Music is thought of a language of its own. Ever since people first used a shell or a hollow bone to change or amplify the voice there has been instrumental music.
I'd like to expand on the idea of an instrument as an extension of the voice. Gifted composers and performers try to make instrumental music convey meaning that is just as communicative and effective as that of a song with words.
As instrumentalists, it's important for us to understand at least in a rudimentary way what devices are used to communicate meaning in an instrumental line.
Like a well-composed speech, a musical phrase has a sense of line, pacing, climactic points and points of repose.
This is one of the greatest persuasive speeches ever written. Following Brutus' speech justifying Caesar's assassination as necessary for the good of the Roman Republic, Marc Antony uses the rhetorical device of irony to convince the crowd that Caesar was unjustly killed.
Each time Brando returns to the phrase, "Brutus is an honorable man" the words take on greater irony. By the end of the speech, the crowd is ready to hunt down Brutus, Cassius and the other conspirators.
Whether he actually studied the classics or not, in his interpretation Brando adopts the type of ironic speech inherent in the Shakespeare passage as described by the Roman Quintillian in his text on Rhetoric:.
But in the figurative form of irony the speaker disguises his entire meaning, the disguise being apparent rather than confessed. . . . in the figure
the meaning, and sometimes the whole aspect of our case, conflicts with
the language and the tone of voice adopted; nay, a man's whole life may
be coloured with irony, as was the case with Socrates, who was called an ironist because he assumed the rôle of an ignorant man lost in wonder at the wisdom of others.
I'll develop the theme of the use of rhetorical devices in music and speech in a later post. Meanwhile, here's another inspiring performance of a famous poem.
The Raven
David Van Hoesen found Basil Rathbone's reading of Poe's The Raven inspiring and encouraged me to listen for a sense of musical phrasing in the pacing of the reading and the sense of line in Rathbone's voice.
Lines of poetry are said to "scan". There are accented syllables or words and those that are unaccented. Notes and rhythms in a musical line have the same characteristics. There is a natural ebb and flow to the stressed and unstressed notes in a musical phrase.
Like paragraphs, groups of phrases flow together to form larger groups in the structure of a piece.
Here is a wonderful breakdown of the way Marc Antony's Funeral Oration scans as poetry. It also contains much information on the rhetorical devices used in the speech.
Try reading some of the speech yourself following the design in the scanned lines. Notice how the lines become musical when read this way.
Now try the same thing with a musical phrase -- recite it without your instrument as though it were poetry. No need to account for the pitches, just go for the rhythms and stresses in the line. See how it becomes poetry! Now take up your instrument and play the line with the poetry in mind.
The life of a performing artist is one of highs and lows, routine and surprises. There can be periods in which it feels like you're just repeating something over and over and times when you suddenly need to call on all the special expertise you have to get the job done.
Sometimes it seems like nighttime driving. Stretches of routine that can be boring are sometimes followed by moments of sheer terror!!
Last Wednesday night could have been one of those moments. While the concert certainly didn't promise to be boring, what ended up happening certainly got everyone's complete attention!
Wednesday was a regularly scheduled faculty concert at the Kent/Blossom Music Festival. On the program were four chamber works that included piano, including the Poulenc Trio (the only piece in which I was involved).
In the middle of the afternoon our pianist, Joela Jones was taken ill and could not play the concert. Danna Sundet, oboist and Festival administrator immediately got on the phone to try and salvage the program.
She called me from the room where I was teaching that day and we consulted. We both knew another pianist, Elizabeth Demio. Liz is a gifted collaborative pianist with a huge repertoire. She has played the Poulenc many times before. In addition, she knows much of the double reed repertoire, being married to Mark Demio, a bassoonist and having played in the Plymouth Trio (with oboist John Mack and soprano Christina Price).
As it turns out, Liz was free that night and willing to come help out! Danna likened the conversation about repertoire to the TV show, Iron Chef. We discussed what pieces Liz had under her fingers that included oboe and bassoon and made a program. Here are the ingredients in the refrigerator, now make a great dish!
Danna would do the Poulenc Sonata and I would play the Saint-Saëns Sonate with Liz. I hadn't touched the piece since the fall, but have played it many times, as has Liz.
In addition, Ying Fu, the new Associate Concertmaster of the Philadelphia Orchestra (and current member of our violin section) was supposed to play as part of the Elgar Quintet. With that now cancelled, he agreed to play the Beethoven 1st Sonata with Liz. The new program would now be:
Poulenc Oboe Sonata Saint-Saëns Sonate for Bassoon Beethoven Sonata #1 for Piano and Violin Poulenc Trio
So we had a program!
I think Liz arrived at Ludwig Recital Hall on the KSU campus roughly 2 hours before the 7:30 concert. I taught until 6:00 and went out for a quick coffee to give me a burst of energy and focus my tired brain cells. I had been teaching since 9:30 that morning!
Liz and I had about 10 minutes to touch the Saint-Saëns before the performance. I think the others had about the same amount of time. The Poulenc Trio got no rehearsal at all!
Perhaps one of the few advantages of being an old guy is that you've had this sort of thing happen before. There's nothing you can do about it, so you just leave your fate up to the gods (reed gods, God, whomever!) and try to enjoy yourself and really give a performance!
Old guys (seasoned veterans, if you prefer!) also have an advantage over young whippersnappers in that they have performed core repertoire like the Saint-Saëns many times. I have played it numerous times and teach it and demonstrate it in lessons with regularity. So, while it was certainly a stretch to play it on Wednesday night, it wasn't out of the question for me. The performance went well. It seemed like Liz, Danna and Ying all enjoyed themselves in spite of the pressure. The audience, who had been informed of the program change and last minute arrangements was enthusiastic and sympathetic. The Collaborative Pianist
Great collaborative pianists are worth their weight in gold! These people have a generous spirit, a thick skin and a joy in making music with others.
Some pianists are solitary figures who focus on solo careers. Playing concerti with orchestras is their only interaction with others.
Collaborative pianists love making music with others and often feel a bit lonely playing by themselves. They put up with bad pianos and are expert at making instrumentalists sound their best. They know what to leave out in piano reductions of orchestral scores, are attentive to balance issues, can transpose a part to fit a singer's range and are generally good at coaching.
The discipline and aptitude required in these areas tends to weed out those less able pretty quickly. That leaves people with special skills and personality.
Collaborative Pianists I Have Known
We are blessed with several great collaborative pianists in our area. Liz, who saved our concert is one of the best.
Joela Jones (who recovered quickly, by the way) plays piano, organ, celeste, harpsichord, even accordion. She also accompanies our Cleveland Orchestra Chorus.
Randy Fusco, music professor at Hiram College, has recorded two CDs with me. With his encyclopedic knowledge of repertoire, he can make the piano sound like an orchestra.
Jim Howsmon, music professor at Oberlin College, can read an orchestral score at sight on the piano. He has adapted many bassoon accompaniments to make them sound better than what's printed.
Randy, Jim and another pianist, Jeffrey Gilliam were college classmates of mine. I learned a great deal from them by performing with them, hearing them play, listening to their favorite recordings, comparing lesson notes, and talking about music.
I'm sure I've left a few out!
If you know someone like this, seek them out, befriend them, buy them dinner, you never know when you'll need to ask for a favor (like this Wednesday)!
Staying Current
The past few weeks have been really nice around here. I've had some time off and had the pleasure of seeing and hearing some former students at the house. It's really nice to see them again and hear how they're doing. One of the frustrating parts of being a teacher is that day when they graduate and leave for other parts, so it's fun to have a visit from time to time.
It's also fun to see what areas of their playing have improved since I last heard them.
Perhaps the best skill a teacher can impart to a student is to help the student learn how to teach himself. Give a man a fish/teach a man to fish. . . .
However, this skill is not magically bestowed upon graduation. It is a life-long pursuit. No one can develop this skill on her own. Those who continue to grow as musicians seek out help from former teachers or other mentors for occasional feedback after the end of formal study.
This may come in the form of periodic get-togethers with a former teacher, playing for colleagues, listening to recordings of yourself and others or even just attending concerts on free nights.
Recording "Teachers"
Upon graduation from college I used my time as a record store clerk to listen to recordings in the store to learn new repertoire and study interpretations by different artists. I found I learned the most from listening to singers and pianists.
Perhaps because I have a passing knowledge of German, I learned the most from German artists like Dietrich Fischer-Dieskau, Fritz Wunderlich and Elizabeth Schwarzkopf. The art of the German Lied with its marriage of music and poetry and its intimate setting gave me valuable insights in interpretation, how to sing a line, how to color notes, etc. It also taught me to protect the "p" dynamic so my playing would have the requisite contrast and scope.
Pianists I listened to were Horowitz, Brendel and Pollini for various reasons.
Horowitz (who was still alive during this period) was a living link to the great pianists of the past like Rachmaninov, Busoni, Liszt, etc. His piano was voiced like no other and thus, yielded a sound that no other could elicit. His performances had an element of wizardry to them. I remember a performance of Liszt's "Mephisto Waltz" after which the piano literally shook for a few seconds. Did I see smoke coming from under the lid? He revoiced chords and occasionally altered the music in such a way that some of his repertoire was as much "Horowitz" as it was Liszt or some other composer.
Brendel provided a link to the core Germanic repertoire (Beethoven, Schubert, etc.) and older performers such as Edwin Fischer and Arthur Schnabel. His playing was (he just recently retired) profound, yet full of good humor. His touch was the most expressive I've ever encountered. I still remember his performance of the Beethoven 4th Piano Concerto with us a few years ago!
Pollini's playing is inspiring for its technical brilliance and faithfulness to the score. His passion for contemporary music balances his expertise with the core repertoire. His recording of the version for piano of Stravinsky's Petroushka is legendary!
(Blog post time out -- if some of these names are unfamiliar to you, I highly recommend you seek out their performances. If you are a classical musician, these are your forefathers!)
The Check-Up
Every couple of years I made a point of going to Rochester, NY to play for my former teacher, K. David Van Hoesen. Sometimes the things a teacher says take years for the student to absorb. The lessons on those visits helped cement in my mind things he brought up during my formal study with him.
Generally I'd bring an audition repertoire list to play or something I was recording for his reaction. He always seemed pleased to see me and would spend the necessary time with me to attack any problems I was having with the music.
I left with a more accurate assessment of what things in my playing needed greater attention.
Recommendations
I made those visits not only for help with my playing, however. I wanted Van Hoesen to have an updated impression of my playing every few years so he could write the most effective recommendation letter or speak most effectively about my playing when called upon to do so.
Teachers with long careers like his have so many students over time that it's sometimes hard for them to recall specific aspects of a particular student's playing 10 years or so past graduation. If you are a young professional reading this, would you want your teacher to write about how you played upon graduation or how you play now?
When I joined the Cleveland Orchestra there was a period of about a year when lots of former students were suddenly asking me for letters of recommendation. Some were students who had stayed in good contact with me and who had recently played for me.
However, there were a few I heard from who hadn't been in touch for 10 years or more. I refused to write letters for them because I felt I couldn't accurately describe their skills today.
John Whitwell, former Director of Bands at Michigan State University used to say to his students, "You write a new paragraph in your recommendation letter each day." That's good advice for musicians, for this world is very small and most people know each other through a myriad of connections.
Each year at CIM we read the recommendations written on behalf of applicants. I've come to know which teachers write meaningful recommendations and which ones don't.
Some teachers always write glowing recommendations -- and then you hear the student play. . .
Others write carefully composed letters that still present the student in a favorable light but don't boast or exaggerate. It is always interesting to note what's NOT mentioned in the letter!
When asking someone to write a letter for you, it's best to waive your right to see the letter.
That way the writer is free to compose a letter that's honest and candid. If you must handle the letter, make sure the writer has sealed it and signed over the flap of the back of the envelope before you get it.
Be courteous and provide your writer with an addressed, stamped envelope if the letter cannot be submitted online.
The third movement of this symphony is the most action-packed for the first bassoonist. Every note in the part is important and mostly exposed. There are several solos.
As the waltz starts the bassoons play off beats. Then after letter A the first bassoon has a counter line. This line ends just before the solo in the middle line.
When playing this it's important to bring out the change of role in the second line of the part. Many excerpt books print the last two eighth notes before the solo starting the excerpt there. This gives the false impression that the solo starts there. These are not pick up notes!
They should be played lightly with a lift at the end of the B. Start the solo with the oboe on the bar line at a higher dynamic to shift the tone from an accompanimental to a soloistic presence.
The echo in the fourth bar of the solo is customary and helps prepare for a really effective crescendo later on. End the solo as if you were going to play the upward scale in the next bar. Practice it by adding the scale (just play the clarinet cues before letter B!) and you'll be less likely to drag the downward scale.
At letter B you join the clarinets in the main melody.
There is no dynamic indication for the entrance, but it should be soft so you can blend with the clarinets. Probably "p" or "mp". I like to use Short C# for this passage because it's more mellow and blends with the dark clarinet sound here.
xxx/
Dc#
Be sure to pace the dynamics in this carefully so you can really show the "f" after C. The passage is very repetitive otherwise.
After this tutti passage comes a big solo for the bassoon.
This solo sounds like it could have come right out of one of Tchaikovsky's ballets and as such it needs to sound light and graceful. Playing it can be anything but graceful, however. The awkward downward 7ths and off-beat rhythm make this one of the toughest solos in the literature.
I have several tips for success in this one.
First, don't play at letter D! The second bassoon doubles your line here, so take a little break to catch your breath and get ready for the solo.
Acoustics play a role in this solo. The first part of the solo can get lost in the reverberation from the end of the tutti passage if played softly and in time. So wait a split second before starting, play the pick up notes a bit louder and slightly out of time, then pull back to "p", play in time and start the crescendo.
Acoustics can also be distracting during the off beats. The strings play pizzicato down beats so you alternate with them. It's very easy to end up on the beat with the strings if you're not steady. If you can hear them well, you can guide off them. If not, you're really on your own!
However, YOU have the solo, so ideally they should follow you. Since you're outnumbered this will never happen unless you get a little help from the conductor. Again, the I.Q. test (see previous post on the Second Movement). The conductor should accompany you with the beat, helping the strings play in the right groove.
If you play the solo with great authority in the first rehearsal, people (including conductors) will tend to follow you. If you want a passage to go a certain way, you need to convince others with the conviction in your playing from the outset.
When I played this passage in the orchestra a few weeks ago, I played as steady as I could, taking care each slurred note spoke on time. I didn't look up to watch the conductor. That can be confusing!
The tempo was fast - about ♩= 152 (normal is♩= 138) so I really plowed through this solo.
I was successful except for one run-through in rehearsal in which I tried to play a bit more freely and I ended up with the strings on the beat. The next time through I played it very straight. Every time after that I fit in just right. Towards the later performances I could really feel the string part fitting in with me.
If you play on a stage where it's hard to get feedback it's helpful in this passage to just stick to your guns and have someone out in the hall listening for the timing of your off beats.
Here are some practice tips for this passage.
Play the off beats re-barred in 4/4 time, thinking of them as downbeats.
Remember to flick or half hole for the lower note in each downward 7th.
Tuning these intervals can be difficult. Often the 7ths are too small -- upper notes flat, lower ones sharp.
Here's a trick for hearing the intervals better. We hear 2nds more easily than we do 7ths, so play the passage this way:
Then play as written and you will hear it differently.
Later in the movement comes a very tricky little technical flourish with the clarinet. Alternate fingerings are in order here because this goes like the wind!
Here are my choices for this one:
Eb
Fx = 1/2xx/x
w
Eb
G# = 1/2xx/xox
w
Eb
A= xxx/xox
ca
Eb
G# = xxx/xox
The rest of the notes are fingered normally.
The fourth movement of the symphony requires no special attention except that you should have your double tongue revved up and a pair of earplugs at the ready!
After the soft ending of the first movement I needed to be sure to remove the mute from the bell, unlock the whisper key, remove any condensation from the bocal and change reeds if I had been using a soft/low reed for that last line of low notes.
This must be done quietly and diplomatically so as not to disturb the mood or concentration of anyone else on stage. The horn player is about to play one of the most beautiful melodies written for that instrument and no one wants to hear or see you cleaning and fidgeting in your chair during it!
The second movement part begins with an awkward little five-note solo:
It is a variant of the oboe countermelody in the beginning of the movement. The bassoon follows the clarinet down an octave. This is typical Russian orchestration. Unlike Beethoven or Brahms, Rimsky-Korsakov, Tchaikovsky and others favored color variations through changes in orchestration over theme development. Solos pass verbatim from one instrument to another. The varieties of color available in the woodwind section provided the interest for them.
In such passages it's important that each soloist strive to match the style and intensity of the one who plays the motive first. After the flute, oboe and clarinet play the bassoon can often sound foggy or distant to the listener. To match the intensity and presence of the other instruments, it's helpful to play the motive at a higher dynamic level than indicated in these situations.
While it's not necessary to do so in this particular solo, in most cases it is.
In the solo above you should strive to have no gap between the clarinet exit and your entrance. The tone color and phrasing should be as similar as possible. The little motive shapes toward the "Blue Note" D on the bar line and falls away to the C#. Use little finger F# for a smooth transition down to the A#. Tongue the A# lightly to give the impression of a portamento/slur without actually doing so.
Next is one of the great solos of the repertoire.
Rhapsodic and expressive, it demands a beautiful, even, singing tone in the tenor range. Instruments, reeds and bocals are prized for the quality they show in solos like these!
The bassoonist starts the solo at a distinct disadvantage.
The clarinet plays it first. It's in a better range for the clarinet and has lighter scoring, so the clarinetist can play this with more freedom and ease.
The bassoon solo contains some of the worst notes on the instrument and an awkward set of 9 notes alternating between mode II and mode III acoustically.
The heavier scoring gives you less leeway with dynamics - mostly "mp" to "f"
Here are some ways to make the solo shine:
Use "Long" C# to start: xxx/oxGF
c#
Other usual fingerings such as the"Short"
xxx
Dc#
or the "Claw"
xxx/xxGF
c# Bb
don't work as well. The "Short" is too muted and stuffy, the "Claw" cracks frequently when articulated (it cracks when slurred, too -- what good is this fingering, anyway?)
The "Long": xxx/oxGF
c#
gives the first note the presence needed for the first note of the solo. Modification of the C# tone hole on the wing joint can temper the inherent brightness and sharpness of this fingering.
The next issue to deal with is pitch. The C# has a sharp tendency and the G# can be flat. The distance between the two needs to be large enough.
Then there's the B!
High B tends to be so flexible on the bassoon that you can put it just about anywhere within a major second! You really need to HEAR the high B before you play it. To get the pitch of the B in your ear, try playing this part down an octave where it's easier to nail the pitches. Then sing the first several notes. Then try up an octave using the lower octave as your model. In addition, embouchure position and breath support need to be memorized for approaching this note from G#.
The 9 notes should be just that -- 9 notes, no more, no less and not just a trill. They need to be measured and subdivided. Either a grouping of 4+5 or three triplets should work. In execution they should not sound like they're part of a math problem, however. It's most effective to give a little stress to the first D to show it's part of a line from E on the first beat through C# to B in the next bar.
Play the measure leaving out the nines by just playing the notes on the beat. It's Three Blind Miceagain!!
Two fingerings work well for the E's in the 9's.
D = xxo/ Bb E= xoo/ Bb or D = xxo/ Eb E = xoo/ Eb
The last bar of the solo is often played as an echo and with rubato. Again here the bassoonist is at a disadvantage compared with the clarinet. Playing too softly or using a lot of rubato can complicate matters for the second bassoonist who answers in both bars. The echo -- if played too softly -- can get lost in the thick string background. So moderation is advised here.
Here's a great clip of this solo played by J. Walter Guetter in 1934 with Leopold Stokowski and the Philadelphia Orchestra. Listen to the whole movement or start about 5'50" in for the clarinet and bassoon solos.
Next the solo returns in a different key. The traffic is very heavy, so the bassoonist really needs to pump out the resonance for this one. You can judge the I.Q. of your conductor here. If the conductor quiets the strings for your entrance -- GENIUS!! If no adjustment is made -- IDIOT!!
Sometimes this solo is doubled. Not a bad idea!
Later in the movement the bassoons join the woodwinds in this melody.
Here we see an example of written-out rubato. All the tenuti, and the frequent changes of mood and tempo show that this kind of mercurial flow to the line was standard in this kind of music. In the late nineteenth century composers started writing out where rubato would be traditional. Perhaps the need to write it down indicated that the oral tradition was starting to pass away. Anyway this is where the over-edited, hovering compositional style of many 20th century composers got its start. (See Willson Osborne's Rhapsody for Bassoon).
The last section of the movement has its challenges.
After an extremely loud outburst by the brass, the clarinets and bassoons play a tender passages leading back into the main tempo. This can be very painful because there is no time to remove earplugs after the outburst. The next section is too delicate to play with them still in my ears so I had to endure the extreme decibels without protection.
In Honeck's parts the third entrance on the "pp" D had an extra "p" added to it and the hairpin crescendo/diminuendo was crossed out. This required mute fingerings for the D, E and F#. For the D and E I partially depressed the low E Key. For the F# I used:
F# = 1/2xx/xxGFF# th and F#lf
w E
Going into the 12/8 it's important to start subdividing eighth triplets on the Bb's so everyone can play the 16th together.
For the rest of the movement the object is to hide on the A's and low D's with each note speaking on time and sustaining full value.
There is no time to stick a mute in the bell so here are the fingerings I used:
A = xxx/xx (whisper lock on)
low C#
D = xxx/xxGF (whisper lock on)
low BbD E
For those of you trying these fingering: If my symbols are confusing, let me know and I'll post them using a more visual layout.
Next, I'll examine the solos in the third movement.
