THAT’S ALL FOLK
Before Stravinsky, before Wagner, before Bach, Beethoven, and Brahms, even before Pope Gregory had his holy boys sing his Greg-orian chants, there was music. And it was made by the people, the common people, the folk. Thus, folk music.
While prehistoric cavemen were carving out their bison on the walls, they were also discovering they all got rhythm; although none of their music survives today, it is safe to assume they were sitting around the campfire singing of the day’s conquests or chanting fervently for good weather tomorrow.
Throughout history, people would make up little tunes and pass them down to their children or teach them to neighbors. And the tunes spread and spread even without MTV. In fact, during the middle ages, when there were no newspapers, people would get the 411 from strolling singing minstrels who offered the headlines sung to popular tunes. One of the chief differences between folk music and classical music is that classical music is written down, while folk music remains in the collective memory of the people.
As musical performances became more formalized, the so-called serious composers discovered they had a wealth of material at their fingertips, if they incorporated these folk tunes into their compositions. This had nothing to do with being lazy (Mozart could clearly compose an original melody); rather by using a tradition tune, the composer could imbibe his compositions with a national fervor. Imagine a 120 piece orchestra playing a huge symphony by Mahler and suddenly a traditional German folk tune makes an appearance. It practically whipped the audience into a nationalistic frenzy.
Composers loved doing it. Even Stravinsky’s quintessential 20th Century composition, The Rite of Spring, is filled with Russian folk music.
In today’s program, Ittai Shapira and I will explore music inspired by folk music. The Dvorka Sonatina is a piece he wrote for his children, aged 10 and 12 at the time. It is full of Czech and Native American melodies. David Heath’s, Lochaish, is named after a train station in Scotland. This piece is heavily influenced by Celtic elements.
The American Rag, a traditional folk style, is explored in a classical style with the composer, John Novacek playing his Ragtimes with Ittai.
And, as always, we bring you a world premier. Ittai has composed the Virtuoso Variations based on a children song that he grew up with.
Once again, we wish to thank our loyal and dedicated Mountain Laurel Audience for their support. The last concert with the Berlin Philharmonic was a triumph. The players were ecstatic about their reception and look forward to returning many times. They said you were their best audience ever. Quite a compliment, indeed.
Glen Roven
Saturday, October 11, 2003
Program Notes Mountain Laurel: Chamber Series
THE VIOLINST AS SUPERSTAR
The audience is clapping, stomping and shouting his name. He teases them by making them wait. When he finally comes out-- his hair flowing, all dressed in black-- they are in a virtual frenzy. When he plays, the rumors of his Satanic connections are confirmed; no one could play like that, whispered the kids, who wasn’t involved with the dark side. He leaves the stage as quickly as he arrives. The women who weren’t fainting ran down the isles screaming for him to return. But he had left the building the same way he came in: in a black coach drawn by black horse.
Who is this musician? Mick Jagger? Marilyn Manson? No. The year was 1800 and the musician who mesmerized his audience was violinist, Niccolo Paganini. While Mozart’s concerti raised the violin concerto to it’s highest pitch of classical maturity and Beethoven’s violin concerto opened the way for a more romantic approach, Paganini revolutionized the instrument by making the neck longer and with a combination of showmanship, “devilish” technique and his sheer physical presence, became music’s first, true Superstar.
This afternoon we are honored to welcome Israeli violinist, Hagai Shaham to our second Chamber Music concert here at Mountain Laurel. Hagai and I will explore the many aspects of the Violin, concentrating on the Romantic Style pioneered by Mr. P. We will also talk about Grieg’s Piano Sonata #3 and a fantastic piece by Hubay who taught Ilona Feher who taught both Hagai and Ittai Shapira, who will perform here on November 29th.
In keeping with our commitment to new music, Hagai will be playing a piece by Menachem Zur a wonderful, award-winning composer, which was written for his son. Mr. Zur is here today and will talk about his piece, Prelude for Violin Solo.
Conchord, our first group of artists, was blown away by the warm reception they received here at MLCPA, and I was thrilled when I learned that more than half of the audience bought CDs. That meant that we really connected with our audience. Which is our goal, the goal of every artist. Enjoy Hagai and I look forward to our next concert.
Glen Roven
PS. And if you now like classical music, what till you see what we can do with Shakespeare!
The audience is clapping, stomping and shouting his name. He teases them by making them wait. When he finally comes out-- his hair flowing, all dressed in black-- they are in a virtual frenzy. When he plays, the rumors of his Satanic connections are confirmed; no one could play like that, whispered the kids, who wasn’t involved with the dark side. He leaves the stage as quickly as he arrives. The women who weren’t fainting ran down the isles screaming for him to return. But he had left the building the same way he came in: in a black coach drawn by black horse.
Who is this musician? Mick Jagger? Marilyn Manson? No. The year was 1800 and the musician who mesmerized his audience was violinist, Niccolo Paganini. While Mozart’s concerti raised the violin concerto to it’s highest pitch of classical maturity and Beethoven’s violin concerto opened the way for a more romantic approach, Paganini revolutionized the instrument by making the neck longer and with a combination of showmanship, “devilish” technique and his sheer physical presence, became music’s first, true Superstar.
This afternoon we are honored to welcome Israeli violinist, Hagai Shaham to our second Chamber Music concert here at Mountain Laurel. Hagai and I will explore the many aspects of the Violin, concentrating on the Romantic Style pioneered by Mr. P. We will also talk about Grieg’s Piano Sonata #3 and a fantastic piece by Hubay who taught Ilona Feher who taught both Hagai and Ittai Shapira, who will perform here on November 29th.
In keeping with our commitment to new music, Hagai will be playing a piece by Menachem Zur a wonderful, award-winning composer, which was written for his son. Mr. Zur is here today and will talk about his piece, Prelude for Violin Solo.
Conchord, our first group of artists, was blown away by the warm reception they received here at MLCPA, and I was thrilled when I learned that more than half of the audience bought CDs. That meant that we really connected with our audience. Which is our goal, the goal of every artist. Enjoy Hagai and I look forward to our next concert.
Glen Roven
PS. And if you now like classical music, what till you see what we can do with Shakespeare!
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