November 6, 2007, 11:34 pm : On Contemporary Music
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A festival I’m applying to is asking me to write a paragraph on why I find interest in contemporary music. Ahhh, the hoops to jump through.
My interest in contemporary repertoire is multi-faceted:
Firstly, it’s of immense importance to keep our art vital: To grow, explore and progress are necessities if Classical music is to survive the test of time. Without that vitality, the art has already died, and the performers are merely noble historians and interpreters of an erstwhile musical tradition.
To me, it is incredibly gratifying to be able to interact with a living composer; to clarify the ideas that, though he/she has put on the page clearly, they can explain further, thereby richening your conception of the piece by providing you the social context under which the piece was written, the underlying ideas, and emotional underpinnings of motives and textures: how many musicians focusing themselves on the tried-and-true repertoire wish they could have Beethoven there to answer the same questions and provide them an authoritative conception of one of his pieces?
There is a certain interactive element that occurs with a composer there to ‘bounce’ ideas off of; to be able to suggest more effective choices, to push the envelope of our instruments and our technique with. The process of brainstorming with a composer to help bring his/her ideas effectively to the stage is one that I value (and will continue to value) in my career.
Contemporary composers must interact with the past. They are POST-Baroque; POST-Classical; POST-Romantic; POST-Modern; POST-Primitive – everything they write relates to the context of all other Music (for these purposes, I’ll use “Western Classical Music,” since that is our focus by way of the instruments we use, though a composer’s influence could also be ethnic or popularly based), even if it is their goal to go as far away, stylistically, as they can, because “Western Classical Music” (as ambiguous as that is) is a reference point. And it is the reference point from which all the performers and the audience approach a new work. This tension; discovering the relationship between a specific composer’s music (because each one is individual) and that amorphous “Western Classical Music” is of deep interest to me, and contemporary composers conquer that tension in different ways; from acknowledging past styles by assimilating past genres, forms, rhythms, and orchestrations, to developing entirely new musical ‘languages’. However, there is a certain necessity of a contemporary composer to be original and/or progressive. For this reason, some of the most interesting contemporary music (to me) is the kind that steps up to challenging (or going beyond) all the music of the past. Hearing a sound that has never been produced in a musical context before, or discovering a unique mathematical logic in a pattern, or feeling the extraordinary emotion that derives from hearing a new piece as a whole, during a performance, is truly exciting.
As a performer, there isn’t the context of the past (other than the technique of our various instruments) for truly contemporary works; and for that reason, a performer is allowed so much greater room to experiment and interpret in his or her own way, without the influence of a Heifetz or a Kreisler or a Perlman, for example. These are unheard pieces, therefore with limitless interpretive possibilities. And so the presentation of the piece becomes as important as the piece’s compositional merit.
Contemporary repertoire encompasses extreme range of style and difficulty – but it is sadly underappreciated by performers and listeners alike; it is so important to provide them this same knowledge of context and relationship to music they do appreciate. A hefty challenge, to be sure, but in the spirit of our art’s vitality… a worthy one.
November 6, 2007, 11:30 pm : Wow. Time for an update
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It’s been WAAAAY too long. Sorry.
June 12, 2007, 5:29 pm : I made it!
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Whew. What a season. With all the audtions I did (NAC in Ottawa, Portland, Grant Park (2 separate auditions), Cleveland and LA, I was stretched to the MAX. This felt like the hardest season I’ve had with the Calgary Phil, and with the addition of the directorship of the Kensington Sinfonia, various arranging projects, etc… well… let’s just say I didn’t escape the year unscathed.
I feel pretty burnt out, and am looking forward to the summer off (providing I don’t do the MSO audition in Montreal at the end of July). A trip to NYC seems to be the best course of action to reinvigorate and reinspire me! So, I’ll be there in July! Before that, I’ll be going to Aspen to visit friends, take some lessons, see some concerts and of course do some hiking, which I haven’t done yet this spring/summer. I’m really looking forward to it!
Anyway, all of you have a wonderful summer!
May 12, 2007, 8:29 am : Meet my baby.
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A couple weeks ago, I bought a new instrument. For those who know me, I’ve been searching for a new instrument for a LONG time, as the David Christian Hopf (circa 1750) I’ve played on in the past isn’t the strongest instrument (but such a lovely sound); and I've played on that since my parents got it for me when I was 12.
I likely won't sell my Hopf, but I also don't want it to die in a violin case - instruments are meant to be played, and I've always felt sad seeing instruments just sitting behind cases in museums.
I was given a buy-back guarantee by the maker; he promised to find a buyer for me if I wasn't satisfied within a certain amount of time. That certainly sweetened the deal for me to buy an instrument I hadn't even TRIED.
The thing is, I've been trying instruments all around; whatever I could get my hands on; for years! And I hadn't found anything that really blew me away AND that I could afford.
A colleague of mine encouraged me to 'immerse' myself in the instruments, rather than constantly comparing any particular instrument to my old one. It was this, and playing on a similar instrument (bought by a friend of mine) that gave me the confidence to take the plunge. Alain Carbonare (the luthier) had great interest shown to the violin when he recently took it to an exhibition in Paris as well; he got about 10 separate commissions for instruments after showing it. This, his strong reputation, and his fine craftsmanship (shown on my friend's instrument) reinforced my decision.
So, I've got a new instrument! It's powerful, it hasn't taken ANY time to play in (usually new instruments sound 'pinched' or 'nasal' at first, before they're 'played in'); it's bright, and I've gotten many compliments on my sound lately.
So, hooray! I'm SO glad it's worked out, and I'll be evaluating the instrument further to decide if I'll find a buyer for it... so far, this instrument is having a STRONG showing.
P.S. I'm going to have a different tailpiece carved; the little cherub freaks me out.
May 12, 2007, 8:15 am : I’m still not dead (but close!)
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Wow, it’s been too long since my last couple posts. Sorry about that!
I must say, I got swamped with everything after coming back from Cleveland - I was slightly depressed/frustrated with my nerves after that experience, and I slipped back into HEAVY WORKING mode, taking on the plethora of projects I had agreed to a while back.
So, lately, I’ve been busy, but good… too much on the go right now - our last Kensington Sinfonia concert is tomorrow (the ensemble I’m Music Director for), 2 different Philharmonic concerts this week, an arrangement to finish for a chamber ensemble in Denmark, writing charts for Lullaby Baxter (my quartet will be doing an AWESOME Canada Day show backing her and her band up at Prince’s Island in Calgary), and preparing for the Los Angeles Philharmonic auditions. ARG!
But, it looks like the piano move for the Kensington concert went without a hitch yesterday (aside from the movers being uninformed there were 10 stairs) - it’s a HEAVY one; about 1 tonne. It’s a lovely Mason and Hamlin from Boston - FANTASTIC SOUND. The concert tomorrow is going to be KICKIN’, but I’m so damn tired right now, I just hope I can enjoy it. I’ll tell you; that’s the last time I BRING IN a piano for a concert - if there’s not one in the concert hall, then screw it! Find a different instrumental soloist! haw.
Last night’s Philharmonic concert was great; I got lots of solos (I was concertmaster), and we’ve got a different concert tonight. Wow. All this plus an arrangement while I’m supposed to be practicing hard for the LA auditions….
Oy!
April 30, 2007, 8:19 am : I’m not dead!
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Hi everyone - sorry it’s been so long since my last post! Lots going on…
my regular CPO stuff, a Mountain View recital that I played last night (Grieg Sonata), and the craziness of trying to line up a piano for the next Kensington Sinfonia concert (and dealing with the fallout from all ends… everybody wants SOMETHING!).
Anyhoo, I’ll write more about my experiences in a little bit…
April 18, 2007, 8:08 am : Bouncing back
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I was feeling very sorry for myself yesterday - and now I’ve got to put that out of my mind, and get back on the horse.
Cleveland was a failure, but it was a learning failure… and I’ve come to discover that in this industry - in this art - the way you deal with failure; and the way you LEARN from failure counts the most, because you’re going to be “failing” a majority of the time, in some respect. Odds are…! (how preachy of me)
The market is saturated with great players who can play better than you - and there are just as many ‘lower on the ladder’ than you. To assume that you can play to the best of your ability ALL the time so that you even have a fighting chance against the ‘lowers’, especially if you have a problem with nerves, isn’t smart.
I have a job already, and a job that I enjoy. I just want to be able to improve my position - that’s the impetus behind these auditions. I want a better job and a bigger paycheck so I can start focusing on other ‘life’ goals.
But failure in these attempts…
It’s hard to rationalize that to friends and family; non-musicians or people involved in less competitive industries (one orchestra, MAYBE two in a city; job interviews requiring travel at YOUR expense, a decent resume and a 5 minute performance evaluation so they can judge ALL of your abilities; and the prospect of competing against 100 other musicians for the same spot), that failure doesn’t mean you should QUIT… and I’m tired of that mindset. Just because I fail doesn’t mean I’m no good - I know I’m good at what I do - and I try to be observant of my shortcomings ESPECIALLY in an audition… not to have excuses why I failed, but to identify the hurdles I need to overcome in order to play better.
The point is, I have to keep trying. And I will. This month is going to be busy - Grieg sonata to play in a week in recital, the final Kensington Sinfonia Concert of the season (oh God, how are we going to find a piano?!?!) and an arrangement for the Ensemble MdtVest in Denmark. That’s BEFORE for the LA audition.
But LA…. watch out. I’m going to be on FIRE.
April 17, 2007, 9:38 pm : Cleveland
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Well, the result was not good - I was dismissed after a good 5 minutes of playing… and I didn’t even get to the excerpts.
I have to blame my focus, which was already rattled by going 2nd, and realizing the gravity of my situation: Here I was, auditioning for arguably the BEST symphony orchestra in the United States in an unscreened audition. Playing for William Preucil and the other stars of that fine orchestra… and doing so without aid of beta-blockers (which I still have not tried in an actual audition).
Severance Hall is beautiful… classical columns adorn the outside of the building, while the audience seats in the hall are a plush royal blue - it was nice just to walk out on that stage. I collected myself, and looking out into the audience and locating the scattered committee (amongst them the famous Preucil). I took a couple breaths and WENT.
And MAN, did it sound good! I was using a borrowed violin, which has become quite comfortable to me, and their hall is wonderfully reverberant. I played the HELL out of those first two lines; and I was happy with how I sounded - until I realized my focus was no longer under my fingers, but out in the audience… I had shifted from being performer to being observer/audience… and that’s not a good thing - because evaluative thoughts creep in, and before you know it, you’re hearing something negative and it throws you. And that’s exactly what happened.
On the arpeggios, a finger went down wrong, and I wobbled a note - not a big deal. But the chain-reaction of thought from my mind’s current ‘position’ was what caused the next slip… another wobble.
That triggered my adrenaline to go into overdrive… when it was already going strong; but I was able to hold it together for the next page and a half. I was rattled, but still going strong. Then something happened that has not happened to me for a long time…
I had a memory slip. On the 2nd line of the 3rd page - for some reason (and because my focus was still ‘out there’ and not under my fingers), I thought I was on the recap. It caused a brief pause, and then I continued for another 10 seconds (in the correct next entrance) before they stopped me with a “Thank you very much.”
That was it. I didn’t even get to the excerpts, on which I had spent SO much more preparation time.
So, what have I learned from this one?
Keep your focus in the moment, and under your fingers and bow
Don’t assume they’ll only want a LITTLE of the concerto. Don’t assume ANYTHING about what they’ll ask - be equally prepared.
Even if you felt great about your last audition, nerves will STILL get to you. (My second Grant Park audition was GREAT).
One more audition this season. LA. I want it. Bad.
April 12, 2007, 8:14 am : 3 days until Cleveland
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Ok, I’ve just arrived back home from Chicago (good time, bad result; in the end I feel great about how I played), and now I have to play a POPS show, and then get the hell outta town again for the Cleveland audition. I’m lucky even to be able to do this one. Cleveland is one of the (if not THE) best orchestra in the States, and their auditions are typically by INVITATION ONLY.
I’ll write more later!
April 10, 2007, 8:20 am : Lullaby Baxter show TODAY!
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If you’re not doing anything at lunch today, head over to the Epcor Centre in the Jack Singer concert hall Lobby. CBC is set up there for their “Combo To Go” program, which pairs otherwise disparate groups of artists together. I’ve written arrangements for the Lily Quartet to back up singer/songwriter Lullaby Baxter. I wish I could be there… but hearing a recording after the fact will be thrilling anyhow!