4th Post: Christian Wolff report + observations

Christian Wolff concert - 24 April 2013

I didn't get the chance to speak with the composer but I am going to interview performers Leah Asher and/or Batya McAdam-Somer and Professor Charles Curtis, all of whom had the chance to work & perform with Christian Wolff on several of his pieces. 

The performance itself: must admit it was difficult to sit through, not for lack of performance abilities (so much talent on the stage!!) but because the pieces themselves were difficult to understand.  For concerts primarily of New Music I always appreciate extensive program notes but in this case there was basically nothing.  I found out too late about the panel discussion with 5 faculty members + Christian Wolff on 23 April 2013 but hopefully I will be able to get some more information from Charles Curtis (who mediated the discussion).  The philosophy behind the composition would be good to know because all I could tell from the performance was that there was a lot of improvisation & extended instrumental techniques involved. 

I did not find the performance itself alienating but I did notice several (well, many) people walk out mid-way through pieces, not even bothering to wait in-between them.  I don't know if they all had commitments at 9:30pm on a Wednesday night but it was clear that several were there hoping for a classical piano performance of sorts and were pretty surprised/disappointed/annoyed/etc with what they were presented.  It was particularly annoying when 2 women walked into the concert hall in the middle of the 2nd to last piece.  What the heck??  First of all, the sounds of the doors opening & closing were distraction, but then these people walk in making noise & whispering.  If we couldn't hear them making noise it wouldn't be such a big deal but the fact that their noise was cutting through the sound of music on stage was just aggravating to say the least. 

Anyways, my observations of the people who left early makes me feel that my earlier question of whether New Music was perhaps diminishing interest and appreciation in western art music (including 'old' classical music) is valid, and perhaps proving true...?  I don't think this is enough proof for anything conclusive but we will see what I learn from the professional performers during my interviews. 

Cheers & goodnight/morning...

Week 3 - Non-update really..

I wish I had some new update on my project but I don't...except that I'm attending the Christian Wolff concert on Wednesday.  Hopefully I will have some cool insights afterward...and maybe I'll manage to track down the composer before/after for a couple questions.  *fingers crossed*

Am still waiting on responses from professors for interviews...

Cheers!

Week 2: Cementing the Topic

I know I said I was going to research the classical music scene but I've been trying to look up local ska gigs & was sorely disappointed to discover that I wouldn't be able to make the English Beat gig in SOCAL (LA area) because it was the ONE WEEKEND my brother was coming down FROM LA to visit me in SAN DIEGO.  After trying to find some other gigs I decided that, realistically, I think I need to settle with my original plan for studying local classical music (old/new) performances & musicians.

As I mentioned in the previous post, I want to research the divergence/convergence of old/new 'classical' music performance, including how one may contribute to the survival/demise of the other.  From personal experience I've often found that new music is becoming more separate from old music, especially in the way new music is composed and put into practice.  Whereas before I could essentially sight-read music using standard Western notation, some of the new pieces I've been asked to perform have asked for more extended techniques and often include more textual instructions than written notes.  I'm also not a strong improvisational performer but as a classical musician I didn't really think I had to as much as long as I could read notes well.  Now it seems that in order to perform New Music, you need whole new skill-sets or else you're out of the loop.  But I wonder if the people I interview who are far more experienced in both realms (old/new) feel the same way or that they've actually found a strong connection between the two.

I'm always looking backward (think "Midnight In Paris") and feeling convinced that everything that came before NOW/TODAY was just better, or at least more to my liking.  The new or modern things that I see or hear (even beyond just music) often feels jarring or unnecessarily out-of-the-box.  There seems to be a fine line between what I understand to be music, and what is more a theatrical performance.  Yes, I know performance traditions have changed throughout history but when I cannot enjoy or appreciate what I am seeing, no matter how hard I try, I can't help but question it.  I've tried asking people about certain pieces I just really didn't understand but the answers were never really convincing in any way (the movie "[Untitled]" really tickled me in its representation of new music/art performance...).

As we discussed in seminar, there is no clear or perfect definition of "music," but while I am a little concerned about the relationship between old/new music, I am very curious as to what the professionals/leaders in the field think, especially when they are such a big part of both realms. 

I figure CPMC would be a good place to start in terms of interviews & performance/events.  As suggested by Prof Power I'm going to try and reach Steve Schick and Charles Curtis, among other faculty, for interviews.

In terms of performances, the April 22nd La Jolla Symphony performance seems like a good one for my project, especially as its theme is: Old Worlds/New World.  [La Jolla Symphony Concert info - Old Worlds/New World]

UCSD grad student Nicolee Kuester is the featured soloist for this event too!
Richard Strauss Horn Concerto No.2

I looked up some San Diego Symphony(-related) performances so hopefully I'll be able to make it to a few of those...

Some articles that may be useful (I hope):
"Ethnographic Research into Contemporary String Quartet Rehearsal" (by Amanda Bayley)
"Facing the Music: Rituals of belonging and recognition in contemporary Western art music" (by Yara El-Ghadban)

So it begins...the idea.

Better late than never to try and get to know the San Diego/La Jolla 'Classical' music scene (referring primarily to pre-1950s music/practices still in keeping with basic Classical era traditions)...As a classical violinist and music major myself I feel guilty for not taking greater interest in the local classical performances until quite recently.  The past 3.5 years have mostly comprised of me trying to understand and eventually coming to appreciate the New Music but along the way I think I sort of forgot my roots & true love in traditional classical music performance.  But now's my chance to get out there and track down some San Diegans who still practice primarily 'Classical' style music & get an insight into their performance practices from the perspective of a budding ethnomusicologist, as well as that of an amateur musician.  I'm slightly freaked out by the fieldwork/interview aspect of this project (AGH MEETING NEW PEOPLE IS SO SCARY...especially if I get starstruck...) but maybe it'll be good for me...it's gonna be okay.  I'll just keep telling myself that. 

• My current jam: Mahler Symphony No.5, Mvt.4 ("Adagietto") - so much amazing.

[I'm particularly curious about the state of 'Classical' music in the 21st century in relation to the development of New Music...whether New Music can contribute to the survival of older forms of music practices or if it might eventually lead to its demise.]

I'm assuming my topic won't change by much (unless there's a vibrant underground Shoegazing/Noise Pop or 2-tone revival that I can infiltrate...*fingers crossed*) but I'm open to any & all suggestions.  Until next time:

• 2 Tone Ska: Madness "Baggy Trousers"

• Wall of Sound: John Lennon "Be My Baby" (Ronettes cover)

Cheers!