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  • Chamber Music - Challenge and Opportunity

    Diunggah oleh

    Luis Varela Carrizo
    22 tayangan4 halaman
    Chamber Music- Challenge and Opportunity

    Judul Asli

    Chamber Music- Challenge and Opportunity

    Hak Cipta

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    Chamber Music- Challenge and Opportunity

    Hak Cipta:

    © All Rights Reserved
    Unduh sebagai PDF atau baca online dari Scribd
    Tandai sebagai konten tidak pantas
    22 tayangan4 halaman

    Chamber Music - Challenge and Opportunity

    Diunggah oleh

    Luis Varela Carrizo
    Chamber Music- Challenge and Opportunity

    Hak Cipta:

    © All Rights Reserved
    Unduh sebagai PDF atau baca online dari Scribd
    Tandai sebagai konten tidak pantas
    dari 4
    CHAMBER Challenge and Opportunity CROSS the entire continent, the Jast decade has seem the growth of ‘countless string workshops in mu sic. The asta has sponsored the devel- ‘opment of many of these projects. In fakin, private camps, educational institutions, symphonic organizations, all stress the inducements provided by the specific merits of their particular sogtaphic locstion plus the opportv nities for participation in numberless ‘musical activities. Many organizations welcome the entire family providing Suitable musical activities even for the children! The metropolitan academic institutions present their workshop os fan “institute” or “clinic,” and stress the valve of academic eredit, the permanent faculty, and the comfor's ‘of urban facilities. The duration of the workshop varies fom a day ot two, to two Weeks or more. The “al- tendees" generally represent a cross section of musie students and amateur siring players of all ages and at all suger of technical developmen's as well as string teachers who hope to renew of at least re-kindle their mus: cal enthusissm, ard the profession performer-teacher who is usually re. sponsible for the supervision of the ‘chamber music activity. It isthe first time in the history of music eduestion that these four dstint cloments of the siting world meet on aa informal bas's in pursuit of making music in con- ‘genial surroundings. ‘Thetr most vehe- mont contict occurs in the most popular of the workshop activities; the chamber music sesion!. Without ques- {ton the workshops have simulated a chamber music renaissance evident in the popular desire to participate in the small music making unit, the lassie version of the “combo,” the string quartet with ite “additiver” and “derivatives” ‘There are other evidences of this Imerest. Nearly every academic inst- fution boasts an ensemble in residence. Wf not a string quartet, then a piano tio, oF « wind oF brass group. Many times an academic institution may have four of five serious campus em sembles, which add not only to the ‘musical’ culture of their immediate environment, but are also encouraged to tour as. musical representatives. of ‘their particular school. Instrumental study is on the rise among “etirees,” and the future is alteady foreshadowed ‘by many leisure-time string students ‘over forty, who are impatiemily prac- icing to get good enough to play ‘chamber music. Even our symphony ‘orchestra conductors encourage the ‘development of permanent ensemble ‘groups within the orchestral ran ‘Whea the wind player, the bras player, and the pianist express a desire to play chamber music, they mean 10 make music with members of the siring family—preferably the string quartet. In the not so distant pest, chamber music was yurrounded by an aura of traditional veneration for its esoteric ‘ature. Public performance was ex- pected only from the near-perfect ‘concert presentations made by units fof remarkably skilled performers. it ‘yas understood that only the afficio- nado, the devotes, the iniellectual ee ee ing the medium. ‘These “ate a ot arbor mink Tenet 6 ‘make the chamber music experience a kkind of “ofl the cuff" activity for the ‘ring student, «vehicle for “eatharsi in the amateur, and an opportunity for the release of suppressed musical im- pulses. for the bored orchestra per former and teacher. Today, as Sinmny Durante would say. “everyone wanis in on the act.” The participants have ‘discovered that playing chamber music 4s “funsmusi,” and the “greatest” ‘NOVEMBER DECEMBER 1866 Perhaps all of this expansion in ‘chamber music may be amateur; at ‘any tate, some rather interesting ap- ‘proaches to chamber music are ‘de- ‘veloping. Intelligent participation in tion, leadership, and disci sake of the unit as it expresses the ‘musical intentions of the composer. ‘Therefore, it is comprehensible that some educators view participation as ‘an introduction to the democratic way of life. And 1 suppose some good is achieved in the name of chamber imusie when a conductor leads a group ‘of a hundred “players” through a late Beethoven quartet! Anyhow, all of this interest and activity is exciting— a wonderful melding pot of musical ferment, full of reassurance and hope for chamber music. You can learn to understand a symphony by listening tot, but you cannot completely under- ‘stand a string quartet without playing it However, as serious musicians, teachers, and artists we are faced with a challenge: the responsibility to in- fluence and direct this vital interest rot clarify and coordinate the mate- rials for the various levels of pactici- pation, and more important, attempt to aid and develop the professional ‘who can best serve the highest iater- cst of the art itself? IE we accept the challenge, what ean we hope to accomplish? I believe ‘we can lift the level of musicianship in the siting instrumentalist to 2 re- ‘markable degree, We can illumine the appreciation of music through the direct effort of courtlos, amateurs for serious instrumental study. We have, therefore, the opportunity of raising the musicianship of the Amer- jean string instrumentalist and elevat- ing. the intelligent appreciation of music im America. How can this be achicved? In addition to all of the beneicial sie effets which purtiipation in chamber music may yield, it obvious {at the Key that unlocks the musical Arsasuree contained therein ie an old ‘one: instrumental skill. The man who turns the key is the profesional re sponsible for the supervision and rection of the ensemble rite, the ‘chamber musician, or coach, Let ws {ake a geod look at him, We all know that the fist sgn of musical matarity inthe string player (be he student or Amateur) manifest itself inthe desire {© phy chamber music, Avast aren of tniense musical experience reveal Ist to him when he reatizes that the chamber music literature represents the highest expression of musical genius. The attempt to participate is Performance of chamber music brings to the string player a keen appreciation Of the absolte necessity for mastery ff esemtits in mechanics for the e "entasof mechanics ae the exsentiok of music making, This understanding cartes and focuses the need for prac {ice and coatrel. AC this poi, the string player has dacovered a worthy incentive for prolonged and serious study on his chosen instrument, He ill now tend to develop into w beter performer, more cooperative and sensive orchestra member, and will regard his instrument as a vehicle for fnuical expression. ‘The string player {contawed on poge 18), y CHAMBER MUSIC... (continved rom poge 17) ‘chamber music coach is 2 vital one Nonetheless, itis surprising to regard the generally haphazard. method by which the string player is given cham ber music experience. Ta the course of the string player ‘musical education, the usual approach seems to indicate that anyone io the field can qualify as a coach provided hi is not too busy with more impor {ant aspects of applied music or musie: ‘education. It i helpfl ifthe person available his 2 fund of anecdote tome philosophical quotes, krowledgs of estheics, smokes a shortstemmed Pipe, and may have been a member Of & professional ensemble, but most important, he mist have a few un-used contract hours. “Actually, the chamber musician or coach is fist and foremost a teacher, fone whose havc concern i the revel tion of musical contert; an instructor ‘whose Knowledge of instrumental ‘mechanics allows him to make iostan- taneous decisions on all phases of techaie. He should be able to correct through analyss nd demonstration, techie! Through a definite concept of Iuskal content of a work, the coach rust clearly coordinate the musical feds with the correct mechanical ‘means until the process becomes al- ‘most instantaneous, approximating the intuitive. Even in the case of the most Highly developed instrimentalist, the insistence on musical ends with correct ‘mechanical means never lessens “AS a teacher, the coach understand te value of demonstration. ‘He should te capable of participation in the en- semble, unless he be hoary with age fand arthrti. The ability it in and do what he is asking to be done in the manner in which it should be one. lecies the emiemle ant etablsbes a sympathetic bond wi the members ofthe group. The estab- lishment of authorty based on sympa thetic understanding in the search tor musical expretsion should serve othe tasis for discipline In addition o being a teacher and a performer, the cham muse euch hos critic. Iti thin Facet of his function that usually obscures is portance as a teacher. As 2 critic the oach must judge if the musical inten fons, the concept of the composition, as been successfully realized and pro= Jeeted. To render a verdict, st 8 a seed tn ig eae en pecan ee cet Sot ae Wis oe th cama ot ee ne ies Soo ete 2 Seatac ee oe care oe pv i ee a 8 Sok SS aeay ey oe oo ous Ss Sa HS aly ot te oe le ee receiving direction The expanding oa eee ee Sees 2. exposure to the literature (read- eee eee tte ‘The first category, elements of

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