Yesterday I attended an Open Rehearsal with Alfred Brendel and the Szymanowski Quartet at West Road Concert Hall, Cambridge. It was part of Brendel's visiting professorship at Cambridge Uni and they were playing Beethoven's Quartet in A minor op 132
I am ashamed to say that I didn't already know the quartet - Beethoven didn't exactly favour the harp in his writings so he is left off my Christmas card list every year. I used to love playing some of his sonatas on the piano - in particular the Pathetique in C minor - but I can't say I love ALL his music so I have never rushed out to buy discs of his string quartets. Anyway, on hearing the piece for the first time, there were parts that were incredibly beautiful, parts that were rousing and dramatic, but a lot of it I found a bit dull, and I think that was because of the stuffy concert hall, the dry acoustic and the slightly tense situation of an open rehearsal with a very famous musician!
At 80 years of age, Alfred Brendel's energy and passion for the music totally eclipsed the quartet's, I'm afraid. He took the class seriously, not playing for laughs with the large and respectful audience, although there were some laughs - often at the expense of the quartet when they couldn't quite pull off Brendel's desires. Brendel even gave up on one point when the quartet just couldn't respond as well as he hoped. I shouldn't make judgements here because I can understand the tension of the situation and everyone plays their instruments worse in lessons! If I was having a lesson with Alfred Brendel, I can only imagine the sweaty palms and many mistakes. However, it wasn't mistakes that were occuring within the Szymanowski Quartet - it was a slight lack of trust and unity.
I loved the cheerfulness of the leader and his violin sound was positive and full of different colours - individually he responded brilliantly to what Brendel asked for. The second violinist was clearly passionate about every note of the music and I loved his style and tone - an excellent musician and communicator. When hearing the viola player in a few solos within the piece, it was clear he could play brilliantly - however, for the ensemble he was the weakest member, not bringing that vibrant viola colour and personality when it could have added so much. The cellist was adorable and had a beautiful sound with bags of personality to boot. When he relaxed from the tricky scene of the rehearsal he brought out the finest qualities of his own playing and really came up to Brendel's demands for change and a new sound. So, individually, there was a lot of great musicianship on show - it just left me a bit flat as a whole.
You will think I am being overly critical and having listened to a quartet of obviously great quality I feel like I must be being over critical. I am now going to look up the quartet and discover that they probably get brilliant reviews everywhere they go and are praised for the subtle communication where I completely missed the communication, but I wanted to give you the honest opinion of how I felt.
When I returned home from Cambridge yesterday I really enjoyed my practise and was able to apply Brendel's wise words about phrasing (he is the MASTER of phrasing, as you probably know) he "loves long notes" and made us love them too! Brendel was looking for absolute dedication to the composer's markings, but also reading well into the markings to find the character that was suggested by them. I loved this. He would not accept a 'pianissimo' sound where a 'piano' was marked and was not a fan of the quartet's transparent, glassy tone when playing soft.
There was palpable relief within the audience when a little 'fast but small' vibrato was applied to the violin tone in a 'piano' line, dramtically warming the melody. This gave us all the slightly odd feeling of being in on a joke that was rather at the violinist's expense, however he took it very cheerfully! Admirable attitude :) I imagine the glassy tone sounds extremely effective, mesmerising even, in a more giving acoustic, but in the dry concert hall it was lost on us.
Both the quartet and the audience were hanging off Brendel's every word, though, and this insight into his mind and methods was an inspiration and a rare privilege, made possible by CRASSH, the Centre for Research in the Arts, Social Sciences and Humanities in Cambridge. Thank you very much to CRASSH for providing this event, completely for free to all who registered!
Wednesday, 18 May 2011
Tuesday, 10 May 2011
Trolls, Tapestry and Tsoupaki - a triplet of Tees.
This work I have been working on a programme of music for an interactive children's concert (an interactive concert I believe, rather than a concert for interactive children..if you see what I mean) at Canterbury's amazing 'Sounds New' festival.
I am performing with my flautist duo buddy, the effervescent, energetic, extremely talented...yet down-to-Earth Lisa Nelsen. We have the challenge of putting together a concert that could be enjoyed by primary age children as well as adults, be interactive yet remain a concert and to work with the 'Baltic' theme of this year's festival - our day, Tues 24th May, focusing on Denmark in particular.
So, I have done my research. Denmark is famous for:
Trolls
Beer
Beer-swilling trolls
Water spirits - good and evil
Cave-dwelling monsters, elves and all other magical things.
NOT harp and flute music (apart from some contemporary hand-written stuff that had both Lisa and I - both massive fans of the new - squinting in confusion at the spidery score with the occassional squashed fly ink blob or pedantic suggestion to 'sharpen this sharp and then sharpen it again')
Anyhow, Lisa and I decided to focus on the beer-swilling, bog dwelling, botty burping Baltic troll Trog, our new best friend. Trog is a very depressed troll who takes a stroll through the Danish woods and encounters a Carlsberg-loving nymph, a Gollibog happy-go-lucky bog beast and an arrogant, supercilious yet critically out-of-work Owl actor, Hedwig from the Harry Potter films. It turns out that both beer and botty-burping-in-bogs are not the answers, but Hedwig has the answer to a happy Troll existence (or indeed a happy human one).
Of course, if you too want to discover the secret to happiness in or out of a Danish bog, you can join Lisa and I at 11am at St. Stephen's Hall, Canterbury for a mere £1 donation. You may have to bob down to get in, we're not quite sure, but it will be worth it!
Here's the link for more info: All for One Interactive Concert
I have even written a new piece called 'Troll Dance' especially for Trog.
ALSO this week I have been working on a new project called 'Tapestry', getting ideas together for that with weaver and weave pattern designer Bonnie Kirkwood. More to follow on that soon!
FINALLY, the third T, an email delivery from the Netherlands Music Centre of Calliope Tsoupaki's beautiful composition 'Her Voice' from 1994, written for Ernestine Stoop. I am thoroughly looking forward to getting stuck in to that, but not just now as I'm rather busy with other concerts, composition and teaching.
I'll keep you posted!
Ellie
Highly Strung
I am performing with my flautist duo buddy, the effervescent, energetic, extremely talented...yet down-to-Earth Lisa Nelsen. We have the challenge of putting together a concert that could be enjoyed by primary age children as well as adults, be interactive yet remain a concert and to work with the 'Baltic' theme of this year's festival - our day, Tues 24th May, focusing on Denmark in particular.
So, I have done my research. Denmark is famous for:
Trolls
Beer
Beer-swilling trolls
Water spirits - good and evil
Cave-dwelling monsters, elves and all other magical things.
NOT harp and flute music (apart from some contemporary hand-written stuff that had both Lisa and I - both massive fans of the new - squinting in confusion at the spidery score with the occassional squashed fly ink blob or pedantic suggestion to 'sharpen this sharp and then sharpen it again')
Anyhow, Lisa and I decided to focus on the beer-swilling, bog dwelling, botty burping Baltic troll Trog, our new best friend. Trog is a very depressed troll who takes a stroll through the Danish woods and encounters a Carlsberg-loving nymph, a Gollibog happy-go-lucky bog beast and an arrogant, supercilious yet critically out-of-work Owl actor, Hedwig from the Harry Potter films. It turns out that both beer and botty-burping-in-bogs are not the answers, but Hedwig has the answer to a happy Troll existence (or indeed a happy human one).
Of course, if you too want to discover the secret to happiness in or out of a Danish bog, you can join Lisa and I at 11am at St. Stephen's Hall, Canterbury for a mere £1 donation. You may have to bob down to get in, we're not quite sure, but it will be worth it!
Here's the link for more info: All for One Interactive Concert
I have even written a new piece called 'Troll Dance' especially for Trog.
ALSO this week I have been working on a new project called 'Tapestry', getting ideas together for that with weaver and weave pattern designer Bonnie Kirkwood. More to follow on that soon!
FINALLY, the third T, an email delivery from the Netherlands Music Centre of Calliope Tsoupaki's beautiful composition 'Her Voice' from 1994, written for Ernestine Stoop. I am thoroughly looking forward to getting stuck in to that, but not just now as I'm rather busy with other concerts, composition and teaching.
I'll keep you posted!
Ellie
Highly Strung
Tuesday, 3 May 2011
Second Prize, Gaudeamus Comp 2011!
I am thrilled to report that I did myself proud in Amsterdam (April 10-17) at the Gaudeamus Interpreters Competition for contemporary music, winning the Second Prize of 2,250 euros and a lot of prestige, of course!
There is no doubt that without the help and support of musicians Alan Thomas, Di Xiao, Ruth Faber, Erika Waardenburg, Hugh Webb, Thomas Hewitt Jones and others, I would not have made it as far as I did. Everything I achieved during that week was the result of long and arduous preparations, a deep love for the inside of my harp room! and being open to receive criticism, new ideas and any advice that people were willing to offer me.
During the first few days of my 10day stay in Amsterdam I wrote several illuminating postcards to my son, my parents and my boyfriend, mostly expressing a desperate wish to go home! I became ill with sinisitis on day 2 (this is basically a blocked head!) and by the 4th day of me being there, when I finally got to perform my first round programme, I had adjusted to the loneliness, the constant physical and mental practise every day (great for polishing off the memory of a few of my pieces!) and the idea that I WAS good enough and I DID belong.
Competitions are as much about mental stamina, visualisation and endurance as they are about the music - having said that, the music should and must come first, always. I thoroughly enjoyed ditching my princess garb for some trousers and a top in round 1, and a Whistles jump suit that I found in a charity shop for one of my round 2 programmes (the 15 semi-finalists had to play twice on consecutive days) - however, for the Grand Final in the beautiful main hall of the Muziekgebouw Aant Ij, I admit that I donned a dress at last!
So, from performance number 1 on the Wednesday, when the jury chose to hear 'Whizzer' (c.2 mins) from Childsplay by Gareth Glyn and Reminiscences of Tranquillity by Yinam Leef (c.8 mins) I was really living the experience of being there, in the thick of it! I felt a huge weight had lifted after I finally got to perform and from then on, the focus came with purpose and utter determination. The postcards of doom stopped and were replaced by phone calls of positivity after a good day's prep or performing.
The semi-finalists (15 went through from around 100 first round competitors - soloists and ensembles) were in two stages, each 15 minutes of music in a twenty minute time slot. We were allowed to choose the first of our programmes and I selected 'Tratti' by Ig Henneman, 'Water Wheel' from Childsplay by Gareth Glyn as a linking piece then 'Dance of the Night Insects' by Raymond Murray Schafer.
There is a photo of me performing this on flickr but I don't know how to link to that yet!
On the second day of round 2 I had to play some more movements from The Crown of Ariadne by Schafer, in a VERY dry room - that was hard work! Even the crotales (tuned antique brass cymbals), lent to me by renowned percussionist Owen Gunnel didn't resonate much in that room. There's a video on youtube of clips from a few of the performances, including mine, from this day:
For the final in the Muziekgebouw, the five finalists were each allowed twenty minutes. The jury chose our progammes from pieces they had already heard us perform, which was great - we all felt they chose pieces that would give us the best possible chance. I played Tratti again and lots of Schafer. It felt FABULOUS to be up on a raised platform in the Muziekgebouw (all my kit was on a riser that was rolled forward - exciting!) but the riser wobbled and vibrated and I had to use a felt food pad (as my feet were so boomy in the ankle bell dance) that I was literally stitching together in my dressing room (remember the needle and thread I always pack - essential!). So, a mixed experience but in general a great one. Afterwards, I was thrilled to hear the jury telling me that my performance of Tratti was 'electrifying' and held them all the way through!
This was in no small part due to meeting Ig Henneman on the Sunday when I arrived in Amsterdam. That was one of the highlights of the trip for me! What an inspiring session we had on Tratti - it gave me a tremendous boost for the week and completely transformed my playing of her music. Ig was lovely but incredibly focused and knew exactly what she wanted from her music. I loved working with her. I also got to play for Edward Mebius, whose beautiful 'Mirror' I sadly never got to play in the competition! Again, playing for Edward and hearing his reaction to my interpretation was invaluable - so many subtle changes were induced that transformed the piece!! Another highlight for my week and inspiration for months to come, I know.
One more composer that I got to meet during my trip was the capricious Carlos Michans - Argentinean born composer who settled in the Netherlands many years ago. We had such a fun meeting and I didn't have to play a note. It was like Christmas when he opened his bag and presented me with various scores...I shall say no more until performing this music is a reality, but that was a pretty dreamy moment, poring over freshly printed scores of great new music. I left that meeting buzzing and enthused, also!
Well, I cannot linger longer on the computer when I have a harp that is waiting to be plucked - plucked, and struck and maybe scraped! For tonight, Matthew, my harp IS......a flamenco guitar! For those of you who don't get the 'Stars in your Eyes' reference, sorry, but I am excited because this morning I am practising Baroque Flamenco by Deborah Henson-Conant.
Thanks for reading!
Eleanor Turner
There is no doubt that without the help and support of musicians Alan Thomas, Di Xiao, Ruth Faber, Erika Waardenburg, Hugh Webb, Thomas Hewitt Jones and others, I would not have made it as far as I did. Everything I achieved during that week was the result of long and arduous preparations, a deep love for the inside of my harp room! and being open to receive criticism, new ideas and any advice that people were willing to offer me.
During the first few days of my 10day stay in Amsterdam I wrote several illuminating postcards to my son, my parents and my boyfriend, mostly expressing a desperate wish to go home! I became ill with sinisitis on day 2 (this is basically a blocked head!) and by the 4th day of me being there, when I finally got to perform my first round programme, I had adjusted to the loneliness, the constant physical and mental practise every day (great for polishing off the memory of a few of my pieces!) and the idea that I WAS good enough and I DID belong.
Competitions are as much about mental stamina, visualisation and endurance as they are about the music - having said that, the music should and must come first, always. I thoroughly enjoyed ditching my princess garb for some trousers and a top in round 1, and a Whistles jump suit that I found in a charity shop for one of my round 2 programmes (the 15 semi-finalists had to play twice on consecutive days) - however, for the Grand Final in the beautiful main hall of the Muziekgebouw Aant Ij, I admit that I donned a dress at last!
So, from performance number 1 on the Wednesday, when the jury chose to hear 'Whizzer' (c.2 mins) from Childsplay by Gareth Glyn and Reminiscences of Tranquillity by Yinam Leef (c.8 mins) I was really living the experience of being there, in the thick of it! I felt a huge weight had lifted after I finally got to perform and from then on, the focus came with purpose and utter determination. The postcards of doom stopped and were replaced by phone calls of positivity after a good day's prep or performing.
The semi-finalists (15 went through from around 100 first round competitors - soloists and ensembles) were in two stages, each 15 minutes of music in a twenty minute time slot. We were allowed to choose the first of our programmes and I selected 'Tratti' by Ig Henneman, 'Water Wheel' from Childsplay by Gareth Glyn as a linking piece then 'Dance of the Night Insects' by Raymond Murray Schafer.
There is a photo of me performing this on flickr but I don't know how to link to that yet!
On the second day of round 2 I had to play some more movements from The Crown of Ariadne by Schafer, in a VERY dry room - that was hard work! Even the crotales (tuned antique brass cymbals), lent to me by renowned percussionist Owen Gunnel didn't resonate much in that room. There's a video on youtube of clips from a few of the performances, including mine, from this day:
For the final in the Muziekgebouw, the five finalists were each allowed twenty minutes. The jury chose our progammes from pieces they had already heard us perform, which was great - we all felt they chose pieces that would give us the best possible chance. I played Tratti again and lots of Schafer. It felt FABULOUS to be up on a raised platform in the Muziekgebouw (all my kit was on a riser that was rolled forward - exciting!) but the riser wobbled and vibrated and I had to use a felt food pad (as my feet were so boomy in the ankle bell dance) that I was literally stitching together in my dressing room (remember the needle and thread I always pack - essential!). So, a mixed experience but in general a great one. Afterwards, I was thrilled to hear the jury telling me that my performance of Tratti was 'electrifying' and held them all the way through!
This was in no small part due to meeting Ig Henneman on the Sunday when I arrived in Amsterdam. That was one of the highlights of the trip for me! What an inspiring session we had on Tratti - it gave me a tremendous boost for the week and completely transformed my playing of her music. Ig was lovely but incredibly focused and knew exactly what she wanted from her music. I loved working with her. I also got to play for Edward Mebius, whose beautiful 'Mirror' I sadly never got to play in the competition! Again, playing for Edward and hearing his reaction to my interpretation was invaluable - so many subtle changes were induced that transformed the piece!! Another highlight for my week and inspiration for months to come, I know.
One more composer that I got to meet during my trip was the capricious Carlos Michans - Argentinean born composer who settled in the Netherlands many years ago. We had such a fun meeting and I didn't have to play a note. It was like Christmas when he opened his bag and presented me with various scores...I shall say no more until performing this music is a reality, but that was a pretty dreamy moment, poring over freshly printed scores of great new music. I left that meeting buzzing and enthused, also!
Well, I cannot linger longer on the computer when I have a harp that is waiting to be plucked - plucked, and struck and maybe scraped! For tonight, Matthew, my harp IS......a flamenco guitar! For those of you who don't get the 'Stars in your Eyes' reference, sorry, but I am excited because this morning I am practising Baroque Flamenco by Deborah Henson-Conant.
Thanks for reading!
Eleanor Turner
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