I had an experience in Women's Chorus last night. Well, I had a lot of experiences, but I also had an experience that I have never had before. Let me set up the scene: My choir has been working hard all semester. They are singing over twice the amount of music than they normally do and the music is some of the toughest music some of them have ever sung. It certainly is some of the toughest music the Women's Chorus has ever done. We are premiering a piece that is 9 minutes long. It's tough. And one thing I worry about is that the music they are more familiar with is "old" to them. It can be difficult to keep energy and love in music that someone gets used to. So close to the end of rehearsal, when the women are exhausted after thinking hard and singing a lot (not to mention it's a Monday night at 9:30 PM), we pulled out a piece they were very familiar with. In fact, they have sung it at a concert before. They start on a unison note and and give a slight, slow crescendo. The first time they did it, it was fine. In fact, to be honest, many conductors would probably not ask them to make it better- because most conductor's are nicer and won't make their singers work hard throughout all of the almost 3 hour long rehearsal. But I asked them to do it again and to bring the dynamic level back, to compress their sound but keep the same intensity. And they did it. And it was so unbelievably moving. I have sung in groups and been moved. I have listened to live concerts of other groups and been moved. I have been in front of my group and been proud of their singing, and even impressed with their singing. But I have never stood in front of a group I am conducting and been so moved. In that one simple note, that one commitment to good singing, that one expressive moment... it was so beautiful.
How did it happen? I think it comes from multiple things. An audience cannot be moved simply by soulful singing. Singing just because you love it with no other guiding factor often makes for a sloppy performance especially in a choir. But if you focus just on technique, the music has no heart. What happened in that moment, when I was so moved on this unison note blossoming to the next higher dynamic level... what happened is that the women were supporting their sounding, they were listening to their "sisters" and singing the same note while aligning their vowel, they intentionally had a beautiful color, and they sang with passion, with intentionality. And it was stunning. If everything else in the choir is "good," but we still have that stunning moment, I will be pleased. I wish all of you could have heard it. Everyone deserves to have those moments. Because everyone deserves to hear good music.
I thought that change would get easier as I aged. I have never been afraid of change. In fact, I have often been excited about change and barreled head first into it. My mom has often mentioned how much I jam in my life and how many plans I have for it. In a way, I thin one of the reasons I love John is because he is opposite of me in that way- while he will keep himself busy, he will also slow down and take time when he needs to. He will say, "I need to stay in this weekend." My dearest and longest friend, Heather, is also similar. Until I married John, she had been my connection to "tradition." She values routine and tradition, having consistent friends in a stable area. When I need to remind myself of "me," she was the person I connected with. John also provides that same sense of being grounded. He values tradition and is not always a huge fan of change. As I said at the beginning of this paragraph, I have always welcomed change. But as excited as I was to start my masters, moving out this far was a little bit harder than my move to Wisconsin from Arizona. Every move has been a little tougher. I now know that, despite good intentions, I won't stay in touch with most of my friends. I believe there will be a small number I will- and mainly because we are connected through our profession. I am sitting in my favorite coffee shop, and I know I have a limited number of visits. I like my coffee shop. It is so very special to me. I have spent so much time here studying and working. I like running on the beach. I like the social things I have done this year (much more than last year and even my time in Madison- when I had the smallest amount of friends nearby than I have had at any other point in my life). I am extremely excited about our move to Iowa. I look forward to starting my DMA program. I look forward to exploring California in the next few weeks. I will be so happy to be closer to family and many of my Midwest friends. But moving away from my friends here- when I think about how likely it is I won't see most of these wonderful people again- is difficult.
I think one of the reasons leaving here will be so difficult is because I have made music with many of them. And it was good music. When you truly form that community, it is tough to leave.
I have been very lucky. I have good people in my life. It is so odd to feel so excited about something, yet so sad to see my current situation end. I would not want to stay here, I don't think. Life would change and I do not see life changing in a way that would be extremely fulfilling to stay here.
The point is... change is just as real as it was when I was younger, but I seem to understand the realities of it a little better. It's good and it's sad. But if I was not bummed to leave, then it would have meant my time here was not well spent.
Tuesday, April 30, 2013
Monday, April 29, 2013
Results and Next Steps
Well, the results are in. I passed my comprehensive literature exam. I really was nervous about it. The first listening example threw me for a loop, and I did not know the answer. I thought for sure I would recognize most of the pieces and the first four I did not recognize. I almost started crying. I briefly dreamed about flipping the exam over and walking out. Yes, I get that stressed out. It seemed as if my colleague was having an easy time with it. I thought I was doomed.
Turns out that Mike, my colleague, was also nervous and questioning the examples we were hearing. But I did not know that until after the exam was completed.
At any rate, starting with example 5, I recognized the rest (7 of them). That was a breeze. There were 5 score ID after that. One of them I made an educated guess, but immediately after the exam was done, realized that it was not right. It was a large romantic work- and I guessed Berlioz Requiem. But that was not true. Although the orchestration was huge, the women were not in unison, which they are the majority of the time in his Requiem. I thought maybe Verdi, but the line writing seemed a little late. I thought it could have been Beethoven, but I ended up guessing Berlioz. I literally woke up the next morning and immediately thought, "It was Beethoven! From Missa Solemnis. The Gloria. The ending."
At any rate, I earned an A on my comprehensive exam.
And my thesis was approved. So soon I will pick that up from the library and pay for the printing and publishing.
In a week from today is my recital. That should be fun! I am feeling positive and focused about rehearsal tonight. We have quite a bit to get done.
This is the oddest concert I have ever had. We are doing so much music (over twice the amount we normally do). We are premiering a piece that was written specifically for us. That is not officially a part of my recital set. We are having four outside soloists/singers come in to give more support on the premiere. We have percussion. And I am so proud of my women for all the work they have done, but it may be the very middle-of-the-road. It is not their fault- I probably should not have done my recital with them. It's a lot to ask of a group of mainly non-music majors who meet only once a week. I wish I had more time with them. And I think I will battle with the quality- I hope I am not too disappointed... but if I am, it won't be in them. It will be in my own planning. The problem is I just can't address everything in a way that will stick with the singers. In the end, I will be proud of them... they have worked harder this semester than ever.
We have started packing. I think we have 4 or 5 boxes packed. It's not a lot and it's just books, but our hope is to pack up a little bit this week before visitors this weekend.
I was asked to join the Pi Kappa Lambda Music Honor Society. Great!
One more thing- I need to buy my "black glam" outfit for the Rolling Stones concert I am singing in. Woo! Also... I am debating, should I buy a new recital outfit? I think I would like to, but I do not have a lot of time.
Turns out that Mike, my colleague, was also nervous and questioning the examples we were hearing. But I did not know that until after the exam was completed.
At any rate, starting with example 5, I recognized the rest (7 of them). That was a breeze. There were 5 score ID after that. One of them I made an educated guess, but immediately after the exam was done, realized that it was not right. It was a large romantic work- and I guessed Berlioz Requiem. But that was not true. Although the orchestration was huge, the women were not in unison, which they are the majority of the time in his Requiem. I thought maybe Verdi, but the line writing seemed a little late. I thought it could have been Beethoven, but I ended up guessing Berlioz. I literally woke up the next morning and immediately thought, "It was Beethoven! From Missa Solemnis. The Gloria. The ending."
At any rate, I earned an A on my comprehensive exam.
And my thesis was approved. So soon I will pick that up from the library and pay for the printing and publishing.
In a week from today is my recital. That should be fun! I am feeling positive and focused about rehearsal tonight. We have quite a bit to get done.
This is the oddest concert I have ever had. We are doing so much music (over twice the amount we normally do). We are premiering a piece that was written specifically for us. That is not officially a part of my recital set. We are having four outside soloists/singers come in to give more support on the premiere. We have percussion. And I am so proud of my women for all the work they have done, but it may be the very middle-of-the-road. It is not their fault- I probably should not have done my recital with them. It's a lot to ask of a group of mainly non-music majors who meet only once a week. I wish I had more time with them. And I think I will battle with the quality- I hope I am not too disappointed... but if I am, it won't be in them. It will be in my own planning. The problem is I just can't address everything in a way that will stick with the singers. In the end, I will be proud of them... they have worked harder this semester than ever.
We have started packing. I think we have 4 or 5 boxes packed. It's not a lot and it's just books, but our hope is to pack up a little bit this week before visitors this weekend.
I was asked to join the Pi Kappa Lambda Music Honor Society. Great!
One more thing- I need to buy my "black glam" outfit for the Rolling Stones concert I am singing in. Woo! Also... I am debating, should I buy a new recital outfit? I think I would like to, but I do not have a lot of time.
Thursday, April 25, 2013
Last pre-test
I have decided I like Bryn Terfel singing in Elijah.
Self testing is going okay. More successful earlier today. Now not so much.
Here are the pieces I want to spend more time on when this test is done (other than Brahms. That's a given): Dvorak's Stabat Mater. Both of Bach's Passions and his Magnificat. Mozart's Mass in C and his Vespers. Stravinsky's Les Noces. Faure's Requiem. Cherubini Requiem. Janacek's Glagolitic Mass. Harmoniemesse by Haydn. The only full score I have for any of those is Brahm's Gesang der Parzen, so that's the first thing I am studying this summer.
I went back and wrote dates for all the composers and compositions. I didn't do poorly, except for Berlioz. I was off by like 25 years there. And I had one weird "WTF, Shannon?" moment earlier today when I confused a loud movement from The Seasons with Verdi. But other than that, I have either been right or close to right in my studying and testing of myself. I am giving myself lots of encouragement and room for a few slip ups, otherwise I'll start overthinking everything and thus make silly mistakes.
Self testing now.
Handel. 1685-1759. Messiah- last revisions in 1754. Often would change keys of arias and give to new soloists and voices. Popular in London. Messiah performances were just about annual until 1784. I believe they have begun again. Light orchestration. Uses a continuo. In 3 parts: Advent/Christmas, Passiontide/Easter, Ascension and Pentecost. Charles Jennens is the text compiler. I could tell you which part most of the arias/choir pieces fell, as long as I know the words.
Elgar. Dreams of Gerontius- completed in 1899, premiered in 1900. There is an alto, tenor, and bass soloist. Gerontius is a tenor. It is in two distinct parts- one as Gerontius is dying and the second part is him on his way to purgatory. The title role is a huge tenor solo. The piece that came up on Spotify was in the second part. He had just seen God and is telling the angel to take him away to purgatory. It's close to the end. Forgot his dates- had to look it up- 1857-1934.
Haydn. 1732-1809. Harmoniemesse. It's in Bb. Helmuth Rilling does a great recording of this. It's a mass written/premiered in 1802 for Esterhazy. It was the last of his six masses for them. The Gloria, which is I think the section that came up, is full of fanfare at the beginning. I forgot that he quotes himself in the last movement (he quotes "Be Gracious" from The Seasons).
Ralph Vaughan Williams. 1872-1958. Sancta Civitas. 1923-25 is when it was written. Solo violin, which is plaintive, gave this movement away. Based on the story of Babylon, text from Revelations. Sung in English. VW is a very English composer... there is a sound he has to him that reminds me of England.
Another Bach piece game up. A passion. Sounds like an earthquake. Let me look... yup, St. John Passion.
Bach b minor mass. Taken from pieces he wrote his whole life. He did not give it the title of B minor mass. Final touches were put on it in 1748. He put it together as a sort of CV. It was never performed in his lifetime, but the earliest comes from Weimar material in... 1717? No, 1714 (I had to look that up to double check).
Dallapiccola. 1904-1975. Songs of Captivity (Canti di prigionia). 1938 was when the first movement was written. 1940 and 41 were the second two, respectively. Taken from prayers from Mary Stuart, Boethius, and... Salmalskjdflsomeone. Dallapiccola had an experience simliar to being captive (his family was moved to Graz because, despite being Italian, his family was considered politically subversive.
Cum Sancto Spiritu. Fugue. Mozart. Haydn? No, Mozart. But it sounds something like Haydn, I just don't recognize it as Haydn. And there it is, it doesn't sound like Haydn right there (yes, I am listening to it as I type). Mass in C by Mozart. He wrote in for his wife and in celebration of their marriage, although it's half finished. Completed in 1783. Mozart 1756-1791.
Brahms. 1833-1897. German Requiem. 1868. Inspired perhaps by the death of his mother and/or Schumann. So beautiful. One of the most people works I have heard. I try to avoid listening/studying Brahms, despite the fact he is on my exam. Otherwise, I will spend hours listening. 7 movements. Brahms compiled the text himself. He really liked Cherubini's Requiem in C (so do I!) and thus used no violins like him in the first movement. Only the second movement uses full orchestra.
Bach Magnificat. 1723 was in Eb. Later, sometime between 1728-31, put in D major and revised the text (taking out Christmas texts).
Haydn. One of his oratorios. My guess is the Seasons based on the text (1801)
Franz Schmidt. Das Buch mit sieben siegln? In English it's The Book with the Seven Seals. 1937 composed. Based on Revelations. Music really punctuates the text. 20th Century, but is tonal, very romantic. Oratorio. One soloist- a tenor- Saint John. Two parts plus a prologue. He died in 1939, two years after the piece was written. I had to look up his birth year: 1937.
Haydn. Creation. 1798.
Dvorak. 1841- 1904. Stabat mater. 1877, premiered 1880. My first inclination was to say some English composer, but the text is Latin (and I thought I recognized it from the Stabat mater) plus the music is gorgeous and tonal, plus I recognize it as a piece I love. Hence, Dvorak. It was his first religious piece. Wrote the Stabat mater during his Russian period. Brahms assisted his career. Stabat mater was in 10 movements. Fairly transparent orchestration.
Michael Tippett. Early 1900s to 1998? A Child of our Time. 1942. Based on a story about a young man who shot a German official in a different country and caused Krystallnacht (spelling?). An oratorio. Tippett tried to make it like a Bach cantata. For the chorales he used spirituals. Kind of interesting! Yes, his dates were 1905 to 1998.
Leos Janacek. 1854-1928. Glagolitic Mass. 1926. Wrote it and his Czech audiences loved it. It has some folk type melodies. I love the opening fanfare (a descending fourth, descending fifth, up a fifth). Used organ. It's in slavonic, so I don't actually recognize the words, but one of the main themes that the choir sings sounds like the worlds "Hobby lobby."
War Requiem 1961. Benjamin Britten wrote this for Soprano, tenor, and bass soloist, boy choir (which always sounds distant), and SATB choir. Dedicated to some friends that died in WWII. There are two texts- one by Owens who wrote poetry in response to his experience in WWI (which is what the two men soloists sing) and the other text is the Mass for the Dead text. This work, as well as Peter Grimes, were the two pieces that really put him on the international map. An important tritone here is F# and C.
Carl Orff. 1895-1982. Carmina Burana (1935-36). Latin, German type of language? Short movements. Dance based, tried to make it feel like the text.
Berlioz. 1803-1869. Requiem. 1837. Dies irae, I recognize the opening cello line. Written originally for the French government as a revolution commemoration. Ended up being canceled but it was used for the funeral of a French officer, I think? Berlioz was French guy but considered anti-establishment so was not as loved by all in the government. Huge orchestration and vocal forces. Plus there is a really cool tuba mirum with 4 brass groups. Women are often in unison and men are often in divisi.
Stravinsky 1892-1971. Mass. Started in 1944, finished in 1948. Five movements. He was disappointed that it was not used much in liturgical use, because he wrote it for liturgical use. The orchestration is rather light and clear. The melodies are often chant-y. He wrote because he wanted, not because of commission.
Okay. I pass, right? Just going to go try to come up with some distinguishing Beethoven and Verdi ideas so I can recognize them quicker. I just don't want to get so caught up in thinking about all the music in the same way. That makes is more difficult for me to know which piece it is.
Self testing is going okay. More successful earlier today. Now not so much.
Here are the pieces I want to spend more time on when this test is done (other than Brahms. That's a given): Dvorak's Stabat Mater. Both of Bach's Passions and his Magnificat. Mozart's Mass in C and his Vespers. Stravinsky's Les Noces. Faure's Requiem. Cherubini Requiem. Janacek's Glagolitic Mass. Harmoniemesse by Haydn. The only full score I have for any of those is Brahm's Gesang der Parzen, so that's the first thing I am studying this summer.
I went back and wrote dates for all the composers and compositions. I didn't do poorly, except for Berlioz. I was off by like 25 years there. And I had one weird "WTF, Shannon?" moment earlier today when I confused a loud movement from The Seasons with Verdi. But other than that, I have either been right or close to right in my studying and testing of myself. I am giving myself lots of encouragement and room for a few slip ups, otherwise I'll start overthinking everything and thus make silly mistakes.
Self testing now.
Handel. 1685-1759. Messiah- last revisions in 1754. Often would change keys of arias and give to new soloists and voices. Popular in London. Messiah performances were just about annual until 1784. I believe they have begun again. Light orchestration. Uses a continuo. In 3 parts: Advent/Christmas, Passiontide/Easter, Ascension and Pentecost. Charles Jennens is the text compiler. I could tell you which part most of the arias/choir pieces fell, as long as I know the words.
Elgar. Dreams of Gerontius- completed in 1899, premiered in 1900. There is an alto, tenor, and bass soloist. Gerontius is a tenor. It is in two distinct parts- one as Gerontius is dying and the second part is him on his way to purgatory. The title role is a huge tenor solo. The piece that came up on Spotify was in the second part. He had just seen God and is telling the angel to take him away to purgatory. It's close to the end. Forgot his dates- had to look it up- 1857-1934.
Haydn. 1732-1809. Harmoniemesse. It's in Bb. Helmuth Rilling does a great recording of this. It's a mass written/premiered in 1802 for Esterhazy. It was the last of his six masses for them. The Gloria, which is I think the section that came up, is full of fanfare at the beginning. I forgot that he quotes himself in the last movement (he quotes "Be Gracious" from The Seasons).
Ralph Vaughan Williams. 1872-1958. Sancta Civitas. 1923-25 is when it was written. Solo violin, which is plaintive, gave this movement away. Based on the story of Babylon, text from Revelations. Sung in English. VW is a very English composer... there is a sound he has to him that reminds me of England.
Another Bach piece game up. A passion. Sounds like an earthquake. Let me look... yup, St. John Passion.
Bach b minor mass. Taken from pieces he wrote his whole life. He did not give it the title of B minor mass. Final touches were put on it in 1748. He put it together as a sort of CV. It was never performed in his lifetime, but the earliest comes from Weimar material in... 1717? No, 1714 (I had to look that up to double check).
Dallapiccola. 1904-1975. Songs of Captivity (Canti di prigionia). 1938 was when the first movement was written. 1940 and 41 were the second two, respectively. Taken from prayers from Mary Stuart, Boethius, and... Salmalskjdflsomeone. Dallapiccola had an experience simliar to being captive (his family was moved to Graz because, despite being Italian, his family was considered politically subversive.
Cum Sancto Spiritu. Fugue. Mozart. Haydn? No, Mozart. But it sounds something like Haydn, I just don't recognize it as Haydn. And there it is, it doesn't sound like Haydn right there (yes, I am listening to it as I type). Mass in C by Mozart. He wrote in for his wife and in celebration of their marriage, although it's half finished. Completed in 1783. Mozart 1756-1791.
Brahms. 1833-1897. German Requiem. 1868. Inspired perhaps by the death of his mother and/or Schumann. So beautiful. One of the most people works I have heard. I try to avoid listening/studying Brahms, despite the fact he is on my exam. Otherwise, I will spend hours listening. 7 movements. Brahms compiled the text himself. He really liked Cherubini's Requiem in C (so do I!) and thus used no violins like him in the first movement. Only the second movement uses full orchestra.
Bach Magnificat. 1723 was in Eb. Later, sometime between 1728-31, put in D major and revised the text (taking out Christmas texts).
Haydn. One of his oratorios. My guess is the Seasons based on the text (1801)
Franz Schmidt. Das Buch mit sieben siegln? In English it's The Book with the Seven Seals. 1937 composed. Based on Revelations. Music really punctuates the text. 20th Century, but is tonal, very romantic. Oratorio. One soloist- a tenor- Saint John. Two parts plus a prologue. He died in 1939, two years after the piece was written. I had to look up his birth year: 1937.
Haydn. Creation. 1798.
Dvorak. 1841- 1904. Stabat mater. 1877, premiered 1880. My first inclination was to say some English composer, but the text is Latin (and I thought I recognized it from the Stabat mater) plus the music is gorgeous and tonal, plus I recognize it as a piece I love. Hence, Dvorak. It was his first religious piece. Wrote the Stabat mater during his Russian period. Brahms assisted his career. Stabat mater was in 10 movements. Fairly transparent orchestration.
Michael Tippett. Early 1900s to 1998? A Child of our Time. 1942. Based on a story about a young man who shot a German official in a different country and caused Krystallnacht (spelling?). An oratorio. Tippett tried to make it like a Bach cantata. For the chorales he used spirituals. Kind of interesting! Yes, his dates were 1905 to 1998.
Leos Janacek. 1854-1928. Glagolitic Mass. 1926. Wrote it and his Czech audiences loved it. It has some folk type melodies. I love the opening fanfare (a descending fourth, descending fifth, up a fifth). Used organ. It's in slavonic, so I don't actually recognize the words, but one of the main themes that the choir sings sounds like the worlds "Hobby lobby."
War Requiem 1961. Benjamin Britten wrote this for Soprano, tenor, and bass soloist, boy choir (which always sounds distant), and SATB choir. Dedicated to some friends that died in WWII. There are two texts- one by Owens who wrote poetry in response to his experience in WWI (which is what the two men soloists sing) and the other text is the Mass for the Dead text. This work, as well as Peter Grimes, were the two pieces that really put him on the international map. An important tritone here is F# and C.
Carl Orff. 1895-1982. Carmina Burana (1935-36). Latin, German type of language? Short movements. Dance based, tried to make it feel like the text.
Berlioz. 1803-1869. Requiem. 1837. Dies irae, I recognize the opening cello line. Written originally for the French government as a revolution commemoration. Ended up being canceled but it was used for the funeral of a French officer, I think? Berlioz was French guy but considered anti-establishment so was not as loved by all in the government. Huge orchestration and vocal forces. Plus there is a really cool tuba mirum with 4 brass groups. Women are often in unison and men are often in divisi.
Stravinsky 1892-1971. Mass. Started in 1944, finished in 1948. Five movements. He was disappointed that it was not used much in liturgical use, because he wrote it for liturgical use. The orchestration is rather light and clear. The melodies are often chant-y. He wrote because he wanted, not because of commission.
Okay. I pass, right? Just going to go try to come up with some distinguishing Beethoven and Verdi ideas so I can recognize them quicker. I just don't want to get so caught up in thinking about all the music in the same way. That makes is more difficult for me to know which piece it is.
Graduate Literature Exit Exam
Last day of studying. Yester evening I listened to the beginning of all pieces and went over dates. Today, I will create a date list from memory (composers and their composition completion and premieres). Then I will go back and fill in what's important and/or distinctive about the piece. I wish I had started all this intense studying earlier. Why did I wait? I should have been doing all this studying last summer. Then I would be completely at ease today. Okay, I'm joking. I would not be at ease today even if I had studied this intensely for the past two years.
Let me recap where I am at: I feel comfortable enough with my knowledge when John asks me questions or tests me. I could tell you most dates of the compositions and their premieres. I could tell you some odd instrumentation. I recognize some important melodies (although I can't put a name to all of them). I know what the pieces are about and/or what inspired them.
What I want to solidify today: Dates of composers (although I have a general idea of each of them, I miss the exact years sometimes). Some specific composer tricks (for example, Britten's War Requiem includes an important F# to C tritone that comes back often in the piece or Dallapiccola intones the "Dies irae" in this Canti di Prigionia while above that is his 12-ton rows). Identify a few more specific relations between pieces (quotations, borrowed technics, etc). And I want to become a little more comfortable with identify Beethoven Missa Solemnis (don't judge me- the beginning of his Credo is more Classical and by the end it's clearly not. So I get confused. Although thankfully I recognize the Credo theme), Berlioz Requiem (although here, if I can just remember the women are rarely in divisi and the men are almost always in 4 part divisi, I should be fine...), Mendelssohn Elijah (although I recognize specific movements, I have yet to feel comfortable identifying anything as Mendelssohn... although what other piece uses that sounds vaguely like a Handel or Bach oratorio but with clear, light texture of the Classical period with the at times highly emotional moments?).
I guess after the exam I will know if I should celebrate or not.
Let me recap where I am at: I feel comfortable enough with my knowledge when John asks me questions or tests me. I could tell you most dates of the compositions and their premieres. I could tell you some odd instrumentation. I recognize some important melodies (although I can't put a name to all of them). I know what the pieces are about and/or what inspired them.
What I want to solidify today: Dates of composers (although I have a general idea of each of them, I miss the exact years sometimes). Some specific composer tricks (for example, Britten's War Requiem includes an important F# to C tritone that comes back often in the piece or Dallapiccola intones the "Dies irae" in this Canti di Prigionia while above that is his 12-ton rows). Identify a few more specific relations between pieces (quotations, borrowed technics, etc). And I want to become a little more comfortable with identify Beethoven Missa Solemnis (don't judge me- the beginning of his Credo is more Classical and by the end it's clearly not. So I get confused. Although thankfully I recognize the Credo theme), Berlioz Requiem (although here, if I can just remember the women are rarely in divisi and the men are almost always in 4 part divisi, I should be fine...), Mendelssohn Elijah (although I recognize specific movements, I have yet to feel comfortable identifying anything as Mendelssohn... although what other piece uses that sounds vaguely like a Handel or Bach oratorio but with clear, light texture of the Classical period with the at times highly emotional moments?).
I guess after the exam I will know if I should celebrate or not.
Wednesday, April 24, 2013
Gesang and Requiem Mvt 2
I think the reason I love Gesang der Parzen by Brahms is the same reason I love the second movement of the German Requiem. I don't have time to go into the similarities now, but maybe a future blog? Maybe a dissertation!? No... I'm sure it's been done.
I have not had a chance to study much today. I had to meet with the composer of a piece we are premiering at my recital and figure out ways to add more support for the singers. And then I had to go to a choir festival and sing (and listen) for 3 hours. Then I had class. Now... study. Until a recital in 25 minutes. Then study more. My husband already said he would encourage and support studying for a little bit tonight. That's good, because having a supportive spouse makes a huge difference.
I have not had a chance to study much today. I had to meet with the composer of a piece we are premiering at my recital and figure out ways to add more support for the singers. And then I had to go to a choir festival and sing (and listen) for 3 hours. Then I had class. Now... study. Until a recital in 25 minutes. Then study more. My husband already said he would encourage and support studying for a little bit tonight. That's good, because having a supportive spouse makes a huge difference.
Working Hard...
Haydn's Harmoniemesse sounds classical. There are dynamic contrasts, but nothing that is so drastic it screams "too much!" Instead of memorizing specific melodic lines, harmonic progressions, or clever musical technics, I just need to know this sounds classical. And it's in Latin. And follows a traditional mass setting. I love the Agnus Dei, as it's the same as Haydn's theme in "Be Gracious" from the Seasons.
There are so many pieces of music. I'm trying to hold onto the main themes of them, but it's a lot. At any rate, there are only a few I have difficulty really having any clue about. Now I just need to make sure I have all the information needed. There is a lot of information floating in my head.
Up for sound review: Beethoven Missa Solemnis, Vaughan Williams Sea Symphony, Mendelssohn Elijah. Up for fact review: Everything. But at least I know a little bit about all the pieces. Some more than others.
The last few nights of sleep have not been good for me. I have tossed and turned a lot. I hope tonight is better. I think it will be.
There are so many pieces of music. I'm trying to hold onto the main themes of them, but it's a lot. At any rate, there are only a few I have difficulty really having any clue about. Now I just need to make sure I have all the information needed. There is a lot of information floating in my head.
Up for sound review: Beethoven Missa Solemnis, Vaughan Williams Sea Symphony, Mendelssohn Elijah. Up for fact review: Everything. But at least I know a little bit about all the pieces. Some more than others.
The last few nights of sleep have not been good for me. I have tossed and turned a lot. I hope tonight is better. I think it will be.
Tuesday, April 23, 2013
Captivity
Dallapiccola... Songs of Captivity.
What I hear: In the first movement, the voices are calm and legato. Even the crescendos are calm. The piano plays some seemingly random chords. I am sure they are connected somehow, but listening to it, without the score in front of me and without trying to understand the cleverness behind it, it makes no sense to me. "O Domine Deus" is the cry surrounding the prayer of the first movement (Mary Stuart's prayer). 12 tone stuff, according to my notes, which is why it could sound a bit random to me. Very lyrical, however. The second movement has pianos that are playing arpeggios, like rain. Quick tempo. Bells. There is supposed to be a Dies irae in this movement and in the first movement, but I have a difficult time hearing it. There is a Dies irae against a 12-tone row. The third movement starts off rather "in your face", but later becomes fairly fairly calm, at least at the end. Perhaps "calm" is bad word. Because the intention is not to make everything sound calm. It is "melodic-like." I have heard many descriptions as "lyrical," but I think that is a bit misleading. The piano, throughout the entire three movements, has a very distinct sound.
What I hear: In the first movement, the voices are calm and legato. Even the crescendos are calm. The piano plays some seemingly random chords. I am sure they are connected somehow, but listening to it, without the score in front of me and without trying to understand the cleverness behind it, it makes no sense to me. "O Domine Deus" is the cry surrounding the prayer of the first movement (Mary Stuart's prayer). 12 tone stuff, according to my notes, which is why it could sound a bit random to me. Very lyrical, however. The second movement has pianos that are playing arpeggios, like rain. Quick tempo. Bells. There is supposed to be a Dies irae in this movement and in the first movement, but I have a difficult time hearing it. There is a Dies irae against a 12-tone row. The third movement starts off rather "in your face", but later becomes fairly fairly calm, at least at the end. Perhaps "calm" is bad word. Because the intention is not to make everything sound calm. It is "melodic-like." I have heard many descriptions as "lyrical," but I think that is a bit misleading. The piano, throughout the entire three movements, has a very distinct sound.
Monday, April 22, 2013
Do You Hear What I Hear...?
The frustrating thing about works that are written recently ("recently" meaning in the last 75 years or so) is the need to listen to them multiple times before they make any sense. I do not particularly enjoy this, despite the fact I am enjoying Stravinsky's The Wedding.
Listening to Wuorinen's Genesis. It is not completely disconnected, but it is one of those pieces that could give me a headache. It is dense with notes. Sometimes the notes sound wrong. In fact, a lot of them sound wrong. Did the women just sing an incorrect chord? Did the horns just "blatt?" I know that is not an official term, but I am unsure of what it is called.
35 minutes of thinking of intervals. Those poor singers. It is difficult to hear this kind of music as a singer- it's so interval based. Instead of singing a line or hearing chords, it jumps around so that the voices are thinking of intervals. It's not as if singers blow through their instruments, push a button, and the correct note comes out.
It almost feels meterless. It certainly does not have defined phrases, at least the traditional kind. This is not your 4 or 8 bar Mozart phrase.
There is some "growling" used in the instruments (in brass and flutes, as far as I have heard).
Here is what else I hear: The brass is farting, random notes from different instruments building on top of each other, lots of trumpet/brass playing loudly fighting each other with their notes, rhythm that does not fit neatly into a measure, high flutes, glissandos in the strings, Latin text, some high blocks, moments of brief phrases that make sense. The fifth movement is very bombastic. Very dramatic dynamics at times.
Listening to Wuorinen's Genesis. It is not completely disconnected, but it is one of those pieces that could give me a headache. It is dense with notes. Sometimes the notes sound wrong. In fact, a lot of them sound wrong. Did the women just sing an incorrect chord? Did the horns just "blatt?" I know that is not an official term, but I am unsure of what it is called.
35 minutes of thinking of intervals. Those poor singers. It is difficult to hear this kind of music as a singer- it's so interval based. Instead of singing a line or hearing chords, it jumps around so that the voices are thinking of intervals. It's not as if singers blow through their instruments, push a button, and the correct note comes out.
It almost feels meterless. It certainly does not have defined phrases, at least the traditional kind. This is not your 4 or 8 bar Mozart phrase.
There is some "growling" used in the instruments (in brass and flutes, as far as I have heard).
Here is what else I hear: The brass is farting, random notes from different instruments building on top of each other, lots of trumpet/brass playing loudly fighting each other with their notes, rhythm that does not fit neatly into a measure, high flutes, glissandos in the strings, Latin text, some high blocks, moments of brief phrases that make sense. The fifth movement is very bombastic. Very dramatic dynamics at times.
Sunday, April 21, 2013
Goodbye for now, Facebook...
The next few days, I am spending all my free time studying. It is the final push into my comprehensive exam on Thursday. Let us hope that I pass this exam.
Currently, the list of music I should spend a little extra time on over the next few days: Cherubini- Requiem in C Minor, Dallapiccola- Canti di prigonia, Elgar- Dream of Gerontius, Schmidt- Das Buch mit sieben Siegeln, Sessions- When Lilacs Last in the Dooryard Bloom'd, Wuorinen- Genesis. I also want to listen to the various Requiems on my list and make sure I have a good determination of which Requiem's belongs to whom (Berlioz, Brahms, Britten, Cherubini, Faure, Mozart, Stravinsky, Verdi). Some might think," But don't you know this?" And I would respond, "No. I love choral music, but listening to large works like that has always seemed boring to me up until relatively recently in my life. And my undergrad is more of an octavo school, focusing less are large works and more on practical octavos one can use when teaching in public education. Also, I want to make sure I have my Janacek versus Kodaly sound straight.
Here is what I wish I could spend time studying and listening to in the next few days: Vaughan Williams- Sea Symphony, Tippett- Child of our Time, Dvorak- Stabat Mater, Faure- Requiem, Mozart- Mass in C Minor, Bach- St John Passion and Magnificat, Brahms- Requiem, Schicksalslied, Nänie, Gesang der Parzen, and Haydn- Harmoniemesse. I guess it is evident where my current preference lies for choral works.
It's so much listening, that I am signing off of Facebook until after my exam on Thursday. That's right. No Facebook. I will not, however, sign off of Fantasy Baseball. I can listening to music intentionally and set my line up. And I may very well blog about the music I am writing as opposed to giving up this media for the next 5 days.
The point is, if I work hard in the next few days, the exam should not be an issue, despite the fact I have a LOT of extra things going on this week.
Also, I was listening to Les Noces (The Wedding) by Stravinsky today. Remember how I'm trying to like him? I found myself enjoying it. It's so weird. But rhythmic and exciting.
Thursday, April 18, 2013
Like a Rolling Stone
My comp exam is next Thursday. I am desperately re-listening to and studying the composers and their works in a book by Michael Steinberg. I am currently listening to Dream of Gerontius, which I will talk about momentarily.
But first, a bit of exciting news. On May 2nd, I am part of a chorus singing on stage with the Rolling Stones. I even get paid for it. And I get free parking. What could be better?
Dream of Gerontius. It's about an hour and a half long. I do not have a score, because my colleague has checked it out and is using it. It was completed in 1900 by an English composer (Edward Elgar). It is a piece I would like to see performed live, with a score in hand. The piece is composed in such a manner that the feelings of the music are easy to convey. He did a great job at writing corresponding emotional music with the particular event (whether it is death or seeing demons or being taken to purgatory, as happened in the poem). He uses chromaticism, but it doesn't seem to be chromaticism for chromaticism's sake. It chromaticism for a purpose, to make the music go somewhere, to elicit a mood, to suggest forward events. There is nothing jarring or unmusical about it. There is less tenor solo singing in the second half (specifically, the character of Gerontius). He still sings, but it's more about angel and angels leading his soul to where it needs to go. There is more dialogue between his voice and others, as opposed to his sole voice. In a way, he is less alone in the after life than he was on earth.
It is a beautiful day in Long Beach. I wish I could share the sun, the breeze, and the blue sky with everyone.
But first, a bit of exciting news. On May 2nd, I am part of a chorus singing on stage with the Rolling Stones. I even get paid for it. And I get free parking. What could be better?
Dream of Gerontius. It's about an hour and a half long. I do not have a score, because my colleague has checked it out and is using it. It was completed in 1900 by an English composer (Edward Elgar). It is a piece I would like to see performed live, with a score in hand. The piece is composed in such a manner that the feelings of the music are easy to convey. He did a great job at writing corresponding emotional music with the particular event (whether it is death or seeing demons or being taken to purgatory, as happened in the poem). He uses chromaticism, but it doesn't seem to be chromaticism for chromaticism's sake. It chromaticism for a purpose, to make the music go somewhere, to elicit a mood, to suggest forward events. There is nothing jarring or unmusical about it. There is less tenor solo singing in the second half (specifically, the character of Gerontius). He still sings, but it's more about angel and angels leading his soul to where it needs to go. There is more dialogue between his voice and others, as opposed to his sole voice. In a way, he is less alone in the after life than he was on earth.
It is a beautiful day in Long Beach. I wish I could share the sun, the breeze, and the blue sky with everyone.
Thursday, April 11, 2013
Requiem, Hard Drive, Root Canal?
I spent some time with Faure's Requiem this morning. I have sung it before, but it is officially on my list of works I want to conduct. Preferably with an orchestra. I should re-listen to Verdi's Requiem. I did not fall in love with Verdi. I like his operas, but his Requiem... I would like to hear it again to enjoy it more. It was fine. There were moments I loved, but there is so much solo singing and so much of the Requiem is bombastic... I am going to try listening to a different recording and see what I think. To be fair, I really liked the way he set the "Dies irae."
I am also going to re-listen to Stravinsky. Ach! I only have so much time before my comprehensive exams (2-ish weeks) and there is so much I want to get through yet.
Hard drive crashed.
And today I have a dentist appointment. It might be a root canal, depending on if the cavity is too close to... whatever would make it turn into a root canal. It's not a big cavity, just in a bad spot.
I am going to try to spend some time on Missa Solemnis today (Beethoven). After my dentist appointment. I am also looking for the Genesis score by Wuorinen. Unsuccessfully. Some of the works I am trying to study cannot be found- at least a score of them- through the library.
I am also going to re-listen to Stravinsky. Ach! I only have so much time before my comprehensive exams (2-ish weeks) and there is so much I want to get through yet.
Hard drive crashed.
And today I have a dentist appointment. It might be a root canal, depending on if the cavity is too close to... whatever would make it turn into a root canal. It's not a big cavity, just in a bad spot.
I am going to try to spend some time on Missa Solemnis today (Beethoven). After my dentist appointment. I am also looking for the Genesis score by Wuorinen. Unsuccessfully. Some of the works I am trying to study cannot be found- at least a score of them- through the library.
Monday, April 8, 2013
Dream Concert
Since I am officially 30 (today), I think it is time for me to dream big.
My dream work to conduct is Gesang der Parzen. But why stop there?
If I could program any concert... let me answer that.
First, when I program a concert, I choose repertoire that I know will work with the other music on the program. The concert has some sort of flow. The hardest concert I have ever had to program is my recital. My recital has to be about the music but I have to meet certain standards in the music I choose- so some of it has to be loftier than I would have ever programmed for my ladies. More on that at a later date. However, if I could program any music I wanted without care for the story of the concert, here is what I would program:
Schicksalslied by Brahms
Nänie by Brahms
Triumphlied by Brahms
and we would finish with Gesang der Parzen by Brahms.
So the problem with the reality of this type of concert is that there will probably never be a realistic moment in my career where I will be able to program this. But I can dream.
There is other music I would love to program. But for today, this is the concert I will dream about conducting.
My dream work to conduct is Gesang der Parzen. But why stop there?
If I could program any concert... let me answer that.
First, when I program a concert, I choose repertoire that I know will work with the other music on the program. The concert has some sort of flow. The hardest concert I have ever had to program is my recital. My recital has to be about the music but I have to meet certain standards in the music I choose- so some of it has to be loftier than I would have ever programmed for my ladies. More on that at a later date. However, if I could program any music I wanted without care for the story of the concert, here is what I would program:
Schicksalslied by Brahms
Nänie by Brahms
Triumphlied by Brahms
and we would finish with Gesang der Parzen by Brahms.
So the problem with the reality of this type of concert is that there will probably never be a realistic moment in my career where I will be able to program this. But I can dream.
There is other music I would love to program. But for today, this is the concert I will dream about conducting.
Friday, April 5, 2013
Three more years
Dear blog world, I have a confession. I have a difficult time enjoying Stravinsky choral music. His Mass is okay. His Requiem Canticles are okay. But... I just have not heard a lot of his music that I connect with. It can be difficult for me to follow and nothing catches me, either musically or emotionally. I will work on this because I would really like to actively like Stravinsky.
And with that, I wanted to tell you the good news: I will have three more years to explore Stravinsky and cultivate love for his music and other composers through study. Earlier this week I sent in my official acceptance to the University of Iowa School of Music DMA program. I will be receiving a nice little assistantship. I could not be more thrilled.
And with that, off to memorize recital music and conduct Brahms.
And with that, I wanted to tell you the good news: I will have three more years to explore Stravinsky and cultivate love for his music and other composers through study. Earlier this week I sent in my official acceptance to the University of Iowa School of Music DMA program. I will be receiving a nice little assistantship. I could not be more thrilled.
And with that, off to memorize recital music and conduct Brahms.
Wednesday, April 3, 2013
Cherubini Requiem in C Minor
I cannot take long, but I just had a great idea. And I wanted to share.
Luigi Cherubini. His Requiem in C minor could potentially be done by a church choir. And if I have a church gig again, I might pick a movement and program it in a service (when appropriate). Maybe his "Dies Irae" movement? Although that's a little long. Maybe some of his other music could be programmed. Now I am really excited. There are so many great masterworks and I often think that some of it can be a stretch. However, I really feel like some of his music could be done.
The Sanctus- if you have basses that don't sound like they are choking. Is that difficult to do? I'm not a bass. I would want to make sure I could help them get the sound I wanted. The Sanctus is short, but I love it.
Would I use a piano? That over an organ, I think.
I could combine the Sanctus with his Pie Jesu. How great! It would take lots of good focus and it would have to be after we have already worked extensively one creating a beautiful, sustained tone.
I am too excited. Now I want to listen for all the classics and see if I could conduct them with a church choir.
Finishing my listen to the Requiem. And then going to listen to some of his other choral works.
And at the end... "et lux perpetua luceat eis" goes on for measures with every part singing a C in some octave and handing off the words to each other! So clever, Cherubini!
Luigi Cherubini. His Requiem in C minor could potentially be done by a church choir. And if I have a church gig again, I might pick a movement and program it in a service (when appropriate). Maybe his "Dies Irae" movement? Although that's a little long. Maybe some of his other music could be programmed. Now I am really excited. There are so many great masterworks and I often think that some of it can be a stretch. However, I really feel like some of his music could be done.
The Sanctus- if you have basses that don't sound like they are choking. Is that difficult to do? I'm not a bass. I would want to make sure I could help them get the sound I wanted. The Sanctus is short, but I love it.
Would I use a piano? That over an organ, I think.
I could combine the Sanctus with his Pie Jesu. How great! It would take lots of good focus and it would have to be after we have already worked extensively one creating a beautiful, sustained tone.
I am too excited. Now I want to listen for all the classics and see if I could conduct them with a church choir.
Finishing my listen to the Requiem. And then going to listen to some of his other choral works.
And at the end... "et lux perpetua luceat eis" goes on for measures with every part singing a C in some octave and handing off the words to each other! So clever, Cherubini!
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