Memorizing, and a thought

I will be the first to tell you I do not memorize my music all that often. In the past I always memorized my unaccompanied works, which is something that I have let slip. This has been in part due to how complicated some of the works have been, as well dealing with time scales, graphic notation and other… well let’s call it what it is, excuses. Though now, as I continue down the Stockhausen road I am reaching the part that I have left the most time for, memorizing the work, the time scale, etc.

Now, the reason I am doing this is that in the performance notes, they very first note is that the work is required to be performed from memory all the time. With Stockhausen this should be taken very seriously as his works (as Nebadon does) contains staging elements, lighting elements, and so forth. The piece demands it from the performer. That being said a 25 minute electronic work that is full of complexities not only in the horn part, but in the relationship between time and sound, as well as the interaction with the tape. (Later on that in a later post)

On the plus, I started memorizing right away, as well taking the time to analyze the work will always aid you, since understanding the internal consistencies in a work will help it make sense and give location in your mind to the material. This I think is an often overlooked element when people play new music, they either write it off as strange and don’t show it the respect it deserves, or go at it haphazardly. All this music is full of internal consistencies and as the performer you need to understand them so you can deliver it intelligently to the listener. As well, much like memorizing a work by Beethoven understanding the harmonic framework will permit the memorization to happen faster and more securely.

Tiny post, and tiny rant complete.