A Trip to the City

To contrast my travel post from Presidents' Day Weekend, here is a quick summary of our day trip to Boston last week:

Christian Tetzlaff, Starbucks, good friends, shopping, city walk.

Here is the long summary:

• We drove 45 minutes to the nearest T stop, paid $7 for parking and a $2 fare per person to get to Downtown Crossing (i.e. shopping). This was so convenient and much cheaper than riding the Commuter Rail from Fitchburg all the way into North Station (over an hour ride and $15 each way per person).

• We shopped the new spring collection (and the sale racks) at H&M with a gift card from Christmas and stopped at Starbucks for a chicken salad sandwich, greek yogurt parfait, and sweet tea lunch (again, with gift cards from Christmas! Can you tell we don't get out much?)

• It was a sunny day (though, a little cold and windy), so we decided to walk from Downtown Crossing to Symphony Hall (45-60 minutes). I LOVE walking in cities.

• We were greeted at the door of Symphony Hall by men in black vests. We settled into our second balcony seats, perused the program book, and watched people pour into the hall for the 1:30 p.m. concert. (1:30 p.m. on a Friday - what an innovative idea!)

• We sat, mesmerized by Christian Tetzlaff and the BSO in a program of three (count 'em three) violin concerti: a short, sweet musical "appetizer" by Mozart, the second performance of a world premiere by Harrison Birtwistle, and the last, an exciting, virtuosic finale by Bartok.

• We decided we were bold enough to make the walk back to Downtown Crossing (though, we did make a coffee stop at Starbucks on the way. Yes, more gift cards.)

• Since we were in Downtown Crossing with time to spare, we decided to visit a few more stores and made the walk down to Chinatown and back.

• We met some good friends from Eastman and a few new friends at Green Street Grill in Cambridge for drinks, homemade chips and dip, and good conversation.

• We had a quick dinner at Life Alive (delicious three bean chili and bowl of Udon Noodles, tofu, shitake mushrooms, kale, onions, carrots, sesame seeds, and a sesame ginger marinade)

• We had a great time.

Little Carnegie of the South

It was Friday, July 13th, 2007 - a hot summer day in south Georgia.

I pulled into the driveway of the southern house off Forsyth Street, known as Little Carnegie of the South for my first piano lesson with Louise Barfield. On the phone, Louise (with a southern drawl) asked me to prepare all major and minor scales, four octaves, for our first lesson. I was cordially ushered in off the wide front porch by a tall woman, truly delighted to see me. Her hair was tied back in a loose bun and she wore cowboy boots.

I took a seat at one of the two grand pianos in the long living room and she took hers at the opposite end of the room, settling in comfortably at the end of a row of velvet chairs.

I began with C Major. I played four octaves up, four octaves down and stopped. "Why are you stopping?" She asked. "Play them in sequence." I began again. C Major, C# Major, D Major. All the while, Louise stood at the back of the room shouting, "Louder! Faster! Pretend you're in Carnegie Hall - you have to play to the whole room!!" About the time I approached F Major, my arms were burning. My fingers felt stiff and uncontrollable but I could not stop. She would not let me stop. I dragged my hands up and down four octaves until I finally (somehow) managed to arrive back at C Major. A few minutes later, we did this again. Louise took out a piece of paper and wrote down these questions (the answers I gave are included below):

On a scale from 1 to 10 - rate your performance - 10 being the best. 6 - tempo was fairly consistent, fingering needs work, need more endurance.

Why is it important to practice scales? Physical strength, endurance. Awareness of keys and key signatures. Strengthens fingers. Tempo consistency.

Why is fingering important? Ease of playing. Scale lines in music. Consistency.

Describe what you know about the technique of scale playing. Finger position must be curved, wrists and arms must be relaxed, elbows must be used to broaden control, tempo must be consistent.

My notes from this lesson read:

- curve fingers more - lead with body - lift fingers off key - don't touch key first - tension only permitted in 1st joint of fingers - "free the music from yourself" - energy is all mental - watch dropping fingers on keys - play in the air - the energy plays the keys - watch follow-through for each finger - be aware of our physical inhibitions - don't let them constrict the music - every action is plotted mentally - "you are your own teacher" - be aware of ego and laziness when practicing - fingers do the playing - support with strong body muscles

We began a few more technical exercises that day:

- drop: one finger at a time, up and down the scale line - drop/release: scale fingering (watch follow-through) - stretching/finger independence: C-Eb-Gb-A-C (or B), Bass C and Treble C position, hands separately. Play all notes together then lift/play one finger at a time, 4x each (straight fingers, not curved). Strengthens thought. Other fingers should be relaxed and resting. No finger, hand, arm, or shoulder strength - use diaphragm and energy from inside. Finger combinations (4x each): 5+3, 4+2, 3+1, 5+4, 3+4, 2+3, 2+1, 5+1.

July 13th, 2007 was a humbling day and one that marked a turning point in my understanding of music. We spent the rest of our lesson time reviewing one scale - note by note, finger by finger, muscle by muscle. For me, it was overcoming fear, being completely vulnerable and taking a step toward playing with confidence. It was a day I will never forget.

The Art of Song - Part III

Where would this lecture recital sketch be without Robert Schumann's "Mondnacht" with text by Joseph von Eichendorff? In addition to providing language contrast, the title (translated "Moonlit Night") is consistent with the celestial theme (sun, moon, and stars - see?) From the 1840 song cycle, Liederkreis, Op. 39, this piece may be most famous for its embedded code. Schumann used the pitches E-B-E repeatedly. The significance? "Ehe" is the German word for "marriage" and in German music, B-flat=B while B-natural=H. This song cycle is from the year Robert and Clara were married. The text reads as follows: It was as though the sky had softly kissed the earth, so that she, in a gleam of blossom, had now to dream of him.

The breeze ran through the fields, the ears of corn gently swayed, the woods rustled faintly, the night was so starry and clear.

And my soul spread wide its wings, flew over the silent land, as if it were flying home.

Beautiful text yet it leaves us to wonder - who is the girl? Who is he that appears in her dreams? Where does this story take place? What time of day is it? Where is home, as mentioned in the last line? Where is the character who is speaking? Listen to Hans Hotter and Gerald Moore in this stirring rendition.

In conclusion, three composers: Copland, Chausson, and Schumann. Three languages: English, French, and German. A rough celestial theme: sun, moon, and stars (or at least nocturnal with all texts taking place at the end of the day). Three scenes portraying love: love lost, love found, and love eternal.

Previously: The Art of Song - Part I The Art of Song - Part II

The Art of Song - Part II

Another piece Steve and I are considering for our upcoming lecture recital is Ernest Chausson's "Sérénade italienne" with text by Paul Bourget. The title indicates that it is a serenade, the poem indicates that it is a barcarolle, and interpreter Pierre Bernac states that it is neither. "It should be sung con slancio [vigorously, with dash] (half note=63), with pretty vocal effects" (The Interpretation of French Song, p. 94). The text reads: Let us sail in a boat over the sea to pass the night under the stars. See, there is just enough breeze to inflate the canvas of the sails.

The old Italian fisherman and his two sons, who steer us, listen but understand nothing of the words which we speak.

On the sea, calm and dark, see, our souls may commune, and none will understand our voices but the night, the sky and the waves.

Where does this story take place? What time of day is it? How many people are on this boat? Who is the character speaking and who is he/she speaking to? Perhaps we are in Italy but given the last line, it seems as if the two main characters are foreign to the surroundings: "And none will understand our voices but the night, the sky and the waves." There seems to be a feeling of secrecy and delight in this thought, don't you think?

Listen to Gérard Souzay perform with pianist Jacqueline Bonneau here. I love the atmospheric writing for the piano!

Previously: The Art of Song - Part I

The Art of Song - Part I

I am preparing my first lecture recital. Steve and I will be presenting a program of art song transcriptions for saxophone and piano, discussing our interpretation, approach, and the relationship between music and text. One of the pieces we are considering including is Aaron Copland's "Heart, we will forget him" with text by Emily Dickinson: Heart, we will forget him! You and I, tonight! You may forget the warmth he gave, I will forget the light.

When you have done, pray tell me, That I my thoughts may dim; Haste! lest while you're lagging, I may remember him!

What is this text about? Who is the character speaking? Do we assume that it is a woman? What time of day is it? What is the underlying emotion? At first glance, the piece seems dramatic and full of literal longing (rubato) - perhaps the character is broken-hearted, mourning the loss of a lover. Is there an alternative interpretation to consider or is the poetic intent fairly clear?

From a whimsical perspective, could the character simply be lamenting the end of the day? Consider this line in the first stanza: "You may forget the warmth he gave, I will forget the light." Could Dickinson be referring to the sun? Does this give you an idea of how much the interpretation of the text informs our musical decisions?!

What do you think of the text? Listen to Copland's setting in this performance by Dawn Upshaw and the Saint-Paul Chamber Orchestra. How did Copland interpret Dickinson's words? What does the music suggest?

Organization

I love being organized (another reason why I love office supply stores, as you may have read here). I love file folders, binders, and shelf space. My closet is organized by color (hangers included). So, as you can imagine, I have daily to-do lists. Today, I discovered the wonders of TeuxDeux. Now I can organize my to-do list days in advance... let that sink in for a minute. Imagine the possibilities! When transforming my to-do list into a TeuxDeux list, I realized that in the mix of "email _____" and "check _____," I had several insurmountable tasks which inadvertently rolled over from yesterday's to-do list. Of course, they're not really insurmountable, they're just too big to tackle in one day. Solution? Break each target item into 3+ action steps, as described here (see the chart?) This way, I am making progress toward my larger goals in small, manageable pieces. For instance:

Happy weekend, friends and cheers to a very productive week to come!

The Adult Church Choir Rehearsal

The Sanctuary Choir has had an exciting year! First of all, look how we've grown from 12 members last summer to 21 members at Christmas time! We have a great group of enthusiastic singers who are very faithful to the music program and are eager to learn! What more could a director ask of a choir? Take a seat on one of the red velvet pews in the back of the Sanctuary and observe one of our Thursday night choir rehearsals...

---

Sanctuary Choir Rehearsal

7:00-7:10 p.m. - Warm-Ups

• Stretches, sighs, sirens, humming, chewing, facial massage

• Breathe in for four counts, hold for four counts, breathe out for four counts

• Me-ahh (starting with a D Major triad going up: 15-4321)

• Vi-va (starting with a D Major triad going up: 1234-5656-54321)

• Vocal Siren

• Reminders: singing through the consonant to the vowel, sitting on top of the note instead of reaching up to it

Opening Prayer

7:10-7:15 p.m. - Sunday’s Anthem

• Prayer for Peace (Lightfoot)

• Reminders: tall mouth-shape, tempo changes, dynamics, cut-offs, more breath preparation before entrances

7:15-7:20 p.m. - Service Music (all a cappella)

• Introit: O Worship the King (Traditional Hymn)

• Prayer Response: Breathe on Me, Breath of God (Traditional Hymn)

• Benediction Response: Amen (Danyew)

• Reminders: breathing together, imagining first note before singing it, singing into the sound around you, enunciate!

7:20-7:50 p.m. - Anthems

• Come to the Water (Hasseler) - new

• Reminders: direction of phrases (most important word of phrase), breath preparation, phrase-shaping

• An Hour of Hallowed Peace (Danyew)

• Reminders: "hushed" text painting (singing the word in a way that depicts its meaning), breath support for soft singing, preparing to sing 5ths, direction of phrases (most important word of phrase), phrase-shaping

• Jesus, Savior, Friend (Glass)

• Reminders: consistent tempo, syncopated rhythm review, tall mouth shape/vowels, confidence, relationship of vocal parts to accompaniment

7:50-7:55 p.m. - Announcements

• Choir picture is up on the website!

• Joke Time

7:55-8:00 p.m. - Talk Break

8:00-8:30 p.m. - Anthems

• You Are the Song (Courtney)

• Reminders: syncopated rhythm review, parts review, relationship of vocal parts to accompaniment

• The Gift of Love (Traditional Hymn) - a cappella, rehearse in circle

• Reminders: look up!, blend with people around you, direction of phrases, phrase-shaping, dynamic contour

Prayer Circle

---

What does your church choir rehearsal look like?

Sonntag

This strophic German song (Op. 47, No. 3) by Johannes Brahms is about Sunday love - a young man longing for the beautiful girl he only sees in church on Sunday. Steve transcribed it for saxophone and piano, as you can hear in the recording below (listen for laughter in the piano interlude and coda!) For an in-depth description of our rehearsal process for this piece, read this. Enjoy!

"So all the week I've not seen my dear love, on a Sunday I saw her standing at her door; my darling love, my darling sweet, would God, I were with her today!

So all the week I'll not cease to laugh, on a Sunday I saw her going to church: my darling love, my darling sweet, would God, I were with her today!"

-Ludwig Uhland (tr. George Bird and Richard Stokes)

[youtube=http://www.youtube.com/watch?v=Pek65juDrdM&w=480&h=390]

Ave Maria

We did a few new recordings in December, so in case you haven't heard this already, here is a transcription of Schubert's Ave Maria, Op. 52, No. 4 for saxophone and piano: [youtube=http://www.youtube.com/watch?v=ZDFdjgzAs0c&fs=1&hl=en_US]

Making Opportunities Happen

I’ve often been advised to “make the most of opportunities” – I’m sure you’ve been there, too.  Sometimes an opportunity presents itself out of nowhere – maybe it’s an extra time commitment, maybe it’s out of your comfort zone and just when you’ve convinced yourself to pass it by, suddenly the opposing voice in your head says, “Wouldn’t this be a great experience?”  In my case, the opposing voice usually wins.

I recently had a conversation with my dad about this very thing.  In fact, he even quoted my opening statement.  As we continued our conversation, we talked about the importance of making opportunities happen.  It’s great when opportunities just pop up in front of you (Hi!  I’m Mr. Opportunity!) but let’s face it – sometimes the opportunities just aren’t there.  The economy struggles, organizations lose funding, no one is hiring.  Have you experienced this?  How do you respond?

It starts with a problem.  Problems are everywhere!  Pick one and figure out how you can solve it with your given skillset.

Problem: I moved to a town with no community music programs. Solution: open a piano studio (I have nine students after four months) and start two children’s choirs (I have fourteen enrolled this year).  I had to think beyond my comfort zone (i.e. teaching in an established organization where marketing and administration is taken care of by someone else) but as a result of thinking entrepreneurially, I now have the flexibility to set my own schedule and create my own teaching environment.

Problem: there are no opportunities for amateur musicians to come together to play or listen to chamber music in town. Solution: start a summer chamber music workshop.  I give you the Westminster Chamber Music Workshop – a week-long series of coachings, rehearsals, and special events for amateur players and choral singers in the area to come together to network, learn, and make music.  Special events each night will feature guest artists in performance and lecture – free and open to the public!

It’s not always about making the most of opportunities… sometimes it’s just about making the opportunities happen.