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Interesting week - my first experience with the Martinu Viola Concerto

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Posted on June 18, 2016 at 17:41:34
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I got a call this past Monday asking me if I could make a recording on Friday (yesterday) of the Martinu Rhapsody Concerto for Viola and Orchestra (piano reduction). I'd spent about 10 minutes of time reading through the first movement of this work with another violist about a year ago, and that was my total experience with it. I explained this to the caller, who was undeterred by the fact that I didn't know the piece. It turned out that the caller was a violist whom I had previously accompanied, starting when she was only 9 years old, but I hadn't heard from her for a few years. Time flies and she's now in her third year at Julliard - I had very good memories of our musical experiences together (we once performed at a Marin County Board of Supervisors meeting, where they temporarily halted the proceedings for our performance), and, against my better judgment, I accepted her request to learn the Martinu, and got down to work learning/practicing the piece. She came over the next night for a rehearsal, even though I had warned her that I was bound to be, as they say, under-practiced. But a funny thing happened: about an hour before she came over, much of the concerto kind of snapped into place for me, and I sensed that she was not displeased with the rehearsal.

The problem with this piece (as with so many of Martinu's works) is that it has all these places with irregular syncopation which defeat the performer's application of a mental pattern to the music, so (at least speaking for myself) one has to be alert to the rhythm in a way that doesn't apply to a lot of other classical repertoire. Martinu's harmony is pretty straightforward, but he adds a lot of "color" notes to it, and he has one cadence (I'd describe it as a subdominant seventh with an added sixth resolving to a tonic triad) which he throws in to a large number of his compositions. It's almost a cliche, and my wife laughs when this cadence makes an appearance (or several!) in many of Martinu's works - it's a tell-tale sign that he was the composer! There are a lot of these cadences in this concerto too, although we cut out most of them, since they occur mostly in the long orchestral introduction and interludes. (The purely orchestral portions are normally cut for competitions, unless it's the finals of the really big-name competitions.)

Anyway, we made the recording (it was a video too) yesterday (five takes on the first movement and three takes on the second movement - no editing allowed within each movement), and I must say that, although it was far from perfect, it did not turn out badly at all. I asked the violist the purpose of the recording and she mentioned that it was an entry to get into a viola competition in Thailand. (Hey, man - this is the viola world and they have to take what they can get!) She said she would let me know if there's a webcast of the competition, and I'll post a note here if I get this information. She has some videos on uTube (her name is Hiyaka Komatsu), but they're performances from when she was in high school, participating as part of various high-school chamber ensembles, and they're not recorded well in any case. I hope she gets in to the competition - I consider her an excellent player and very deserving.

 

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Streaming it now..., posted on June 18, 2016 at 18:07:00
Ivan303
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It sure beats the Sorabji!

"Only the Barbican's arid acoustic stops Norman Lebrecht awarding this disc of Martinů's viola music a rare fifth star, so fresh and contemporary are these performances by Maxim Rysanov."

Sinfini Music (27 April 2015)


First they came for the dumb-asses
And I did not speak out
Because I was not a dumb-ass

 

Thanks, great story., posted on June 18, 2016 at 18:22:30
Martinu's music looks pretty easy at first blush, but is often a real pain in the a$$ to sightread. You are a real trooper. Not surprisingly given his large chamber music output, Martinu did write a sonata for viola and piano, which likely would have been easier for you to deal with than a piano reduction of the concerto. It seems pretty unreasonable for them to require her to submit a concerto performance, but maybe that limits submissions to the most serious and motivated.

 

RE: Interesting week - my first experience with the Martinu Viola Concerto, posted on June 18, 2016 at 18:31:24
oldmkvi
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OT- Something you might like!

 

That's a great picture of Martinu [nt], posted on June 18, 2016 at 18:56:04
steve.ott@kctcs.edu
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nt

 

The cat is clearly wishing the photograhper would hurry it up! /n, posted on June 18, 2016 at 18:58:51
Ivan303
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n


First they came for the dumb-asses
And I did not speak out
Because I was not a dumb-ass

 

That's a great story, Chris, posted on June 18, 2016 at 19:00:46
steve.ott@kctcs.edu
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I like Martinu's string quartets and piano quintets (ever played those?), so I will listen for that cadence in them. What exactly is a subdominant 7th? Is it just a half-step down from the dominant, like the dominant is down from the major 7th?

 

4th degree of scale - i.e. F is the subdominant of a C major scale. nt, posted on June 18, 2016 at 20:17:08
nt

 

Just to amplify a bit. . . , posted on June 18, 2016 at 21:20:59
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. . . in the key of C, F is the subdominant step of the scale, as Rick said. A subdominant 7th chord (i.e., a seventh chord built on the IVth step of the scale) would contain the notes F-A-C-E, or, with a chromatic inflection, F-A-C-Eb. Martinu also replaces the C in this chord with a D for "color". (The replacement of the C with the D doesn't affect the function of the chord at all.) Despite the addition of the D, this chord still acts as the first chord in a kind of IV to I (plagal or "Amen") cadence. As for the spacing of the notes in this chord, it would be (up from the bass note): F-Eb-A-D (resolving to a C major triad - C-E-G-C). And the bass in the two chords would move from F to C (i.e., IV to I).

(Maybe this is too much information, and it's better to leave the explanation as Rick had it!)

 

I should hear that recording, posted on June 18, 2016 at 21:31:47
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The one I've had for years is the Suk/Neumann/CzPO recording on Supraphon. Suk and Neumann were wonderful musicians IMHO (and, on most recordings, Neumann was a good disciplinarian with the orchestras he conducted), but as I listened to this recording this past week, I was surprised how often the soloist and orchestra were not precisely together. Nevertheless, I still like it anyway for its relaxed, songful expression (i.e., no overdoing things!). It's possible the BIS recording might be better, although I usually think Neumann was a better conductor than Belohlavek on other works where I have both their recordings (e.g., Suk's early E-major Symphony, even though Belohlavek receives much better engineering).

 

It may not be Neumann but it is..., posted on June 18, 2016 at 21:37:01
Ivan303
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SACD Surround! :-)




First they came for the dumb-asses
And I did not speak out
Because I was not a dumb-ass

 

By taking out the first few characters of your link. . . , posted on June 18, 2016 at 21:58:57
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. . . and copying the rest (i.e., starting with "https") into my browser's address field, I got to Tkachenko's facebook page, which seems to have several videos. Were you referring to one of these in particular?

 

RE: By taking out the first few characters of your link. . . , posted on June 18, 2016 at 23:41:36
oldmkvi
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It's the Goldberg Variations Animation of the Counterpoint techniques, really pretty cool!

 

Any luck?, posted on June 19, 2016 at 09:10:30
oldmkvi
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Sorry, I thought the Link went directly to the example.
It's Very clever and informative!

 

Hey, man - I just woke up! Gimme some time! ;-), posted on June 19, 2016 at 09:19:02
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OTOH, remember what Napoleon said. (Ask me for anything - except time!)

 

I didn't realize Lafayette is in a different Time Zone..., posted on June 19, 2016 at 09:50:36
oldmkvi
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How about that muggy rain Friday?
We went to Moraga to play Bocce Ball, then OSH in Lafayette.
Felt a bit like upstate NY, W/O the Cicadas.

 

RE: Didn't find an animation of any of the Goldberg Variations Canons, posted on June 19, 2016 at 09:54:23
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Did you mean the "crab" canon from The Musical Offering? I watched that one, and you're right: it's very clever indeed and it shows how ingenious Bach's contrapuntal methods could be - really educational without any talking at all.

 

LOL! - It's in a different weather pattern for sure!, posted on June 19, 2016 at 10:00:35
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There's sometimes twenty degrees' difference from the other side of the Caldecott Tunnel - but you probably knew this already!

 

YES! That Martinu cadence..., posted on June 19, 2016 at 10:24:08
krisjan
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...is part of his compositional DNA along with the rythymic syncopation. It's there in so many of his works and is quite distinctive. I often can't tell Raff from Reinecke but I sure can tell Martinu from any of his contemporaries. It's like his musical tic.

Looking forward to hearing the viola sonata you recorded.

 

The concerto we recorded has big cuts in the orchestral parts, posted on June 19, 2016 at 12:57:02
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It's more for analysis of the viola playing by the competition selection committee rather than for actual listening. For example, the first 39 bars of the piece are cut - I started at measure 40, eight and a half bars before the initial viola entrance. So it would hardly be a satisfying listening experience for most listeners. ;-)

BTW, it was recorded at 24/88.2 resolution - that or 24/96 seems to have been pretty standard for quite a while now.

 

Shouldn't you-know-who-ey have the final say?, posted on June 19, 2016 at 14:11:06
.

 

jdaniel - you're very naughty sometimes! [nt] ;-), posted on June 19, 2016 at 19:45:17
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Sorry, my Link goes directly to it-, posted on June 20, 2016 at 08:47:46
oldmkvi
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But the one you saw is probably very similar.
The Goldberg Video is from JS Bach's own notebook, and was very involved.
He showed how the Retrogrades, Inversions, and Canons all work, sometimes in multiple parts.

 

Interesting - when I click directly on your link. . . , posted on June 20, 2016 at 09:01:14
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. . . all I get is a "Server Not Found" message.

This is what the link looks like on my browser:
http://%20https://www.facebook.com/ComposerIgorTkachenko/vid
To get it to work at all, I disposed of the first ten characters.

 

Well, try these..., posted on June 20, 2016 at 09:23:35
oldmkvi
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https://www.facebook.com/ComposerIgorTkachenko/videos/vb.384161965117500/517968268403535/?type=2&theater

 

and switch to Full Screen. nt, posted on June 20, 2016 at 09:24:57
oldmkvi
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/

 

Thanks! - Got it!, posted on June 20, 2016 at 13:28:44
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An interesting thing about those canons is that they're really little puzzles (sometimes with clues which Bach provided in the form of additional clefs), and the editor/performers have to figure out how to make them work! It really helps our understanding to see visual representations of the solution(s) for each one via the video. Frankly, I'm not sure I could figure all of them out if they hadn't already been solved by other people! ;-)

Also, it's amazing to think that these ingenious little pieces had to wait until 1974 for their rediscovery!

BTW, I also found this same video on uTube:

 

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