Orfeo!

First performed in the year 1607, Monteverdi's Orfeo is a great representation of not only 17th century music, but art, poetry and acting. While it was not truly the first opera ever written, it is one of the few that remains in modern repertoire. For its time it was unusual in few ways. 

To begin with... Instrumentation! Monteverdi used one of the largest ensembles to date (which can be seen in the video I attached). But don't be fooled. It is not very often that Monteverdi takes advantage of all of the instruments at once in the score and often limits sections to very small groups within the larger "orchestra." This screams extravagance. He used just about every instrument that had been invented at that point. Although public opera was just around the corner, Orfeo would have only been possible with a patron of extreme wealth, which Claudio had in Mantua.  It wasn't too long after this opera was performed that Monteverdi lost his job at the Mantua court. Maybe his employer had to fire him after he "busted the bank." 

Orfeo begins with an Aria sung by the Muse of Music. She helps tell the tragic story of Orpheus and Eurydice; their wedding, Eurydice' death, and Orpheus's painful attempt to get her back. It is deeply depressing and frustrating. Of course the storyline is not foreign to anyone who knows about Greek mythology but for those that don't... Orpheus enters the underworld to get his beloved back and would succeed if he can only walk out of the underworld without looking back. Much like Lots wife, the temptation is too great! He worries Plutone (god of the underworld) will change his mind He looks back and is doomed to never see Eurydice again. The story ends with Artemis taking Orpheus to the heavens and away from mortal life.  

The reception of Orfeo was wonderful and only boosted Monteverdi's already famous name (other than the haters like Artusi). The next year his opera L'Arianna would also premier in the courts of Mantua. Both of these composition exemplified his Seconda Practica which I brought up yesterday a bit. If Monteverdi can take credit for anything in music history, he set up the Baroque era. It would be hard to describe Monteverdi as anything other than "early baroque," even though he wrote a new manifest and helped free the next generations of composers. 

Now for a few last comments. I really think its important to also compare  the older works I'm studying to their modern counterparts. One of the largest differences I noticed while doing my research on Orfeo was the length and variety within the Libretto. The actual length is surprising for the almost 2 hour long opera. And the dialog is not varied in a lot of ways: unlike modern operas which go on for forever. Many of my opera friends complain about how their scripts come in two books because it can't be comfortably fit into one. 

Ultimately, Orfeo is the perfect example of what would later be known as opera seria or the aristocratic style of opera. But Monteverdi, even though he only wrote 5 operas, also contributed to the publicly funded opera buffa. The Crowning of Poppea, performed in 1642, is what I will attempt to get into in my next post! 

Side note: I respect that no one has time to just randomly watch a two hour opera like I posted above. But it is worth it to at least listen to the first five minutes and imagine sitting in the court of Mantua! Its a satisfying feeling :)

Claudio Monteverdi- The Basics

Alright, so here is the deal. I haven't written on my blog in some time, and perhaps I shouldn't even say "my blog" as I only ever published 15 posts but I'd like to give it another shot. In this round of attempts I will be a bit more focused and perhaps a bit less opinionated.

Here is the main reason: In the next few months I will be preparing my applications for different Musicology programs around the States(and one or two outside). I'll need to read too many books, study too many hours and write too many essays in hopes of being prepared. So why not include a few blog posts. With any luck, some of these blog posts will be me hashing out small ideas that will lead to bigger essays. So feel free to leave feedback. 

Not to compare myself to the great composers of the past, but just like the beginning of my humble blog, there was a beginning to opera as well. A few key characters, areas, and political ideas got the entire genre off to a start and it hasn't finished some 400 years later. One of those key characters was Italian born and bred, Claudio Monteverdi. He lived during the times of the Counter-Reformation, the castrati, and great artists like Michelangelo and Caravaggio(my two personal favorites). And just like these artists, Monteverdi experienced the same papal and aristocratic pressures. More often than not they were the paycheck. It wasn't until just before Monteverdi's death that an opera subsidized by the public was a possibility. The Crowing of Poppea, Monteverdi's last opera, was written for a public opera house. 

Before I get into Monteverdi's importance in opera I think it is important to set that stage (and apparently it is important enough to merit a bad pun). Here is what you need to know. There were two large chapters in Monteverdi's life(1567-1643): His time spent in Mantua as a composer who worked for local aristocracy and his time in Venice where he worked as a conductor in the San Marco Cathedral. He had a wife, who after giving him three children, passed away in 1607. He was highly religious throughout his lifetime and many of his compositions were written on Christian texts. 

During his life he published many books of madrigals and motets that were both loved and highly criticized. Like any artist who brought new ideas to the table, he was accused of breaking the perfect "rules" of music composition. Monteverdi writes in a letter that he "found no book that showed me the natural way of imitating the emotion." Strong words! You'd feel this way if Artusi had said your madrigals "might have been written by a child who was just beginning the study of counterpoint." In response to these harsh and undeserved comments, Claudio wrote his "Seconda Practica" which outlined his new ideas for harmonic motion. One of the chief and most recognizable changes he helped establish was the basso continuo. As a cellist I must tip my hat to Monteverdi for helping further any bass clef instrument. 

The last comment I have on Monteverdi's life that I think we never experience in todays society is the level he humbled himself to his superiors. It seems in the modern era most artists pride themselves on not being beholden to any higher power. Claudio didn't have this kind of freedom for most, if not all of his life. His letters are filled with "my illustrious Lord" and "your humble servant." Not only did he dedicate many of his works to different powers that be, but he often asked permission to compose music for certain librettos. This wasn't an uncommon practice but it seems unbelievable that even a composer of Monteverdi's standing was still at the whim of the noble class in Italy. 


Below are some great examples of Monteverdi's genius. The first link is to a Sestina which is a rather unpopular and complicated form poetry. Monteverdi works wonders on the six stanzas. This recording is a great representation. The second link is to Lamento d'Arianna, which Monteverdi himself said contained many of the new principles from his Seconda Practica. Enjoy! More from Monteverdi in the next few days!

Free Improvisation? What's that?

 That was the question I asked myself at the beginning of the semester when I noticed I had a class on Fridays from 4:00-6:00. My first thought was one of extreme hesitation. Sure, I acted excited cause I wanted to seem “open and welcome” to something like Improv. But truthfully I was scared. My experience with Improv was as “traditional” as it could be. I learned about some blues scales and progressions and then I was told to follow a chart I didn’t understand. This approach led a very frightened cellist to disliking the idea of improvising. Years after my first encounter I still had the same feelings. I was impressed with anyone who could do it, or was just brave enough to try!

            So after my first week of college I was grateful to have the company of other familiar cello faces around me. Little did I know they were improv veterans. As the class of about 35 all shuffled in we looked around a bit confused. Were these instruments? Bunt pans? Easter Eggs? Big pieces of random metal? And washboards! I picked up a washboard, as that seemed like a pretty “strait forward” percussive instrument. Emily Finlan, however, disagreed with my beginner’s choice. Pulling me back towards the shopping cart of goodies she fitted me with a vest and handed me a metal spoon. For the next thirty minutes I played my washboard/vest with more freedom than I had ever applied to my cello.

            Was this improv? I didn’t feel tense, or judged for my ridiculous behavior. The only way to describe this version of what I dreaded was… FUN!

            No, the class was not all banging on washboard and yelling out random noises. Exercise after exercise, piece after piece I began to realize that improv was whatever I could become. I know that seems rather… odd. But it’s true. Tonality, and harmonization all fall out the window when you stop focusing on the rules and solely focus on what you can conceive. If that means shouting what sounds like a tribal call, then that’s what it means. This past semester in Free Improvisation has enabled me to finally understand what music can be not what it has been.

            As we approach the concert in a few weeks I am excited about the growth I have seen: Not just in the music being made but more importantly in the people who are involved.  As the semester has progressed shy, introverted people (not unlike myself) picked up instruments they had never dreamed of playing. So maybe, music isn’t what’s on the page but more what is off the page. This conclusion has totally transformed my definition of music. Music is PEOPLE! YES, this is all extremely cheesy but it couldn’t be closer to the truth. Because until we let all of our preconceived ideas of what we learn in Music Theory go, we are trapped.

            I’ve literally had an argument with my orchestra director only using my cello and he his violin. In my first months of what I now understand to be FREE Impov I have laughed, cried, pulled a few muscles and summoned more energy at the end of the week than I believed possible.

Money is the root of all happiness.... wait, that doesn't seem right?

This past week while at work I came across a man who disagreed with my career of choice. I would be lying if I said this hasn't happened before, but for some reason this man was extremely insistent and got on my last nerves. Upon finding out that I had just graduated he asked me politely what my plans were and what my major would be in college. I quickly and proudly told him I was headed up to SUNY Fredonia to be a music performance major.

Not unlike others he gave a surprised look. He, however, seemed upset by my response. He immediately asked me,"Well are you smart?" (No joke, that is exactly what he said!)

I had to laugh. What kind of response was this? I told him I had done well in high school and I enjoyed learning and working hard. He then asked,"Well then why do you want to be a cellist?" REALLY? Did that just come out of your mouth? I told him that I loved cello, and there was nothing else I'd rather do. My answer was simple but it was the truth.

He then asked,"Well, is there any money in it?" I felt like I was being tested by this man and I was frankly shocked that he was still carrying on. Explaining to this man my opinion was not going to be easy. But money is NOT why I want to become a cellist.

Being an engineering professor he told me that I shouldn't be a cellist, but an engineer. I could make good money, and then cello would be better as a "hobby." We argued back and forth for a while about this and out of pure frustration I told him,"I do believe that I am fairly intelligent. I work hard and I love to be challenged and that is just it. I could be an engineer. Sure, I would make good money but I do NOT want to be bored all of my life. Cello is the only thing that I can find a daily, everlasting challenge in."

It shut him up and he walked away. But this whole experience got me thinking. Of course this is an age old idea, but people really should do what they love. I wouldn't find it challenging to be an engineer. Not because it isn't a hard career, but when you have passion for something, you seek the challenge. It becomes an obsession. You think about new ideas and ways to further that field. Not to say you can't commit yourself to something that isn't your passion, but I don't believe it will ever truly be the same.

Of course there is nothing wrong with wanting to make a good living. In fact, sometimes it goes hand in hand with your passion and love. I know that my career isn't the most stable but I know plenty of musicians that are perfectly contented. So that is what I strive for in my life. The fact that this man believes money is the root of all happiness is sad. I don't believe that is how that proverb goes. Isn't it "money is the root of all evil."

Again, there is nothing wrong with making a good living. I am NOT demonizing the choice to make money. That is a choice. That is why someone should be able to decide what career path would be best for them. Deciding on priorities and doing what is best is extremely individualized.

On the other side of the spectrum I met a lady who asked me a very similar question. She was an extremely pleasant German lady. She asked me what my plans were for college. After I told her I had long ago decided I wanted to be a cellist she too seemed skeptical. She asked me,"Do you love it?"

Her question startled me. I had NEVER been first asked if I loved cello by a stranger. That was something I had always needed to offer. It took me a moment to respond but once I told her that I loved cello very much, her face lit up and she said,

"Than you are doing the right thing."

Waltz Upon a Time... (yeah I know, that's rough)

For me, this has been an extreme year of change. I still want to be a cellist, but sometimes I wonder if anything else is still the same. This is in part because of the people I have met and the experiences I've had. The trials I've gone through and tribulations I have survived. Throughout the year, I have traveled to many cities, participated in clinics, and given some life altering concerts. The fact that my senior year has come to a close usually brings me to a state of overwhelming depression. I have to say goodbye by to so many things: My day to day life, my friends, my teachers, my mentors, and my family.

But today, while driving down highway 153, I was stricken with a much better, my different feeling. I was listing to the Pops station when "An der Elbe" came on. It is a very stereotypical waltz that was written by Strauss II. I am not saying it isn't beautiful. I mean come on... who doesn't love a good waltz by Strauss. The flying melody and familiar "1, 2, 3" would put anyone at ease. The waltz is after all a dance. I know it is one woman's opinion but I'd like to think that everyone is at least slightly in tune with Rhythm and movement. That is the basic reason why music is a universal language.

Anyways, as the music progressed and the waltz took shape I began to really love summer.

And let me tell you, I was anything but happy with this season at the time. My cars air condition is out, so I was extremely hot and on top of that my legs were itching like mad... I hate mosquitoes. I know hate is a strong word, but I don't care. They suck blood which seems like a thing that is okay to hate.

Now comes the part where I explain why this insignificant waltz made me love the sticky heat and sweltering sun. On several occasions when I was young my parents would take us down to Coolidge Park in downtown Chattanooga. There are wide open spaces, a fountain with animal statues to climb on, and a merry-go-round. The ride wasn't extremely spectacular. Of course I had my favorite horse, Rose, and as a young kid it was very exciting, but looking back there was only one thing on my mind.

I was always mesmerized by the music... the waltzes. I always thought that they were extremely beautiful. It is why I've always said, if I had to play only waltzes for the rest of my life, I would.

(Quick explanation: I am a cellist... that means I would be stuck playing "boom, chuck, chuck" forever.)

But for me, the "1, 2, 3" reminds me of when I was young and the most thrilling thing I could think of was to was riding that silly merry-go-round in the dead of summer. When everything is hot and gross. The time of summer when you wouldn't be caught dead outside. For me, I can find joy in that time because of the insignificant waltzes.

I thought I had lost my childhood excitement of the merry-go-rounds. I want bigger and more flashy things. I have not, however, grown tired of waltzes. They come on and in a second my entire day is changed. That is crazy. It is a piece of music. a common rhythm. How can that even be possible?

So yes, this year has been an exciting, crazy ride. But I am certain that the pieces of music I have played will give me an unbelievable window into this time of my life. If any random waltz can take me back to being 6 years old, than can't Tchaikovsky Serenade for Strings bring me back to CCA? Can't Mambo bring me back to All State and "Blow it up, Start again" bring me back to my last youth orchestra concert?


P.S. Sorry if there are any grammatical errors... I tried my hardest to catch them but my mom usually proofs my stuff.

University or Conservatory

For the past few months now I have been writing college essay’s and filling out countless applications. I have visited seven schools since my last blog post and am more confused than ever about where I want to go to college. My main struggle now is do I want to attend a traditional university or do I want the conservatory life?

Universities play to the part of me that likes big and flashy. I’ve now visited Northwestern, DePaul University, Oberlin College, and Temple University. They were all magnificent and they all had so much to offer. All four were either in a city or right next door. They all had great Libraries with every book you could ever need or want. And they all offer academic classes that would challenge and excel me intellectually. And I think THAT is what I want in college!!

Most of the Universities, however, seemed to have many distractions. There would always be more parties at a University. There would be sports functions tempting me away from the practice rooms. And did I mention that generally Universities do not have many of those?

Conservatories, on the other hand, entice the musician in me. When I enter any conservatory I can feel the energy and focus surging through the building. As my Dad said during our visit to Cleveland Institute of Music, “You can tell that the business of music is happening in this building.” It’s invigorating for someone like me who would be happy to just practice cello until they die. Conservatories have so much to offer in the way of music. One amazing bonus to a conservatory is the vast number of concerts held weekly. Someone will always be giving a recital, there will be many visiting artists, and there are more orchestra concerts than you can keep up with. As a conservatory student you ingest so much music you get sick!   And I think THAT is what I want in college!

There is my problem. There are parts of both that I love. I am not asking for you to tell me what to do, because in the end I will have to do what I feel is best for me. But I would love to know if there are other pros and cons that you think should be brought up. ALSO, there is a poll on the side of my page. So, let me know! 

The problem with being a musician...

I know it has been some time since my last blog post. I have been so busy writing essays for my DE English course, and for my college application I could not find time to sit down and actually enjoy writing. So here it goes... sorry if I am kind of rusty. 

My topic today is one of the sad truths of being a musician. For the past seven years in Chattanooga, TN I have lived a sheltered and supported musical career. There are a number of amazing musicians, conductors, and teachers that have inspired and encouraged me. I would like to imagine that every young musician experience the degree of support that I have.

I know that for me, and many of my dear friends, it is senior year. In fact, it is half way though senior year, and if the next semester goes by half as quick as the last did, I will be leaving tomorrow. That is my sad realization. We must leave. Unless you are lucky enough to live in New York City, Boston, Cleveland, or Chicago, you have realized this as much as I have. Being a musician means branching out, and making connections. I have applied to nine amazing institutions that can all offer me an amazing educational experience. It should be exciting to leave, and make it on my own.

At first I lost sight of the positive aspect of leaving. All I could think about was leaving my supportive amazing environment, my incredible parents, and crazy friends. I terrified myself thinking about the negatives of leaving. Just getting into a great music institution is a stressful process, I can not fathom what it will be like to actually attend one. How will I ever do it?

Then I remembered how much I love my instrument. I remembered that when I leave home, I get to take my cello. That might seem like a “duh” kind of moment. Maybe it was. But I finally had that "dud" moment, and I understood that leaving will not be that bad. I will meet new people, make new friends, and most importantly, I will get to play music at a higher level. I am going to HATE leaving, but I am going to love leaving with my cello. If you are going through this same sort of predicament please, please, please do not dread the end of the year. Find excitement in anything. Enjoy this experience, because it only ever happens once. 

Leaving means a brand new beginning. It means starting a new chapter of life. Why not enjoy it? The lesson I learned is Universal. Whether you go off to a conservatory, or study engineering at University of Michigan, get excited. Cry, weep, break down. But then pick yourself up, and march on knowing that you are pursuing what you love.