forward to being exposed to a wider gamut of Stravinsky works and went to the concerts expecting to learn more about the composer's harmonic language and style. As the seasons went on, I found myself treating the seemingly endless Stravinsky as something that had to be endured rather than treasured. My ears were under assault and my mind longed for something more -- something different.
This is the catch-22 of cyclical performances. It is inspiring to the academic mind to delve into the depths of a composer's work list and discover unknown treasures. On the flip side, it can be a death blow to attracting young audiences, many of whom know little about music and want to experience a wide gamut of styles as they discover what they like and don't like. For all music lovers, it is true that "variety is the spice of life."
Since it appears that these cyclical performances are here to stay (and I don't necessarily think that's an entirely bad thing), I find myself wondering which composer will have his moment in the limelight next? Amidst all the possibilities, my money is on Shostokovich. I have no basis for that guess tonight, just a gut feeling.
What do you think about the cycle frenzy? Who will be the next symphonic composer featured? Have you ever considered a piano recital series based on the same premise? Do you think it would work? I look forward to hearing from you all.
Wednesday, December 29, 2010
A Hometown Recital
Last night, I joined Marty Bishop, a trumpet DMA candidate at the University of North Texas, for a recital at the Valley View High School Fine Arts Center in Jonesboro, Arkansas. The program featured works by Henry Purcell, Joseph Haydn, Georges Enesco, Stanley Friedman, Gabriel Faure, and Jean-Baptiste Arban. The recital was a celebration of accomplishment and an opportunity to play for supportive friends and family who have not heard us play in several years. All in all, last night's performance was one of the most rewarding and enjoyable that I have recently played.
It was refreshing to work with a gifted musician who is confident in his abilities and does not need to come across as an ego maniac. Other performance experiences this year have not been as pleasant because of overly exalted pride on the part of other participants. It was refreshing to work with Marty, a musician who not only knows his strengths and weaknesses, but also recognizes that the ensemble playing is much better when kindness and laughter dominate the rehearsal and performance process.
Since this was not a recital that was high pressure, the approach to the program was much more relaxed. Obviously both Marty and I wanted to play our best; however, we were both realistic in our expectations as well. Because we were fitting the rehearsal and performance into our busy holiday plans, we rehearsed on Monday afternoon and presented the recital on the following evening. That meant that there were unresolved ensemble issues and some moments of uncertainty, but we both were confident enough as individuals that we pulled the performance off with aplomb.
As an ensemble, the highlight of the evening was the Haydn Concerto in Eb Major. I have always enjoyed this piece and look forward to the opportunity to play the work with a gifted musician. It was fun and effortless -- a high compliment when speaking of this early classical work.
Personally, the recital also marked a turning point for me personally. As a collaborative pianist, I rarely perform solo works. In addition to generally not enjoying solo playing as much as chamber work, I often shy away from programming a solo work on a chamber program as I feel it is difficult to change mindsets mid-stream. Last night, however, I played Faure's first nocturne in Eb minor as a solo. Not only was the playing good, it was quite enjoyable. Since I was already using scores in the collaborative works, I gave myself permission to present a solo composition with the printed music. I felt comfortable and was able to think about the music itself rather than fretting over when the inevitable memory slip would occur and if I would be able to recover. That is such a freeing experience! I won't say that every program will now contain a piano solo, but I won't be diametrically opposed to it now.
It was refreshing to work with a gifted musician who is confident in his abilities and does not need to come across as an ego maniac. Other performance experiences this year have not been as pleasant because of overly exalted pride on the part of other participants. It was refreshing to work with Marty, a musician who not only knows his strengths and weaknesses, but also recognizes that the ensemble playing is much better when kindness and laughter dominate the rehearsal and performance process.
Since this was not a recital that was high pressure, the approach to the program was much more relaxed. Obviously both Marty and I wanted to play our best; however, we were both realistic in our expectations as well. Because we were fitting the rehearsal and performance into our busy holiday plans, we rehearsed on Monday afternoon and presented the recital on the following evening. That meant that there were unresolved ensemble issues and some moments of uncertainty, but we both were confident enough as individuals that we pulled the performance off with aplomb.
As an ensemble, the highlight of the evening was the Haydn Concerto in Eb Major. I have always enjoyed this piece and look forward to the opportunity to play the work with a gifted musician. It was fun and effortless -- a high compliment when speaking of this early classical work.
Personally, the recital also marked a turning point for me personally. As a collaborative pianist, I rarely perform solo works. In addition to generally not enjoying solo playing as much as chamber work, I often shy away from programming a solo work on a chamber program as I feel it is difficult to change mindsets mid-stream. Last night, however, I played Faure's first nocturne in Eb minor as a solo. Not only was the playing good, it was quite enjoyable. Since I was already using scores in the collaborative works, I gave myself permission to present a solo composition with the printed music. I felt comfortable and was able to think about the music itself rather than fretting over when the inevitable memory slip would occur and if I would be able to recover. That is such a freeing experience! I won't say that every program will now contain a piano solo, but I won't be diametrically opposed to it now.
Monday, October 4, 2010
Trying Out Wagner!
The wait is finally over! On Saturday, I will have my first experience with a Wagnerian opera when I attend the Met HD broadcast of Robert Lepage's new production of Das Rheingold. This is no small feat for me as I am just beginning my personal journey into the world of opera; I decided if I was going to play these wonderful arias, I should probably know the stories they come from and begin experiencing the works as a whole.
If you are like me, you know that Rheingold is part of Wagner's Ring Cycle and that it makes use of the leitmotif. Beyond that, I am a little lost. Listening to excerpts of the opera is difficult. Getting the plot straight is a herculean effort. I'm really hoping that the costuming will help me separate the gods from the giants and Nibelung dwarfs!
As part of my preparation for Saturday's production, I am committing to doing some reading daily on Wagner and the opera. So far, the most valuable resources I have found are the program note and plot synopsis at the Metropolitan Opera's website. Do you have any suggestions for things I should take a look at before heading to the "opera" on Saturday? Please no negative comments.....I'm still gathering my courage to dive into the somewhat intimidating world of Wagner.
If you are like me, you know that Rheingold is part of Wagner's Ring Cycle and that it makes use of the leitmotif. Beyond that, I am a little lost. Listening to excerpts of the opera is difficult. Getting the plot straight is a herculean effort. I'm really hoping that the costuming will help me separate the gods from the giants and Nibelung dwarfs!
As part of my preparation for Saturday's production, I am committing to doing some reading daily on Wagner and the opera. So far, the most valuable resources I have found are the program note and plot synopsis at the Metropolitan Opera's website. Do you have any suggestions for things I should take a look at before heading to the "opera" on Saturday? Please no negative comments.....I'm still gathering my courage to dive into the somewhat intimidating world of Wagner.
Monday, September 20, 2010
The Beginning of a New Era
On Saturday evening, I attended the opening concert of the 2010-2011 season of the Memphis Symphony Orchestra. This evening was made additionally more exciting given that it also marked the beginning of Maestro Mei-Ann Chen's tenure as music director. Given my personal feelings about the city of Memphis in general, I was pleasantly surprised to leave the concert with an optimistic view of the future of classical music in Memphis.
The program featured staples of the Russian repertoire: Shostakovich's Festive Overture, Op. 96; the well-known First Piano Concerto of Tchaikovsky; and the Scheherazade Symphonic Suite, Op. 35, by Rimsky-Korsakov. The music programmed was a fitting opening for what appears to be an exciting and well-rounded season of literature for the Symphony. Dr. Chen appears to be confident in the ability of our players, made evident by the demanding repertoire scheduled. In her introductory remarks, Chen stated that it was her goal to see MSO become the finest orchestra in the region during her tenure; based upon the musical sensitivity and excellent sounds she elicited from her players on Saturday, I believe she is just the woman for the job.
The entire program was glorious, but the Rimsky-Korsakov simply took my breath away. I especially enjoyed the exquisite solo passages played by Concertmaster Susanna Perry Gilmore as well as those from Jennifer Rhodes, principal bassoon, and Scott Moore, principal trumpet. The commitment to musical excellence demonstrated by these three players in these incredibly demanding passages renewed my hope and faith in our Memphis Symphony.
Rarely will one attend a performance where they enjoy everything. Saturday evening's concert was no exception. While I applaud MSO's commitment to developing young musicians, I hope that my ears are never again assaulted by the overpowering sounds of a high school marching band playing in the aisles of the Cannon Center. Don't misunderstand -- the sound was quite good and I would have appreciated it in a setting designed for such loud decibels. In the current setting, however, the playing was physically painful. Based upon the body language of others in the hall, I am not alone in this opinion. Many audience members -- both in the balconies and on the main floor -- and members of the orchestra could be seen with their hands covering their ears in a vain attempt to muffle the sound. There must be a compromise; as a patron, I want to be supportive of the arts in our area schools, but not at the detriment of my hearing.
As far as the Orchestra itself, my only complaint was with the woodwind section. Throughout the evening, I felt as though some members of the section were struggling to play at the new level that Ms. Chen is introducing. I realize that we all have performances when we are simply not at our best. In keeping with that maxim, I will reserve my judgment until I listen further to their performances in the future. I am certain of this one thing -- Mei-Ann Chen is a gifted woman with a clear goal in mind for the Memphis Symphony Orchestra. She will bring the best out of all of her musicians, but I have a feeling she will not hesitate to make personnel changes as she deems necessary.
I am looking forward to hearing about the next concert on October 16-17, 2010. I am thrilled that my dear friend and fellow Pepperdine alumnus, Jessica Rivera, will be the featured soloist on the Barber Knoxville: Summer of 1915. On the other hand, I am upset that I will miss the performance due to another engagement that weekend on the left coast.
The program featured staples of the Russian repertoire: Shostakovich's Festive Overture, Op. 96; the well-known First Piano Concerto of Tchaikovsky; and the Scheherazade Symphonic Suite, Op. 35, by Rimsky-Korsakov. The music programmed was a fitting opening for what appears to be an exciting and well-rounded season of literature for the Symphony. Dr. Chen appears to be confident in the ability of our players, made evident by the demanding repertoire scheduled. In her introductory remarks, Chen stated that it was her goal to see MSO become the finest orchestra in the region during her tenure; based upon the musical sensitivity and excellent sounds she elicited from her players on Saturday, I believe she is just the woman for the job.
The entire program was glorious, but the Rimsky-Korsakov simply took my breath away. I especially enjoyed the exquisite solo passages played by Concertmaster Susanna Perry Gilmore as well as those from Jennifer Rhodes, principal bassoon, and Scott Moore, principal trumpet. The commitment to musical excellence demonstrated by these three players in these incredibly demanding passages renewed my hope and faith in our Memphis Symphony.
Rarely will one attend a performance where they enjoy everything. Saturday evening's concert was no exception. While I applaud MSO's commitment to developing young musicians, I hope that my ears are never again assaulted by the overpowering sounds of a high school marching band playing in the aisles of the Cannon Center. Don't misunderstand -- the sound was quite good and I would have appreciated it in a setting designed for such loud decibels. In the current setting, however, the playing was physically painful. Based upon the body language of others in the hall, I am not alone in this opinion. Many audience members -- both in the balconies and on the main floor -- and members of the orchestra could be seen with their hands covering their ears in a vain attempt to muffle the sound. There must be a compromise; as a patron, I want to be supportive of the arts in our area schools, but not at the detriment of my hearing.
As far as the Orchestra itself, my only complaint was with the woodwind section. Throughout the evening, I felt as though some members of the section were struggling to play at the new level that Ms. Chen is introducing. I realize that we all have performances when we are simply not at our best. In keeping with that maxim, I will reserve my judgment until I listen further to their performances in the future. I am certain of this one thing -- Mei-Ann Chen is a gifted woman with a clear goal in mind for the Memphis Symphony Orchestra. She will bring the best out of all of her musicians, but I have a feeling she will not hesitate to make personnel changes as she deems necessary.
I am looking forward to hearing about the next concert on October 16-17, 2010. I am thrilled that my dear friend and fellow Pepperdine alumnus, Jessica Rivera, will be the featured soloist on the Barber Knoxville: Summer of 1915. On the other hand, I am upset that I will miss the performance due to another engagement that weekend on the left coast.
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