Who is the composer and where is he from? Named 2007 Composer of the Year by Musical America, and honored with multiple Grammy Awards for his ground-breaking setting of Blake’s Songs of Innocence and of Experience, William Bolcom is a composer of cabaret songs, concertos, sonatas, operas, symphonies, and much more. He was awarded the 1988 Pulitzer Prize in Music for his Twelve New Etudes for piano. He is originally from Seattle. In 2007 Bolcom was feted in Minneapolis-St. Paul, Minnesota, with a two and a half-week festival of his music, including master classes, recitals, and concerts of his organ and chamber music. Bolcom taught composition at the University of Michigan from 1973-2008. Named a full professor in 1983, he was Chairman of the Composition Department from 1998 to 2003 and was named the Ross Lee Finney Distinguished University Professor of Composition in the fall of 1994. He retired from teaching in 2008.
What else have they written that we may already know or have heard? Did you go to the festival?
What is the title? What does it mean? It was written in 1970. It is lovely, wistful and elegant piano "rag" in the exotic key of B-flat minor called "Graceful Ghost," - one of a set of three "Ghost Rags." Few ragtime pieces outside Scott Joplin's oeuvre can boast such a beautiful melody, and some of Bolcom's adventurous progressions are at once astonishing and perfectly natural.
What time period is it from? contemporary
What about this piece do you like? (These are student answers, remember) There is a graceful quality, but I was expecting something, well, more spooky.
What sounds challenging? The ragtime genre is a challenge who want to play too fast, or do not have hand capacity to reach the octaves (in both hands in this piece).
The following are two examples of ways to play this piece. There are more variations out there, a lot of tempi choices, including an arrangement by George Winston. The first is with repeats played very differently from the prime section. The second is with a swing rhythm that is not usually associated with ragtime. We will have great discussions about this if you choose this selection.
glimpses of the wonders of music teaching
Monday, October 12, 2009
Sunday, October 11, 2009
Contest Literature-Pas De Deux
Who is the composer and where is he from? Samuel Osborne Barber II (March 9, 1910 – January 23, 1981) was an American composer of orchestral, opera, choral, and piano music.
What else have they written that we may already know or have heard? His Adagio for Strings is among his most popular compositions and widely considered a masterpiece of modern classical music. Since they didn't know it, we will listen to this too.
What is the title? What does it mean?pas de deux (French, step/dance for two) is a duet in which ballet steps are performed together. This piece was also written for one piano, four hands, a duo!
What time period is it from? contemporary
What about this piece do you like? It's so sad and poetic, she said.
What sounds challenging pianistically? Not to get bored, to find the climax points.
What else have they written that we may already know or have heard? His Adagio for Strings is among his most popular compositions and widely considered a masterpiece of modern classical music. Since they didn't know it, we will listen to this too.
What is the title? What does it mean?pas de deux (French, step/dance for two) is a duet in which ballet steps are performed together. This piece was also written for one piano, four hands, a duo!
What time period is it from? contemporary
What about this piece do you like? It's so sad and poetic, she said.
What sounds challenging pianistically? Not to get bored, to find the climax points.
Saturday, October 10, 2009
Contest Literature - Arabesque
Who is the composer and where is he from? Achille-Claude Debussy (French pronunciation: [aʃil klod dəbysi]) (August 22, 1862 – March 25, 1918) was a French composer. Along with Maurice Ravel, he was one of the most prominent figures working within the field of Impressionist music, though he himself intensely disliked the term when applied to his compositions. Debussy is not only among the most important of all French composers; he was also a central figure in European music at the turn of the twentieth century.
His music is noted for its sensory component and how it is not often formed around one key or pitch. Often Debussy's work reflected the activities or turbulence in his own life. His music virtually defines the transition from late-Romantic music to twentieth century modernist music. In French literary circles, the style of this period was known as Symbolism, a movement that directly inspired Debussy both as a composer and as an active cultural participant.
What else have they written that we may already know or have heard? She answered the first Arabesque, Golliwog's Cakewalk, and Prelude to the Afternoon of a Fawn.
What is the title? What does it mean? The arabesques are two of Debussy's earliest works, composed between the years 1888 and 1891. Debussy was still in his twenties. Although quite an early work, the arabesques contain hints of Debussy's developing musical style. Debussy seems to wander through modes and keys, and achieves evocative scenes through music.
What time period is it from? We sometimes classify Debussy as late-romantic, Impressionist, or early Modern. He seems to span across time periods.
What about this piece do you like? It feels good under the hand. It's light and fluid.
What sounds challenging pianistically? Keeping those RH motifs clean?
His music is noted for its sensory component and how it is not often formed around one key or pitch. Often Debussy's work reflected the activities or turbulence in his own life. His music virtually defines the transition from late-Romantic music to twentieth century modernist music. In French literary circles, the style of this period was known as Symbolism, a movement that directly inspired Debussy both as a composer and as an active cultural participant.
What else have they written that we may already know or have heard? She answered the first Arabesque, Golliwog's Cakewalk, and Prelude to the Afternoon of a Fawn.
What is the title? What does it mean? The arabesques are two of Debussy's earliest works, composed between the years 1888 and 1891. Debussy was still in his twenties. Although quite an early work, the arabesques contain hints of Debussy's developing musical style. Debussy seems to wander through modes and keys, and achieves evocative scenes through music.
What time period is it from? We sometimes classify Debussy as late-romantic, Impressionist, or early Modern. He seems to span across time periods.
What about this piece do you like? It feels good under the hand. It's light and fluid.
What sounds challenging pianistically? Keeping those RH motifs clean?
Friday, October 9, 2009
Contest Literature-Cordoba
I'm gone this weekend, but I hope you enjoy the following music selections that I'm hearing at the studio. My students are choosing contest repertoire, and prior to this decision we gather information, and listen to lots of recordings. From the Senior A (17-18 year old) list, here is Albeniz, "Cordoba".
We keep this list in a spiral notebook, and after they've heard 4-5, they choose their favorite from the list. Sometimes, we do this as early as summer, if the piece will be challenging for them. I tell my students that iPods are our friends, listen to lots of recordings of the same piece, different pianists, other pieces by the composer and other pieces in this style to really understand what's happening in their music.
The questions I ask are similar but not limited to:
Who is the composer and where is he from? Isaac Albéniz was a child prodigy who first performed at the age of four. At age seven he passed the entrance examination for piano at the Paris Conservatoire, but he was refused admission because he was believed to be too young. By the time he had reached 12, he had made many attempts to run away from home. At the age of 12 he stowed away in a ship bound for Buenos Aires. He then made his way via Cuba to the United States, giving concerts in New York and San Francisco and then traveled to Liverpool, London and Leipzig. By age 15, he had already given concerts worldwide. Cordoba celebrates one of Albéniz’s favorite cities. In the heart of Andalusia, the city of Cordoba is home to Spain’s famous “great Mosque”. The city is rich in history, but Christian and Moorish, and Albéniz captures the mood and feel of both in Cordoba. Clark states that the name of the piece may have been inspired by Albéniz’s namesake, St. Isaac of Cordoba, who died defending his faith in this southern Andalusian city.
The piece begins with the sound of tolling church bells. The sound of a g dorian hymn plays in a faux bourdon style, rhythmically ambiguous so as to resemble liturgical singing. The A section ends in contrasting character, reminiscent of a guzla playing a serenade in a more Moorish sound. The B section sounds of flamenco dancers and Spanish folk song rhythms as it mounts to a moving climax. There is a repeat of the A section and a brief Coda before the end.
What else have they written that we may already know or have heard?
What is the title? What does it mean? See above.
What time period is it from? Late Romantic
What about this piece do you like? The ability to move the tempo and be very expressive was this student's answer.
What sounds challenging pianistically? To him, it was fast sections with octave work.
We keep this list in a spiral notebook, and after they've heard 4-5, they choose their favorite from the list. Sometimes, we do this as early as summer, if the piece will be challenging for them. I tell my students that iPods are our friends, listen to lots of recordings of the same piece, different pianists, other pieces by the composer and other pieces in this style to really understand what's happening in their music.
The questions I ask are similar but not limited to:
Who is the composer and where is he from? Isaac Albéniz was a child prodigy who first performed at the age of four. At age seven he passed the entrance examination for piano at the Paris Conservatoire, but he was refused admission because he was believed to be too young. By the time he had reached 12, he had made many attempts to run away from home. At the age of 12 he stowed away in a ship bound for Buenos Aires. He then made his way via Cuba to the United States, giving concerts in New York and San Francisco and then traveled to Liverpool, London and Leipzig. By age 15, he had already given concerts worldwide. Cordoba celebrates one of Albéniz’s favorite cities. In the heart of Andalusia, the city of Cordoba is home to Spain’s famous “great Mosque”. The city is rich in history, but Christian and Moorish, and Albéniz captures the mood and feel of both in Cordoba. Clark states that the name of the piece may have been inspired by Albéniz’s namesake, St. Isaac of Cordoba, who died defending his faith in this southern Andalusian city.
The piece begins with the sound of tolling church bells. The sound of a g dorian hymn plays in a faux bourdon style, rhythmically ambiguous so as to resemble liturgical singing. The A section ends in contrasting character, reminiscent of a guzla playing a serenade in a more Moorish sound. The B section sounds of flamenco dancers and Spanish folk song rhythms as it mounts to a moving climax. There is a repeat of the A section and a brief Coda before the end.
What else have they written that we may already know or have heard?
What is the title? What does it mean? See above.
What time period is it from? Late Romantic
What about this piece do you like? The ability to move the tempo and be very expressive was this student's answer.
What sounds challenging pianistically? To him, it was fast sections with octave work.
Thursday, October 8, 2009
Theme Thursday - COLLECTION
Behind my sofa in the studio is a wall full of autographs. They are addressed to the students by "famous" teachers, performers, artists, rock-n-rollers and other people that might encourage them. I call it the "Wall of Inspiration". It is ongoing "atta boys" to follow their dreams, work hard, keep striving. Sometimes learning music is hard. It is lonely and difficult to practice every day. It can be misunderstood to put your whole self into this art. It is certainly on the lower end of the financial gain ladder. But, when the student answers honestly that this is the only thing he can see himself doing for the rest of his life, you know he is a musician. I believe it is then my job to bolster him with any collegial support I can find.
Sometimes the artists are surprised that I've waited in a line to get an autograph when they hear to whom it's addressed. I've had some pianists go to extraordinary lengths to ponder their autographs and become quite poetic. I've also seen some scoff and simply sign their name.
Here's a pianist that I would love an autograph from someday-my students still love to play Billy Joel, and I adored playing the last two minutes of this clip in 1978.
Tuesday, October 6, 2009
Wedding Pictures
The wedding was beautiful and the couple is now happily honeymooning in a non-disclosed location-a cabin in northern Wisconsin-for a few days. They will also take a second honeymoon for two weeks to Hawaii in February where they have use of a condo.The music went well, but I'm still mentally exhausted. Performing both on Saturday for the wedding, and Sunday for worship is a lot of music. I dare say I feel my age on Monday. Even into Tuesday!
There were many details of this wedding that set it apart; the bride is a perfectionist graphic designer and her fingerprints were all over the three day event. Here are some great ideas if you are planning a wedding.
In St. Paul, home of Charles Schultz, there are six foot statues of his characters all over the city. Here, Lucy has donned a bridal gown and stood near the entrance to the chapel.
The reception was in the top of the Crowne Plaza, St. Paul. We had the blessing of seeing the city, the river, the paddleboats, and the sunset while we feasted.
Every piece of carrot cake, their wedding cake, had a bride and groom figurine atop a mound of fresh whipped cream. It was heavenly.
Unfortunately, life's celebrations and death's reality have collided in my life.
This weekend I will be part of a funeral for our brother in law. His heart stopped on Friday. The ambulance was finally able to get it started again, but his brain had been without oxygen an hour. He was merely 55. We will go to support his wife and five children with our arms, our smiles, and our tears. We last saw him over Memorial weekend when we mini-golfed together. I'm glad for the pictures I took of that trip.
The bride wanted traditional hymns played pre-service and during the service to make the convention space of the hotel seem more holy. The singer did a lovely arrangement of "How Great Thou Art", big and full of grace. This song will appear before me again at the funeral, combining and intertwining the two events in a bittersweet melody. It has been a part of all of my grandparents funerals. I'm so glad I got to hear it in a happy way at the wedding before I play it again for Bob and family.
Do you remember your wedding music or have you planned any "must haves" for your funeral? I find that people are very interested in having certain pieces for their loved ones at both events.
"How Great Thou Art", "Beautiful Savior", "Day by Day", "In the Garden", and "Softly and Tenderly" in the traditional section, "I Can Only Imagine", "Eagle's Wings" and "Borning Cry" are more contemporary. These are the Often Requested at the Lutheran funerals I've played recently. I've also played "What A Friend We have in Jesus", "Sissy's Song" by Alan Jackson, "My Redeemer Lives", and "The Wind Beneath My Wings" this year.
I think maybe I'm not cut out to be a funeral musician. But I do it in love. Sometimes music says what words can not.
Saturday, October 3, 2009
Transcendental Music Moments
I am playing at a wedding today, so this post's credit goes to a friend in Australia. Martin wrote a wonderful note to me after reading about the Elizabeth Gilbert presentation on my blog, August 18th. So, while I'm playing Jesu, Joy of Man's Desiring, How Great Thou Art, and Beethoven's Joyful Joyful, please enjoy an indescribable moment of the Beatles, courtesy of Martin.
Martin wrote: I finally got time to watch the whole clip you posted - it is awesome! Personally, I love the part about performances that "transcend" starting at 15:35. I'm lucky enough to have seen lots of these moments during performances. Occasionally, I've also been part of such performances. The worst thing you can do is notice that it has happened and try to apply logic to it to try and keep it going, because then it is over!
I think that when a performance transcends you usually have to be in the audience to appreciate it. However, here's an example (http://www.sbs.com.au/rockwiz/past/90/Eddi-Reader-Liam-O-Maonlai) where you can see it happen in a fairly low quality video of a performance. During the 3rd chorus, around the time when Eddi Reader improvs, something just happens, fantastic!
Chris here again: To me, moments like this share a glimpse, a foretaste of the day when all the world vibrates in harmony again. Our voices, our innermost beings resonate with each other ever so briefly. Sharing the same air, that same stopped bit of time eternal, we can do nothing but love each other, because we realize we are all one, all part of the whole.
For some background information on the artists:
Eddi Reader started performing as a busker in Glasgow when she was ten. She sang backing vocals for UK punk legends, The Gang of Four, which led to session work with the Eurythmics and Alison Moyet. In the late 80s she formed Fairground Attraction and their first single, Perfect, was a number one hit in the UK. Eddi released a tribute album to her lyrical hero Robert Burns in 2003 and her eighth solo album, Peacetime, in 2006.
Liam O’Maonlai started out as a teenage busker with a school friend, Fiachna Ó Braonáin. The pair were joined by Peter O’Toole and they formed the band Hothouse Flowers in 1985. Rolling Stone declared them "the best unsigned band in Europe," and within a year Hothouse Flowers were supporting U2. Their first album, People, was the most successful debut album in Irish music history and it delivered a string of hit singles.
Martin wrote: I finally got time to watch the whole clip you posted - it is awesome! Personally, I love the part about performances that "transcend" starting at 15:35. I'm lucky enough to have seen lots of these moments during performances. Occasionally, I've also been part of such performances. The worst thing you can do is notice that it has happened and try to apply logic to it to try and keep it going, because then it is over!
I think that when a performance transcends you usually have to be in the audience to appreciate it. However, here's an example (http://www.sbs.com.au/rockwiz/past/90/Eddi-Reader-Liam-O-Maonlai) where you can see it happen in a fairly low quality video of a performance. During the 3rd chorus, around the time when Eddi Reader improvs, something just happens, fantastic!
Chris here again: To me, moments like this share a glimpse, a foretaste of the day when all the world vibrates in harmony again. Our voices, our innermost beings resonate with each other ever so briefly. Sharing the same air, that same stopped bit of time eternal, we can do nothing but love each other, because we realize we are all one, all part of the whole.
For some background information on the artists:
Eddi Reader started performing as a busker in Glasgow when she was ten. She sang backing vocals for UK punk legends, The Gang of Four, which led to session work with the Eurythmics and Alison Moyet. In the late 80s she formed Fairground Attraction and their first single, Perfect, was a number one hit in the UK. Eddi released a tribute album to her lyrical hero Robert Burns in 2003 and her eighth solo album, Peacetime, in 2006.
Liam O’Maonlai started out as a teenage busker with a school friend, Fiachna Ó Braonáin. The pair were joined by Peter O’Toole and they formed the band Hothouse Flowers in 1985. Rolling Stone declared them "the best unsigned band in Europe," and within a year Hothouse Flowers were supporting U2. Their first album, People, was the most successful debut album in Irish music history and it delivered a string of hit singles.
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