jwilzewske: poetics

Showing posts with label poetics. Show all posts

Sunday, May 27, 2012

Chamber Music Repertoire for Didgeridoo?

T here are a few orchestral works that include didgeridoo (Sean O’Boyle and others), but for conservatory recital or chamber performances there are currently only about 3 dozen chamber music compositions that are readily available. Most of these are indexed at the Australian Music Centre (Duos, Quartets, Quintets, Sextets, Octets; Solo with vocal ensemble). You may also want to consider Peter Sculthorpe’s String Quartet No. 12 with didjeridu, and ‘Lorin’s Piece’ for didjeridu and voice; Neal Corwell’s ‘Aboriginal Voices’ trio for tuba, didgeridoo, and voices; Philip Glass’s ‘Voices’ for organ, didgeridoo, and narrator; and Dubravko Lapaine’s ‘Rescribi’ trio for piano, didgeridoo, and percussion.

[50-sec clip, Dubravko Lapaine, ‘Kosmopterix’, ‘Rescribi’, 1.6MB MP3]

and ‘Putnik’:

[50-sec clip, Dubravko Lapaine, ‘Kosmopterix’, ‘Putnik’, 1.6MB MP3]

T he aboriginal people have a great deal to teach the western world about wind playing in general and lip reeds in particular. The trombone may seem old when compared to western orchestral instruments, but it is only a five hundred year-old baby when compared to the possible forty thousand-year-old tradition of the didjeridu.”
— Stuart Dempster, 1979.

V irtuosic double- and triple-tonguing in the didgeridoo repertoire have parallels to ‘cursus’ in classical Latin oratory and medieval chant (see Eklund, link below), and you might consider that idea in preparing a program. Rhythm—the patterning of accents in speech or singing—establishes expectations; it entrains the listener and the speaker, phase-locking them to the pattern. Accents in Latin fall on at least one out of every three syllables. But in English and other languages the gaps are longer—you can often go for five or six syllables between accents. The didge literature tends to emphasize prosody and oratorical aspects—not only because of your vocalizations into the didge, but also because you have just the fundamental (and pedal), plus a few harmonics (‘toots’, ‘trumpets’) to work with. (Years ago, Juilliard professor Ivan Galamanian famously drew an analogy between instrumental (violin) playing and speech, in which he asserted that attacks are consonants and the sustained notes are vowels, and performers should treat them as such. The analogy is true enough for strings and other instruments, but it’s hardly even an ‘analogy’ in didgeridoo playing: given all of the tongue, jaw, and vocal tract technic involved in didge performance, the vowels-consonants assertion is a self-evident fact of how the didge sounds are produced.)

V ocal and instrumental rhythms are sometimes direct translations of a poetic meter. In other words they may be sung or played, interchangeably. Far more often than not, however, vocal and instrumental rhythms create what we might call ‘rhythmic counterpoint’ when heard with reference to the poetic meter—the interplay among two or more rhythmic threads or voices. By continually altering the durational relationships and varieties of accent in a succession of syllables, musicians can elicit the close attention of listeners.”
— Michael Tenzer, p. 43.

I n thinking about other instrumental repertoire that might be suitable as-is or transcribable for chamber didge recital, you might explore pieces whose articulation and accents entail sound-envelopes that are marcato ‘thrust-followed-by-decay’, an accent that resembles a plucked string instrument like a double-bass. With the didge, the decay is because the outflow of air from the cheeks that occurs while you are inhaling through the nose in circular breathing can’t be as forceful or sustained as the outflow of air when supported by the diaphragm. In general, highly rhythmic, marcato pieces in low register are likely to be feasible and stylistically coherent with didge performance practice, regardless whether they are for winds, strings, or percussion. There are pieces for tympani (for example, Daniel Jenkyn Jone’s ‘Sonata for Unaccompanied Kettledrums’) that could be performed as-is or transcribed for didgeridoo. And there are a number of chamber pieces for bass clarinet or low brass that are plausible. More links that you may find useful follow.

Thursday, May 17, 2012

MUS-501 final exam question: Late Schumann Lieder were hip-hop anthems. Evidence? Discuss.

I n 1989’s ‘Fight the Power’, Public Enemy’s Chuck D spits a working definition of rhyme’s reason: ‘As the rhythm’s designed to bounce / What counts ... is that the rhyme’s / Designed to fill your mind.’ He is speaking of ‘rhyme’ here both as the practice of patterning sounds and as a name for the verse as a whole. In both meanings, rap’s rhymes have filled our minds with many things, not all of them good. But it is more than a matter of content—be it women and cars or prisons with bars; it is also a question of poetic form.”
— Adam Bradley, p. 55.

T he prominence of dark themes in Schumann’s lieder in 1851 and later, featuring violent language and desultory circumstances and the characters’ defiant reactions to them, is strong evidence in favor of this thesis. Likewise, there is a radically different relationship between the music and the text compared to Schumann’s earlier lieder: in the late lieder there is a much stronger emphasis on syllabic stresses, on rhyme, and on systolic pulsatility of the voice strongly sync’ed to the instrumental beat. Schumann’s settings of Kullmann poems especially are, essentially, rap over music.

D ominated by the energy of insistent repetition—from perfect rhymes to assonance and consonance—delivering on the promise... apocopated rhymes, where a one-syllable word rhymes with the stressed portion of a multisyllabic word. He matches the first line’s monosyllabic internal rhymes ‘last’ and ‘blast’ with an apocopated rhyme ‘fastball’ on the next line. He does the same thing in reverse with another rhyme as well—using ‘hit’ to rhyme with ‘splitter’. This creates a structure that binds the two lines together... almost every word is doing some kind of rhyme work... using rhyme to fashion rhythm.”
— Adam Bradley, p. 62.

Und die mich trug im Mutterarm	And she who carried me in arms
Und die mich schwang in Kissen	And rock me in the nest
Die war ein schön, froh, braunes Weiß	She was beautiful, happy, *red*—hot—but
Wollte nichts vom Mannsvolk wissen	She never want to mess
Sie scherzte nur und lachte laut	‘Round... She only joke and laugh,
Und liess die Freier stehen.	Dissin’ those who hit on her.
„Möcht’ lieber sein des Windes Braut	“I’d rather be fucked by da wind
Als in die Ehe geh’n!”	Than have sex with any of you!”
Da kam der Wind, da nahm der Wind	And dat wind came, and dat wind chose,
Als Buhle sie gefangen,	And beat her and rape her too,
Von dem hat sie ein lustig Kind,	And that how she birthed me, packin’ heat.
Jung Volker, mich, empfangen.	Know dis: Jung Volker is my name.
—Eduard Mörike (1804-1875)	Op. 125, No. 4 (1851)

P ianist Graham Johnson maintains that Dichterliebe (Op. 48) contains what is arguably “the nearest thing in lieder to the modern phenomenon of ‘rap’ ” (liner notes to Vol 3, Hyperion CDA67676, pp. 101-2, specifically regarding ‘Ein Jüngling liebt ein Mädchen’, No. 11, a song about a young man’s rejection by the woman he loves). In my opinion, dubstep is the sound that Schumann was going for, instead of brostep. And a ducking ‘pump’ sound that you hear in techno and electro that comes from side-chaining. That and electro house drums. Kind of a ‘dark garage’ hip-hop dubstep with kicked-up bass. The late lieder would be great with custom Ableton controllers for that sound. Don’t get that on no Hyperion CD, though!

C ogan’s timbral reading of a piece is informed by the words sung in the performance. In his ‘Sounds of Song’, Cogan compares spectrographs of four recordings of Robert Schumann’s ‘Ich hab’ im Traum geweinet,’ a song he describes as ‘always obsessive, but uncertain, lost — quite literally traumatic.’ ”
— Smith Reed, Univ Pittsburgh, 2005.

Der leidige Frieden	Peace make me nervous,
Hat lange gewährt—	It last too long—
Wir waren geschieden,	We ‘part for weeks,
Mein gutes Schwert!	My blade, its song!
Derweil ich gekostet	Down in the cellar
Im Keller den Wein—	I drink dat wine—
Hingst du verrostet	You hanging rusty
An der Wand allein.	By the wall, bidin’ your time.
Von Sorte zu Sorte	Each juice
Probiert’ ich den Wein—	I tasted when my turn to—
Indessen dorrte:	Meantime, dat blood:
Das Blut dir ein.	It’s dried on *you*.
Ist endlich entglommen	Battle when you right
Der heisse Streit,	Ain’t no crime—
Mein Schwert, und gekommen	Blade, here comes
Ist dein Zeit.	Your thirsty time.
Ich geb’ deiner Klingen,	Wipe some more,
Den blanken Schliff:	You bright, smooth steel:
Ich lasse dich singen	I let you rap
Den Todespfiff.	Your deadly spiel.
Im Pulvernebel	In gunpowder haze
Die Arbeit rauscht—	You slash, rip steep—
Wir haben, o Säbel,	You ’n’ me, Blade,
Die Freuden getauscht.	We put ’em all deep.
Im brausenden Moste,	In foamin’ wine,
Mein durstiges Erz	Blade thirsty and smart,
Betrinke dich, koste	Drink deep and taste
Von Herz zu Herz;	From heart to heart;
Derweil du gekostet	While you’ve been tastin’
Das rote Blut,	Your crimson blood,
Is mir eingerostet,	My throat—it’s parched,
Der Hals vor Glut.	Waitin’ for a flood.
—Nikolaus Lenau (1802-1850)	Op. 117, No. 2 (1851)

O bscure poems that portray dysfunctional or oppressive gender relations, cars and money or jewels, and weapons—a throw-away objectification of people and ‘live-for-the-moment’ violent materialism—are also characteristic of these late Schumann lieder, in a fashion that presages modern hip-hop themes and postures. Braggadocio and lyrics that proclaim the singer’s greatness—these appear in Op. 117, Op. 104, and others.

W hile rap may be new-school music, it is old-school poetry. Rather than resembling the dominant contemporary form of free verse—or even the freeform structure of its hip-hop cousin, spoken word, or slam poetry—rap bears a stronger affinity to some of poetry’s oldest forms, such as strong-stress meter of ‘Beowulf’. As in metrical verse, the lengths of rap’s lines are governed by established rhythms—in rap’s case, the rhythm of the beat itself.”
— Adam Bradley, p. xv.

Du nennst mich armes Mädchen	“Po’ ho’,” you call me;
Du irrst! Ich bin nicht arm!	You full o’ shit! I’m not po’!
Entress dich, Neugier halber,	Wake up, you pimp,
Einmal des Schlafes Arm und schau’	from yo’ drunk-ass sleep,
Mein niedres Hüttchen	An’ look at my mansion
Wenn sich die Sonne	Wit da paradise sunrise
Hold am Morgenhimmel hebet:	When da morning sun come to me:
Sein Dach ist reines Gold!	Dat roof is pure gold!
Komm’ Abends, wann die Sonne,	Or come in da evening when da sun,
Bereits zum Meere sinkt,	Sinking in da sea,
Und sieh’ mein einzig Fenster,	See only my window,
Wie’s von Topasen blinkt!	Sparklin’ wit da topaz jewelz!
Du nennst mich armes Mädchen	“Po’ ho’,” you call me;
Du irrst! Ich bin nicht arm!	You full o’ shit! I’m not po’!
—Elisabeth Kuhlmann (1808-1824)	Op. 104, No. 3 (1851)

E mblematic of all rap music is constructing an image of power through gestural cues, which may be in the words or the music or both. The cues include punched-up rhythms and phrases about money, expensive clothing, jewelry, killing and dying, and going places and doing things. Late Schumann lieder got those!

T he situational exigencies of late Schumann lieder are accessible to anyone whose mind is open, and are not dependent on exterior markers for their manifestation. Instead, they are rooted in demonstrating values in interacting with others—values such as defiance, aggression, and action; support, mutuality, and reflection—‘power over’; ‘power with’. Don’t need no fancy or subtle analysis to identify features of hip-hop in late Schumann. Jus’ need to open our minds to the sonic and textual evidence that’s right there in front of us.

T wo hundred years ago popular music and art music were joined at the hip. Beethoven’s works and the birth of the Romantic Era coincided with the rise of the middle classes. Franz Schubert and Robert Schumann composed lieder that could be sung and played in the home by amateur musicians. At the same time that the middle classes expanded, they received a more formalized and substantial education and formulated an idea of art and music. The masses were able to sing and play music that did not require the same technical ability as music that one would ﬁnd in the concert hall, but was more suited for the salon. The music was ‘attainable’, and it featured poetic verses with melodies that were relatively easy to sing.”
— Gabe Kanengiser.

Sunday, March 13, 2011

Meditating on Ken Ueno, Musical Seismology, Japan

U eno’s concert music, writing for a variety of ensembles from chamber groups to orchestra, has been informed in significant ways by his experiences as a performer... Cultural resonances abound in his music; for example, the biwa and shakahuachi concerto Kaze-no-Oka (‘Hill of the Winds’) has an architectural basis, being inspired by buildings designed by Fumihiko Maki... [Japanese] ideograms are used as musical formants, the details of which can be extrapolated and recontexualized to create an organic, but continually changing, whole. Subjecting an acoustical object or objects to scrutiny using computer-based tools of timbral analysis, Ueno extracts details of its musical makeup, such as its prevailing frequencies and how that profile might change over time... What are the limits of perception? ... In Kaze-no-Oka, in addition to the architectural origin, the conceptual-musical idea is of the orchestral body as a reflection and amplification of the biwa (orchestral strings as ‘super-biwa’) and shakuhachi (bass sax and contrabass clarinet as ‘super-shakuhachi’).”
— Robert Kirzinger, liner notes, Ken Ueno - BMOP ‘Talus’ CD.

I was relieved to hear that composer Ken Ueno’s parents, grandma, and other family members in Japan are okay following the quake and tsunami.

T hinking of them and others affected by Friday’s magnitude 8.9 temblor and hundreds of aftershocks, I put Ken’s CD ‘Talus’ on to play. I look at its CD jewelcase. It still bears this orange warning label:

I think: how big is the dynamic range in decibels of the music in this recording, to which the safety warning label refers? The quietest room on Earth (the old Sound 80 studio in Minneapolis) has an ambient sound pressure level (SPL) of -9.4 dB. And the latent SPL of the top-of-the-line audio signal path (microphones, cables, connectors, pre-amps, amps, EQ, digital recording media, audio workstations/mixing consoles, audio CD media, playback amplifier and EQ, monitors/headphones, tympanic membranes and ossicles in the ears, cochlea, Organ of Corti, spiral ganglion, and acoustic nerve, cranial nerve VIII) is about 3.1 dB RMS, at 2 KHz and 20 years of age.

T he corresponding minimum perceptible ambient vibration in the Earth is about -0.7 Richter, according to Thouvenot and Bouchon (see link, below).

T he biggest recorded earthquake was the Great Chilean Earthquake of 22-MAY-1960, which had a magnitude of 9.5 Richter. So, 10 times [9.5 minus -0.7] equals a perceptible dynamic range of 102 dB for maximum earthshaking ever, and 96 dB for Friday’s Japanese earthquake.

A nd the approximate maximum of dynamic range for playing this BMOP CD of Ken’s is about 96 dB on standard digital audio at 16-bit resolution and 44.1 KHz sampling rate, given the limits of CDs and available amplifier chains and monitors/headphones.

K en’s ‘Talus’ CD jewelcase orange warning label alerts us to acoustic SPL differences in his compositions that are basically comparable to the SPL differences of what people experienced in Japan on Friday, just in different ranges of frequency spectrum. [...Heeding orange warning label, turns volume down.]

[30-sec clip, BMOP, Ken Ueno, ‘Kaze-no-Oka’, 1.1MB MP3]

K en’s music is like koans... not a progression from pain to realization, or pain and loss as a reminder of realization. It is the lean-ness of the mind focusing on the present, consciously exerting energy in the face of difficult odds and adversity. Yamada Roshi: “When you stand up, there is only that standing-up in the whole world, with nothing sticking to it.” Ueno’s music is, like, “This! Just this!” ... something of a ‘last word,’ a rhetoric of pure experience. His compositions’ expression is without judgment, sort of a Zen-like “letting the Shodo calligraphy brush write whatever it wants,” but that does not mean that it is ‘acquiescing’ or accepting of the reality, the suffering that Nature dishes out, nor is it free from worry.

O ur thoughts go out to those in Japan and their families.

Video #1
Video #2
Video #3

D o not say
that the deepest meaning
comes only from one’s mouth!

Day and night,
eighty thousand poems
arise one after the other—

and in fact
not one audible utterance
has ever been spoken.”
— Musō Soseki (夢窓疎石, 1275 – 1351).

Saturday, March 12, 2011

Akademie für Alte Musik Berlin: Baroque with Attitude(s), Baroque with Mixed Taste(s)

J osé Bowen writes of the ‘illusion that there is such a thing as a neutral performance style’... I believe it is an illusion principally of the listener; but even then perhaps ‘illusion’ is not the right idea... If Bowen typifies the view of a scholar making a ‘forensic’ examination after the event, rather than that of a performer who, for an ulterior artistic purposes, may need to have faith in some starting point without going too far into its credibility, he is nevertheless right to imply that performers do always display an attitude towards their music.”
— Jon Dunsby, in Rink, p. 227.

B uilding and shaping narrative is fundamental to effective interpretation, for musicians to bring a composition to life in performance (see esp. William Rothstein, in the book edited by John Rink, link below). In regard to constructing exciting and coherent narratives, Akademie für Alte Musik Berlin is second to none. Their performance last night was warmly received by Kansas Citians.

G.P. Telemann - Overture (Suite) in F minor, TWV55:f1
J.S. Bach - Brandenburg Concerto No. 5 in D major, BWV 1050
J.S. Bach - Violin Concerto in E major, BWV 1042
G. F. Handel - Concerto Grosso in F major, Op. 6, No. 2, HWV 32
G.P. Telemann - Concerto in E minor for Recorder & Flute, TWV52:e1.

T he Baroque slurred dotted-eighth-sixteenth ornament: this ‘punctuation’ conveys a certain tension, but it is not ‘tense’; it is instead athletic, like the taut muscles of a horse executing patterns in a dressage ring.

C onnecting the sixteenth note back to the dotted eighth with a slur has special and different meanings in Bach and Telemann and Handel. Telemann is more ‘French’ (see the excellent recent book by Steven Zohn, Baroque flutist and Assoc. Prof. Music History, Boyer College of Music & Dance, Temple Univ, link below, pp. 13ff). In the TWV 55:f1 Overture, there is an implied or interpolated ‘rest’ or suspension in the middle of the figure. By contrast, in the Akademie’s interpretations of Bach, the dotted-eighth-sixteenth slurs feel ‘pastoral’; these feel like distance is being traversed over soft earth or a hummocky pasture. In the minor keys, it feels solemn; it carries some gravitas. How wonderful to experience the diversity of German Baroque... the saturated colors and widely varying ‘feel’ and ‘sense’ that Akademie für Alte Musik Berlin impart to these pieces!

[30-sec clip, Akademie für Alte Musik Berlin, Telemann - Concerto in A minor for 2 recorders, TWV 55:a2, 1.1MB MP3]

T he musicians had already moved through several approaches to color and texture — a dark-hued French overture; a pair of light, graceful Menuets; a supple, rubato-laden Sarabande; and a pair of full-throttle fast movements — before arriving at the Plainte, a second slow movement. Suddenly, the string sound was hushed, velvety and nearly motionless. The ensemble addressed the Adagio of Bach’s Violin Concerto in E (BWV 1042) similarly, and the effect was no less surprising the second time... But for sheer inventive oddity, Handel’s Concerto Grosso in F (Op. 6, No. 2) proved the evening’s most memorable performance. Building on the gracefully modulating chord progression at the start of the work’s Andante Larghetto, the players produced a lush sound that painted Handel as an early avatar of English pastoralism.”
— Allan Kozinn, review, NY Times.

T he Akademie für Alte Musik Berlin (which loosely translates to the Berlin Academy of Early Music) features about 15 players trained in techniques employed in the 17th and 18th centuries, when the orchestra itself was still a relatively new idea. Friday’s concert confirmed that the uproar is warranted. The compelling program of music by German Baroque composers was one of the highlights of the concert season. What sets this ensemble apart from many others is the combination of technical expertise, extraordinary energy and sheer musicality... From the outset, the ensemble produced a soft but vibrant sound that was beautifully balanced. As it progressed through the nine-movement suite, the group demonstrated not only the ability to play well, but to infuse each movement with a sound and shape that was well conceived and effectively delivered. For example, the second movement contained two contrasting minuets. Not only was the instrumentation different — two recorders, lute and cello as opposed to strings — but differences in articulation also helped define each section...”
— Timothy McDonald, review, Kansas City Star.

Saturday, April 25, 2009

Australian Chamber Orchestra, Epitome of ‘Embodiment’

O ne of the foremost composers of the French Baroque operatic tradition, Rameau is often cited for his struggle to steer lyric tragedy away from its strict Lullian form, inspired by spoken tragedy, and toward a more expressive musical style… In his compositions, Rameau tried to highlight music’s potential for dramatic meanings. But his listeners, who understood lyric tragedy to be a ‘poetic’ rather than ‘musical’ genre, were generally frustrated by these attempts. In fact, some described Rameau’s music as ‘monstrous’—using an image of deformity to represent the failure of reason and communication.”
— Charles Dill, 1998, Professor of Musicology, Univ Wisconsin-Madison.

L isten to that, will you?” the person next to me could not help but say to me during the intermission. “Have you ever heard an ensemble so in-tune? or so ‘tight’, rhythmically? Each section is playing like they were one person!”

Y are right. I couldn’t disagree,” I said. “And to see them pivoting and rotating left and right, each by as much as 90 degrees, to see each other and physically gesture directly at each other! Their knee-flexing and expressive leaning and swaying... Their stretching of the dynamics, decibels quieter (with mutes on) and louder, beyond the usual interpretation of the as-written dynamics... How intriguing to see instrumentalists do this! It’s like they are opera singers, singing to each other.”

T he Australian Chamber Orchestra performance in Kansas City tonight was exceptionally good. And the exchange above occurred after the Haydn and Mozart before they got to the Suite from the opera ‘Dardanus’.

E nglish pianist Paul Lewis (who trained with Alfred Brendel, among others) joined the Orchestra for the Mozart Piano Concerto No. 12, K. 414... “A lush yet ‘crystalline’ tone... rhythmically ultra-synchronized with the ACO members... Amazing!”

Haydn: Symphony No. 44 ‘Trauer-Sinfonie’
Mozart: Piano Concerto No. 12 in A Major, K. 414
Rameau: Suite from ‘Dardanus’ (1739, 1744, 1760; RCT 35)
Haas: String Quartet No. 2, Op. 7, Monkey Mountains Suite (‘Zopicich hor’)

T he Rameau after the intermission was especially dramatic. Sans recorders and flutes but equipped with antiphonally-distributed horns, we were treated to six short movements with wonderfully rich acoustic colors and textures. Oboes cohabited with violas, the bassoon communed among felicitous cellos, and Lions laid down peaceably with Lambs. The textural and spatial novelty is not gimmicky—it’s innovative, aesthetically defensible in the context of Baroque sensibilities, and stimulates more drama and interest than the music might otherwise do. Very cool. And an excellent way to illuminate Rameau’s complex sense of the interplay between the narrative arc of the libretto and the associated arc of the instrumental music for the opera.

R ichard Tognetti became Artistic Director and Lead Violin in 1990, and under his leadership the ACO has embarked on ever more flexible ensemble configurations: small chamber group; small symphony orchestra; electro-acoustic chamber group; and so on. In ‘live’ performances, only the cellists are seated. The energetic interactions that this deployment encourages are nice—the visual gestures amongst the artists tend to be more demonstrative than when ensemble members are all seated. The standing ensemble members and the antiphonal positioning of some of the instruments add substantially to the excitement of the experience for audience members—these directorial/production decisions were especially appropriate for the dramatic Rameau. Oboes, far far stage-left, their backs to the shell, behind the violins; horn, center-rear; bassoon, far stage-right. These parts speak to each other across the distance, while the strings play with tight precision, as though they were one! Not just stretched dynamics, but dramatically accentuated spatial depth. Uncanny!

T hese decisions and variations also help tremendously realize and vividly accentuate Rameau’s physicality. These directorial/production decisions draw attention to the metaphorical ‘embodiment’ that Golan Gur and other Rameau scholars have written about. ‘Embodiment’ in the field of cognitive science refers to understanding the role of an agent's (character’s; performer’s) own body in its situated interactions with other agents in context—the role that the body has in the agent’s comprehending the situation and those interactions. For example, Dardanus “can’t stand to see” his future relationship with Iphise reduced to questions of pre-arranged nuptials and political alliances—his physical experience of standing, or failing to remain standing, or failing to endure the situation—is an example of cognitive ‘embodiment’, of physicality, which colors Dardanus’s cognition of the situation. His impulsive decision to go kill the monster could hardly arise from anything less than a powerful emotion, mediated by ‘embodied’ cognition.

A CO’s production values are fabulous throughout, but this Rameau really captured my imagination… Richard Tognetti is the Dardanus character! We are so not accustomed to instrumental players physically ‘acting’! These are not a Baroque ensemble performing a Suite ‘from’ Rameau’s opera; they are playing and moving physically on-stage as though they are the opera singers.

I n Greek mythology, Dardanus was a son of Zeus and Electra. The name ‘Dardanus’ in Greek (Δάρδανος) is forboding: it means ‘burnt to a shrivet’, from the verb δαρδάπτω (dardapto)—to grind down utterly, to burn up completely, to vaporize. In the Rameau opera, Dardanus is feuding with King Teucer. Teucer has promised to marry his daughter Iphise to King Anténor, done deal, so much for women’s rights. King Anténor is sucking in his attempts to defeat the monster that’s terrorizing Teucer’s kingdom. Dardanus and Iphise meet, through the probably-superfluous intervention of the magician Isménor, and fall hopelessly in love. An ‘army of one’ and now properly/amorously motivated, Dardanus then single-handedly defeats the terror-monster, saving Anténor’s life. Teucer and Dardanus make peace, and Dardanus finagles Teucer’s release of Iphise from her betrothal to Anténor. Anténor’s happy enough just to be alive, so Dardanus and Iphise marry and live happily ever after, so far as we or Rameau know. So, embodiment, yes; burnt shrivets, no—at least not in this opera or this Suite for chamber ensemble.

Ouverture (Lent)
Premier air (Grave)
Ritournelle
Premier menuet; Deuxième menuet en rondeau
Air de triomphe
Bruit de guerre pour Entr’acte

T he piece by Pavel Haas—Tognetti’s arrangement of String Quartet No. 2 for the larger ACO ensemble—pushed the dramatics up a notch. A dark, dissonant work, filled with punctate staccatos and percussive effects; very ‘cinematic’. Once again, the rhythmic crispness of the ensemble lent extra energy and excitement to the endeavor. The synchronicity of each section was astonishing—every player’s vibrato starting simultaneously, executing with identical width and periodicity, and ending simultaneously; every sautille, identical. To paraphrase Butch Cassidy & The Sundance Kid, who are those guys!??! ACO’s unprecedented dramatics and beautiful physicality brought the audience to its feet.

I f you haven’t previously encountered it, you may like to look at Charles Dill’s book on Rameau from about 10 years ago. Also, as relates to the inter-relationships between text and music, have a look at Peter Kivy’s new book. Several sources regarding ‘embodiment’ and theory of aesthetics and cognition are also included in the links below, for your interest.

The Australian Chamber Orchestra was founded in 1975 in Sydney. Their performances have been very popular at home (more than 10,000 Australian subscribers to their concert series) and heavily attended abroad, too. The ACO’s repertoire ranges from baroque and classical pieces to 20^th-Century and new music. ACO has in recent years commissioned quite a few compositions. The financial sponsorship of the Australia Council for the Arts and the Australian Music Office have contributed significantly to ensuring ACO’s success and sustainability. Would that ACA and AMO examples were emulated by other countries, particularly during the current economic down-turn! (As Tognetti said to the audience, maybe in a more affluent time ACO will not have to conserve on expenses so much and once again tour with their percussionist. That way, Julian Thompson will not need to treat the body of his cello so severely/pugilistically, to create the knocks, bangs, paper-in-the-strings buzzes, and other percussive effects called-for in works like the Haas.)

[ACO, Surfing Chamber Music ‘Musica Surfica’]