Holiday "Elevator" Music...

Charley Pride - Christmas in My Home Town (1970)
(George P; November 30, 2014)

World Premiere: Igor Stravinsky's symphonic work

The World Premiere of Igor Stravinsky’s Symphonic work "Funeral Song" will take place at the Concert Hall of the Mariinsky Theatre

(Mariinsky Theatre; 2016-11-21)

https://www.mariinsky.ru/en/news1/2016/11/21_2/

YOU CANNOT START WITHOUT ME - Valery Gergiev - Maestro trailer

(YCSWM; October 29, 2009)

The International Ultrasound Festival

Clash of sounds
(Barry Davis, The Jerusalem Post; 22 November 2016)
http://m.jpost.com/Israel-News/Culture/Clash-of-sounds-473361#article=6017OEYyRkFENTJFNDM0NTBGNjhCRTQ5MTg2OTQwMTZBNUI=


Ilan Volkov the man behind Techtonics festival
(Daniel Campos Putterman, i24News; November 10, 2014)

On the Menu for the 2016 Holiday Season

THESE COOKBOOKS ADD A DASH OF SCIENCE TO YOUR HOLIDAY MEALS
(Joe Ray, WIRED; 11.13.16)
https://www.wired.com/2016/11/2016-best-cookbooks/

The best films of Christmas 2016 - from The Nutcracker to Passengers and Office Christmas Party
(Catherine Shoard, The Guardian; 13 November 2016)
https://www.theguardian.com/film/2016/nov/13/best-films-cinema-christmas-2016

The best dance shows of Christmas 2016 - from Nutcracker to Hansel and Gretel
(Judith Mackrell, The Guardian; 13 November 2016)
https://www.theguardian.com/stage/2016/nov/13/best-dance-shows-christmas-2016

Exquisite Voice Returns to the Met on November 13, 2016!

Kathleen Battle's performance on G 1991 by

N. B. Carnegie Hall, Marion Anderson Tribute 1991 singing RACHMANINOV:  In the Silence of the Secret Night; Op. 4, No. 3.


Kathleen Battle Returns to the Metropolitan Opera in November
(Opera News Desk, Broadway World; April 4, 2016)
http://www.broadwayworld.com/bwwopera/article/Kathleen-Battle-to-Return-to-Metropolitan-Opera-in-November-20160404

"Nailing" Down the Evidence...

     Entering into an early evening sunlit practice room, everything gave off a sense that all was right with the world.  Lighting for the piano was well placed, a small trash receptacle could be seen in the far corner of the room, and there was even an extra piano bench poised for seating.

     After unfolding my music stand (Side note:  Practice rooms NEVER have decent music stands available for use.  Probably due to the inevitability of each one growing its own set of legs with which to quietly leave the building...),  I flip on the light switch, to my horror I see it!  "La maccabbee"!  Wait!  As I step further into the room I see even more... parts are everywhere!  Some are in piles, others are strewn as litter on the practice room floor, and still others are present on the piano keyboard itself!  "OMG!", I scream in disgust, quickly fleeing this "crime scene" to find another practice room...

     Yes, there it was, a proverbial collection of "evidence" - Fingernail clippings.  Some freshly cut and left out openly in place, and NOT put in the small, unassuming trash receptacle sitting in the corner of the practice room.  No need to bring in the CSI Unit, or any form of Artificial Intelligence (AI).  CCTV will never uncover the guilty party or parties either, as the alleged criminal acts occurred just outside the scope of the camera's lens in the room...

     Learning very early on, the words of my Piano professor "Missy, what is that 'clicking' sound on the keyboard?" still resound in my head.  It was then I realized that my life would be as any other music student's, and that "tell tale" clicking sound would eventually be my "undoing".  Even now,  my professor's voice continues to remind me to "clip", but "clip" elsewhere...

     It is intuitive that clipped nails are a "must" for most Instrument players.  This, of course, would not necessarily include those who utilize the Computer keyboard, which is usually the victim of "blunt force trauma"; or Nail biting, which is a completely different issue altogether.  It comes down to risk assessments of distraction, and cost.  There is a distraction to the rhythmic action of the instrument, affecting timing and clarity during practice and performance; as well as the great cost for String players whose unclipped nails cause damaging marks on their fingerboards.  NOT GOOD!

     So, say "Hello!" to the Practice room for me as you Music students enter into the new 2016 - 2017 Academic year, and remember...  Be courteous - "Clip" fairly, practice diligently, and most importantly, play well.



   




Illustration:  Jacob GROSSMANN, Bucket Elevator, In: The Elements of Chemical Engineering, 1906.  Public Domain via Wikipedia Commons.    

Master Class - The "Unholy" Grail

"...the fourth finger 'D' in the passage should be EMPHASIZED to bring out the idea in the phrase.. like this..." says the Clinician while playing in front of the Master Class.  "Uh-huh", say the staring, wide-eyed 'victim' of impending slaughter.  "Play it AGAIN", says the Clinician.  As the Master Class student begins to mimic what was just played, after several attempts the Clinician exclaims, "Now, you get IT!".  This is usually followed by the now profusely bleeding "victim" gratefully hobbling off to hide in the nearest available cave somewhere.

     A student having studied his or her craft beginning in the womb, by their teenage years will have discovered the method for achieving a certain level of sound quality and production that has been woven together from a variety of different quarters.  This includes the mastering of rudimentary standards such as "stance".  In the case of a violinist, during practice does one stand or sit?  In doing so, does one stand or sit 'flat-footed' or with one leg forward?  What exactly are the standards to help improve projection and stamina, anyway?  Enter the infamous "Master Class"

     Among friends and colleagues, the weekly or monthly Master Class may be viewed as a learning experience in grappling with "constructive" criticism, and developping an openness to new ideas and suggestions.  For the Music student, proverbial "pain" and performance fears slowly begin to wane within the classroom or school recital hall as the year progresses.  That is, of course, until the day Auditions are held for open spots in a Master Class entitled, "Performance Enhancement and Improvement in the Technical Understanding of Styles" from a seasoned Clinician who has "paid their dues" and "earned their stripes" on the musical "battlefield".  It is then, on stage, the truth of the bathroom/shower/practice room sound - that roaringly sweet, melodious and accomplished sound -seems to dissolve away.  It is then that the student's "id" begins to respond to the "ego" in a private, internal conversation along the lines of "What in the world am I doing here?".

     The work of the Clinician is very short, yet concentrated.  Within that alloted time, help is administered to those who need to grasp the concepts necessary to overcome problem areas in their playing, which everyone has encountered at one time or another.  For a string player, for example, when is the use of "open string" as opposed to "covered string" appropriate in a passage?  For voice, when are "strident" tones not acceptable?

     In the years of study and teaching that has contributed to a Clinician's "stellar" qualifications, surely in life there must have been moments of doubt and fear that had to be overcome before an eventually great performance.  These real life experiences serve as invaluable assets to "Up and Comers" who are now attempting to "quiet the enemy from within".

     This ideal of perfection sought by us all in some form or another requires "blood, sweat and tears" on an enormous level.  Therefore, "kudos" extended to the fearless Clinician and the intrepid Master Class student are in order - whose performances do not reveal the actual level of "SCHVITZ", produced, because it is never measured in a bottle!




Elevator Photo:  "Hall y ascensor principal del edifice de oficinas en Chacabuco 78, Buenos Aires.  Arquitecto Julián Garcia NÚÑEZ, año 1910".  Public Domain via Wikimedia Commons.

"Talent"

     Listening intently to an "Honorable One" answering the question of recognizing and defining a person who has "talent", how does talent define itself?  The answer was difficulty and at some point rather lost to me.

     Historically, a "talent" could be defined as a weight, and unit of measure that was sometimes manifested in "coinage" or any monetary unit of exchange.

     With the help from one who is acquainted with mathematical equations, the Quadratic formula was chosen as a novel avenue of defining a rather abstract description within the language of "the Maths", as follows:

                                   

                                          _______

                           x = -b ±√ b² - 4ac

                                           2a

where x = “Talent”; a = Marketability; b = Natural Ability/Technique; and c = Prestige Level of Music Professor or School.  

  With all three attributes being equally important for a Musician; a, b, and c are equal to 1.

Therefore, "Talent" may be defined as follows:

                   ___________

 x = -(1) ±√ (1)² - 4(1)(1)

                      2(1)

                   ______

 x = -(1) ±√ (1 - 4)

                  2

                ____

 x = -1 ±√ (-3)

               2

               _____

x = -1 ±√ 3(-1)

             2

  

                _

 x = -1 ±√3(i)

              2

where i = An imaginary number.

     Confused?  Join the cast of thousands - Composers, Artists of all genres - whose works were or are never seen or heard.  History reminds us of known celebrated Composers and Artists whose works were extolled as "talented, ground-breaking genius" only after they were no longer with us.

Quoting Margareet Wolfe HUNGERFORD, "Beauty is in the eye of the beholder".  This leads one to aptly conclude that in fact "Talent" is in the "i" (imagination) or "Aye" (accolades) of the Ticket holder, as calculated using the Quadratic equation.

     

Elevator Photo:  "Hall y ascensor principal del edifice de oficinas en Chacabuco 78, Buenos Aires.  Arquitecto Julián Garcia NÚÑEZ, año 1910".  Public Domain via Wikimedia Commons.

3/4 time...

In Waltz collections for piano, Fryderyk Franciszek CHOPIN's Waltz Op. 64 No. 1 is found written in 3/4 time - a tempo which is often referred to as a "rhythmic dance time".

With that thought in mind, why then are there so many fingers acting as "mini-pistons" insistently driving this composition ever faster?  Traditionally called the "Minute Waltz", and originally timed as such, why is there such an urgency for the performer to produce a "flashing finish" (usually to elicit an overwhelming audience response)?

Technical studies abound in every music store, from "you name it" publisher for every instrument.  Many of these studies from yesteryear may be "out of print", as the copyright has been lost.  But, we are fortunate to have access to many of the technical studies that produced the musical ICONS who are no longer with us.  Others find these studies and carefully present them to us; converting what has been written into what might be considered as our "'How To' treasure trove".  Therefore, we are not abandoned to the attitude of "whatever makes one 'feel good'", and are made aware of period technicalities at our fingertips.

This then begs the following question:  In today's fast paced world, has velocity become the manifestation of audience as well as self-assessment?  In other words, does driving at maximum speed on the Autobahn speak to superior driving skills?  Or is it all just adrenaline?

The use and need for unrestrained velocity in performance may be viewed as an attempt to hide the flaws in one's understanding of the nature and purpose of technical studies.  Paraphrasing the old adage, "Learn the rules, break them later" should be analyzed and reviewed when planning repertoire for performance and/or musical enjoyment.

What then?  Look for that special forest and "chop wood" until desired musical acumen is developed and heard.





Elevator Photo:  "Hall y ascensor principal del edifice de oficinas en Chacabuco 78, Buenos Aires.  Arquitecto Julián Garcia NÚÑEZ, año 1910".  Public Domain via Wikimedia Commons.

The Musician's Challenge of Saying "NO!"

The status of being a Musician, more often than not, suggests a "million dollar" contract to oneself.  Included in this contract would be the calculations of the myriads of monetary funds spent in pursuit of accomplishing one's musical goals, as well as the "lend-lease" program financing one's instrument of choice.

This "self-driven" contract has no legal precedent which might explain when and under what circumstances a negative response or "NO!" is, in fact, appropriate.  There is neither contract small print, nor the representation by Talent manager to speak in behalf of "self".

So, what is one to do when approached to perform - whether it be Solo, Vocal, Instrumental, Accompanist - and you strongly wish to decline the invitation?  Perhaps one is justified in refusing, or maybe the negative response is based upon a somewhat more obtuse or irksome reason (What? No "harmonious 'vibes'"?) Whatever the cause, it is exactly at that moment when "self" realizes it is at the mercy of the fickle, yet powerful "Court of Opinion" should a "NO!" be stated.

Many realities are available with persons who were once asked to substitute for a Principal musician, who had said "NO!" for a certain performance, and subsequently gained exposure and stardom.  But, what of the Principal who refused?  Very few words are ever said about the aftermath of losing one's place; knowing that it is irreversible in light of the substitute receiving even greater reviews with this big "break", and thus leaving the Principal's career at stake.

It may be safe to conclude, for a musician at any level, whether  "A" lister to "Z", a "NO!" is a word that might easily be defined as a condundrum or paradox that only "self" may be in a position to solve.  With the realities of life, a timely or an untimely "NO!" may leave one with either a lifetime of regret, or the beginning of a lifetime of great joy.


Elevator Photo:  "Kaufhaus des Westens", 1907; Public Domain via Wikimedia Commons.

"For the Love of Music": Subjective Investments

     Writing about "financial wizardry" as a strong suit is rather questionable on my part.  However, in seeking to discuss the time in which one might purchase that "perfect" instrument,   I chose to delve into a 2016 book entitled, "Investing 101" by Michele CAGAN, CPA to take a hard look at the terminology of what is currently at issue: the meaning of the word "Investment".
   
     The kit-and-caboodle of the purchase is a huge financial undertaking that includes not only the desired instrument, but also music lessons, music score purchases, transportation to and from practices or performances, proper recital or performance attire; not to mention any unforeseen incidentals, as well as your personal time away from home or employment. Therefore, one should consider both "long-term", as well as "short-term" goals in answering the question of "expected outcomes" once the investment has "matured".

      Both Investor and Investee must take into account their own subjectivities as they consider the possibility that the final investment outcome may end up being in another area due to life choices. Therefore, it is not solely about the instrument's monetary value, but its reciprocal value seen when one participates in a Community Orchestra... Hearing the joy expressed while playing, performing; reminiscing about times past; and seeing the beaming faces of musician and audience member alike. It is this reciprocal value that grows from the love of the instrument, and the impact that music has - from the beginning music student to the "matured" music enthusiast.



Photo: "Kaufhaus des Westens", 1907; Public Domain via Wikimedia Commons.

Repetitions

     Today, a proverbial "switch" has been flipped on that allows for an immediate feeling of accomplishment.  With this new year, forgotten are the seemingly endless hours spent repeating scales to achieve that "satisfactory" success; whether having smooth hands, or no voice "cracking" into another tessitura.

     In today's technology, one can perform as soloist with a recording, and even add concert audience approval to the extent that an obligatory "encore performance" is required (Cue "Applause" here.)  It does beg the question:  with all this technology at the whim of the budding music student, where have the honored standards of "time, sacrifice and effort" gone?

     When our children do not practice, we as parents prod, and cajole...promising future success in their endeavors with "you name it" support.  Growing up, I, too, remember my parents' faithful unending support in my own musical efforts.  However, my practice session results were varied - Mostly NOT!

     Technology has so rapidly increased, when is there enough time to include pedagogical studies with the appearance and  inaccurate perception of "success" available at the touch of a button?

     It is not about the named music teacher that one has, but the "grass roots" instructor who loves to teach and spends endless hours hearing that Bach Fugue that the fledgling music student can't seem to get his or her head around...

     Private music teachers should be greatly admired and applauded for their tenacity and intense efforts to combat the ever present technology time interference that can lead to a false sense of success and accomplishment in their music students.  Therefore, for this new year...

Happy 2016 to all Music Teachers everywhere!