Thursday Doors was on vacation too, but it’s back now, with a fascinating post about artist Maud Lewis, and the 1-room cottage that she lived in and turned into a studio. As promised, my Thursday Doors are going to be about my recent trip to Germany and the British Isles.
The Berliner Dom, or Berlin Cathedral, had not been on my radar screen as a particularly joyful, beautiful, or even dramatic place. Lacking the romance of Notre Dame, the pagentry of Westminster Abbey, or the artistic genius of the Sistine Chapel, the Berliner Dom was just another fancy old building, dingy and always under construction. This photo, taken through a tour bus window, sums it up. Rows of leafless trees and a crane under a blackened dome complete the somber picture.
And I have to say, our recent visit didn’t completely dispel the aura of dark severity that surrounds this place for me. The sky was still cloudy and construction remains a fact of life in contemporary Berlin. But the Dom itself has become more open and welcoming.
The doors downstairs are quite diverse, some with glass:
Some with marble:
And the interior above the doors, which I never saw on my 1983 tour of East Berlin, is strikingly ornate and beautiful.
There are some rather boring wooden doors too, probably to offices:
And side-chapel doors, adorned with gold and light:
I thought it all got a bit more adventurous when we went upstairs to the dome itself. Here is where you could get lost looking for a way out.
Or where you might find a hunchback lurking around the corner.
Or some bees. Yes, this is really a thing! “Berlin is buzzing!” to call attention to the importance of pollinators.
There is also something very neat about being up near the roof statues that look so ethereal from below. It’s like being backstage before the show and seeing all the makeup being put on.
For example, this angel clearly needs a smaller viola. If she keeps playing like that she’s going to get tendonitis in her left arm, or worse!
I approached a security guard on the roof to take our picture. When I asked him in German, he lost his severe, dour look, and happily did us the favor.
Thursday Doors is a weekly feature allowing door lovers to come together to admire and share their favorite door photos from around the world. Feel free to join in on the fun by creating your own Thursday Doors post and then sharing it, between Thursday morning and Saturday noon (North American Eastern Time), on the linky list at Norm 2.0’s blog.
Do you ever get a sense of deja vu in music? Like you’ve been down this road before? And not just because of the repeats!
Much of my spring was occupied with preparing the Telemann viola concerto in G major for the South Bay Philharmonic’s concert on May 11th. It was the first time I had played a solo concerto with an orchestra. (I had had a small concertmaster solo several years ago with the Arlington Philharmonic, which was technically my first solo with orchestra, but that wasn’t a concerto).
After the performance I went on vacation to Europe for a month. My husband is German and we visited our friends and family there, as well as going on a British Isles cruise. I’ll be blogging more about the trip throughout the year. I’m back now and looking forward to a summer chamber music concert this Sunday, in which I’ll be playing . . . uh . . . a Telemann viola concerto in G major.
Yep. Did you know there was more than one? Telemann also wrote a double viola concerto, and it’s quite charming and very different from the concerto for one viola that more people know. A friend from the viola section of the SBP and I have the same viola teacher, and she put us up to learning it this summer.
This is one of my favorite recordings of the piece on YouTube, for several reasons. I especially like the energy level of viola 1, but I also like viola 2’s different, calmer approach. They are great foils for one another. Also, this version is only 7-and-a-half minutes long, all 4 movements. There is something about the essence of the concerto being distilled into less than 8 minutes that really appeals to me. You can try to blame modern attention spans, I suppose, but this piece was composed around 1740.
Interestingly, it was originally scored for two “violettas,” and it was composed shortly after Telemann returned from France. At least two of the movements have French titles. Read this paper from the American Viola Society to learn more. We’ll just be using two modern violas, with a cello continuo (my 15-yo son).
I haven’t made a Thursday Doors post for a few weeks because I’ve been busy preparing for and giving a concert, in which I played the Telemann viola concerto solo with the South Bay Philharmonic. With this post I want to introduce Thursday Doors readers to some forgotten or ignored doors in a musician’s life.
It’s a bright, cool California day heralding the coming of summer, and I am free until the evening. I slept well overnight, in spite of reading bad news about someone I knew a lifetime ago. I earned my certificate for completing the 100-day practice challenge last week. Regretful emails trickle in: car trouble, a grandson’s recital, an urgent sample to be analyzed, an unexpectedly long appointment. But my red sparkly Bolero jacket arrived from Jet unexpectedly early. And it fits!
Once, before a different performance, I dreamed of breaking my bow, borrowing a replacement, and running endlessly over hills and valleys that opened up in between me and the concert venue as the bow morphed into an archery weapon in my hand. But all these current ups and downs . . . I just watch them from a comfortable distance. The new black dress materialized; the professional make-up job did not. The peach cobbler I baked for the reception didn’t turn out well; the persimmon cookies did.
Either way, it’s time to go.
“Here we go!” That’s what our fearless leader and conductor of the South Bay Philharmonic uses as the subject heading on his concert week emails. At Foothill Presbyterian Church, the concert venue, they’re just setting up, getting ready to take tickets, and my musician’s pass is buried somewhere in my gig bag. “I’m not sure where it is,” I say apologetically. “But that’s me!” I’m on the sign. I take a moment to post it on social media.
I have a list of snippets to warm up, including shifts, string crossings, and the openings to the first and third movements. That list is today’s stick for the elephant trunk brain to hold onto. I made the list after the dress rehearsal, which wasn’t my best effort. I take my instrument out and stand on the stage where I’m planning to stand for the performance, look out, and play a few things from that list. I remember the low ceiling, pews, and decent acoustics from when I was here rehearsing with the harpsichord. Nothing has changed. It’s still mostly empty.
The first half of the concert will bring people on stage step-wise: a trio, followed by a quintet, followed by a septet, followed by my concerto with string orchestra. (The second half will be the full orchestra playing Dvořák’s Symphony No. 9). While this ascending sequence of prime numbers of musicians appeals to the nerd in many of us, it is also good for me personally: it gives me something warm up with, namely Dvořák’s “American” viola quintet, Op. 97, a thematic match to a concert featuring both the viola and Dvořák.
This still means a quick change for me though: play the quintet and then rush off somewhere to put on my red soloist jacket and get used to my Baroque bow again while the septet is playing. But where to rush off to? There is an AA meeting in the usual warmup room, so I cross an interior courtyard to put my stuff in a corner of the social hall and decide to eat the banana I tucked into my gig bag. The septet arrives while I’m eating the banana and starts warming up too. I can’t hear myself at all and I really need to practice the openings of the 1st and 3rd movements of Telemann. I haven’t done that yet, here.
Back out into the courtyard, the Beethoven septet fades into quiet. People are arriving now in earnest, but they’re mostly staying over in the main sanctuary. A few are hurrying towards the social hall to put away their cases. I set my electronic tuner on the bench around one of the courtyard trees and play the opening measure several times. I take my hand off the instrument, put it back on, and play a B again. I watch the tuner; the intonation is fine. I don’t know what was happening during dress rehearsal and I don’t really want to know. Whatever it was that was making me come in out of tune, the problem seems to be fixed now. I fixed it.
The wind blows and rustles my hair, the skirt of my dress, and the leaves of the tree where I am practicing. The sun is starting to go down, lengthening the shadows of the hurrying musicians. I am vaguely aware that someone, a friend, is taking pictures. I just keep playing the first movement. This is the last time I am going to be playing Telemann before the concert. It is the end of the beginning, and the light is turning to gold.
The quintet movement went well. At least I think so. I didn’t play it perfectly, and I didn’t play it badly. Dvořák wrote the Quintet while he was living in Spillville Iowa, immediately after the “American” Quartet, Op. 96. It is not played as often as the Quartet, and sometimes overshadowed. It almost didn’t happen at all when our 2nd violinist headed to the Middle East on a business trip, but we were able to engage a sub who learned the piece in 3 weeks and did a great job. Also, the viola 2 part was played by a cellist on an alto violin (more on alto violins another time, perhaps. But I’ll be sticking with the regular on-the-shoulder method of playing the viola for the foreseeable future!)
Back out to the social hall, put on the red jacket, visit the rest room and wash my sticky hands, take out and tighten my Baroque bow, check the tuning on my viola, and back across the courtyard again in heels. The septet is nearing the end, and I stand to one side of the stage with George, the conductor, as we prepare to go on.
Here’s the complete video of the performance:
For an encore, I prepared a spiritual called “I’m Just a-goin’ over Jordan” from Solos for the Viola Player by Paul Doktor. It’s a relatively simple melody, repeated several times in different octaves and with different dynamics and tempos. It takes advantage of the lonely, bluesy sound the viola can make. I played it as a meditation in church a while ago. To “go over Jordan” can be like crossing the River Styx in another mythology, to a better life in the next world. Would Dvořák still recognize, in today’s America, the “New World” he wrote of in his symphony?
I was asked, on Facebook, “what did it feel like to be on stage with an orchestra?” The first answer is “surprisingly unremarkable.” I wasn’t that nervous. The temperature was warm enough that my hands weren’t cold, and my bow didn’t shake. Mainly, I had a script to follow: 1. While the orchestra is playing and I’m not, look out into the audience and smile; 2. When the orchestra hits a predetermined passage, usually when it goes up in pitch and foreshadows the cadence, that means it’s time for the viola to come in soon, so I raise my instrument to my chin; 3. While I’m playing, focus my eyes on where my bow contacts the string; 4. When necessary, particularly when the orchestra comes in after the cadenzas, turn my head to look over at George and the cellos.
That was it. I followed the script, and it was almost like a tape, or a DVD, was playing in my head and through my hands. That was what it felt like to have world enough and time to prepare, to know a piece so well it that had become a part of me. Although I didn’t take risks or stray from the script in the moment, it was fun. And as I headed into the last repeat of the last section of the 4th movement, the thought came to me, “I might really get through this whole concerto without screwing up!” And I did.
When I said I had decided to perform the Telemann viola concerto from memory I was met with some skepticism.
“You don’t *have* to, you know.”
“I don’t think I could do that.”
“A lot of soloists nowadays are using the sheet music.”
“I’d want the sheet music there just as a security blanket.”
There’s a lot of overlap between shared experience and advice. It’s a general human tendency to believe that the lessons of one’s own experience are relevant for others too. But, as I’ve learned (from—ha—experience), it’s better to let the recipient decide how and why that is true. This blog is intended in that spirit.
In my case, I need to memorize.
In my day job, I am a neuroscientist. I worked for several years in biotech, then in academia as a project manager, and now in STEM education and outreach. I could go on, comparing different aspects of scientific and musical careers, but for now, this concerto performance is taking me back to my PhD thesis defense. At Stanford where I was a student, as at other major research universities, PhD candidates have to write a thesis, present their work in a departmental seminar, and then answer questions from their committee, which comprises several professors in the student’s field of research.
My thesis committee members were intelligent and kind, and my thesis consisted largely of putting together three already-published papers and two manuscripts in preparation. I didn’t expect to fail based on my scientific work. But I did have these nagging thoughts that I could fail based on my presentation of that work. I had a history of performance anxiety and self-sabotage. There were the points lost from school reports because I read them verbatim from note cards. And the speech I gave for my failed run for student council. An All-State audition in which Mozart’s Violin Concerto #5 reduced me to tears wasn’t any better. And then came the worst one of all: the disastrous audition for the University Orchestra my freshman year in college that started me down the road to quitting the violin.
But there was a glimmer of hope in grad school, and it lay in the results of memorization. A few years before my thesis defense, I gave my first talk at a major scientific meeting, the Society for Neuroscience meeting in Phoenix AZ. My 10-minute talk was scheduled, along with two others from my lab, in a session starting at 9 am on Monday morning. The night before, I paced an empty hotel conference room, memorizing my talk word for word. One of my lab-mates had suggested I do this. She was older than I, a postdoc and a rising star in the field, known for giving good talks. And she let me in on a secret: she still got nervous. Like, really, really nervous. But these talks were only 10 minutes, short enough to memorize, and that helped her. It might help me too.
I had about 10 slides and so first I memorized the order of the slides, then I chose a visual cue on each that would remind me of the slide to come. When I changed to the next slide I oriented the audience to what they were seeing and then gave the slide’s important message. Then it was time for the transition to the next one. This mental map of order of slides/visual cues/transitions/important message was something for me to hang onto and think about, even as the storms of anxiety raged.
The next morning busses from the hotels were crowded and we almost didn’t make it to the convention center in time. With over 25,000 neuroscientists in attendance from all over the world, this conference is so big that only a few convention centers in the country can handle it, and this particular meeting took place before the Society figured out that Phoenix wasn’t one of them.
The logistics were in disarray; attendees were packed into the ballroom like sardines without enough chairs and the podium lights weren’t working properly. My mentor was first from our lab to give her talk. I watched as the podium light went on and off randomly but she continued to speak calmly. The projector functioned, but there was no pointer available, laser or otherwise, and as she stepped back to the screen to point at something on one of her slides, she disappeared entirely. In the dark, she had missed the edge of the podium and fallen off. The audience gasped. She re-emerged, uninjured, climbed back up and finished her talk. Her voice shook but she got it under control. The podium lights came back on sometime near the end. The timing bell rang, people asked questions.
And then I was next. I took the stage wondering what fresh hell awaited.
My own talk went off without incident. The lights, and the laser pointer, and everything else were up and running by then thanks to the hardworking convention staff. I was hyper-aware of where the edge of the podium was. I knew my talk well. I’d just witnessed one of the worst things that could possibly happen during a talk, and I knew it was survivable. My friend’s preparation, the fact that she knew her talk backwards and forwards, had made the difference.
Several years later, when I was giving my thesis seminar, I had this experience to think back to. My seminar was about 5 times longer than the little 10-minute meeting talk, but I still approached it the same way: slides/visual cues/transitions/important messages. I just had more slides. I ran through them mentally, over and over again. The order was comforting; it was the stick I gave the trunk of my elephant brain to hold onto.
Concertos don’t use slides or projectors to deliver their message, which is different from a scientific talk. But certain principles still hold true. First of all, having note cards, prompts, or the sheet music “just in case” isn’t going to work for me. If I know it’s available I’ll lean on it. I’ll steal a look and then start reading it verbatim. Instead I need to be prepared to look inward, not outward, even–or perhaps especially–for that cue to keep going when I stumble.
Of central importance is something that Meditation Instructor Eknath Easwaran called the stick for the elephant trunk.
The human mind is rather like the trunk of an elephant. It never rests. It goes here, there, ceaselessly moving through sensations, images, thoughts, hopes, regrets, impulses. Occasionally it does solve a problem or make necessary plans, but most of the time it wanders at large, simply because we do not know how to keep it quiet or profitably engaged.
Easwaran goes on to recommend the mantram, a spiritual formula in the form of a word or short phrase, to steady the mind. This is a subject of study for a lifetime. And I am not naturally a great meditator; sometimes when I try, it puts me to sleep. Furthermore, I find words themselves to be an awkward fit for a steadying mental substrate.
My mind gravitates more towards deeper non-verbal sensory experiences: pictures, kinesthetic feelings, and music. It is those sensations that I string together as another kind of mantra. Not power point slides this time, but bridges, ladders, and lattices. Finger patterns, and arpeggios climbing to the sky before sliding back down the other side of the bow. The deep purple of the C, the forest green of the G, as I put bow to string.
Growing up and as a student, I didn’t view violin soloists as regular people. They were a breed apart, and they played music that was so far out of my reach that I couldn’t even imagine it. Otherworldly images on album covers and in galleries tended to reinforce this notion. I find these images beautiful, but more intimidating than not.
Back in Massachusetts when I was in the Philharmonic Society of Arlington, we had a cellist whose day job was graphic designer. He made the posters for our concerts. They were lovely: colorful, artistic, ornate and a little quirky, like the orchestra itself. It was always a treat to see what the poster would look like a month before the concert rolled around. And we were fortunate: he donated his services for free.
One aspect of graphic design that these posters never had, though, was photographs of people’s faces. We were a volunteer organization and we sometimes had competition-winner soloists whose pictures we used for online and print publicity, but the posters were different. I had a short concertmaster solo one year, in the Tchiakovsky “Mozartiana” suite, and while I told all my friends and family and they brought me flowers at the end, I wasn’t on the poster (much to my relief!)
Then last year, after moving to California and becoming an almost-full-time violist, I had the privilege of being in a different orchestra, the South Bay Philharmonic, accompanying the concertmaster, Gene Huang, on the Mendelssohn violin concerto, and the principal cellist, Harris Karsch, performing the Popper Hungarian Rhapsody.
I also play with them in a quintet, and seeing my own chamber music partners perform major solo works was an inspiration to me. This time, unlike with concerto competition winners who might fly in only for the dress rehearsal and concert, I was able to hear the pieces at the beginning, before they were polished. While the final product was amazing to watch and listen to, I also saw how much time and work were needed to get there. They prepared these performances while holding down full-time Silicon Valley tech jobs, as well as the regular ebb and flow of weekly orchestra rehearsals and weekend chamber music get-togethers.
As befits its origins at Hewlett-Packard, the SBP, now an independent orchestra, calls itself an “Open Source Symphony.” A lot of the publicity is online, but they also print out business cards for members of the group to distribute. When I first saw these, I kind of wondered what to do with them, and in particular it struck me that they had photos of faces on them, not just of composers but of people I knew. “How does it feel to see your face on a card?” I asked. I don’t remember the response, exactly, but it was something like “it was a little weird at first, but I’m getting used to it.”
Or maybe I’m projecting, because that describes just how I feel. The original design of the card had my face next to Dvořák’s portrait, but I felt a little uncomfortable with that. Instead I suggested this picture of Yosemite Valley, to represent the “New World” of the symphony. The blue of the sky is nice and color-coordinated with my dress and the orchestra’s logo. My daughter, who is now a freshman in college, took the picture of me with my viola in the backyard while she was home for spring break.
I’ve been giving them out to friends, other musicians I know, members of my writers’ group, people at church, even coworkers. It still feels a little odd to see my face there on a card. Proud? Happy? Sure, but that’s not all. Nervous? Anxious about “putting myself out there?” Yeah, that too. It’s not a bad feeling, but I struggle to find the right words. It is not a feeling I’ve ever had before and not something I expected when I picked up the violin again, and then the viola, more than 10 years ago. A new feeling. A new world.
If I had to pick one thing that has made my musical journey more fulfilling now than when I was younger, it would be this: low-stakes performances. I was a shy child, and I regarded performance not as a reward for a job well done, but as an opportunity to be put on the spot. That I didn’t perform much under such circumstances was probably a kindness. But it meant that any single performance was elevated to high stakes in my mind, ensuring that any anxieties and insecurities I had would be self-fulfilling.
What changed? I’d like to say the change was all in my attitude, and much of it was. But there’s also a positive feedback loop triggered when you have a good performance experience in a low-stakes venue. Even if you know you were in a wading pool, a friendly audience, positive comments and smiles, and an adrenaline rush that does not dissolve into a flood of cold hands and tears, are memories you can count on when you head into deeper, rougher waters.
So. I hear the rapids gathering downstream as May 11, the date of my Telemannsolo, approaches. As of this writing I’m at day 70/108–quite a bit over halfway there–which is a little scary. Where did the other 69 days go?? Sharing videos in Facebook groups is nice, but I could still use some real practice performances. Where do you find such opportunities, especially as an adult student?
On the advice of my teacher, I was able to schedule playing Telemann in two church services, one for movements 1 and 2, and another for movements 3 and 4. Movements 1 and 3 are slow and work for a meditation; movements 2 and 4 are cheerful and sprightly and work for an offertory or prelude. And none of them is too long. The service with movements 1 and 2 took place in mid-March.
In spite of feeling like I knew the piece pretty well in my practice room, when I got to the first rehearsal, it all flew out of my head. Libby, the church pianist, is a real pro, a teacher, and an experienced accompanist. She had some helpful suggestions that I just couldn’t process the first time I heard them. Such as, “take your time, don’t rush.” What, was I rushing? . . . it’s hard to *not* do something that you weren’t doing in the first place . . . But, when I listened to my recording the next day, sure enough, it did sound rushed after all. Perceptions of time and space, and even of sound, are more different in the moment, in different contexts, than I would have expected. This makes recording, and the ears of knowledgeable colleagues, even more valuable.
My goal is still to be able to play from memory, but I used the sheet music in the service. It went well, in spite of various logistical challenges that had the minister running around until the last minute. The guest speaker was quite interesting too and took my attention off myself while I was waiting to play. Although I played decently, I did muff a shift at the end of the 2nd movement and played an open D instead of an A for 3 notes, but I got back on track and nobody seemed to notice. It became clear that at least at a church service, nothing was primarily about me, and all the little things I worried about were just not that important.
The following weekend, I played a movement of the Harold in Italy viola solo with a reading orchestra called TACO (the “Terrible Adult Chamber Orchestra“). One of my viola colleagues in the South Bay Philharmonic is the husband of the TACO conductor, and they organized a special session of TACO focusing on the viola. I couldn’t play Telemann again with them because it’s only for a string orchestra and TACO has winds and brass too. So I worked on the 3rd movement, the Serenade, in which a Mountaineer from the Abruzzi region sings to his mistress. This is a very pretty movement, but according to the program notes I read, Harold (as represented by the viola) is unsatisfied with what he sees and hears in the pastoral scene, and in the next movement he gets swept into an orgy of brigands.
This experience too was less about me than I might have feared. The afternoon opened with viola jokes and segued into birthday cake. The Harold in Italy movement was indeed challenging to put together in an afternoon, but it really didn’t matter that I had decided to just play the upper note of some of the fingered-octave double stops rather than risk repetitive stress injury to my 4th finger. What mattered was meeting some new people, celebrating the viola as an instrument, and having a good time playing with people who love music and playing together. I also got a viola clef T-shirt, perfect for wearing to rehearsals!
Even as an adult, I have a complicated relationship with performance. A few years ago I blogged about the potential development of an unbalanced “performance self” of a child who feels his or her worth is founded only on ability and accomplishment. Psychologist Lisa Miller offers the “spiritual self” as a counter to this limited worldview.
Although I personally find playing in church very rewarding, I don’t think a musician has to go to a place of worship to develop his or her spiritual self. It can be encouraged and fostered by steps such as meditation, prayer, or long walks in nature, and modeled by such traits as caring for others, empathy, and optimism. Practice performances like these give me a chance to give both selves, spiritual and performance, something they need. I think that the goal (probably a lifelong one) is to integrate the two and become a more complete musician.
This is the second year that the Musicians of the Utah Symphony (MOTUS), led by their music director Thierry Fischer, have gone to Haiti to teach young musicians there in an orchestra institute. Last year’s institute received coverage in The Salt Lake Tribune, the Deseret News, and others.
Fischer said the students’ work ethic and eagerness to learn quickly dispelled any qualms about “talking about intonation when they don’t have a roof over their heads.” Beyond musical technique, he hopes the lessons learned at the institute strengthened skills and traits the students can use throughout their lives: “persistence, consistency, determination, discipline.”
–Salt Lake Tribune, April 30, 2017
The Utah Symphony musicians are in Haiti right now for this year’s Institute, and are blogging about it here on Tumblr: MOTUS in Haiti.
A violinist friend of mine, Kate Little, pictured at left and on the Tumblr blog, collected used-but-usable strings to be sent along with the musicians in their luggage. The climate in Haiti is such that strings deteriorate quickly, so they can make good use of our old used strings that are still in decent shape.
Kate put out a call for strings in some online music groups that I am a part of and I collected them from friends and teachers and sent them on to Kate, who gave them to the traveling musicians to take in their luggage.
The collection of strings pictured here is a selection of what was donated by friends I play music with in local community orchestras. It includes violin, viola, and cello strings! My son’s cello teacher also gave me a large envelope containing strings, collected from her professional colleagues and her own closet.
The orchestra under Maestro Fischer is currently rehearsing Tchaikovsky’s 5th symphony!
“We Are the World Blogfest,” posted around the last Friday of each month, seeks to promote positive news. There are many oases of love and light out there, stories that show compassion and the resilience of the human spirit. Sharing these stories increases our awareness of hope in our increasingly dark world. The #WATWB co-hosts for this month are: Belinda Witzenhausen, Sylvia McGrath, Sylvia Stein, Shilpa Garg, and Eric Lahti. Please check out their posts and say hello!
I thought I had everything I needed to perform the Telemann viola concerto in May. I have a viola, I have a bow, I have the green-covered music. All the orchestra parts and a score can be downloaded from IMSLP.
But I keep finding new things to play around with.
1. A Baroque Bow. A couple of years ago, in response to the interest generated by this blog on violinist.com, I asked for and received a Baroque bow for Christmas. But after a few brief experiments, it never came out of the violin case. Was this just another one of those Christmas gifts that looks better under the tree?
It was a couple weeks into learning this concerto that it occurred to me to try the Baroque bow. In the article, Laurie Niles says that “it is much easier to play string crossings, certain gestures, double stops, voicing, etc. with a Baroque bow because of its unique shape and nimble nature.” The Telemann has all of these, and I when I did a one-after-another comparison between the modern and Baroque bow, I heard the tone improve with the Baroque. I was also able to easily perform a Baroque-shaped stroke, with the emphasis on the beginning of the note and a dying away at the end. Even though it’s technically a violin bow, I didn’t feel that I had a problem generating a robust, even sound. I didn’t even think the bow needed re-hairing.
2. Baroque tuning (A415). Ummm . . . no. Modern orchestras tune to the note A at a frequency of 440 Hz (A440), or even higher. But Baroque orchestras generally tuned a half-step lower than we do. In fact, when I was looking for recordings of the viola concerto, I found many that were performed with Baroque tuning, for example this one here:
This recording, by a group called the Juilliard415 ensemble, is a historically informed performance that uses Baroque instruments (not just bows) and pure gut strings. I enjoyed listening to this, especially the improvised ornaments added by the soloist, but I’ve made a conscious decision not to go all the way down this route. For one thing, I don’t own a Baroque viola. And, I’m not interested in giving up my chin rest.
I’ll also be playing in a moderately large church sanctuary with a larger orchestra than this one, and I’ll need to project. My modern viola with Evah Pirazzi strings can do this. Finally, the concert program also includes two Dvorak pieces, the “American” Quintet (in which I’ll be playing viola I) and the New World Symphony. These aren’t going to be in Baroque tuning. “Don’t do that to the orchestra!” pleaded the conductor. Okay, I won’t. But I did try tuning my viola down to A415 in practice and I thought it sounded mellower and the notes on the A-string didn’t stick out as much. Which leads me to:
3. Wound-gut A-string. I have new Evah Pirazzi Gold strings on my viola now, and I like them. Their core is made from a modern synthetic multifilament fibre, and they are rich and strong and project well. But the A, the highest viola string, sticks out in string crossings and is sometimes too loud or too strained or both. So I put a Passione wound gut A-string on my viola two days ago. It is not particularly mellow but it is sweeter and sounds less strained than the Evah Pirazzi Gold. I’m still letting it settle in, but I think I’m going to keep it.
4. Cadenzas, Tuttis, and Editions. The cadenzas I am performing were written by Milton Katims. They are in the International Edition. I like the way they sound and they are non-trivial in terms of difficulty. I will just note that it is really hard to find recordings of these cadenzas. Everyone has their own and everyone seems to have a different one. This set of recordings, which seem to have been made by a viola teacher for his students, are quite good in terms of the solo part and have the Milton Katims cadenzas, but they don’t have any accompaniment, so they’re not that useful for playing along.
There is also disagreement about whether and how the soloist plays along with the orchestra in the Tutti sections. For example, the concerto is in one of the Suzuki viola books, and that edition has the first movement’s ending Tutti written out for the soloist to play too. My edition doesn’t have that; it has rests for the soloist. But my version of the 2nd movement has the soloist playing its ending Tutti along with the violins, in their octave in 5th position. Whereas the Suzuki version has it written out an octave lower for the soloist.
I decided to play all the ending Tutti sections. It’s one thing to be standing waiting to come in while the orchestra opens the piece, but in general I’d rather be playing than standing there. And as for playing fast 16th notes and string crossings in 5th position, I can do it. Go big or go home. 😉
5. It’s all in the wrist (except when it’s not). I tend to like to bow from the wrist, and I have a good flexible wrist that helps me play fast and do bariolage (both of which I love to do, especially with the Baroque bow), but too much of that can get in the way of a nice, smooth, legato tone. In fact, using my wrist too much–with virtually every bow change–can lead to crunching. So, I am playing a bit more from the elbow and arm and trying to keep the tone more smooth and even.
6. Recording myself. I’m a member of several Facebook groups that focus on playing stringed instruments. More on this later, but one thing these groups have in common is recording yourself and sharing the videos in the group. I have shared a handful of videos on my blog in the past, but those have usually been performances, not “warts and all” practices, and truth be told, even though I recognize its value, recording myself has always made me nervous and uncomfortable. I hate watching myself on video; it’s like a constant cringefest.
But with these Facebook groups the process is getting to be a little easier. They are closed groups so the videos are only shared with people who signed up for this and are in the same boat themselves. One group has a rule of no critique or advice unless explicitly requested by the original poster. They all encourage posters to be positive and supportive of each other. So I’ve been doing it: recording myself almost every day and posting it to Facebook. I am getting caught up enough in the process of recording–of setting up the tripod to hold my phone, of working out the camera angles, of just deciding what section or concept I’m going to record and post today, of writing a little blurb about the video, of uploading and making sure it’s in the right group and not on my general feed (ack!)–that I don’t have time to be nervous anymore. I have work to do, and the nerves just have to go away and let me do it.
Rehearsals start with the orchestra next week. Ready or not.
I’m in a lot of online violin and viola groups. It all started for me back in 2006 with violinist.com, a website edited by violinist and journalist Laurie Niles, devoted to the idea that “you can’t say enough about the violin.” When I joined, it was already an ambitious project, but still relatively small. If you hung around on the site for a while you soon got to know most of the regular posters. I started blogging there in the fall of 2006 when I started playing the violin again after a long break and added the viola.
Since then the internet has exploded as a medium for meeting other musicians online. There has been a YouTube symphony orchestra. Violin lessons via Skype are commonplace, and Facebook groups abound, where players of all ages and skill levels share videos and support. I have found myself a member and sometime moderator of a number of these groups, and I have met great friends there. In fact, when I moved to the SF Bay Area a couple of years ago, I found out about all the groups I play with now IRL, online. I wouldn’t have imagined any of this back the first time I was playing the violin, as a child and teen.
In fact at this point I am in what would probably be described as an embarrassment of Facebook-group riches. I’m not sure I can even remember all their names. (I’m a moderator for one of them, so I remember that one, at least.) I see many of the same friends in multiple groups too: some are violin- or viola-centric, some are for adult starters and re-starters, one is focused on the Alexander Technique. Then I got added to the “100-Day Practice Challenge.” A little overwhelmed, I hid the notifications and was thinking about just signing out of the group. And then I went to orchestra rehearsal.
One of the orchestras I play with, the South Bay Philharmonic, is an all-volunteer group that I found out about when a friend from violinist.com, Gene Huang, let me know about it on my blog when I announced I was moving. I looked it up then and found that they rehearsed around the corner from my new house. It took several months before I became a regular member, but once I did I was hooked. The SBP evolved out of the Hewlett-Packard Orchestra, and there are still some H-P employees playing with the group, but it is now independent. Scientists and tech nerds are heavily represented among the musicians, so I fit in well!
An aspect of the SBP that especially appeals to me is the “open mic” portion of the concerts, shorter pieces played by small chamber groups, and full chamber music concerts. I’ve played in several of these, most recently a performance of the Schubert Cello Quintet. Gene Huang, who is the concertmaster of the SBP, has performed the entire Mendelssohn violin concerto with the orchestra, and our principal cellist, Harris Karsch, performed the Popper Hungarian Rhapsody with orchestra last spring. The concert we are currently preparing features tubist John Whitecar playing the first movement of the Gregson tuba concerto, and there were rumors of a bassoon concerto on the spring concert.
Watching my friends perform solo repertoire with the SBP got me to thinking: could I do this too? I have never performed a concerto for anyone but a private teacher in the past. Several years ago I came close when I played the concertmaster solo of Tchiakovksy’s “Mozartiana” suite with the Arlington Philharmonic. I’m a violist in the SBP, and there are fewer of these types of solos for viola, and fewer concertos. (Our conductor likes to joke about this fact). There is one, though, that is decently well known: the Telemann viola concerto in G. Here is one of my favorite recordings: Yuri Bashmet playing it on a modern instrument with modern tuning.
I have played it in various situations over the past several years as I was learning the viola. It’s quite charming to listen to and not that technically difficult, either for soloist or orchestra. I played it through once with an informal chamber group I read music with on weekends, and it went okay. So when the SBP’s outgoing music director asked for suggestions moving forward, I stepped up and volunteered. The process was made easier when I thought the actual performance would be a ways in the future: when we had exhausted the repertoire the director picked out before he retired and moved to Texas.
Then came the fateful orchestra rehearsal. The bassoonist who was going to perform this spring had a conflict with a paying gig with another orchestra. She wanted to postpone. Could I do the Telemann sooner? Um . . . sure?
I went home and counted the days until the concert (which will be on May 11 2018): it was 108. Suddenly the 100-day practice challenge took on a whole different meaning. That evening, I made my first post.