אני תמיד מנסה להסביר לתלמידי היקרים שחשוב לתת סימן ברור למלווה – או ליתר הנגנים, ועל הסימן הזה להיות ברור…להראות את האופי, המקצב, הדינמיקה….
אז הנה דוגמא מופלאה למישהו שלא היה בשיעור הזה:
Performing ‘Early’ Music in the Age of Recordings:
National Styles and Influences in Performance – Then and Now
A conference on the study of performance, past and present, 13-14 October 2014
International Early Music Seminar in Tel Aviv
The Israel Conservatory of Music in Tel Aviv
Held in collaboration with the Music Department, University of Haifa, and with the support
of the Israel Musicological Society
Seminar director: Drora Bruck (Israel Conservatory of Music)
Conference convenors: Dr. Alon Schab (University of Haifa), Dr. Uri Golomb (Tel Aviv
Keynote speaker: Rinaldo Alessandrini
The second international conference on Performing ‘Early’ Music in the Age of
Recordings will be held as part of the 5th
Conservatory of Music in Tel Aviv.
The issue of national styles affects the performance of early music in two ways. On the one
hand, there is the issue of national styles at the time of composition – for instance, the
Italian and French styles in the 17th and 18th centuries, and their impact on performance
(including their effect on musical composition and performance in other countries, such as
Germany and England). On the other hand, there is the issue of national performance styles
in the past few decades, both within the early music world (e.g., the so-called Netherlands
School of Baroque performance, or the British collegiate choral tradition) and outside it
(e.g, the Lutheran tradition of Bach performance). The two issues can be related (as in
the debate on whether Italians have an inherent advantage in performing the music of
Monteverdi and Vivaldi); and the issue of composition style “then” can have a profound
impact on performance style “now” (e.g., the debate on the relevance of French inegale in
the performance of Bach’s music).
In general, there is a view that music performance in the age of recordings has become
increasingly uniform, that national schools have been marginalised and even endangered by
the pursuit of technical perfection and the homogenising effect of the recording industry.
Historical performance has been viewed as part of this phenomenon; but it has also been
greeted as a potential – and even actual – resource for preserving or revitalising distinct
This year’s “Performing ‘Early’ Music in the Age of Recordings” conference aims to explore
topics arising from these and related issues.
CALL FOR PROPOSALS
Proposals should be submitted by 20 June, 2014.
The programme committee encourages submissions within the following areas, although
other topics are also welcome:
1. The relationship between national composition styles and performance conventions
2. The relationship between local folklore and performance conventions
3. Performance schools within the Early Music Movement
4. Globalization and the Early Music Movement
5. Traditional vs. Historically Informed – mutual influences
Each proposal should contain:
1. Name and institutional affiliation
2. Title of proposed paper
3. An abstract (up to 400 words)
4. Short CV (up to 150 words)
5. Contact details
The conference will be held in English.
To submit proposals, and for further information, please write to:
Please include the word “conference” in the subject heading
Delegates to the concert will be welcome to attend a recital by Rinaldo Alessandrini
on October 11 (two days prior to the conference) and to attend master classes
given in the context of the International Early Music Seminar (Tel Aviv, October
Alessandrini’s keynote on October 13 will be followed by a concert by the Romanian
ensemble Flauto Dolce.
Read about Israeli composer Eyal Bat’s piece for rec. & piano, recently published and listen to a live performance of it.
G. Ph. Telemann – sonata in D minor (Re Minor) for recorder and BC http://t.co/c0rKc5o
In the last month I found myself teaching this recorder sonata twice to two different students, and playing it ,yself in a recital after a long time we (it and me) have been out of touch.
If you know this sonata, you shall probably agree with me that it certainly IS one of the masterpieces for recorder.
What makes this sonata so special?
I can make a list which would be rather long….the surprising beginning of the b flat (si bemol) over the c sharp (do #) in the bass – giving us this remarkably strong chord c#egb bemol, dictating a beginning of both instability and pain. the little phrases of the treble, creating, moreover, a feeling of breathlessness, of drama, of almost a tragedy..one to happen, or one that had happened already, the surprising melodic leaps, the fantiastically colorful chord…all these make this movement one of the most beautiful ever composed for recorder.
Then comes the Allegro – seemingly simpler – streaming on until the powerful unisono at the end of each half of it – showing us still how troubled we are….reaching out to the unorthodox Grave, in 2 parts, one agonizing, contemplating, the other continuing – because life goes on…to the gigue.
I do not know if that is THE interpretation…i do know that in each piece of music we play, we have to find our holy trinity..which will always be the middle points of three: the piece, the instrument, and us. We have to find a narrative that allows us to feel with all our senses, to which we can connect in many was – and then go on pour it into the music – and then, only then, will we be able to produce a true perfromace, and whatis true – is always good.
You who Dwell in the Gardens
Listen to this piece http://soundclick.com/share.cfm?id=4778612, while you read about it:
“You who Dwell in the Gardens” is a piece of spiritual longing.
My encounter with Drora Bruck inspired me to cast this longing into composing for an instrument that until then was a mystery to me – the recorder. Drora’s playing which has both a lot of conviction and a lot of love, significantly influenced the formation of the backdrop for the composition of the piece.
During our encounters Drora performed for me on all types of recorders and played CDs with a rich selection of recorder repertoire from the Middle Ages to this day. Slowly I became aware of the fact that I have been offered a gateway into a rich and fascinating world with roots going back as far as ancient days of magic spells and witch-craft.
It was only natural that Drora’s intimate and introverted playing, along with the subtle spark of her virtuosity found a path into my heart when I came to express in music the lover’s longing words to the mystical beloved lady of the Song of Songs.
For the musical language I chose the model of a single movement romantic piece written in free style and making use of transparent textures. I would like to note two musical influences that made essential contribution to the timbre of this piece: The first is Celtic music, where the recorder plays a significant and highly respected role. The freedom and large expanses of the piece are influenced by this direction. The second influence is east-European cantor music. Something in the longing and melancholy of that music found its way into this piece. I hope you will like it.
On the birth of the piece:
I first met Eyal Bat more than ten years ago. I attended the birthday of a friend, the clarinet player Noga Ben Azar, along with many other musicians, who did what musician usually do at parties – played music. At the piano sat a guy who played Beatles songs. He started playing “The Fool on the Hill” and when he asked: “Does anyone here have a recorder?” someone found for me a faded red plastic reorder with an old sound. After that song we continued with other Beatles songs.
I have heard of Eyal before, but it was only after we were done playing that we introduced ourselves, and from that moment on it was clear to us that we should make music together. The next meeting took place at my place in Tel Aviv, and we came up with the idea of selecting verses from the Song of Songs and composing music inspired by those verses. Then we sat down, with a Bible for each, and having selected verses we particularly liked, we were surprised to discover that we both selected “You who dwell in the gardens, companions are listening to your voice, let me hear it.” from ch. 8.
When Eyal invited me over after awhile to hear the first drafts I was delighted. Every time anew where a piece is created that I am part of, when something of me influenced its inception, I get excited like a little girl, perhaps because as a performing musician, the thing I create disappears almost an instant after it happens, and a piece written for me, inspired by me, is my only way to go on being after I have finished playing, and to be in it even before I started.
When I first heard “You who Dwell in the Gardens” – I fell in love. I was not yet sure then with what, I only felt the melody wrapping itself into my heart and caressing my soul. The premiere was performed in a memorial recital held in memory of the pianist Sara Fuxon-Heiman, who dedicated most of her working life to Israeli Music. On that evening, on October 1999 in Einav Center on the roof of Gan-Ha-Ir, Tel Aviv, Eyal himself accompanied my on the piano.
Over the decade that has passed since I performed the pieces in concerts, recorded it, and taught students who studied it. I freed that it grew next to me and flourished inside me, and I grew with it. Its complexity is intertwined with the fiber of my being and I grow with it and alongside it, and perhaps only now I truly understand it.
A few points to consider before performing it: For me this piece represents a process of self growth, a passage between different periods within the circle of life, while taking a journey of self discovery. With the opening D on the piano the player should illustrate the development that takes place throughout the piece. That is why it is important to know the entire piece and take it in before any decisions are made about any interpretation. The Phrygian mode and melody’s flexibility set the general mood for the piece and one should let the players’ intuitions lead them into a deeper understanding of the piece, not unlike the kind of understanding and acceptance that comes from a long running acquaintance of a close friend. The melody that appears in the first measures in the piano part, played by the right hand, then passes to the left hand, and now it is already familiar to us, and just as one can’t cross the same river twice, here in this second encounter, the melody takes on a new meaning: its texture is expanded by the number of notes sounding the melody, and furthermore our feeling changes by virtue of our earlier acquaintance. When the recorder enters it allows itself to ornament and celebrate around the melody, like a young girl celebrating the spring of her youth. When she is done ( C ), the piano takes her in, back into the somewhat mundane reality she’s trying to escape, takes her back to where she is supposed to be, to the serenity of the old and familiar, but she ( D ) colors reality with the rejoicing of youth. Her awareness is heightened, however she is still herself, still with the full intensity of her emotions. With maturity ( E ), comes a more sober outlook, and with them come peace and quiet and parting, with consent, from the previous movement.
Now something happens, with another sound, a different timbre, a different tension, until the renewed encounter with ourselves, with our first melody and with the old-new reality. In this reality we are something of strangers within our own bodies and withing the labyrinth of our souls. From this storm we return to the same ornaments, the same uniqueness, the same attempts to find ourselves anew until we find some consensus – both with ourselves and with reality.
This is of course the personal way I experience this piece, and obviously the interpretation is different for each performer, however, the qualities of “You who Dwell in the Gardens” and its beauty stem, in my opinion, from its affinity to some cosmic inner truth, the kind that each and every one of us can find themselves in after an exploration process – like every good piece of art.
Hoping that you will never stop to seek out and explore, that you will transform the exploration outside yourselves to an exploration within, and during the journey you will discover the unexpected beauty, the one that one cannot prepare to, that which is deep inside you and let yourselves be a little surprised.
Listen to the performance of this piece by myself on the recorder, and piano player Marina Minkin, recorded live in 2006, in the Jerusalem Theatre.
This article was kindly translated into English by Uri Bruck.
The solo sonatas of G. P. Cima were always close to my heart and my ears, since the frst time I had played them, over 15 years ago.
For years I have always picked these two sonatas as the first seicento sonatas to teach my students who wished to dive into the seicento repertoire, alongside the little more convetional 5 Frescobaldi Canzonas.
One can learn a little about Cima’s life in this article: http://en.wikipedia.org/wiki/Giovanni_Paolo_Cima
In their book “Italian violin music of the 17th century”, Thomas Binkley and Willi Apel write that he had worked in Milano since 1610, but had published his first collection of pieces in 1599.
The 2 sonatas were published in 1610.
You are invited to listen to the first sonata in an unfortunately unidentified recording:
I warmly recommend all of you to seek out and play these sonatas. Both are gems that sound brilliant on the recorder.