Weekly Report, #30. “Further analysis of…”

Score Study: …Strauss oboe concerto. Would you believe me if I wrote that?

Piano: scales, scales, scales, Haydn, scales, scales. Haydn!

Music Theory/Harmony: I’ve spent last week mostly coming up with various contrapuntal lines and then discarding them as “nothing compared to maester Bach”. Perhaps I should find another role model for entry-level composition.

Reading: next week! Please forgive me for this extremely slim posting, but these are superbly busy times.

Weekly Report, #29. Scales and… Scales

Score Study: further analysis of Strauss oboe concerto, first movement.

Piano: scales have became my favourite exercise. This is what happens when you assign student utterly boring music. I’ve also did a repetition of – somewhat rusty these days – Haydn sonata.

Music Theory/Harmony: aural analysis of harmonic progressions, intervals, chords, singing back and describing motifs (from Bach’s DWK!). Also, analysis work on basic variations form (Beethoven, Six Variations on ‘Nel cor piu non mi sento’, WoO 70) and dissecting Chromatic Invention from Bartok’s Mikrokosmos.

Reading: Zofia Lissa. Zarys nauki o muzyce (Study of Music. An outline).

János Starker on Conductors

Conductors are the most overrated people in music.

Still, it’s a splendid job. Read a great, reminiscent article about late János Starker here. It seems that an awful lot of excellent musicians are passing away these days…

Weekly Report, #28. Tonic, Dominant, Tonic, Dominant

Score Study: I’ve been reading a score of Strauss oboe concerto first movement and reading/listening to various analyses of Brahms 4. symphony (including quite cool Bernstein analysis recorded in 1957 for Decca).

Piano: …is not going great! Actually, I’m kidding – progress is steady and decent. Scales got expanded to two-octave in various movements, dynamics and articulations – I’ve got many exercises to stay occupied with. I also seriously hate sonatinas by now and want my Haydn (aka music that employs more than two chords per movement) back.

Music Theory/Harmony: I’ve been writing contrapuntal piano piece mentioned last week. Still in progress. Besides that, reading up on and learning about musical form throughout history.

Reading: Hector Berlioz. The Conductor and His Art. So, apparently Berlioz was a kind of subdivisions nut. For the most part, his essay is concerned with various ways that conductors can ruin music by inexpert subdivisions of beats. Rest discusses phrasing, basic technique and various obscure things which are quite shocking to us these days (conducting with back towards orchestra, anyone?). Interesting, but mostly outdated, though it makes a good historic source. As far as the essence goes, I’d read it rather as a survey of great composer’s musical opinions and ideas than stick waving manual. Try it for yourself.

Pronounced [Do-bro-vane]

Issay Dobrowen - born 1891 in Russian Empire – is a figure very much forgotten as a composer and only slightly better known as a conductor. Slightly, because, sadly, he is not that recognized in stick waving business either, despite being an excellent interpreter of mainly Medtner’s œuvre. In his day, he made a solid name for himself in both Norway and USA where he got famous also for shunning rehearsals, an activity which – as Times critic noted – “bored him”. Unfortunately, his name has mostly fallen into obscurity after his death.

Similar fate has befallen his masterpiece - Piano Concerto in C sharp minor, Op. 20 (written 1926). A fine pianist, Dobrowen played concerto himself in several countries, but it wasn’t until recently that more serious interest in this piece aroused. And while not being revolutionary, it’s certainly is a work worthy of occasional performance alongside tried and true Rachmaninoffs et al. Lush, tuneful and quite expertly orchestrated – in many passages resemblance music of Medtner and other neo-romantic Russian composers is rather clear. If you like your Rach 2, buckle up for an enjoyable ride:

 

 

There are not many options to choose from, recordings-wise. Actually, I think there is only one, which luckily is very good. Credits go to: Jørn Fossheim, St. Petersburg Philharmonia Academic Orchestra, Alexander Dmitriev and you can buy it here.

Weekly Report, #27. Contrapuntal Clementi

Score Study: I’ve spent some time on Prokofiev, mostly reading score and getting a proper taste of it. Meanwhile, I’ve set up kind of project for myself – to pick a Classical/Early Romantic symphony and, well… study the shit out of it. I want to perfect my score analysis approach, try out new ideas that I’ve developed for phrasing/form analysis, maybe also do some solid harmony work on it. A vista reading of individual parts also would be a good practice.

Piano: …is going great! Another set of drills, scales, and two sonatinas to prepare, one of which is classic Clementi. We’re supposed to do a quick run through it and go back to my favourite Haydn XVI:16.

Music Theory/Harmony: standard stuff. Identifying chords, intervals and melodic patterns by ear, aural analysis of harmonic progressions, and singing back melodic motifs. At my urging, we’ve also branched out into theory of composition in quite an awesome way – by studying excerpts from Kunst der Fuge and Ludus Tonalis. Mostly in terms of thematic work, transformations, development and how to apply counterpoint in various musical idioms, but also in terms of general genius that infused those pieces of music. After that I’ve got an assignment due for the next lesson: write contrapuntal piece of my own. That strangely coincided with my personal composition plans, so using new tools acquired – I’ve set out to work.

Reading: revisiting ABC form muzycznych [ABC of Musical Forms] by Danuta Wójcik.

Introduction to Music Production

This post is, admittedely, somewhat out of general theme, but I think it might be an interesting thing to put out here. Long story short: I’ve recently completed Introduction to Music Production course offered by Berklee College of Music on almighty Coursera. Part of it consisted of creating weekly assignments in form of short pieces on various elements of music production process, hence nice archive has formed.

You can access it here, if you’re interested. And you are most welcome.

Weekly Report, #26. Scribblings

Score Study: I’ve been reading through the score and reflecting (sounds very philosophical) on Prokofiev’s first violin concerto. Conclusions so far: instrumentation is nothing short of amazing.

Piano: lessons are going on mightily well – another set of exercises had been given, this time to make fingers respond to desired subtle dynamic changes. Sonatinas are in the mail.

Music Theory/Harmony: slow, slow week. I’ve been drafting a chamber arrangement of Myaskovsky’s piano piece, but it’s rather fun/creative so putting it under “music theory” section doesn’t seem fit. Stab.

Reading: Witold Lutosławski. Zapiski [Scribblings]. This is a personal notebook of Witold Lutoslawski currently stashed at Paul Sacher’s Foundation Archives. It has been finally pressed by Lutosławski Society in 2008. It is speculated that notebook was started somewhere at the intersection of 40s and 50s and the last entry is dated 1984. Consisting mostly of sketches and projects inter-weaved with Lutoslawski’s thoughts, ideas and explorations, it really is a great window to the inner world of one of the greatest composers of 20th century. Certainly in Poland! Much recommended.

Here and Now: Interview with Łukasz Borowicz

Let’s face it: Poland is not the first place you think of when wondering about young, capable and innovative conductors. But instead of ruminating about this state of affairs, I want to present readers with an interview with Polish musician who is all of that, and much more (and who graciously agreed to answer a few questions about his work). Chief conductor of Polish Radio Orchestra, sensitive interpreter of operatic repertoire, foremost explorer of unknown musical grounds and just a terribly nice person. Ladies and gentlemen, Łukasz Borowicz.

[Polska wersja rozmowy znajduje się w tym miejscu. Zapraszam!]

 

fot. Justyna Mielniczuk

 

1) Last year you’ve conducted “King Roger” by Szymanowski in Bilbao. Could you tell us something more about this event? Will “King Roger” travel further?

Production of “King Roger” was my musical dream and I am happy that I was able to realize it in such a fine company: lead singer Mariusz Kwiecien and director Michal Znaniecki. It wasn’t the first time that “King Roger” was played in Spain – it was programmed in Barcelona earlier. Our performance took place in Bilbao Opera House, with Basque National Orchestra. Piece reception was incredibly warm and local choir sang with utmost Polish enunciation. Respect and awe exuded towards the music of Karol Szymanowski really inspired us. There are talks currently in progress about further stage life of this production and I am almost certain that very soon I will be able to invite listeners to another premieres.

 

2) Symphonic programming still remains a fairly conservative genre. You, on the other hand, are well-known for unearthing and indefatigably promoting many previously unknown, splendid compositions. What inspired you to commit to such endeavour?

Curiosity, unwillingness to copy ideas of other people. Moreover, it is a passion of mine to discover forgotten works of music, especially Polish music. My work with Polish Radio Orchestra made it possible to direct listeners attention towards works such as: “Maria” by Statkowski, Dobrzyński’s “Monbar”, “Zaginiona jaskółka” ["L' Hirondelle inattendue"] by Laks, or Grażyna Bacewicz’s “Przygoda Króla Artura” ["The Adventure of King Arthur"]. Also, symphonic music by Noskowski, Stojowski, Brzowski, Dobrzyński and many more composers.

 

3) Polish music has long operatic tradition. Do you think that amongst lesser-known Polish operas there are gems hidden that deserve a comeback not only to the local scene, but to the standard repertoire as well?

Of course! Worldwide career of “King Roger” would be the best proof – nothing short than few years ago no one would expect that to happen. I am very happy that I will be able to conduct a premiere of Statkowski’s “Maria” in Baltic Opera. I believe it’s another opera which spotlight is approaching quickly. Queue consists of neoromantic operas, especially “Legenda Bałtyku” by Nowowiejski. I dream of a renaissance of Kurpiński operas performed on period instruments.

 

4) You have just finished your Japan tour with Prague Symphonic Orchestra and pianist Ayako Uehara. Have you found any new additions to your already famous classical music cd’s collection?

I’ve brought home many cd’s: mainly Japanese editions of Deutsche Grammophon discs (Kubelik, Abbado), many Denon issuings unavailable in Europe (Eliahu Inbal performances). I am especially fond of Japanese edition RCA recordings made by Fritz Reiner.

 

5) What can we expect from you next? Could you reveal some plans and projects for the next season?

Most currently, a disc with piano concertos by Zelenski and Zarzycki performed by Jonathan Plowright (BBC Scottish SO) came out and pretty soon two recordings of Piotr Beczala will be released – I was most honored to accompany him with Polish Radio Orchestra (“Verdi arias” – Orfeo) and Royal Philharmonic Orchestra (“Tribute to Richard Tauber” – Deutsche Grammophon). In a very short time I will also launch my official webpage, which will be used to inform listeners about current performances and projects. Meanwhile, I invite everyone to follow my facebook fanpage.

Sir Colin Davis (1927-2013)

 

“Conductors are paid to think, and that’s what the job should be about: sitting at home thinking, what is this piece? How can I set it up to sound its best and live on, because there’s nothing to replace it with just yet? This is what absorbs the mind.”

- Sir Colin Davis