I'm sure most musicians have at least one...a piece they could listen to on repeat for hours, that excites them about music, that they walk around singing and conducting...but it's for an instrument or ensemble completely outside their idiom. I have three such works- I'd love to play them, but can't figure out how to or don't want to make them work for clarinet for one reason or another.
1. String Quartet in F major, Maurice Ravel
The version on my ipod: Performed by the Dante Quartet
I love this piece. Especially the second movement, arguably the most famous part of it. Ravel's only string quartet is one of the only works that I'm fairly certain I will never play. Mostly, because I simply don't play strings. But also because I feel like arranging a string quartet for winds would destroy its character. The pizzicato of the second movement is what really brings it to life and I simply think it would be hard to do justice to the pizz./arco contrast. The closest I came to playing this piece was reading through a piano transcription of it, but even that didn't feel right.
2. Concierto de Aranjuez, Joaquin Rodrigo
The version on my ipod: Performed by Carlos Bonell and L'Orchestre Symphonique de Montreal conducted by Charles Dutoit (though I really want versions by John Williams and Angel Romero)
There is a glimmer of hope for the next two pieces, as I hope to someday play them as an orchestra member. I don't think I could even try to arrange this for clarinet; guitar is about as foreign as instruments get for me. To me, this piece feels like it should accompany a screen play. The story that plays in my mind as I listen to it is of two young lovers, meeting in some exotic place in Europe, but torn apart when one of them travels to America to be a musician or something equally lofty and romantic. It made me smile when I found out it was about Rodrigo and his wife's honeymoon, and the gardens of Aranjuez in Spain. With a little more research, I found that an arrangement of what seems to be the second movement for clarinet, described somewhat pretentiously here.
3. Rhapsody on a Theme of Paganini, Sergei Rachmaninoff
The version on my ipod: Performed by Vladimir Ashkenazy and the London Symphony Orchestra conducted by Andre Previn
Ideas for arranging this for clarinet/piano have been rattling around in my head for a while. The other night I finally found the two-piano version and I think it made my brain explode. I knew there were a lot of notes in it, but at this point in time, I don't think I could arrange it without losing too many of them, or relegating them to the poor piano 2 part, who is already playing a Rachmaninoff orchestra reduction. Last night I was discussing other sets of Paganini variations with folks on twitter, trying to figure out of any would be more accessible. This piece for 2 pianos by Witold Lutoslawski and this piece for solo piano by Robert Muczynski were mentioned. I do love the Paganini theme, but I've always been drawn to Rachmaninoff's setting of it.
So, these are my big three...the pieces that I'd kill to play. Do you have one?
Tuesday, June 21, 2011
Sunday, June 12, 2011
Playing Hurt
I've done it before...more than I should admit, really. After three years of drum corps, you tend to develop a tolerance to pain/discomfort that's unhealthy. I can't tell you how many times I heard people being asked, "Are you hurt, or hurting?" if they tried to sit out. No one ever asked me that. I never missed a rep in 3 summers. If you're not familiar with drum corps, think marching band but with all the athleticism of any sport. I ran more when I marched with Jersey Surf than I did when I played field hockey in high school. Check it out on www.dci.org.
Naturally, my experience there has carried over to practicing in general- you think, "I just have to push through a few more minutes..." Then a few more minutes pass, and soon you've pushed yourself too far. I nearly did this tonight; I was playing a right hand study from the Opperman daily studies and my right wrist kept popping weirdly, and I thought, "Just a little more..." I had to make myself stop and go home. No point in practicing technique when it's just going to hurt me.
As I mentioned in my last post, I'm currently working the kind of manual labor job that I've always dreaded. Being a pianist/clarinetist my entire life, it's not like my wrists had never hurt, but starting a few weeks ago, my left hand started feeling asleep and both wrists have had a dull pain that doesn't really go away. I've always been terrified of carpal tunnel, but now it seems to be a legitimate threat. I'm going to the doctor to get it checked out tomorrow, but even if she says it's likely carpal tunnel, I have no choice but to carry on at my job. In the mean time, I've purchased this book, at the suggestion of a fellow blogger/musician on Twitter.
As far as treatment, I had been using heat to try to relax my wrists, but with limited success. Tonight, I finally iced them and it actually seems to be helping. Also, I'm planning on restructuring my days- my daily ritual has been work 9:30-6, make dinner, go practice. I'm going to start waking up at 7 to practice in the morning, then my body can have all evening to recover. We'll see how all this works, and what my doctor has to say tomorrow.
Naturally, my experience there has carried over to practicing in general- you think, "I just have to push through a few more minutes..." Then a few more minutes pass, and soon you've pushed yourself too far. I nearly did this tonight; I was playing a right hand study from the Opperman daily studies and my right wrist kept popping weirdly, and I thought, "Just a little more..." I had to make myself stop and go home. No point in practicing technique when it's just going to hurt me.
As I mentioned in my last post, I'm currently working the kind of manual labor job that I've always dreaded. Being a pianist/clarinetist my entire life, it's not like my wrists had never hurt, but starting a few weeks ago, my left hand started feeling asleep and both wrists have had a dull pain that doesn't really go away. I've always been terrified of carpal tunnel, but now it seems to be a legitimate threat. I'm going to the doctor to get it checked out tomorrow, but even if she says it's likely carpal tunnel, I have no choice but to carry on at my job. In the mean time, I've purchased this book, at the suggestion of a fellow blogger/musician on Twitter.
As far as treatment, I had been using heat to try to relax my wrists, but with limited success. Tonight, I finally iced them and it actually seems to be helping. Also, I'm planning on restructuring my days- my daily ritual has been work 9:30-6, make dinner, go practice. I'm going to start waking up at 7 to practice in the morning, then my body can have all evening to recover. We'll see how all this works, and what my doctor has to say tomorrow.
Monday, May 2, 2011
I'm still here...
It's been 2 months since I've posted here...my life has gone in many directions since then. I'll attempt to sum it up:
- I started visiting grad schools. University of Pittsburgh, Duquesne University, University of Illinois, and Western Illinois University. Definitely applying at both Illinois schools, probably looking further into the Pitt schools. I also plan to check out Rutgers and SUNY Purchase.
- I attended literally at least a dozen amazing concerts in at least 3 different states. Lancaster Symphony Orchestra, some recitals (both student and faculty), some chamber music, Eric Whitacre's Paradise Lost in Chicago, Akademie für Alte Musik in Champaign, concert version of The Magic Flute at the Meyerhoff with the Baltimore Symphony Orchestra, Felix Hell in York, PA, and I'm sure there are a few I'm forgetting.
-I played a musical. Godspell. First show for which I've played piano; that was a new and interesting experience. It was horrific at first since the pit only rehearsed once before tech week, but by the end of the run, it was an absolutely awesome experience.
-I accompanied a recital. Well, half of one. Repertoire included Reynaldo Hahn's L'Heure Exquise, Robert Schumann's Dichterliebe (I-VII), Schumann's Widmung, and a few musical theatre things. It generally went really well, I was really excited and incredibly relieved when it was over.
- I got a job. Mind you, a job and absolutely not a career. It's basically appalling...hotel housekeeping. Coworkers are uneducated and uncultured, but I do attempt to share classical music with them. I listen when I can and always study scores at lunch. We'll see how long I survive. The thing is, I got this job on a whim and it suddenly enabled me to stay in Lancaster until grad school. Essentially, I will probably struggle with life and finances a little, but will hopefully be a happier and more productive musician in Lancaster. I know at home I would be miserable and unable to practice, so I'm praying that I can remedy that here.
-I signed a lease for a new apartment which is going to be less than amazing, quite frankly. My room will be tiny and amenities will be scarce, but it'll be cheaper. It's basically what I'd call a college dive. Oh well.
So in conclusion...
I'm preparing to enter the year of the starving artist/hipster. Prepare yourselves.
- I started visiting grad schools. University of Pittsburgh, Duquesne University, University of Illinois, and Western Illinois University. Definitely applying at both Illinois schools, probably looking further into the Pitt schools. I also plan to check out Rutgers and SUNY Purchase.
- I attended literally at least a dozen amazing concerts in at least 3 different states. Lancaster Symphony Orchestra, some recitals (both student and faculty), some chamber music, Eric Whitacre's Paradise Lost in Chicago, Akademie für Alte Musik in Champaign, concert version of The Magic Flute at the Meyerhoff with the Baltimore Symphony Orchestra, Felix Hell in York, PA, and I'm sure there are a few I'm forgetting.
-I played a musical. Godspell. First show for which I've played piano; that was a new and interesting experience. It was horrific at first since the pit only rehearsed once before tech week, but by the end of the run, it was an absolutely awesome experience.
-I accompanied a recital. Well, half of one. Repertoire included Reynaldo Hahn's L'Heure Exquise, Robert Schumann's Dichterliebe (I-VII), Schumann's Widmung, and a few musical theatre things. It generally went really well, I was really excited and incredibly relieved when it was over.
- I got a job. Mind you, a job and absolutely not a career. It's basically appalling...hotel housekeeping. Coworkers are uneducated and uncultured, but I do attempt to share classical music with them. I listen when I can and always study scores at lunch. We'll see how long I survive. The thing is, I got this job on a whim and it suddenly enabled me to stay in Lancaster until grad school. Essentially, I will probably struggle with life and finances a little, but will hopefully be a happier and more productive musician in Lancaster. I know at home I would be miserable and unable to practice, so I'm praying that I can remedy that here.
-I signed a lease for a new apartment which is going to be less than amazing, quite frankly. My room will be tiny and amenities will be scarce, but it'll be cheaper. It's basically what I'd call a college dive. Oh well.
So in conclusion...
I'm preparing to enter the year of the starving artist/hipster. Prepare yourselves.
Wednesday, March 2, 2011
Tuesday, February 22, 2011
Music As A Self-Sustaining Profession
I've been thinking about this for a while, mostly since spring 2009 when I changed my major from music education to performance. (Well, technically, to a bachelor of arts.) I asked myself, 'what exactly can I ever do with this degree to live comfortably?' My conclusion was to teach at a collegiate level. Essentially, the main sustainable position toward which I can strive is teaching other kids like me, who have no idea what they want to do, but only know that they want to study music.
More recently, I've been look at this both ways- optimistically and pessimistically. The pessimist in me says, so then what's the point? How can we find a way to make music education relevant outside of our own field?
But the optimist in me says, hey, we can make our own field as relevant as we want. In fact, as musicians, it is our job to promote music every chance we get, as teachers, performers, and audience members. My undergrad's music department has a slogan which describes our music majors as "educators, entrepreneurs, and performers", saying that no student is just one. Educators teach, but also seize music business opportunities and perform at a high level. Performers have a high level of musicianship, but also know how to promote themselves and share their craft. What I've come to learn is music is all about making your own opportunities- collaborating to perform and teach. So is music self-sustaining? Sure...I think we can sustain it.
More recently, I've been look at this both ways- optimistically and pessimistically. The pessimist in me says, so then what's the point? How can we find a way to make music education relevant outside of our own field?
But the optimist in me says, hey, we can make our own field as relevant as we want. In fact, as musicians, it is our job to promote music every chance we get, as teachers, performers, and audience members. My undergrad's music department has a slogan which describes our music majors as "educators, entrepreneurs, and performers", saying that no student is just one. Educators teach, but also seize music business opportunities and perform at a high level. Performers have a high level of musicianship, but also know how to promote themselves and share their craft. What I've come to learn is music is all about making your own opportunities- collaborating to perform and teach. So is music self-sustaining? Sure...I think we can sustain it.
Tuesday, February 15, 2011
Vocal Master Class Infiltration, Round Two
The first week that I attended/accompanied in vocal master class, I posted on facebook that I "felt like an undercover agent". This week, the second time, the feeling continued, but was also being rivaled by another feeling. I'm started to get irritated by the "don't step on anyone's toes" attitude. Sure, it's nice to be supportive of each other, but sometimes, you just need to come out and say, "That wasn't good enough." I'm not about to fling praise at anyone if I'm not legitimately impressed with them.
I mean, if I, as a clarinetist who happens to accompany vocalists, can tell that your diction is mushy, your diction is mushy. I can buy "you've improved at [this], but you can still improve [this]", but to award praise where it isn't deserved is, to me, such an American thing. No one wants to hurt anyone's feelings. I've always gotten the impression that European(and especially Asian) musicians are so much better because they don't mess around with false hype or settle for sub-par performances. (Do correct me if I'm wrong.) Here in the US, we just want everyone to feel good. I'm sure this rant could extend to many aspects of our society, namely, education and health, but I'll spare you that.
Does anyone have experience studying in both the US and abroad who would care to weigh in on the issue? I know the standards are not pitiful everywhere in the US, but here, they seem to be lacking.
I mean, if I, as a clarinetist who happens to accompany vocalists, can tell that your diction is mushy, your diction is mushy. I can buy "you've improved at [this], but you can still improve [this]", but to award praise where it isn't deserved is, to me, such an American thing. No one wants to hurt anyone's feelings. I've always gotten the impression that European(and especially Asian) musicians are so much better because they don't mess around with false hype or settle for sub-par performances. (Do correct me if I'm wrong.) Here in the US, we just want everyone to feel good. I'm sure this rant could extend to many aspects of our society, namely, education and health, but I'll spare you that.
Does anyone have experience studying in both the US and abroad who would care to weigh in on the issue? I know the standards are not pitiful everywhere in the US, but here, they seem to be lacking.
Sunday, February 13, 2011
I'm Becoming a Creature of Musical Habit
A bit of background here- I finished my music undergrad (BA Music) in December and I'm now finally starting to look at grad schools, because there was no way I was going to prepare for/take the GREs, apply to grad schools, and prepare for auditions while simultaneously preparing a senior recital and completing my last semester of classes.
I've been establishing somewhat of a musical ritual, which has become somewhat of a musical rut. Every day, I start with 15-20 of Baermann (clarinet scales/technique stuff), followed by the new repertoire I've picked (Weber Concerto 2, Milhaud Duo Concertante), and then orchestral excerpts. Sometimes the rep and excerpts get switched, but essentially, the same stuff. For the first week or so, it was refreshing to hit some new music and to finally have a routine, but now I'm starting to get tired of it. What to do?
Well, tomorrow, I'm meeting with my clarinet prof for a lesson; making sure I'm doing okay with learning on my own and discussing more grad school audition rep. I'm hoping she'll pitch some more new stuff.
Also, today I inadvertently fixed my monotony- with the upcoming Bachchat (via twitter, on March 21), I've been wanting to record, or at least arrange/play, some Bach for my instrument, since it didn't really exist in his time. I've decided on French Suite No. 2, one of the pieces I'd studied last summer in piano lessons. That was the first time I'd really learned to deconstruct Baroque music in terms of voices, singing and playing different combinations of each to learn the piece.
So, we'll see how this goes for the next few weeks; I'm looking forward to getting some new information to apply to the last few weeks of working independently. I've reached a point where I can a good bit of learning on my own, but I definitely need someone there to keep me in check in terms of technique and breaking bad habits.
I've been establishing somewhat of a musical ritual, which has become somewhat of a musical rut. Every day, I start with 15-20 of Baermann (clarinet scales/technique stuff), followed by the new repertoire I've picked (Weber Concerto 2, Milhaud Duo Concertante), and then orchestral excerpts. Sometimes the rep and excerpts get switched, but essentially, the same stuff. For the first week or so, it was refreshing to hit some new music and to finally have a routine, but now I'm starting to get tired of it. What to do?
Well, tomorrow, I'm meeting with my clarinet prof for a lesson; making sure I'm doing okay with learning on my own and discussing more grad school audition rep. I'm hoping she'll pitch some more new stuff.
Also, today I inadvertently fixed my monotony- with the upcoming Bachchat (via twitter, on March 21), I've been wanting to record, or at least arrange/play, some Bach for my instrument, since it didn't really exist in his time. I've decided on French Suite No. 2, one of the pieces I'd studied last summer in piano lessons. That was the first time I'd really learned to deconstruct Baroque music in terms of voices, singing and playing different combinations of each to learn the piece.
So, we'll see how this goes for the next few weeks; I'm looking forward to getting some new information to apply to the last few weeks of working independently. I've reached a point where I can a good bit of learning on my own, but I definitely need someone there to keep me in check in terms of technique and breaking bad habits.
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