Dutilleux. Would that I could just listen to his music without having to practice it. But then I wouldn't exactly be doing my Duti. When Duti calls, there is only one option- you must polish it until it shines.
This is easier said than done. To get 6's down in a practice room is one thing, but it is 2 more things at once when you must play them against 5's and 4's, not to mention with different articulations and awkward fingerings. Then there are the 10's, 13's, 7's, often switching back to 2's or 3's on the next beat, in octaves, unisons, or worse: in a-tonal 'harmony'.
Needless to say, rehearsals have been rough. The tendencies to rush, fall in unison with someone playing notes a 30th faster than yours, or just fake the notes are tricky to overcome. Add to that homework for classes, your solo work, chamber rehearsals, and you end up playing the same 10 measures for 2 weeks.
Our work is paying off though, and in a way it's very rewarding. There is a new sense of comradery within the group as we schedule extra rehearsals to put Duti together. There is improvement every rehearsal and this music is supposed to sound strange anyway. All in all, Dutixuell is a great challenge to perform, and the key to enjoying its performance is to keep one thing in mind: it's -supposed- to sound like that.
-Nicholas Snogren, flute
Sunday, October 31, 2010
Blog Post: Andrew Rudderow
Being called up to play in UMWO for the first time has been a neat experience. Playing Gubaidulina's Hour of the Soul is an interesting challenge, especially for counting, one of the most underrated aspects of being a musician. Being on the 6th Horn part, there isn't many notes in the ten pages that sit before me. But the piece has a very effectual sound and is sure to be a unique listen to all who do.
-Andrew Rudderow, horn
-Andrew Rudderow, horn
Friday, October 29, 2010
Blog Post: Arielle Miller
My father, once a Maryland music major himself, asked me for a summary of my Wind Orchestra experience.
“I like the Dutilleux,” I said. “It sounds like death, but less than the Gubaidulina.” Or, I almost said that; my section has taken to pronouncing the composers’ names something like, “Dut-dut-dut” and “Gublahblah.”
I have to say, I didn’t get it at first. At that point, I had only listened to the beginning of the first movement of the Dutilleux, which sounds chaotic and even vengeful. Even now, I can hear the violins screeching in my head. Our handwritten parts, which could not be easily divided between us, were daunting and sometimes out of the range of the instruments. I was not optimistic.
But my dad insisted we listen to the rest of the recording together. When we did, I realized something. It sounds… like stars. I mean, really, if stars made a sound, they would sound like this piece. This is before I knew of its connection to Van Gogh’s famous painting “Starry Night,” or had noticed the names of the movements. (Movement II is called Constellations. Go figure.) The piece takes on a sort of order within disorder in this way, becoming less a piece of music and more a series of images. It is truly a work of art, though it may at times seem as incomprehensible as the cosmos it embodies.
For the record, I haven’t changed my mind about the Gubaidulina. That’s a sort of disorder I haven’t yet grasped.
-Arielle Miller, percussion
“I like the Dutilleux,” I said. “It sounds like death, but less than the Gubaidulina.” Or, I almost said that; my section has taken to pronouncing the composers’ names something like, “Dut-dut-dut” and “Gublahblah.”
I have to say, I didn’t get it at first. At that point, I had only listened to the beginning of the first movement of the Dutilleux, which sounds chaotic and even vengeful. Even now, I can hear the violins screeching in my head. Our handwritten parts, which could not be easily divided between us, were daunting and sometimes out of the range of the instruments. I was not optimistic.
But my dad insisted we listen to the rest of the recording together. When we did, I realized something. It sounds… like stars. I mean, really, if stars made a sound, they would sound like this piece. This is before I knew of its connection to Van Gogh’s famous painting “Starry Night,” or had noticed the names of the movements. (Movement II is called Constellations. Go figure.) The piece takes on a sort of order within disorder in this way, becoming less a piece of music and more a series of images. It is truly a work of art, though it may at times seem as incomprehensible as the cosmos it embodies.
For the record, I haven’t changed my mind about the Gubaidulina. That’s a sort of disorder I haven’t yet grasped.
-Arielle Miller, percussion
Thursday, October 28, 2010
Blog Post: Sarah Hunt
I am currently only assisting with the Gubaidulina piece. At first, I wasn't really sure what to think of it. There were a lot of sparse parts as well as clustered tones and tremolos with no real tonality. However, as we started rehearsing it more and more, and more parts were added, it kind of grew on me. Don't get me wrong its no Wagner or Brahms (or to whomever you are most attached) but it has a certain appeal. I especially like the beginning with the timpani role and the later timpani accompaniment to the singer. I feel as if it adds a sense of mystery and tension. If we can get certain parts down a few dynamic levels, I feel it could be a really cool piece!
-Sarah Hunt, clarinet
-Sarah Hunt, clarinet
Wednesday, October 27, 2010
Blog Post: Travis Pryor
I actually play in just two pieces; the Gubaidulina and the Igen Holtz. Both pieces are difficult, but in different ways.
The Gubaidilina is difficult because it forces you not only to be use accurate counting and rhythmic accuracy, but it also forces the player to focus on his/her individual parts because most of the entrances are separate.
The Ingen Housz is difficult because I am the only one playing in it. Therefore I have no way of verifying whether my part is right or not. So it forces me to rely on the conductor and have accurate counting. Both pieces are extremely rewarding, and I am glad that I can be a part of them.
-Travis Pryor, trumpet
The Gubaidilina is difficult because it forces you not only to be use accurate counting and rhythmic accuracy, but it also forces the player to focus on his/her individual parts because most of the entrances are separate.
The Ingen Housz is difficult because I am the only one playing in it. Therefore I have no way of verifying whether my part is right or not. So it forces me to rely on the conductor and have accurate counting. Both pieces are extremely rewarding, and I am glad that I can be a part of them.
-Travis Pryor, trumpet
Tuesday, October 26, 2010
Blog Post: Kristi Licare
I am so excited to join UMWO for this next concert! As an UMWE clarinetist, I am fortunate not only to have the opportunity to rehearse and perform with more experience players, but also to be able play such a unique piece. This is the first time I am playing a piece with more than four individual Bb clarinet parts. The Gubaidulina has 12 different Bb clarinet parts. Talk about individual responsibility!
Last week, I received an email with our weekly rehearsal schedule and was surprised to see sectionals listed. I couldn't quite understand how a clarinet sectional could be productive, seeing as we are all playing different parts. My skepticism faded within about five minutes of the rehearsal. It was interesting to discover that our parts fit together more than I thought. That said, this piece still takes an increased level of focus and concentration to execute this piece well. While it may be difficult to take this piece seriously, my hope is that everyone (myself included) can bring our best focus and musicianship to this piece and discover something deeper beyond the seemingly random notes on the page.
Last week, I received an email with our weekly rehearsal schedule and was surprised to see sectionals listed. I couldn't quite understand how a clarinet sectional could be productive, seeing as we are all playing different parts. My skepticism faded within about five minutes of the rehearsal. It was interesting to discover that our parts fit together more than I thought. That said, this piece still takes an increased level of focus and concentration to execute this piece well. While it may be difficult to take this piece seriously, my hope is that everyone (myself included) can bring our best focus and musicianship to this piece and discover something deeper beyond the seemingly random notes on the page.
Monday, October 25, 2010
Blog Post: Sophie Chang
When I heard that I would be playing in UMWO I had no idea what to think. I couldn’t imagine how weird a piece that included twelve cellos, a number of basses in addition to a full wind orchestra would. After looking at the music of Dutilleux’s Timbres, Espaces.. etc and listening to a recording of it online my predictions turned out to be true, this was one weird piece we were given. I probably would have greatly benefited from going to the first rehearsal but unfortunately I was confused and decided to go to a showing of a Berlin Philharmonic concert instead. Apparently, most of the cello section was also confused or misinformed about the rehearsal and didn’t show up either. I’m a little nervous for this coming week’s rehearsal, the music is pretty difficult. Until then I’ll be practicing my glissandos and counting in 3/8, 9/8, 3/16, 5/8,7/ 16…. (you get my drift) .
Thursday, October 21, 2010
Blog Post: Alex Ellsworth
So I don't really have a lot to say about how rehearsals have been going because I haven't been to one yet.... Its not what it sounds like. I haven't actually been playing hooky from UMWO for two weeks haha. I play the cello in UMSO and so I'm doing time over there for the moment and then hopping over to UMWO after our concert on the 22nd.
Rob and Katlyn (I probably spelled her name wrong...she is going to be pissed) are in UMWO for every rehearsal. Havent really seen them for weeks now that i think about it. Off in UMWO world i guess. Im pumped to join them in a week or so though. I wonder if you will be able to hear a cello section in an ensemble with all brass and winds. We are kind of out numbered hahah. We will fight to be heard though no doubt!!!
-Alex Ellsworth, cello
Rob and Katlyn (I probably spelled her name wrong...she is going to be pissed) are in UMWO for every rehearsal. Havent really seen them for weeks now that i think about it. Off in UMWO world i guess. Im pumped to join them in a week or so though. I wonder if you will be able to hear a cello section in an ensemble with all brass and winds. We are kind of out numbered hahah. We will fight to be heard though no doubt!!!
-Alex Ellsworth, cello
Blog Post: John Crotty
The rehearsals for the "Hour of the Soul" have been pretty fun. The contemporary piece is mostly a series of sound effects and erratic dissonance more so than melodies. One of the bassoon licks sounds like Inspector Gadget theme. It's very easy to make jokes during rehearsal. It's also easy to dismiss the piece as "crap" and not put in the effort to play the right notes and to play musically.
My only hope is that everyone, myself included, will start to take the Gubaidulina as seriously as they would Tchaikovsky. Sure, I only play 48 notes in the whole piece (I counted), but I feel that it will only come together if people approach the piece with maturity and musicianship.
John Crotty, euphonium
My only hope is that everyone, myself included, will start to take the Gubaidulina as seriously as they would Tchaikovsky. Sure, I only play 48 notes in the whole piece (I counted), but I feel that it will only come together if people approach the piece with maturity and musicianship.
John Crotty, euphonium
Blog Post: Sarah Balzer
Dutilleux really didn’t like woodwind players. Or maybe he knew some exceptionally talented ones. The former seems most likely. Every time I think about “Timbres, Espace, et Mouvement” by Dutilleux, I think I’m going to have a heart attack. After having quite a few rehearsals on the piece, it becomes obvious that this isn’t one of those technically challenging pieces where if you play the right first and last notes at the right time, it’ll sound fine. It’s one of those technically challenging pieces where every note has to be played correctly in the right place. This is in order to line up with the trade-offs between virtually every instrument because if it doesn’t line up it sounds like a herd of wild geese got loose. I’ve found that even after the hours of sitting in a practice room with the metronome running just trying to sing my part in rhythm my brain still hurts by the end of rehearsal. That being said, I really enjoy the piece, it echoes the swirling sky in Van Gogh’s The Starry Night. With this in mind, it’s not hard to visualize the painting while hearing the piece although doesn’t do much to help the woodwind lines.
Blog Post: Kira Levitzky
So far my experience with UMWO has been a journey of acceptance. We must accept that these pieces that look like spiders and webs of notes just sort of strung across a page are actually meant to be music. It is frightening yet amazing how jumbled masses of notes can act as constellations, exploding one minute then carefully glowing the next. As we wade through this mud, trudge through the technique and fight the urge to dislike the dissonance we come out tired and bewildered. We just spent an hour attempting to untangle ourselves yet we only somehow managed to grow more deeply attached to the music, becoming more entangled in the beautiful yet eerie net of noise. The only way I understand how to keep my sanity within this mess is to listen to the final product created by the BBC Philharmonic and understand that there is music within this tangle and it contains an interesting story. I think the only reason why I can still feel as though I can become a part of the music is because I recognize the tone colors of instruments I’ve heard all of my life. If this was an electric piece of music I think I’d run away screaming in horror. Hearing ourselves create these sounds and knowing they’re coming from human beings makes it much more fulfilling. So as I learn to accept this piece, learn to deal with its awkward fingerings and notation and try to make the story come true so the audience can hear it, I will do it knowing that I have created a beast who is pain and admiration and stars and grass and light and time…and hopefully music.
-Kira Levitzky, flute
-Kira Levitzky, flute
Blog Post: Mandy Maruchi-Turner
I love playing from wind orchestra originals, because usually they are rented and still have notes scribbled in from the previous player. The music has a little story of each person's rehearsal experience, often with amusing quotes from various directors. My Gubaidulina part says "That was louder, not better!" at the beginning and has letters and symbols over various notes that have meaning only to the previous players. Then later when I have a couple of pages of intimidatingly fast soloness, it says "Solo- Fried Chicken" Ben's first clarinet part also says "Fried Chicken" when he has the same line. We have no idea what this means, but seeing it there lightens the fear of the crazy notes and reminds me to relax. My part now has an arrow labeled "Bow tie and clown nose" pointing to the preface of the same solo, indicating Dr. Votta's suggestion of the character of this line in the piece. As we continue to contribute to this music's rehearsal history, someone will eventually go through and erase the legacy of Eb clarinet players, but that will be a sad day indeed.
As for actually playing the piece... I just hope I can get the fried chicken up to tempo before the next rehearsal...
-Mandy Maruchi-Turner, Eb clarinet
As for actually playing the piece... I just hope I can get the fried chicken up to tempo before the next rehearsal...
-Mandy Maruchi-Turner, Eb clarinet
Blog Post: Kara Neil
I never knew that it was possible for a piece to have literally no melody or musical idea to grasp onto. That’s my best guess as to why Gubaidulina’s Hour of the Soul has never been recorded by any group before. I’m playing the first horn part, which is comprised of complicated counting and long notes contributing to clusters. I haven’t yet found any of the rehearsals musically rewarding, because it’s nearly impossible to make a piece like this musical when all of the parts put together only create loud, painful noise.
Each of the musicians you will see on stage has worked extremely hard to practice and prepare Hour of the Soul, but I can’t help but feel as though this piece is actually repelling our audience. All of the musicians that sit around me are very talented, but the piece doesn’t do anyone justice. Playing clusters, dissonances, and no melody really doesn’t allow us to interact with you, the audience, in an emotional and musical way like we want to!
Kara Neil, horn
Each of the musicians you will see on stage has worked extremely hard to practice and prepare Hour of the Soul, but I can’t help but feel as though this piece is actually repelling our audience. All of the musicians that sit around me are very talented, but the piece doesn’t do anyone justice. Playing clusters, dissonances, and no melody really doesn’t allow us to interact with you, the audience, in an emotional and musical way like we want to!
Kara Neil, horn
Wednesday, October 20, 2010
Blog Post: Mike Calderone
Playing Sofia Gubaidulina's "The Hour of the Soul" in Wind Orchestra has been testing my concentration more than anything else. The few parts I play in the piece aren't particularly challenging - what is difficult are the vast amounts of time where I rest. Not kidding here. The meters, tempo, and mood of the piece change frequently, so everyone in the orchestra really needs to be vigilant about counting rests for this piece to work. These contrasts also make it almost impossible to find your place you miscount/zone out/reply to that text message that you just got/etc. I underestimated how much concentration this piece would actually require at first; I had lofty expectations of studying for a midterm after one of our first rehearsals but instead found myself braindead on my couch, watching TV on my computer. Oops.
Delores Ziegler will be joining us on the Gubaidulina, and I'm really looking forward to having her at rehearsals and the performance. I've never heard the soprano part (none of us have, since there are no commercial recordings of this piece) and I'm interested in hearing how the soprano fits in with the orchestra and how the text relates to the music. Check back here for more updates as the concert draws near, and I hope to see you at the concert!
-Mike Calderone, trumpet
Delores Ziegler will be joining us on the Gubaidulina, and I'm really looking forward to having her at rehearsals and the performance. I've never heard the soprano part (none of us have, since there are no commercial recordings of this piece) and I'm interested in hearing how the soprano fits in with the orchestra and how the text relates to the music. Check back here for more updates as the concert draws near, and I hope to see you at the concert!
-Mike Calderone, trumpet
Tuesday, October 19, 2010
Student Review of September 30 Concert
See the link below to a review of our September 30 concert by Chris Hawkins. For fall 2010, CSPAC has solicited reviews of CSPAC performances from class members of Contemporary Arts and Ideas (HONR269A). You can see all of CSPAC's student blogs at this link.
September 30 Review
September 30 Review
Blog Post: Jermaine Fryer
When I heard that UMWO needed an euphonium, I volunteered right away. The only problem I have is that my class ends at 4:20 and some of the practices overlap. I only have to play the hour of the soul and I believe that I can find my place in the music. I just hope it isn't as awkward as I think it is.
-Jermaine Fryer, euphonium
-Jermaine Fryer, euphonium
Monday, October 18, 2010
Blog Post: Amy Grossnickle
During the past two weeks of rehearsal it has been interesting to learn the music we will be performing, but also a challenge in some ways. A lot of the music we play in the ensemble is not something I would choose to play or even listen to. For example, the Gubaidulina has never been recorded. Between that piece and the Dutilleux , counting is the one thing I’ve had to concentrate on the most. The parts for those pieces are very individual, so you can’t depend on anyone else to cover for you if you miss an entrance. I play principal horn on several of the pieces, so I try to help out my section with counting and cues, but it has still been a little difficult at times. Another thing that’s been challenging is the way we’ve been rehearsing. We’ve been doing mostly brass and percussion sectionals, and haven’t had a lot of full ensemble rehearsal time, so its been hard to get a clear idea of how they sound as a whole, and how to pace myself physically.
On the other hand I really have been enjoying rehearsing the Mahler and the Mozart. The Mahler has some really beautiful and exposed moments and I really enjoy that kind of playing. The Mozart has also been enjoyable because it’s a small group of people. Since there are only eight players it really has a chamber music feel and the group communicates really well. Overall , I think the concert has a good mix of music and should be fun to play.
-Amy Grossnickle, horn
On the other hand I really have been enjoying rehearsing the Mahler and the Mozart. The Mahler has some really beautiful and exposed moments and I really enjoy that kind of playing. The Mozart has also been enjoyable because it’s a small group of people. Since there are only eight players it really has a chamber music feel and the group communicates really well. Overall , I think the concert has a good mix of music and should be fun to play.
-Amy Grossnickle, horn
Friday, October 15, 2010
Hour of the Soul Post: Janet Blair
See today's post by Janet Blair on our rehearsals for Sofia Gubaidulina's "Hour of the Soul."
We just finished rehearsing Gubaidulina for the day. I thought I would take this time before Mozart to write down some thoughts about rehearsal and how it is going. Today, we had sectionals on the Gubaidulina. These were true sectionals – all the oboes together, all the bassoons together, all the clarinets together, etc. I thought at first this was rather stupid as the Gubaidulina is more about when players enter, then technical passages. However, having an oboe sectional gave me a better understanding for what was going on in the piece. The oboes tend to enter as a section; in these different entries though, each oboist plays something different. The details of these differences will probably be lost on the audience, but they are obviously intentional. Certain entrances are staggered by a beat, or three distinct rhythms will all be layered on each other (triplets, quintuplets and sixteenths). Often the same three pitches will be traded off between the players. The question arises – why? Why couldn’t Gubaidulina have just written repeating notes for each player and made it simpler? The results would be technically the same. I think that Gubaidulina does these specific things because she is fascinated by timbre and texture. Not only does she contrast different instrumental sounds, she is contrasting individual player’s sounds on those instruments. I am looking forward to putting this with the singer and hearing it in its entirety, because the only melodic motif I have heard so far seems incredibly goofy and out of place.
We just finished rehearsing Gubaidulina for the day. I thought I would take this time before Mozart to write down some thoughts about rehearsal and how it is going. Today, we had sectionals on the Gubaidulina. These were true sectionals – all the oboes together, all the bassoons together, all the clarinets together, etc. I thought at first this was rather stupid as the Gubaidulina is more about when players enter, then technical passages. However, having an oboe sectional gave me a better understanding for what was going on in the piece. The oboes tend to enter as a section; in these different entries though, each oboist plays something different. The details of these differences will probably be lost on the audience, but they are obviously intentional. Certain entrances are staggered by a beat, or three distinct rhythms will all be layered on each other (triplets, quintuplets and sixteenths). Often the same three pitches will be traded off between the players. The question arises – why? Why couldn’t Gubaidulina have just written repeating notes for each player and made it simpler? The results would be technically the same. I think that Gubaidulina does these specific things because she is fascinated by timbre and texture. Not only does she contrast different instrumental sounds, she is contrasting individual player’s sounds on those instruments. I am looking forward to putting this with the singer and hearing it in its entirety, because the only melodic motif I have heard so far seems incredibly goofy and out of place.
Tuesday, October 12, 2010
Blog Post: Il'ya Dudkin
Today we have another blog post on "Hour of the Soul" by Il'ya Dudkin, one of our clarinet players. Enjoy!
A land plagued by corruption, gangs and cronyism. No I am not talking about the great state of New Jersey but rather Tatarstan, the home of Sofia Gubaidulina. (Pronounced Gubaidooolina. The accent goes on the second “u.”) When this piece was revised by the composer in 2004, and to some extent in the ’70 when the piece was originally, the aforementioned affliction must have impacted Gubaidulina. After all, the very foundations of the Soviet empire were crumbling and every comrade expected the ceiling to come crashing down.
So, there are moments in the piece that may appear to be nothing more than a cacophony, but maybe, just maybe the cacophony is a representation of the socio-political chaos that surrounded her.
The rests are ridiculous. In fact instead of counting out the rests you can run down to Stamp for a slice of pizza, update your fantasy roster and watch your favorite episode of “Matlock” and still be back in time with 10 measures of rest to go.
A land plagued by corruption, gangs and cronyism. No I am not talking about the great state of New Jersey but rather Tatarstan, the home of Sofia Gubaidulina. (Pronounced Gubaidooolina. The accent goes on the second “u.”) When this piece was revised by the composer in 2004, and to some extent in the ’70 when the piece was originally, the aforementioned affliction must have impacted Gubaidulina. After all, the very foundations of the Soviet empire were crumbling and every comrade expected the ceiling to come crashing down.
So, there are moments in the piece that may appear to be nothing more than a cacophony, but maybe, just maybe the cacophony is a representation of the socio-political chaos that surrounded her.
The rests are ridiculous. In fact instead of counting out the rests you can run down to Stamp for a slice of pizza, update your fantasy roster and watch your favorite episode of “Matlock” and still be back in time with 10 measures of rest to go.
Sunday, October 10, 2010
"Hour of the Soul" Blog Post
See a blog post from one our horn players, Emily Busch, about Sofia Gubaidulina's "Hour of the Soul" which will be performed on our next concert. Enjoy!
Playing Sofia Gubaidulina's "Hour of the Soul" is an interesting experience. At this point we've only had one rehearsal on the piece, and since there is no professional recording of it that has been my only encounter with it as a whole. My part is pretty sparse: out of 11 pages of music I play only 90 notes. I have some full pages of rest and a lot of sustained, low, quiet tones which seem to be mostly accompaniment. I'm not sure what they're supposed to be accompanying at this point, because there was no definitive melody that I could pick up on. Some sections are rhythmically defined, and some are more ad lib swirls of small musical ideas. It was really hard to find something to grasp onto in the music, but there were some pretty cool moments. I think if I focus more on the shape of the song as a whole rather than what its melody and harmony are (or aren't) I will find listening to and performing the song more enjoyable and rewarding than I did on the first run-through.
Playing Sofia Gubaidulina's "Hour of the Soul" is an interesting experience. At this point we've only had one rehearsal on the piece, and since there is no professional recording of it that has been my only encounter with it as a whole. My part is pretty sparse: out of 11 pages of music I play only 90 notes. I have some full pages of rest and a lot of sustained, low, quiet tones which seem to be mostly accompaniment. I'm not sure what they're supposed to be accompanying at this point, because there was no definitive melody that I could pick up on. Some sections are rhythmically defined, and some are more ad lib swirls of small musical ideas. It was really hard to find something to grasp onto in the music, but there were some pretty cool moments. I think if I focus more on the shape of the song as a whole rather than what its melody and harmony are (or aren't) I will find listening to and performing the song more enjoyable and rewarding than I did on the first run-through.
Monday, October 4, 2010
Mozart C Minor Serenade Post by Dave Wacyk
Please see today's blog post from Dave Wacyk, one of our graduate conducting students, who will be conducting the first two movements of the Mozart C Minor Serenade on our next concert on November 5. Enjoy!
1781-1784 was a productive year for Mozart’s contribution of repertoire for winds. It was during this time that he wrote his Serenade in C-minor. In 1782 Emperor Joseph II (who loved the sound of wind instruments) set forth to create his Kaiserlich-Königliche Harmonie (Imperial-Royal Harmonie, Harmonie referring to a group of wind instruments- doubled oboes, clarinets, bassoons, and horns). By this time, the practice of nobels creating thier own court wind ensemble was standard. ‘Our’ piece- k. 388 was written the same year for another nobleman, Prince Liechtenstein.
I’m thrilled that I’ll be conducting the first two movements of Mozart’s Serenade in C-minor, and I look forward to meeting and working with members of this rotation for UMWO. Below is an excerpt from program notes by Brian K. Doyle taken from the CBDNA website-pertaining to the history of the piece and the first two movements. Enjoy!
Mozart left no indication of the compositional circumstances surrounding K.388. As musicologist Alfred Einstein noted, "we know nothing about the occasion, nothing about the person who commissioned it, nothing about whether this client desired so explosive a serenade or whether that is simply what poured from Mozart's soul." However, scholar Robert W. Gutman posits that the Serenade in C-Minor, in all likelihood too serious for Emperor Joseph's tastes, might have been intended for Prince Alois Joseph Liechtenstein, a musical connoisseur, who ruled his lands by proxy while living in Vienna.
Without preamble, Mozart launches into the opening movement with dramatic flair. The phrases of the first key area of this sonata form are closely argued, creating an almost neurotic shift in emotional quality which finds resolution only as the transition to the second key area commences. The second key area, in Eb major, contains a singular, more restive oboe theme, augmented by the horn. The fiery debate is re-established during the transition to the close, finding conclusive rest in the final cadence of the exposition. The brief development makes use of canon which traverses the keys of Bb and Eb major as well as G minor before returning to C minor tonic. In the recapitulation, the transition is elongated allowing for a C minor second theme, transforming the once restive oboe melody into something far more brooding in nature.
The second movement, a sonata form in 3/8, has a gracious and delicate affect. The Eb major theme in the clarinets contains suspensions reminiscent of the more gentle phrases in the first key area of the previous movement. The second theme, especially in its embellished repetition, is the most light-hearted melody of the work, with the possible exception of the last variation of the finale. In the transition to the close of the exposition, the murmuring clarinets herald the return to the nocturne-like atmosphere while the oboe continues the melody. The development unfolds as a series of "unsuccessful" attempts to return to the tonic theme, attaining Eb major only upon the fourth try.
1781-1784 was a productive year for Mozart’s contribution of repertoire for winds. It was during this time that he wrote his Serenade in C-minor. In 1782 Emperor Joseph II (who loved the sound of wind instruments) set forth to create his Kaiserlich-Königliche Harmonie (Imperial-Royal Harmonie, Harmonie referring to a group of wind instruments- doubled oboes, clarinets, bassoons, and horns). By this time, the practice of nobels creating thier own court wind ensemble was standard. ‘Our’ piece- k. 388 was written the same year for another nobleman, Prince Liechtenstein.
I’m thrilled that I’ll be conducting the first two movements of Mozart’s Serenade in C-minor, and I look forward to meeting and working with members of this rotation for UMWO. Below is an excerpt from program notes by Brian K. Doyle taken from the CBDNA website-pertaining to the history of the piece and the first two movements. Enjoy!
Mozart left no indication of the compositional circumstances surrounding K.388. As musicologist Alfred Einstein noted, "we know nothing about the occasion, nothing about the person who commissioned it, nothing about whether this client desired so explosive a serenade or whether that is simply what poured from Mozart's soul." However, scholar Robert W. Gutman posits that the Serenade in C-Minor, in all likelihood too serious for Emperor Joseph's tastes, might have been intended for Prince Alois Joseph Liechtenstein, a musical connoisseur, who ruled his lands by proxy while living in Vienna.
Without preamble, Mozart launches into the opening movement with dramatic flair. The phrases of the first key area of this sonata form are closely argued, creating an almost neurotic shift in emotional quality which finds resolution only as the transition to the second key area commences. The second key area, in Eb major, contains a singular, more restive oboe theme, augmented by the horn. The fiery debate is re-established during the transition to the close, finding conclusive rest in the final cadence of the exposition. The brief development makes use of canon which traverses the keys of Bb and Eb major as well as G minor before returning to C minor tonic. In the recapitulation, the transition is elongated allowing for a C minor second theme, transforming the once restive oboe melody into something far more brooding in nature.
The second movement, a sonata form in 3/8, has a gracious and delicate affect. The Eb major theme in the clarinets contains suspensions reminiscent of the more gentle phrases in the first key area of the previous movement. The second theme, especially in its embellished repetition, is the most light-hearted melody of the work, with the possible exception of the last variation of the finale. In the transition to the close of the exposition, the murmuring clarinets herald the return to the nocturne-like atmosphere while the oboe continues the melody. The development unfolds as a series of "unsuccessful" attempts to return to the tonic theme, attaining Eb major only upon the fourth try.
Friday, October 1, 2010
Composers Datebook-October 1
Last night's concert was certainly successful. Thank you to all of you who braved the weather and made it out to the concert. We hope to see you back at our next concert on November 5. As always, if you have any questions or comments about our performances, please send us a message.
In the meantime, fans of wind band music will find today's Composers Datebook especially relevant. Enjoy!
Composers Datebook Audio 10/1/2010
"Flagg-waving" in Colonial Boston?
On today's date in 1768, two regiments of British redcoats marched into Colonial Boston with colors flying -- and bayonets fixed -- accompanied by martial music provided by their regimental wind band. It was that city's introduction to the exotic sound of massed oboes, bassoons, and French horns.
One Bostonian who was very impressed by these new sounds was Josiah Flagg, an engraver by trade, and a boyhood friend of the famous Boston silversmith, Paul Revere. Before long, Flagg had formed his own musical ensemble, which he called "The First Band of Boston."
Flagg organized that city's first concert series, presenting music by J.C. Bach, Handel, Stamitz, and other European composers of the day. Occasionally, the First Band of Boston was even joined by musicians from the same British regiment whose entry into town had inspired Flagg's musical ambitions in the first place. But in a few years, all that would change . . .
In October of 1773, Flagg presented a gala concert at Boston's Faneuil Hall, which proved to be his last. He included music from Britain -- excerpts from Handel's "Messiah" -- but closed with his band's rendition of "The Song of Liberty," the marching hymn of Boston's patriots. We rather suspect the British troops did not participate in that concert.
Soon after, Flagg moved to Providence, where he served as a colonel in the Rhode Island regiment during the American Revolution, and disappeared from our early musical history.
In the meantime, fans of wind band music will find today's Composers Datebook especially relevant. Enjoy!
Composers Datebook Audio 10/1/2010
"Flagg-waving" in Colonial Boston?
On today's date in 1768, two regiments of British redcoats marched into Colonial Boston with colors flying -- and bayonets fixed -- accompanied by martial music provided by their regimental wind band. It was that city's introduction to the exotic sound of massed oboes, bassoons, and French horns.
One Bostonian who was very impressed by these new sounds was Josiah Flagg, an engraver by trade, and a boyhood friend of the famous Boston silversmith, Paul Revere. Before long, Flagg had formed his own musical ensemble, which he called "The First Band of Boston."
Flagg organized that city's first concert series, presenting music by J.C. Bach, Handel, Stamitz, and other European composers of the day. Occasionally, the First Band of Boston was even joined by musicians from the same British regiment whose entry into town had inspired Flagg's musical ambitions in the first place. But in a few years, all that would change . . .
In October of 1773, Flagg presented a gala concert at Boston's Faneuil Hall, which proved to be his last. He included music from Britain -- excerpts from Handel's "Messiah" -- but closed with his band's rendition of "The Song of Liberty," the marching hymn of Boston's patriots. We rather suspect the British troops did not participate in that concert.
Soon after, Flagg moved to Providence, where he served as a colonel in the Rhode Island regiment during the American Revolution, and disappeared from our early musical history.
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