The Höfner guitar which stands in the Esplanade shop came up in our conversations again. I could still hear the deeply captivating sounds of that guitar even after my last encounter with it was more than a week back.
Just one of the three guitars that stands in that strings shop, the sound of it shines above all the guitars in the neighbouring guitar shop. The unmistakable heart-stirring basses of a German guitar, and the clear trebles that sings like a human voice. One look into the construction of the guitar reveals nothing new or special compared to the traditional fan bracing of Spanish instrument, neither is the back of the guitar made up of the best Brazilian rosewood (in fact just the common Indian rosewood), and it still intrigues the seasoned guitarists in the group that how the guitar can still sound so extraordinary.
If I have only five words to describe the sounds of this German Höfner, they'll be resonant, pure, refined, powerful and responsive.
It still falls short to traditional powerhouses like Paulino Bernabe and Manuel Contreras, but this is definitely a steal at such a price. No extra cost for banned wood, experimental ideas, just pure workmanship alone.
Monday, January 08, 2007
Sunday, December 31, 2006
A Home Studio
It's been almost a century since I last scribbled on this blog. Earlier, I had converted my bedroom into a studio by throwing the bed down the window and getting new furnitures, which include a white shelf, table and a few comfortable chairs suitable for playing the guitar in the classical position, for the studio.
Currently in the midst of clearing the cobwebs off my relatively new shelf and table of books, scores and other miscellaneous materials, and re-classifying them for the new year. Back when the shelf newly arrived, I had classified all my books and sheet music by just having a section each for classical sheet music (sub-classified into the various periods etc), ethnomusic books and sheet music, religious, philosophy and literature books and so forth. A pretty simple, systematic and organised categorisation, but it didn't strike me as being right, or meaningful.
Might as well, since it's the new year, that gave me some reason to re-organise the entire mountain of materials. I cleared the entire shelf and table of their contents and basically sat on the floor for the next few hours to re-organise all those materials once again. This time, I did it differently. Since the bulk of my books were basically classical music books, sheet music, method books, I decided that the music with their distinctive styles and temperaments were placed next to materials which have relations to the music. For Bach's music, due to their inherent spiritual value (present even in those works which were conceived as secular works), they were placed together with my religious materials and books, essays and treatises on baroque performance directions. As a matter-of-fact, these materials were placed within an arm's length from where I'll be sitting when I'm practising. I really can't do without them and not to mention that the music scene wouldn't be the same without our beloved Bach. Next to them, a little further but still within reach is a section exclusively for charming Schubert. I do realise that I have amassed quite a collection of his works (pretty surprising since he wasn't a guitar composer), especially his lieders, both with the accompaniment transcribed to the guitar and the urtext version. Right next to them, are of course, books and essays on Schubert himself, essays on aesthetic beauty and poetry. And not the mention the huge collection of Spanish music which are placed on a level further, right next to books and sheet music on flamenco culture, Spain and anything Spanish, including a language book on mastering the language. Modern music which I've yet managed to come to terms with were allocated a meaningful place too as they were next to the philosophy books with certain theories and parts which I have yet the maturity to comprehend.
It's a truly nostalgic experience re-arranging the shelves. So many a times have I felt tempted to stop what I was doing and put a particular piece of music on the stand and play it on my guitar. While I was browsing through the pieces of music, thoughts and reflections of the qualities of the music which first lured me to acquire them went through my mind. A truly spiritual experience. While I was holding the two versions of Bach's Goldberg Variations (Urtext and an authentic transcription for the guitar by József Eötvös) in my collection, Glenn Gould's most spiritually weighty 1981 recording just before his death started playing in my mind. Flipping through the pages of the sheet music, I was once again so thankful that Hungarian guitarist József Eötvös had done a masterful job of transcribing the entire work onto solo guitar. And for the mighty Chaconne of Bach as well, I could go on and on about the magnificent beauty of its structure and spiritual value. Currently, right on my music stand is actually the sheet music for Schubert's Arpeggione Sonata for guitar and piano. The other two versions which I've often compared it with were on the shelf. I was holding all the three different transcriptions of it (cello and piano, viola and piano besides my version on the stand) earlier and spending such a marvellous time flipping through them and playing such poetically intense music mentally. There were those times too, when I found sheet music which I never thought I had. It's a certainly wonderful experience re-classifying those materials which have affected my life, whether musically or not, at some point or another.
And I sincerely thought that the huge shelf I got from the furniture store was sufficient probably for the next year, but I'm now desperately running out of space soon, given the huge pile of materials left on the table which have yet to be packed. And right in the dark corner of the picture lies a humongous pile of CDs and DVDs which are still waiting for the arrival of rack.
In the midst of browsing through the books, I chanced upon a quote by T.S. Eliot, aptly stating that
"Poetry is not a turning loose of emotion, but an escape from emotion; it is not
the expression of personality, but an escape from personality. But, of course,
only those who have personality and emotions know what it means to want to
escape from these things."
I certainly do find his argument coherent, even when such a statement is used for music in my case. Certainly, the emotions one, or rather, I, would like to express in a piece of music, would have to be firstly felt, pondered upon on the best way the music can evoke it before such an emotion would be able to be presented in a palatable, acceptable and stylistic manner to the audience. Somehow along the way, I had learnt to control and shape those most powerful emotions in a musical way, taking into consideration that I wouldn't lose that spontaneity along the way.
Somehow, looking back at all things artistic in the past year, I am glad to be a musician - another most blessed species of animals that God has created...
Sunday, December 03, 2006
Day Before Competition
There were approximately twenty over people (apparently, the rest couldn't make it in time due to their flight delays, but out of kind understanding, the organisers shifted them to the 2nd day) in the briefing room at the hotel. I observed the overseas competitors in the room and realised most were seasoned competitors and despite being from diverse regions in the world, most could strike up a sincere conversation with their fellow competitors. I guess that's due to the fact that most of them, if not all, are feeling the same way (excitement and anxiety?).
I got to know quite a few of them from the previous international competitions and was pleasantly surprised that they were there as well. (No, I didn't join any of them, was at the previous competitions only as the audience) Somehow, in those talks with these musicians, I do realise that they were really sincere in their conversations. I guess that's the special thing about art competitions. We weren't intimidated by one another probably due to the fact that each of us possesses an individual style which we call our own. There was tension, not out of competitiveness between us, but due to the uncertainty of how our performance on the competition hall that day will turn out. "Competition are for horses, not for artists," said Béla Bartók. I certainly agree, but apparently, the people I had met this evening certainly weren't anywhere near horses. Well, I wouldn't be surprised to meet those nasty, nauseating and neurotic people like what we see so often on reality TV, but that actually wasn't the case. Thank God...
I struck up conversations with a few of them and they talked of the competitions which they've joined. Somehow, I felt that part of me that really wants to join the ranks of these seasoned competitors. Rushing to reach the venue in time, catching last minute flights, meeting friends and fellow competitors from all over the world, staying in different hotel rooms every other week, lugging the luggage and guitar all over the place and of course the preparations for the performing repertoire. Certainly isn't an easy life, I would say, but terribly tempting....
What would I do on the evening of a competition overseas? I would probably take a short walk in the surrounding area of the hotel after dinner, admiring the evening scene of the country. After which, I will go back to my hotel room, read a few chapters from a book from my luggage, run through my competition pieces at least three times. Lastly, I will jump and scream a few times on the hotel bed, maybe that's what all the competitors are doing this evening in their hotel room...
I got to know quite a few of them from the previous international competitions and was pleasantly surprised that they were there as well. (No, I didn't join any of them, was at the previous competitions only as the audience) Somehow, in those talks with these musicians, I do realise that they were really sincere in their conversations. I guess that's the special thing about art competitions. We weren't intimidated by one another probably due to the fact that each of us possesses an individual style which we call our own. There was tension, not out of competitiveness between us, but due to the uncertainty of how our performance on the competition hall that day will turn out. "Competition are for horses, not for artists," said Béla Bartók. I certainly agree, but apparently, the people I had met this evening certainly weren't anywhere near horses. Well, I wouldn't be surprised to meet those nasty, nauseating and neurotic people like what we see so often on reality TV, but that actually wasn't the case. Thank God...
I struck up conversations with a few of them and they talked of the competitions which they've joined. Somehow, I felt that part of me that really wants to join the ranks of these seasoned competitors. Rushing to reach the venue in time, catching last minute flights, meeting friends and fellow competitors from all over the world, staying in different hotel rooms every other week, lugging the luggage and guitar all over the place and of course the preparations for the performing repertoire. Certainly isn't an easy life, I would say, but terribly tempting....
What would I do on the evening of a competition overseas? I would probably take a short walk in the surrounding area of the hotel after dinner, admiring the evening scene of the country. After which, I will go back to my hotel room, read a few chapters from a book from my luggage, run through my competition pieces at least three times. Lastly, I will jump and scream a few times on the hotel bed, maybe that's what all the competitors are doing this evening in their hotel room...
Tuesday, November 28, 2006
Choosing Pieces For Programmes
Got in the mood to work on my music on this lovely and went through my programme a few times consecutively. While going through the pieces, I got into an introspective mood and started asking myself why I had chosen those particular pieces in the first place. Of course, in the midst of practising those pieces, I had discovered the more intricate beauty of the pieces, but somehow, I felt a need to be re-captivated by the same qualities which had made me choose these particular pieces over the others in the first place. As my brain juggled with such thoughts, there seems to be this miraculous effect of enabling me to caress more musical sounds and phrases out of my instrument, despite having gone through the pieces a few times consecutively. Now, that's what I would consider a rare satisfying run and I certainly hope that I would be able to reproduce that form on the performance day.
A fellow studying musician suggested that I ought to go for my diploma certificate early next year. Well, I shrugged off her suggestion right away earlier today but I have to admit now that after looking at the Trinity syllabus, I am greatly tempted. It certainly caught my attention that a few pieces in the syllabus are already in my performance repertoire. Of course, I wouldn't be choosing the same pieces just to save some effort to acquire this paper qualification, but the very fact that I can easily churn out the pieces which was mentioned in the syllabus do signify that I might most probably be technically proficient to acquire a few of the other performance works mentioned in the same diploma into my repertoire in the next few months. And not to mention that it would certainly be exciting to start forming another new set of programme for this recital diploma.
Alright, let's take a look at the pieces which have caught my attention.
1. Grand Overture Op. 61 by Mauro Giuliani (A sumptuous work which I've been lusting over for the past few months but haven't gotten sufficient reason to start working on it) 8
2. Invocación y danza by Joaquin Rodrigo (One of the most hauntingly evocative works in the guitar repertoire. Love this work exceedingly) 9
3. Prelude, Fugue and Allegro by J.S. Bach (How can one do without Bach? Yes, this work is in my repertoire, but I've discovered a superior transcription from the lute to the guitar of it. Can't wait to try out the transcription.) 12
4. Valse en Skai by Roland Dyens
A pretty interesting mix of Baroque, Classical and Modern music, not suitable for a solo recital, but decent for a diploma programme. These are certainly big works and I have yet to try them. I'm apprehensive about mastering them by next diploma exam. Shall work on them soon later this month and see how fast my progress is before deciding.
I've decided to choose Yuquijiro Yocoh's arrangement of Sakura Theme and Variations for my teacher's Students' Concert as I'm really fascinated by the exotic sounds of the Japanese koto recently. That'll give me some pressure to practise due to the numerous techniques used in the different variations.
A fellow studying musician suggested that I ought to go for my diploma certificate early next year. Well, I shrugged off her suggestion right away earlier today but I have to admit now that after looking at the Trinity syllabus, I am greatly tempted. It certainly caught my attention that a few pieces in the syllabus are already in my performance repertoire. Of course, I wouldn't be choosing the same pieces just to save some effort to acquire this paper qualification, but the very fact that I can easily churn out the pieces which was mentioned in the syllabus do signify that I might most probably be technically proficient to acquire a few of the other performance works mentioned in the same diploma into my repertoire in the next few months. And not to mention that it would certainly be exciting to start forming another new set of programme for this recital diploma.
Alright, let's take a look at the pieces which have caught my attention.
1. Grand Overture Op. 61 by Mauro Giuliani (A sumptuous work which I've been lusting over for the past few months but haven't gotten sufficient reason to start working on it) 8
2. Invocación y danza by Joaquin Rodrigo (One of the most hauntingly evocative works in the guitar repertoire. Love this work exceedingly) 9
3. Prelude, Fugue and Allegro by J.S. Bach (How can one do without Bach? Yes, this work is in my repertoire, but I've discovered a superior transcription from the lute to the guitar of it. Can't wait to try out the transcription.) 12
4. Valse en Skai by Roland Dyens
A pretty interesting mix of Baroque, Classical and Modern music, not suitable for a solo recital, but decent for a diploma programme. These are certainly big works and I have yet to try them. I'm apprehensive about mastering them by next diploma exam. Shall work on them soon later this month and see how fast my progress is before deciding.
I've decided to choose Yuquijiro Yocoh's arrangement of Sakura Theme and Variations for my teacher's Students' Concert as I'm really fascinated by the exotic sounds of the Japanese koto recently. That'll give me some pressure to practise due to the numerous techniques used in the different variations.
Tuesday, October 31, 2006
Repertoire Priorities
It's time to think over the repertoire priorities which I have set in the past two months.
I'll be embarking on solely two gigantic works - Bach's magnificent Chaconne from his Partita no. 2 in D minor BWV 1004 and Schubert's heartwrenching Arpeggione Sonata, for spiritual reasons more than practical reasons. Everything else musical, which includes pieces like the charming Histoire du Tango by Piazzolla, seductive bossa nova pieces and exquisite smaller scale works, shall be shelved temporarily.
More about these two works in the near future...
I'll be embarking on solely two gigantic works - Bach's magnificent Chaconne from his Partita no. 2 in D minor BWV 1004 and Schubert's heartwrenching Arpeggione Sonata, for spiritual reasons more than practical reasons. Everything else musical, which includes pieces like the charming Histoire du Tango by Piazzolla, seductive bossa nova pieces and exquisite smaller scale works, shall be shelved temporarily.
More about these two works in the near future...
Friday, October 27, 2006
Teaching Music
Is it really that simple when teachers teach their students music? Is it merely about getting the notes out in a beautiful manner?
Now that I attempt to see the whole big picture, it's really about teaching them how to understand themselves through music and more importantly, to respect our fellow human beings as well. It isn't simply about getting the rhythm and notes right but about respecting what the composer had written down. It isn't about showing off your achievement to people who listen to you but to affect them in a spiritual and emotional manner, to touch them in the most special way before they know it, and even to help your listeners search for themselves in this lifetime on earth as well.
Now that I think of teachers, not just of music of course, it really is such a sacred job... If only all teachers in the world could know just how important they truly are...
Now that I attempt to see the whole big picture, it's really about teaching them how to understand themselves through music and more importantly, to respect our fellow human beings as well. It isn't simply about getting the rhythm and notes right but about respecting what the composer had written down. It isn't about showing off your achievement to people who listen to you but to affect them in a spiritual and emotional manner, to touch them in the most special way before they know it, and even to help your listeners search for themselves in this lifetime on earth as well.
Now that I think of teachers, not just of music of course, it really is such a sacred job... If only all teachers in the world could know just how important they truly are...
Monday, October 23, 2006
Preparing A Wedding Programme
Having numerous requests to play for weddings before, I am currently considering to assemble a wedding programme. Think of the money involved. Guess I can't help but be practical. There really isn't any meaningful reason to be engaged to perform in such weddings, but I sure don't like the idea of seeing them walking away with disappointment. Now the question, what would be my programme consist of?
A conversation that occurs so very frequently to me just struck me at this point.
Well, even if I were to assemble a wedding programme, I guess the pieces I mentioned above will be what I'll be playing, together with certain hymnal arrangements. I've gone through the my collection of sheet music containing such music and have certain heart melting pieces in mind. I'm a little stumped at the level of such arrangements as they can easily require a higher, if not the same, technical level than the diploma pieces. Well, I can't really expect lesser if I'm going to choose arrangements by the legendary Roland Dyens, can I? Even hymnal arrangements played by Christopher Parkening can be exceedingly taxing as well.
Well, the good thing is that even if I haven' been approached to play for weddings, I would still like to pick up these pieces...
I'm giving myself a year to assemble an hour of programme of such level...
A conversation that occurs so very frequently to me just struck me at this point.
Friend: Hey, can you play the song Wonderful Tonight? (Or other similarly martian-sounding titles like Penny Lane. I have to admit out of the millions of titles I was requested to play, I could only remember these two.)
Me (Quizzical Look): Huh? What's that?
Friend (Exasperated Expression): Oh my, that's such a common song, for goodness sake!
Me: Common song? (Are they from Mars or something? Suggest some German Lieders back at them? No, they probably don't know them. Let's try some French chansons, any retard will probably be familiar with them.) Well, I know L'Hymne A L'Amour, or Ne Me Quitte Pas, or Revoir Paris or maybe Plasir D'Amour. (They sure look weirder. Ok, let's try something easier.) And I know songs like Fly Me To The Moon and Over The Rainbow.
Friend (Indescribable Expression): Eh, maybe you need to listen to the radio more often.
Me (Raising an eyebrow): Oh, probably so. (Silently thinking: Who's the one who needs to listen to the radio now? I'm not even talking about classical music. Duh...)
Well, even if I were to assemble a wedding programme, I guess the pieces I mentioned above will be what I'll be playing, together with certain hymnal arrangements. I've gone through the my collection of sheet music containing such music and have certain heart melting pieces in mind. I'm a little stumped at the level of such arrangements as they can easily require a higher, if not the same, technical level than the diploma pieces. Well, I can't really expect lesser if I'm going to choose arrangements by the legendary Roland Dyens, can I? Even hymnal arrangements played by Christopher Parkening can be exceedingly taxing as well.
Well, the good thing is that even if I haven' been approached to play for weddings, I would still like to pick up these pieces...
I'm giving myself a year to assemble an hour of programme of such level...
Sunday, October 22, 2006
A Charming Quote
As much as I love Beethoven and Mozart, the greatest is Bach. And they would be the first to agree. For me, to play Bach is a matter of hygiene. It's like taking a shower.
-Andras Schiff
I guess Andras Schiff had said it all. That's probably still an understatement of how powerful and spiritually uplifting playing Bach is...
I have to admit that the quote was stolen from Patricia's blog at oboeinsight. I'll have to apologise to her, but I really can't help but post up such a truthful statement which I completely agree with. =)
-Andras Schiff
I guess Andras Schiff had said it all. That's probably still an understatement of how powerful and spiritually uplifting playing Bach is...
I have to admit that the quote was stolen from Patricia's blog at oboeinsight. I'll have to apologise to her, but I really can't help but post up such a truthful statement which I completely agree with. =)
Thursday, October 19, 2006
Reading Adorno
Thanks to Jeremy Denk's honest entry on Adorno's essays, my interest in that particular book has been piqued. Now that I've acquired this book, I've been spending most of my available time between practices, rehearsals, lessons and performances reading it. (As you can see, the available time that remains is actually the travelling time on buses and trains. How pathetic...) Trust him when Jeremy had indirectly commented that certain sentences of the book are beyond comprehension. It really isn't an easy read.
For the time spent studying Adorno's essays, I could feel all my brain cells to getting to work, making sense of the ideas which were going through Adorno while he was penning down these essays. I guess it's my craving for the most ecstatic state of epiphany upon grasping hold of his intriguing ideas and theories that actually drive me to overtax myself in all the various aspects necessary. I reckon that out of all sentences which I've come across in my life, the single sentence which I spend the longest time pondering on would be from this book. Yes, it is that addictive. His statements have this strange effect of playing on repeat mode in my mind, somehow suggesting that there's a much deeper and profound perspective to them. I often find myself searching my limited musical experiences for cases whereby what I've encountered before can support his ideas and theories on new music. New music. His common citations of works by Schoenberg, Webern, Berg, Wagner and a few other composers have pushed me to explore this personally unfamiliar ground and opened up my mind to the richness and defects in their music, and of course, about the human character as well.
I dare say that my personal fondness in the indulgence of this book has been almost as satisfying as playing music itself. Almost.
A strong recommendation for those who think or are willing to think and want to explore much deeper into the various aspects of music.
For the time spent studying Adorno's essays, I could feel all my brain cells to getting to work, making sense of the ideas which were going through Adorno while he was penning down these essays. I guess it's my craving for the most ecstatic state of epiphany upon grasping hold of his intriguing ideas and theories that actually drive me to overtax myself in all the various aspects necessary. I reckon that out of all sentences which I've come across in my life, the single sentence which I spend the longest time pondering on would be from this book. Yes, it is that addictive. His statements have this strange effect of playing on repeat mode in my mind, somehow suggesting that there's a much deeper and profound perspective to them. I often find myself searching my limited musical experiences for cases whereby what I've encountered before can support his ideas and theories on new music. New music. His common citations of works by Schoenberg, Webern, Berg, Wagner and a few other composers have pushed me to explore this personally unfamiliar ground and opened up my mind to the richness and defects in their music, and of course, about the human character as well.
I dare say that my personal fondness in the indulgence of this book has been almost as satisfying as playing music itself. Almost.
A strong recommendation for those who think or are willing to think and want to explore much deeper into the various aspects of music.
Wednesday, October 04, 2006
Phantom
Just two days ago, a fellow musician explained that she's learning the prelude from Bach's BWV 1006a as that's the favourite piece of classical music of her beloved husband. I was amazed at how much effort she put into the piece of work which was slightly beyond her current technical level. An uncommon stimulus for one to work on a particular work but certainly no less sincere or potent a motivation for them to study the work.
The musical Phantom of the Opera is coming to town again next year. Well, I've never been quite into popular operas, but I do catch them occasionally and appreciate them for their simplistic beauty. This musical, however, holds an important position in my heart, in the same meaningful way how the fellow musician treats her Bach prelude. Despite not being drawn to this production due to the musical qualities, I do find myself having a most urgent need to purchase the tickets as soon as possible for this production which will only be here late March next year...
Apparently, the phantom in me still hasn't faded away over time...
The musical Phantom of the Opera is coming to town again next year. Well, I've never been quite into popular operas, but I do catch them occasionally and appreciate them for their simplistic beauty. This musical, however, holds an important position in my heart, in the same meaningful way how the fellow musician treats her Bach prelude. Despite not being drawn to this production due to the musical qualities, I do find myself having a most urgent need to purchase the tickets as soon as possible for this production which will only be here late March next year...
Apparently, the phantom in me still hasn't faded away over time...
Monday, October 02, 2006
Approaching Music
Wouldn't different people have different interpretations to a particular piece of music, given the almost abstract quality of sounds?
A deceptively simple and innocent question posed to me by a friend who is relatively foreign to the classical music scene.
I guess the presence of an almost infinite possible interpretations within the stylistic guidelines is one most charming and mysterious quality in music. The music exists in a sublime and abstract state until it is subjected to the process of interpretation by a performer or listener, when in that most special moment it crystallises to become something truly personal. I wouldn't deny the fact that the music was created with a main intention of music in mind, and how close others can reach in their interpretations would depend on their level of aural sensitivity and musical knowledge, but to insist that every one, trained or untrained, has to come to that similar interpretation of the composer would make an extreme elitist out of me. I've often restrained myself (unsuccessfully sometimes) in saying statements like "listen the church bells in this part of the music" or "pick out the fighting sounds in the orchestra!", which results in people mentally forming the effects of the music which are mine and matching them to the music. Such statements do make them appreciate the music better in terms of the surface materialisation of the sounds but deprive them of a chance to interpret the music or sounds in their own way through the more intricate music processes.
Approaching classical music is certainly no easy task. Music composed in the different periods are written with particular intentions to people with different expectations and tastes. One certainly can't seek to unify the process of music appreciation for different periods into one which can be readily applied throughout the entire timeline of classical music. Baroque music, created with didactic intentions, often requires a more spiritual and pedantic approach, while romantic music desires a listener willing to be moved emotionally. Baroque, classical and romantic music wouldn't pose much problems for the average listener who expects something meaningful or expressive.
How does one approach avant garde music then? The fact that such music is often unfairly dismissed as musical kitsch only shows how retrograde the listening tastes and approach of consumers of this artistic form are. Such works, created in the light of overwhelming information and knowledge in modern times, contains profound universal truths (in their themes), which wouldn't be uncovered by passive listeners who expects to be moved in the traditional way. The music demands listeners to be actively involved with the musical processes at work by stepping into the abstract world of sounds and rhythms, instead of waiting for something to hit them while they're not prepared to be involved musically. People in the modern society, too often caught up in the wild pursuit of fame and money, turn to music in search of a resting point, expecting a replenishment of the soul before sidelining the arts again for their materialistic pursuit of worldly targets. Avant garde music seeks to rebel against this phenomenom, not by creating random and repulsive noise created in the name of modern art, but by hiding what the human race is looking for in a musical form which is not accessible to those who are unwilling to put in their part to uncover what music has to give. Ingenious. And if one manages to cross this barrier and pick out that gem of truth intentioned by the composer, from personal experience, I can assure that the experience is no less satisfying than listening to a pre-modernism work.
Serious music aside, recently, I've been attracted by the rich culture of Latin America through their music. I have yet to be able to tell apart the more intricate forms of Latin music. Thankfully, a Christian acquaintance and musician in Brazil offered to clarify my doubts about the forms of music they have over there, at the same time mailing over several records of the music at his own expense. It's amazing how rich and powerful the music is. Such music which is created and played at a more common level sure provides a refreshing change from the serious music created for the classical community. Such culturally rich music, like flamenco in Spain, invites the listener into the heartland of the culture and is simply, the voice of the masses and natives. I never fail to be amazed by how easily digestible the music is by people on the opposite end on Earth despite me never stepping into the that continent before.
Maybe such are the music which have a lasting and genuine quality without much drastic changes over the sands of time...
A deceptively simple and innocent question posed to me by a friend who is relatively foreign to the classical music scene.
I guess the presence of an almost infinite possible interpretations within the stylistic guidelines is one most charming and mysterious quality in music. The music exists in a sublime and abstract state until it is subjected to the process of interpretation by a performer or listener, when in that most special moment it crystallises to become something truly personal. I wouldn't deny the fact that the music was created with a main intention of music in mind, and how close others can reach in their interpretations would depend on their level of aural sensitivity and musical knowledge, but to insist that every one, trained or untrained, has to come to that similar interpretation of the composer would make an extreme elitist out of me. I've often restrained myself (unsuccessfully sometimes) in saying statements like "listen the church bells in this part of the music" or "pick out the fighting sounds in the orchestra!", which results in people mentally forming the effects of the music which are mine and matching them to the music. Such statements do make them appreciate the music better in terms of the surface materialisation of the sounds but deprive them of a chance to interpret the music or sounds in their own way through the more intricate music processes.
Approaching classical music is certainly no easy task. Music composed in the different periods are written with particular intentions to people with different expectations and tastes. One certainly can't seek to unify the process of music appreciation for different periods into one which can be readily applied throughout the entire timeline of classical music. Baroque music, created with didactic intentions, often requires a more spiritual and pedantic approach, while romantic music desires a listener willing to be moved emotionally. Baroque, classical and romantic music wouldn't pose much problems for the average listener who expects something meaningful or expressive.
How does one approach avant garde music then? The fact that such music is often unfairly dismissed as musical kitsch only shows how retrograde the listening tastes and approach of consumers of this artistic form are. Such works, created in the light of overwhelming information and knowledge in modern times, contains profound universal truths (in their themes), which wouldn't be uncovered by passive listeners who expects to be moved in the traditional way. The music demands listeners to be actively involved with the musical processes at work by stepping into the abstract world of sounds and rhythms, instead of waiting for something to hit them while they're not prepared to be involved musically. People in the modern society, too often caught up in the wild pursuit of fame and money, turn to music in search of a resting point, expecting a replenishment of the soul before sidelining the arts again for their materialistic pursuit of worldly targets. Avant garde music seeks to rebel against this phenomenom, not by creating random and repulsive noise created in the name of modern art, but by hiding what the human race is looking for in a musical form which is not accessible to those who are unwilling to put in their part to uncover what music has to give. Ingenious. And if one manages to cross this barrier and pick out that gem of truth intentioned by the composer, from personal experience, I can assure that the experience is no less satisfying than listening to a pre-modernism work.
Serious music aside, recently, I've been attracted by the rich culture of Latin America through their music. I have yet to be able to tell apart the more intricate forms of Latin music. Thankfully, a Christian acquaintance and musician in Brazil offered to clarify my doubts about the forms of music they have over there, at the same time mailing over several records of the music at his own expense. It's amazing how rich and powerful the music is. Such music which is created and played at a more common level sure provides a refreshing change from the serious music created for the classical community. Such culturally rich music, like flamenco in Spain, invites the listener into the heartland of the culture and is simply, the voice of the masses and natives. I never fail to be amazed by how easily digestible the music is by people on the opposite end on Earth despite me never stepping into the that continent before.
Maybe such are the music which have a lasting and genuine quality without much drastic changes over the sands of time...
Sunday, August 20, 2006
Cheesecake And Tea
It has been the busiest week ever since the year started, taking on unavoidable, extraneous jobs coming from those incompetent colleagues who lack the adequate skills and intellect to handle, and at the same time balancing my teaching and rehearsal schedules. Somehow, it is at such vulnerable and least rational times when strangely alluring artistic theories decide to introduce themselves and sell their ideas to me. As usual, the hidden adventurous streak in me decided to invite them into my comfortable home and try out their ideas. A costly mistake which almost destroyed the very core foundation of why I practise the arts...
Had a couple of hours to spare between my lessons yesterday, I sought refuge at my favourite tea room in the vicinity. Indulging myself in a pot of Darjeeling tea and a slice of Blueberry cheesecake, I spent the next two hours reading some literary materials recommended by a friend and pondering upon their contents. Staring in my face for the next hour or so was the preface to the novel The Picture Of Dorian Gray by Oscar Wilde. Of course, one shouldn't treat this cynical aesthete so seriously, but it was the very basis of his art that had been eating into my soul for the past week or so.
Being fairly new in the arts and thus restricted my circle to mostly musical techniques at the beginning, I hadn't had the chance and privilege of being exposed to the more modern artistic theories put forth in the arts scene (thankfully!). After deciding to come out of my shell and open myself to the artistic world, I was overwhelmed by the multitude of artistic theories which seem so foreign and appealing at the same time. A part of me just wanted to subscribe to the one which seems to seems most appealing, but thank God, the conservative and rational side managed to suppress the impulsive streak and held out a little longer. What Wilde and many other modernists had believed in, known in French as L'art pour l'art (art for art's sake), certainly has certain most tempting qualities personally. The most transient aural and visual beauty alone truly appealed to my senses and often linger in my thoughts and soul for some time to come, just as the aesthetic visual beauty of the reddish tea in the transparent teacup on the black wooden table is one of the reasons I frequent the tea room I was in. I was on the verge of embracing that theory to be the basis of my music, till Bach chorales and Beethoven symphonies came into my mind...
Somehow, I interpreted the preface as Wilde's personal beliefs and perception of art itself, at the same time justifying each and every statement of it to the content of his works which I spent quite some time on in the past week. He pretty much summed his beliefs in this preface, and ultimately reveals himself in the last statement - All art is quite useless. Of course, on the surface, one can simply conclude that Wilde was trying to be cynical by apparently contradicting the previous statements which he had written earlier. But I would rather interpret that statement as the only and sole meaning in art was its aesthetic beauty, nothing else. Take away the emotions, morality, politics, didacticism in art and what was left (aesthetic beauty) was what he believed to be sufficient to form the basis for pursuing of the arts.
If I were to subscribe to that theory, it would be almost impossible for me to reconcile my art with my relationship with my beloved Father. Holding on a a beauty that is only transient in nature? I'm not quite ready to give up my faith just to pursue the short term preservation of an ephemeral beauty, neither do I think I would be ready anytime in the future. Somehow, such an artistic theory can only be embraced by athetists, or hypocrites...
Such aesthetic beauty, albeit important, wouldn't form the core basis of art itself. Whether which other element ought to be the core element, be it meaning, truth, atmosphere etc., ought to depend on the creator of the works. I wouldn't be in a position to reject any, for my place as a performer and teacher is subservient to the creator, but the least I ought to be doing would be to lay a firm foundation for my music to be performed. Like how Wilde's works reflect his artistic theory, it would be natural that my music would reflect my personal beliefs on art as well...
All this while enjoying the tea with the most sensual and spicy aroma, with the lovely cheesecake to go along with. A pretty charming and slightly mentally chaotic way to spend the evening...
Had a couple of hours to spare between my lessons yesterday, I sought refuge at my favourite tea room in the vicinity. Indulging myself in a pot of Darjeeling tea and a slice of Blueberry cheesecake, I spent the next two hours reading some literary materials recommended by a friend and pondering upon their contents. Staring in my face for the next hour or so was the preface to the novel The Picture Of Dorian Gray by Oscar Wilde. Of course, one shouldn't treat this cynical aesthete so seriously, but it was the very basis of his art that had been eating into my soul for the past week or so.
Being fairly new in the arts and thus restricted my circle to mostly musical techniques at the beginning, I hadn't had the chance and privilege of being exposed to the more modern artistic theories put forth in the arts scene (thankfully!). After deciding to come out of my shell and open myself to the artistic world, I was overwhelmed by the multitude of artistic theories which seem so foreign and appealing at the same time. A part of me just wanted to subscribe to the one which seems to seems most appealing, but thank God, the conservative and rational side managed to suppress the impulsive streak and held out a little longer. What Wilde and many other modernists had believed in, known in French as L'art pour l'art (art for art's sake), certainly has certain most tempting qualities personally. The most transient aural and visual beauty alone truly appealed to my senses and often linger in my thoughts and soul for some time to come, just as the aesthetic visual beauty of the reddish tea in the transparent teacup on the black wooden table is one of the reasons I frequent the tea room I was in. I was on the verge of embracing that theory to be the basis of my music, till Bach chorales and Beethoven symphonies came into my mind...
Somehow, I interpreted the preface as Wilde's personal beliefs and perception of art itself, at the same time justifying each and every statement of it to the content of his works which I spent quite some time on in the past week. He pretty much summed his beliefs in this preface, and ultimately reveals himself in the last statement - All art is quite useless. Of course, on the surface, one can simply conclude that Wilde was trying to be cynical by apparently contradicting the previous statements which he had written earlier. But I would rather interpret that statement as the only and sole meaning in art was its aesthetic beauty, nothing else. Take away the emotions, morality, politics, didacticism in art and what was left (aesthetic beauty) was what he believed to be sufficient to form the basis for pursuing of the arts.
If I were to subscribe to that theory, it would be almost impossible for me to reconcile my art with my relationship with my beloved Father. Holding on a a beauty that is only transient in nature? I'm not quite ready to give up my faith just to pursue the short term preservation of an ephemeral beauty, neither do I think I would be ready anytime in the future. Somehow, such an artistic theory can only be embraced by athetists, or hypocrites...
Such aesthetic beauty, albeit important, wouldn't form the core basis of art itself. Whether which other element ought to be the core element, be it meaning, truth, atmosphere etc., ought to depend on the creator of the works. I wouldn't be in a position to reject any, for my place as a performer and teacher is subservient to the creator, but the least I ought to be doing would be to lay a firm foundation for my music to be performed. Like how Wilde's works reflect his artistic theory, it would be natural that my music would reflect my personal beliefs on art as well...
All this while enjoying the tea with the most sensual and spicy aroma, with the lovely cheesecake to go along with. A pretty charming and slightly mentally chaotic way to spend the evening...
Wednesday, August 09, 2006
Limerence
I have always been trying to put that particular emotion which is so characteristic of some of the Latin American music. A pretty new word for an emotion which is probably older than sin itself.
Limerence. How ironic, such delicate yet powerful emotion, almost bordering on the state of obsession. Check the more scientific meaning by wiki-ing it.
Here're some statements in the article which describes the word.
Now, that's a new word learnt and some food for thought...
Limerence. How ironic, such delicate yet powerful emotion, almost bordering on the state of obsession. Check the more scientific meaning by wiki-ing it.
Here're some statements in the article which describes the word.
Limerence has certain basic components:
-intrusive thinking about the limerent object
-acute longing for reciprocation
-some fleeting and transient relief from unrequited limerence
-through vivid imagining of action by the limerent object that means reciprocation
-fear of rejection and unsettling shyness in the limerent object's presence
intensification through adversity
-acute sensitivity to any act, thought, or condition that can be interpreted favorably, and an extraordinary ability to devise or invent "reasonable" explanations for why neutral actions are a sign of hidden passion in the limerent object
-an aching in the chest when uncertainty is strong
-buoyancy (a feeling of walking on air) when reciprocation seems evident
-a general intensity of feeling that leaves other concerns in the background
-a remarkable ability to emphasize what is truly admirable in the limerent object and to avoid dwelling on the negative or render it into another positive attribute.
Now, that's a new word learnt and some food for thought...
Indulgence
Came home on Monday evening at 8pm to an empty home, feeling blue from the day's mundane work, or rather half a day of mundane work, since I stole the earlier half of the day off to escape from some unnecessary attention at some corner of the city. Decided to take advantage of the rare moment of tranquility in my home to get rid of the blues. Dimmed the lights, played some Piazzollan music by the master himself from my collection, and sat down waiting for the rejuvenating spiritual and emotional bath. It sure came, when the suite - Las Cuatro Estaciones Porteñas, was played. I sure got an overdose of the therapeutic listening when the particular movement Otoño Porteño came on and threw me without the slightest warning into a introspective state. Ended up going for a late night swim to clear my mind and heart of excessive and mindless emotional turmoil. Beneath the almost dark pool environment, save for a few pool lights and dimmed lamps, I swam a few laps at the most relaxed pace, after which I sat by the pool to indulge once again in the mental replaying of Otoño Porteño I heard ealier.
Opening with a most charming theme which would repeat itself in various sections throughout the work, the music paints a dreamy, fluid-like picture. She switches to and fro her angsty moments in a miraculously coherent style so characteristic of our beloved Piazzolla, before closing with a series of extremely heart-stirring and innocent arpeggios played with a alluringly floating touch. The musicians are certainly blessed with the spirit of the Argentinian tango in them.
For just that special moment of musical benediction, I saw myself in an intimately slow tango with a svelte lady in a dance bar in the culturally rich capital Buenos Aires. Somewhere at some obscure part of my mind which still remains rational, I'm thinking of how Piazzolla, who had come out of his ten-year dilemma of whether to be a classical composer or tango composer, with his powerfully evocative masterpieces had singlehanded started the nuevo tango movement. One can't help but acknowledge his talent in this area.
For the next few months, it'll just be incorporating this work of his, in its full soul and spirit into my repertoire. Now, that probably means a whole lot more study and research into the tango style. If there's one place I want to be for the next few months, it would certainly be in Buenos Aires to take in the rich culture of the Argentinians into my subconsciousness.
Opening with a most charming theme which would repeat itself in various sections throughout the work, the music paints a dreamy, fluid-like picture. She switches to and fro her angsty moments in a miraculously coherent style so characteristic of our beloved Piazzolla, before closing with a series of extremely heart-stirring and innocent arpeggios played with a alluringly floating touch. The musicians are certainly blessed with the spirit of the Argentinian tango in them.
For just that special moment of musical benediction, I saw myself in an intimately slow tango with a svelte lady in a dance bar in the culturally rich capital Buenos Aires. Somewhere at some obscure part of my mind which still remains rational, I'm thinking of how Piazzolla, who had come out of his ten-year dilemma of whether to be a classical composer or tango composer, with his powerfully evocative masterpieces had singlehanded started the nuevo tango movement. One can't help but acknowledge his talent in this area.
For the next few months, it'll just be incorporating this work of his, in its full soul and spirit into my repertoire. Now, that probably means a whole lot more study and research into the tango style. If there's one place I want to be for the next few months, it would certainly be in Buenos Aires to take in the rich culture of the Argentinians into my subconsciousness.
Tuesday, August 01, 2006
Frustration
I sincerely believe that we need a publisher which focuses on coming out with urtext versions of guitar compositions. Just to make right the atrocities and abominable sins which Segovia himself had committed. It never fails to drive me mad when I find myself staring at his inferior arrangements and knowing at the same time that his version is the only available publication of that particular work in the market right now.
The last time I was working on Segovia's version of a work by Turina, it sure took me some effort to hunt down a copy of the original manuscript, and realise that the harmonic texture, melodic line and even dynamics have been altered by Segovia. Sheer desecration...
Anyway, besides venting my most childish frustration in this post, I would like to express my most sincere gratitude to Italian composer Angelo Gildardino for providing me the copy of the original manuscript of the work as well...
The last time I was working on Segovia's version of a work by Turina, it sure took me some effort to hunt down a copy of the original manuscript, and realise that the harmonic texture, melodic line and even dynamics have been altered by Segovia. Sheer desecration...
Anyway, besides venting my most childish frustration in this post, I would like to express my most sincere gratitude to Italian composer Angelo Gildardino for providing me the copy of the original manuscript of the work as well...
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