Changes, news, and miscellaneous things.

So, there are going to be more changes here, as you can see with the addition of new pages, the Biblio project and such. There will also be a content change. One thing I have learned is that you can never predict what is going to happen next, the things that happened I never saw coming. If you have been on the "about" page you would have seen I have announced a project. I will get into that in a moment, first, the changes.

It is taking a great deal of time and resources to get the multi-channel tape part for the Stockhausen, and my workload exploded here. So ultimately, I felt it would be best to push the Stockhausen back till fall to make sure nothing is rushed and there is time to get all the materials. In addition to this I have had requests to cover other things on the blog as well. So I will do that. Everything is going to be related to new music and things associated with it, ideas, techniques, etc. So watch for that. Posts may be more frequent since there is lots going on I could talk about.

Now for the BIG news. I have begun collaborating with composer Pierre-Henri Wicomb. The end of this will be a new work for horn and multimedia. This is the thing that I never saw coming, and am extremely excited to be a part of it. I will keep everyone posted on that project as well.

Until next time.

What is in a performance Part 2

So this time around I felt like talking a bit more in detail about the nature of programming this style of music.

I wrote this awhile back and never published it anywhere, but I think it will find its home in this series of posts I am working on. (So if the voice is a little strange I was writing for a less casual posting.. so I had my serious pants on that day)

As someone who is active in new music I am always facing certain challenges that are not as present when programming from the conventional cannon. These challenges can be seen as opportunity for an immersive experience for the audience, if thoughtfully planned.

One challenge is that of the perceived expectation of new music. Robert Blumen talked about at great length in his article “Why do we hate modern classical music”, I won’t get into this article since I don’t think I could keep it brief, at all (though if you want to raise your blood pressure, go give it a read, and try to be polite. This article also highlights how the terminology we use can be harmful. I hate using the phrase "modern classical music, or anything close. This music has it's own genre, there is no need to try to borrow from another. Rant over). What he does bring to the front though, is that people expect modern music to sound like “car crash” music. I assume those reading this are well aware this is not the case, nor is this an opinion that I share in the least. There is a tremendous amount of great music out there and some of that “car crash” music he speaks about is some of the greatest in the cannon. This creates a unique for us, especially as performers that is: how on earth will we get this music out in a way that is going to be meaningful.

One of the most used (read: abused) tactics I have seen is referred to as “The hostage program”. This is where you program a monumental, popular, and a largely accepted work at the end of a program, or have it share the first half of the bill. This is done largely so people don’t have the chance to show up at intermission to hear only their favorites. While we are going down that road while you are at it scrap the intermission, now people are there to stay (I have seen this done, and it usually ends with a very fidgety upset audience). This hostage method works to some degree as you do create exposure for the audience this is largely due to the “rules” of concert halls related to seating. If you want to hear Brahms, you have to hear Mason Bates, or R Murray Schaffer.

Last year I programmed a recital with Turnarounds for amplified horn and tape, Spiegel im Spiegel, Deanimator for horn and electronics, and finishing with The Reinecke B-flat trio for horn, clarinet, and piano. Though, while programming this I fell a new way that I could approach programing. The intermission in the afore mentioned program came AFTER Deanimator which left me to figure out how do I program the first half, and to do so in a way that people leave with a great experience. A major problem/opportunity with electronic music (in programming in my opinion) is how quickly it can cause tension, emotional highs and lows, angst, relief, etc. When the recital was in its infancy there were two works that were going to be there no matter what, Turnarounds, and Deanimator. Two things these works do (both fantastic works) is taking the audience through highs and lows at a rapid pace in ways that can be overwhelming the listener. When I realized this I figured I needed to find a piece that would bring the listener back to a calm, and relaxed state. As well they needed to be ready and receptive to the experience the next work.

The answer came to me in Arvo Pärt’s Spiegel im Spiegel, now as a horn player, attempting the Pärt was, perhaps, the most challenging undertaking I could think of at the time. Which was daunting, and more than once I considered my mortality, and thought to myself there had to be another way. Though, I could never seem to find one that would work as well as the Pärt. So as a performer I faced the challenge. In the end the response from the programming of the first half from the audience was great, they didn’t care there was a “masterpiece of the repertoire” coming after the intermission. The first half was so successful as a whole it simply worked and didn’t need the “treat for the audience” of the Reinecke.

From all this I learned a major lesson in programming new music, if we want the music to become more popular, appreciated, and accepted it has to come from the performer and programming. As well as through very meaningful execution of the music since we have something that the standard cannon doesn’t have as much of, the importance of the live performance. New music is such an immersive experience which simply can’t be replicated at home in a pair of headphones. Seize the power of that and go forth and program. 

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.