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?

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.

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.

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.

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.

PIANO PROGRAMS-Minnesota Music Teachers Piano Exams

Our next program is a state rather than a national opportunity. The state of Minnesota has a very active and comprehensive association that has diverse and varied programs for students. They are working toward more events for non-pianists. I will be discussing some of the piano related events.

To be a member of the Minnesota Music Teachers Association, (MMTA), you must also pay dues to be a member of the Music Teachers National Association, (MTNA). These dues are in line with professional dues across other lines of industry, last year $105, combined national and state.

The state Piano Exam is a sliding fee, based on level of program, $16-48. There are three options to take the exam, Fall, Winter, and Spring in most parts of the state.

This exam is a piano solo, very comprehensive, and includes technique, theory, sightplaying, and repertoire performance. Memory is now optional, but if you don't perform for memory, your score is reduced so that it is nearly impossible to receive a high distinction score.

The repertoire consists 3 or 4 pieces, one from each time period. All repertoire must come from a list which is reviewed every decade to include works that are now available in print and remove others that have gone out of print. More advanced students perform more difficult, longer works. I think this program is similar to the Royal Conservatory exams held in Great Britain and Canada. They are distinctly by level.

Student receive a critique and certificate. Optional ribbons can be purchased through the state office at the teacher's discretion. There are some cash awards for high scores at the upper levels. These are awarded from the Minnesota Music Teachers Association Foundation, a non-profit arm of the MMTA.

This program is not for everyone in my opinion. It is a stricter, more serious program for traditional western study of classical piano. Students are held to a high standard and many do not take these exams annually, it is too challenging.
Although not mandatory, the state theory exam is listed as a prerequisite to many of the levels if you wish to be included in the possible awards.

Some of my students choose to do this exam in addition to the National Guild report card. Some students have transferred here, done both the exam and the report card, and decided they preferred the guild to the exam.

This is a complete assessment of student musicianship and a wonderful achievement for those who are able.

Theme Thursday - FLIGHT

The bumblebees are en masse around my lovely Autumn Joy Sedum. Can you hear them?