At Lloyd Arriola's concert, which I mentioned two entries back, an audience member asked me a very good question. She was wondering about the exact meanings of some of the titles on the program, "Rhapsody" and "Prelude" in particular.
These titles for short piano pieces came into frequent usage during the Romantic period. My first response was that these were short free forms, but that doesn't explain how to differentiate the two. I've done a bit of research, and here's what I came up with.
"Rhapsody" often connotes one of the following:
1. having the character of an epic tale - this idea has its roots in the Greek origins of the word "rhapsody"
2. having a national or regional character, as in the Hungarian Rhapsodies of Brahms
3. being episodic in structure
Preludes
In earlier periods, preludes were exactly what the term sounds like - pieces to preceed other pieces. These pieces were for the purpose of establishing the key of the piece that would follow, and they were often improvised.
In Romantic era preludes, the improvisatory mood is maintained. Also, it seems that an individual prelude usually presents a small number of ideas and has very little time for development. Thus, preludes still serve an introductory function. That is, they introduce a musical idea as opposed to developing it over an extended period of time.
Thursday, August 25, 2005
Monday, August 22, 2005
Brother Roger
On August 16th, Brother Roger of the Taize Community in France was murdered during a prayer service. I'm sure this terrible event is saddening and sickening to anyone who knows about Brother Roger and Taize.
Brother Roger did the danergous work of helping Jewish refugees during the Second World War. After the war, he focused on working for unity among Christians and on helping the poor around the world. He has been joined by many devoted brothers and sisters who choose to live in some of the poorest communities in the world.
Thousands of people, particularly young people, make pilgrimages to Taize every year. Because of the diverse nationalities represented, the brothers at Taize found it necessary to compose a type of music that would make reverent corporate worship possible. Many Taize songs consist of a simple phrase that anyone can learn, repeated numerous times. Added to this phrase are other texts sung by soloists in many languages, as well as instrumental lines.
I have added two links to this blog regarding Taize. One is to the Taize site and deals with music, prayer, and meditation. The other ("Sabbatical Journeys") is the blog of a friend who has recently visited Taize.
Brother Roger did the danergous work of helping Jewish refugees during the Second World War. After the war, he focused on working for unity among Christians and on helping the poor around the world. He has been joined by many devoted brothers and sisters who choose to live in some of the poorest communities in the world.
Thousands of people, particularly young people, make pilgrimages to Taize every year. Because of the diverse nationalities represented, the brothers at Taize found it necessary to compose a type of music that would make reverent corporate worship possible. Many Taize songs consist of a simple phrase that anyone can learn, repeated numerous times. Added to this phrase are other texts sung by soloists in many languages, as well as instrumental lines.
I have added two links to this blog regarding Taize. One is to the Taize site and deals with music, prayer, and meditation. The other ("Sabbatical Journeys") is the blog of a friend who has recently visited Taize.
Friday, August 19, 2005
Lloyd Arriola in Richmond
If you're in Richmond this weekend, I highly recommend going to a free concert by a good friend of mine, Dr. Lloyd Arriola. Lloyd is a graduate of Peabody and Juilliard, and was also the best man at my wedding. He currently lives in New York where he does all sorts of musical work from solo performances to coaching opera singers to directing musicals.
Lloyd's musical reach is very broad. He has had an interest in obscure Romantic repertoire of the years. He also performs Beethoven's "Hammerklavier" Sonata, which is the largest of Beethoven's Sonatas. In addition, he is an advocate for new music.
He has performed internationally in Greece, Austria and the Phillipines, and has pursued studies with great pianists such as Alexis Weisenberg, Paul Badura-Skoda, and Leslie Howard.
His program this Sunday will consist of many familiar favorites, including Gershwin's Three Preludes and Rhapsody in Blue.
The concert will be at 7:00 PM at Woodland Heights Baptist Church which is in the 600 block of West 31st St.
I hope to see you there!
Lloyd's musical reach is very broad. He has had an interest in obscure Romantic repertoire of the years. He also performs Beethoven's "Hammerklavier" Sonata, which is the largest of Beethoven's Sonatas. In addition, he is an advocate for new music.
He has performed internationally in Greece, Austria and the Phillipines, and has pursued studies with great pianists such as Alexis Weisenberg, Paul Badura-Skoda, and Leslie Howard.
His program this Sunday will consist of many familiar favorites, including Gershwin's Three Preludes and Rhapsody in Blue.
The concert will be at 7:00 PM at Woodland Heights Baptist Church which is in the 600 block of West 31st St.
I hope to see you there!
Sunday, August 14, 2005
Romantic Bach
On Wednesday, I played my recital at Grace Covenant Presbyterian Church here in Richmond. Afterwards, a pianist friend mentioned that my Bach was a little bit on the romantic side. (I played the C Major Prelude from WTC I, the C Minor Two-part Invention, and the Minuet in G which is actually by Petzold.)
As my friend clarified what she meant by Romantic, she mentioned my use of rubato and the fact that my hands were not always together. The ironic thing
is that my use of rubato was a result of me trying to play this music in a more idiomatic fashion. I was trying to articulate the flow of the music through rhythmic fluctuations, just like harpsichordists do.
Yesterday, I listened to Gustav Leonhardt playing Goldberg Variations to refresh my concept of how harpsichordists play. The rubato was there, but probably more subtle than mine. What's more, his hands weren't always together. Perhaps that's a natural outcome of dealing with the harpsichord action, but it certainly helps differentiate melodic lines and accompanimental parts when playing multiple dynamics simultaneously is not an option.
Maybe the problem arises when a performer uses dynamic changes along with rubato to highlight phrasing in Bach on the piano.
A fascinating take on Bach playing can be heard on Vladimir Feltsman's recording of Goldberg Variations which is a Musical Heritage Society recording. In addition to varying dynamics and articulation, Feltsman achieves variety through changing ornamentation, registration and "inter-switching voices." This inter-switching of voices involves crossing the hands so that the soprano and alto parts are heard below the tenor and bass parts. It's a real sonic spectacular, and very different from what is frequently expected in a Bach performance.
As my friend clarified what she meant by Romantic, she mentioned my use of rubato and the fact that my hands were not always together. The ironic thing
is that my use of rubato was a result of me trying to play this music in a more idiomatic fashion. I was trying to articulate the flow of the music through rhythmic fluctuations, just like harpsichordists do.
Yesterday, I listened to Gustav Leonhardt playing Goldberg Variations to refresh my concept of how harpsichordists play. The rubato was there, but probably more subtle than mine. What's more, his hands weren't always together. Perhaps that's a natural outcome of dealing with the harpsichord action, but it certainly helps differentiate melodic lines and accompanimental parts when playing multiple dynamics simultaneously is not an option.
Maybe the problem arises when a performer uses dynamic changes along with rubato to highlight phrasing in Bach on the piano.
A fascinating take on Bach playing can be heard on Vladimir Feltsman's recording of Goldberg Variations which is a Musical Heritage Society recording. In addition to varying dynamics and articulation, Feltsman achieves variety through changing ornamentation, registration and "inter-switching voices." This inter-switching of voices involves crossing the hands so that the soprano and alto parts are heard below the tenor and bass parts. It's a real sonic spectacular, and very different from what is frequently expected in a Bach performance.
Monday, August 08, 2005
What are you thinking?
Recently, Jeff Prillaman and I were talking about what we think about when performing. I thought it might interesting to explore that a little bit here.
There are at least two main streams of thought that go into my preparation for a performance.
First there is performance practice. By this I mean I make some effort to dialog with the composer's ideas, the score, history, and performance traditions for the music at hand.
The second stream involves attempts to bring my faith to bear on the performance of the music. I look for ways that eternal truths might be played out in the music I'm playing.
This morning I rehearsed at Grace Covenant Presbyterian here in Richmond where I am scheduled to play a concert Wednesday night. As I was trying out the piano, I was reminded that another important part of the thinking that goes into my playing is adapting to the specific instrument and the acoustics of the room where I am to play. Many times, my conception of how a piece should sound changes drastically when I search for what will work in the actual setting of a given performance.
There are at least two main streams of thought that go into my preparation for a performance.
First there is performance practice. By this I mean I make some effort to dialog with the composer's ideas, the score, history, and performance traditions for the music at hand.
The second stream involves attempts to bring my faith to bear on the performance of the music. I look for ways that eternal truths might be played out in the music I'm playing.
This morning I rehearsed at Grace Covenant Presbyterian here in Richmond where I am scheduled to play a concert Wednesday night. As I was trying out the piano, I was reminded that another important part of the thinking that goes into my playing is adapting to the specific instrument and the acoustics of the room where I am to play. Many times, my conception of how a piece should sound changes drastically when I search for what will work in the actual setting of a given performance.
Wednesday, August 03, 2005
Picture This
I recently attended the final performances of the Virgina State Baptist Youth Music Camp which was taking place at Eagle Eyrie in Lynchburg. I was impressed by the variety of disciplines the participants were exposed to during their week there: choral singing of course, but also orchestral playing, expressive movement, African Drumming, and my favorite - "Picture This."
The "Picture This" students had put together an inspiring powerpoint presentation including text, images, and movement that unfolded in sync with a choral performance of a song entitled "Above All." Reading the text on the screen and seeing the various images they had selected greatly enhanced my experience of the message of the song. These things seem to help the message reach more deeply inside of me.
I think this is a superb way to use technology to add another layer of meaning to worship. It would also provide a way for deaf or illiterate congregation members to particilate more fully in corporate acts of worship.
The "Picture This" students had put together an inspiring powerpoint presentation including text, images, and movement that unfolded in sync with a choral performance of a song entitled "Above All." Reading the text on the screen and seeing the various images they had selected greatly enhanced my experience of the message of the song. These things seem to help the message reach more deeply inside of me.
I think this is a superb way to use technology to add another layer of meaning to worship. It would also provide a way for deaf or illiterate congregation members to particilate more fully in corporate acts of worship.
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