On Sunday, we sang "What Child is This" at church. As I considered how best to play the hymn, I noticed the constant contrast between the verses and the chorus. Each verse focuses on the humanity and lowliness of the Baby Jesus: "What child is this who laid to rest on Mary's lap is sleeping?" The verse emphasizes the glory of Christ's divinity: "This, this is Christ the King whom shepherds guard and angels sing."
As I thought on the contrast and paradox of God becoming human, I realized that this concept might be the most profound and poignant archetype with which many other contrasts resonate.
As a musician, I see this as a possible insight into the interpretation of sonata forms. Sonata forms are structured around the contrast of two themes. Traditionally, one theme is of an assertive quality while the other is more passive and lyrical. Perhaps these qualities suggest to us the majesty of God and the tenderness of the incarnation. And maybe the tumult of the development sections of sonata forms sound out the mysteries of God becoming human.
Saturday, December 24, 2005
Thursday, December 15, 2005
Juries
"Jury" is the ominous sounding name music schools have given to the end-of-semester exam for students studying to play an instrument or to sing.
I enjoy listening to juries, but they can be very stressful for the students playing them. Last Saturday, we held juries at the University of Richmond. This time around, most of the students seemed pretty relaxed, and most also did a very good job.
Part of the fun of listening to juries is to see what music teachers are assigning. Sometimes you learn of good material to use with students through this process.
This time, I heard several piano preludes by the composer Mompou. The first of these was for left hand alone, and sounded a little like Scriabin. Another had a very interesting shape, beginning in the upper to middle registers of the piano and descending ratther rapidly and unexpectedly to the lower registers towards the end.
I was also introduced to two pieces for saxophone and piano by Hartley. These pieces use what sounds like a twelve-tone vocabulary, and are constructed in such a way as to keep the listener closely engaged throughout. I was also struck during one of these pieces at how loud and beautiful sounding an instrument the baritone saxophone can be given the right acoustic.
I enjoy listening to juries, but they can be very stressful for the students playing them. Last Saturday, we held juries at the University of Richmond. This time around, most of the students seemed pretty relaxed, and most also did a very good job.
Part of the fun of listening to juries is to see what music teachers are assigning. Sometimes you learn of good material to use with students through this process.
This time, I heard several piano preludes by the composer Mompou. The first of these was for left hand alone, and sounded a little like Scriabin. Another had a very interesting shape, beginning in the upper to middle registers of the piano and descending ratther rapidly and unexpectedly to the lower registers towards the end.
I was also introduced to two pieces for saxophone and piano by Hartley. These pieces use what sounds like a twelve-tone vocabulary, and are constructed in such a way as to keep the listener closely engaged throughout. I was also struck during one of these pieces at how loud and beautiful sounding an instrument the baritone saxophone can be given the right acoustic.
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