jwilzewske: savall

Showing posts with label savall. Show all posts

Friday, June 17, 2011

Minimalism/Designing Simplicity: Jordi Savall’s Celtic Viol

S hort motifs predominate... any feeling of meter is, basically, ‘local’. The majority of sections are only 8 bars long, with strong downbeat emphasis. Each section/variation offers new and different kinds of transparency, some more arpeggiated, some less so. The music may be Irish and Scottish in origin, but through this 2-hour recital I am drawn more than anything toward comparisons with Indian ragas—evolutions of a series of waves progressing over the ocean’s surface for hundreds of miles.

C omparisons with other kinds of minimalist music, a la La Monte Young, Reich, Nyman, Riley, and others seem apt as well.

[50-sec clip, Jordi Savall, ‘Macpherson’s Lament’; 2011, 1.4MB MP3]

I n Savall’s conception of the Scottish folk tune ‘MacPherson’s Lament’, the prospect of being hanged focuses the mind wonderfully. [The prisoner condemned to die requested the privilege to play one last tune, and this is the tune that he performed. Many fast trills, initiated on downbeat and then tapering—little symbolisms of trembling, waning life. After finishing the last note, the prisoner smashed the fiddle: the fiddle would die with him, a second homicide, violating the personhood of the instrument and compounding whatever other crimes MacPherson may have committed.]

T here are surely many musicians who have continued playing up to within a short while before their deaths, usually from cancer or other chronic illness. Consider the gesture as a form of palliative self-care. This is terminal abjection. The music is not meant to be salvific or curative, like a Tarantella! The musician knows full-well that s/he is about to die, and that there will be no reprieve, no escaping this fate. If anything, we hear a brave, dignified aesthetic of fast-approaching doom. [Did Shackleton’s Expedition have amateur musicians abord, I wonder? If so, what did they play toward The End?] All told, the repertoire of those whose lives are ended by the State must be a very small and specialized one. Savall’s performance suggests that jewish musicians of the Theresien (Terezin) Holocaust prison camp do not have a world monopoly on this literature. But I digress.

T he feature of the Jordi Savall-Paul O’Dette-Shane Shanahan performance last night that most fascinated me was the minimalism of it—and how this music (which is ordinarily performed in a freewheeling, raucous manner—at noisy dances with liberal imbibing, lots of stomping and shouting and carrying-on) resembles error-correcting codes in communications and software. The intermittent loss of phase-lock (due to signal attenuation, or multi-path reflections and other interference, or fluctuating changes in signal-to-noise ratio in the communications channel) in ballads and dance music is rapidly detected, the parts (treble viol in Jordi’s lap; Paul’s cittern/lute; Shanahan’s bodhran) are de-skewed, and phase-lock is recaptured, in large part due to the structure of these low-entropy framing “packets”, these 8-bar phrases.

H ave a look at Prof. Hartmut Obendorf’s recent computer science book (link below) to see what I mean.

I wish that Paul O’Dette and Shane Shanahan had had more substantial parts to play during the Celtic Viol concert last night, parts more illustrative of their expressiveness and musicianship. But despite their relegation to low-key ‘accompaniment’ roles, O’Dette and Shanahan seemed to enjoy themselves a great deal on-stage. Accompanists manifest a unique dignity arising from modesty, nurturing, and support—another species of minimalism, I suppose, providing the ‘canvas’ for the soloist’s artistic vision. It was all pretty cool.

Saturday, October 25, 2008

Hespèrion XXI: Unreliable Utopias + Unreliable Narrators = Top-Flight Meta-Meta Fiction

D on Quixote,’ Menard explains, ‘interests me profoundly, but it does not seem to me to have been—how shall I say it?—inevitable. I cannot imagine the universe without the interjection of Edgar Allen Poe’s ‘Ah, bear in mind this garden was enchanted!’ or without the ‘Bateau ivre’ or the ‘Ancient Mariner’, but I know that I am capable of imagining the universe without ‘Don Quixote’... ‘Don Quixote’ is an accidental book; it is ‘unnecessary’. I can premeditate writing, I can write it, without incurring a tautology... My memory of Cervantes’s ‘Don Quixote’, simplified by forgetfulness and indifference, is much the same as the imprecise, anterior image of a book not yet written. Once this image has been postulated, my problems are undeniably considerably more difficult than those which Cervantes faced. My precursor did not refuse the collaboration of fate: he went along composing his immortal work a little ‘a la diáble’, swept along by inertias of language and invention. I, on the other hand, have contracted the mysterious duty of reconstructing his spontaneous work. My game is governed by two polar laws. The first permits me to attempt variants of a formal and psychological nature. The second obliges me to sacrifice them to the ‘original’ text and irrefutably to rationalize this annihilation. In spite of these obstacles, the ‘Don Quixote’ of Menard [Savall] is more subtle than the one by Cervantes. The latter indulges in a rather coarse opposition between tales of knighthood and the meager, provincial reality of his country; Menard [Savall] chooses as reality the land of Carmen during the century of Lepanto and Lope.”
— Jorge Luis Borges, ‘Pierre Menard, Author of Don Quixote’.

Romances y Músicas de Don Quijote’—performed Friday night by Jordi Savall and Hespèrion XXI with F. Murray Abraham in Kansas City at the Friends of Chamber Music Early Music Series—includes ballads, songs, madrigals and other musical forms quoted and mentioned by the various characters or otherwise described at various points in Cervantes’s book. Each is matched with its corresponding passage from the Quixote text. The majority of the ballads and songs are ones that were preserved in songbooks, and treatises of the period but, in all those cases in which there is no extant documentary record of the music to which the poems were sung, Savall uses a ‘contrafactum’ approach—widely used in Cervantes’s time—selecting melodies of the period that closely match the mood and metre of the poems. All the musical pieces are integrated with the narrative, as recited by F. Murray Abraham, and performed according to the indications given in the novel.

What does it mean to provide narrative history under the sign of Cervantes? It cannot mean to speak from within a reanimated 16^th-Century society with the voice of Cervantes—remember Borges’s Pierre Menard story about the inauthenticity of attempting to write ‘Don Quixote’ as if one were Cervantes. It must instead mean to speak as oneself, as an historically-informed musician/actor, using period instruments and period text, but from one’s own contemporary vantage point.

And that is precisely what Jordi Savall and Hespèrion XXI and F. Murray Abraham gave to us. There was a constant interplay between an ‘addressive’ mode and a ‘performative’ mode—from narratives about the self and others, to narratives to the self and to others. The mimetic, performative acts of the artists called for corresponding mimetic, performative acts by the audience members. At several points during the performance, Abraham and Savall extemporaneously addressed a young girl in the front row of the audience with her mother, who responded appreciatively. Abraham descends the 1-meter stairs—from the stage set up for the performers in front of the altar, to the floor of the church—and strolls down the aisle into the audience, and then bounds back up on-stage. On several occasions, he emerges from behind the harp and tenor viola da gamba, wending his way to center-stage as he delivers his peripatetic Quixotic recitation. In other words, this is a participatory, improvisatory production, not a recital/reading passively received. Musicians and actor-reader proposing, exposing the Self… selves, patterned after or assimilating qualities and stances of the characters created by Cervantes. Life into story, story into life.

Jordi Savall, photo ©2007 Hans Speekenbrink

[50-sec clip, Jordi Savall and Hespèrion XXI, 1.14. Primera Parte - Arde La Biblioteca, Capítulos V-VI: Romance De Don Beltrán, ‘¿Los Dolce Pares?’ (Juan Vasquez), 1.2MB MP3]

[50-sec clip, Jordi Savall and Hespèrion XXI, 2.01. Segunda Parte - Llegada Al Toboso, Capítulo IX: Pavana I, ‘Arpa’ (Alonso Mudarra), 1.2MB MP3]

[50-sec clip, Jordi Savall and Hespèrion XXI, 2.20. Segunda Parte - En La Entrada De Barcelona, Capítulos LXI-LXII: Conde Claros / Recitado, ‘¿En Fin, Por Caminos Desusados?’ [In the end, we travel by abandoned/disused roads?!] (Alonso Mudarra / Cervantes), 1.2MB MP3]

Savall’s program notes meditate on the fact that Cervantes’s literary accomplishments brought him little worldly success during his lifetime. Cervantes, thwarted and humiliated, found that the music and the ballads provided some respite; they transported him (and us) to a utopia in which cultural affirmations and myths inspire and encourage us to endure. Cervantes’s narrative, according to Savall, is designed to take us into a magical realm of imagination that goes beyond what can be expressed or suggested by words alone.

The whole of ‘Don Quixote’ is full of exotic illusions of the kind that, during the 20^th Century, Jorge Luis Borges became famous for. It is meta-fiction. In fact, in Savall’s ingenious hands, it is transformed into high ‘meta-meta fiction’: musico-theatrical fiction about fiction about fiction.

Meta? Meta-meta? Well, Cervantes tells us in Volume 1 that the original story of Don Quixote was written in Arabic by some Muslim Moor named Sidi Hamid Benengali, and that Cervantes is merely a ‘translator’ or intermediary rendering it in Spanish. This isn’t true, of course—it was a narratorly ruse by Cervantes. Cervantes tells us that Benengali isn’t the most accurate of historians. But Cervantes does call Benengali an historian—suggesting that Don Quixote/Alonso Quixana was real and that the narrative is a documentary worthy of the regard that we give to things that are real. Later, The story is narrated by ‘Cervantes’—but this time a fictional Cervantes: the meat-world Cervantes’s virtual-reality representation of himself. The SecondLife in-world character ‘Cervantes’ claims he has uncovered the translated manuscripts of Sidi Hamid Benengali and proceeds to tell us the story of Don Quixote, not as Benengali ‘wrote it down’ (because Benengali’s story has errors) but to cure Benengali’s unreliability and fix the errors and fill in the gaps. So by now we have been four times removed from the original author/narrator and nothing—Nothing!—is certain. With Savall’s and Hespèrion XXI’s and Abraham’s added interpretations, make that five times or six times! By this time, Cervantes’s unreliability as a narrator makes us hold in abeyance everything he says; makes us wonder what is reliable, if anything. Click here to have a look at Dissociative Identity Disorder DSM-IV 300.14. Does Cervantes’s familiarity with this psychiatric condition inform the way that he writes what he writes here?

To Cervantes, the world is this multivalent, polysemous, polyphonic, multi-layered, hybridized, impossibly pluralistic thing—very different from the teachings of the Roman Catholic Church at the time. Cervantes tries to link things, to map things (in what some analysts say is a ‘Neoplatonic’ way?)—microcosmos to macrocosmos; explicatio (unfolding) to complicatio ([re-]folding). The ‘Don Quixote’ novel is this way and, musically, ‘Romances y Músicas de Don Quijote’ is this way as well. It is as though it is an early 17^th Century mash-up.

I t has become a commonplace to typify modernity as both intrinsically sociological and reflexive, and to cite modernism’s self-consciousness as one of its direct results... an increased anxiety about what it means to render oneself, and to affect others, narratively. What does it mean to assume (or defy) the responsibilities which storytelling perforce assigns? ... It is the rise of the modern city or the invention of abstract labor by a market-driven economy or the legal and philosophical redefinition of personhood which underpins modern narrative... [In a realist novel] the autonomous individual continues to pursue an idealism he/she recognizes as no longer tenable, positing an immanent ‘return to itself’ in a world permeated by metaphysical homelessness. In contrast, modernist fiction disembeds the self [and substitutes instrumentalizing societal power] and, by abandoning the tempered irony which enables the self to be deployed as a fictive construction in the first place, breaks faith with ‘the only home the novel has ever known’.”
— Adam Newton, Narrative Ethics, p. 31.

The mashup juxtaposes conflicts, contradictions, jokes, tensions, post-Reformation accomodations of authority and defiances of authority. We experience blending of Biblical narratives and traditions of Church Fathers, colliding with Islamic/Moorish concepts and tensions ... with the Jewish Conversos culture of Cervantes’s family, with pagan myths, with humor, with post-Copernican science—and with restlessness as a way of modern life.

What I’m saying is that Jordi Savall et al. have concocted far more than a beautiful, historically-informed musical-theatrical production. This is not your typical ‘Early Music’. They are rendering a multi-cultural, post-modern new-music multi-media mashup that concomitantly is authentic Spanish Renaissance early music ... that is to say, a work that’s positively brilliant as post-modern Web 2.0 culture and, as such, is as fresh and radically ‘meta’ as any artistic work you’ll find anywhere. The literary and musical effect is, much as Cervantes once wrote, ‘exemplary’—the elements juxtaposed in this way enable us to contemplate many thoughts, different interpretations, roll them around in our minds. ‘Exemplary’ fictions, told in a light-handed, exemplificatory, ‘meta-meta’ way—the reader-listener turned out on her/his own, to figure out what to make of the mashup’s meaning.

M enard’s aim was never to produce a mere mechanical transcription of the original ‘Don Quixote’; he did not propose to copy it. His ambition was instead to produce a work that would coincide—word for word, line for line—with those of Miguel de Cervantes... The initial method he conceived was relatively simple: to know Spanish exceedingly well; to re-embrace the Catholic faith; to fight against Moors and Turks; to forget European history between 1602 and 1918; and ultimately to be Miguel de Cervantes... Shall I confess that I often imagine that he finished it and that I am reading Don Quixote—the entire work—as if Menard [Savall] had conceived it? Several nights ago, while leafing through Chapter XXVI—which Menard had never attempted—I recognized our friend’s style and, as it were, his voice in this exceptional phrase: ‘The nymphs of the rivers, mournful and humid Echo’.”
— Jorge Luis Borges, Pierre Menard, Author of Don Quixote.

Hespèrion XXI’s account conveys this sort of uncertainty and cross-cultural mashup. The theme of surviving culture wars and other adversities through self-reliance—a [post-]modernistic sense of this is well-represented in these pieces. So also is Cervantes’s rejection of doctrinaire superstition and magic while still nurturing hope in things unseen. Savall and the ensemble musicians deliver animated, convincing performances. And Abraham (perhaps best known for his Academy Award for Best Actor in 1984 for his portrayal of Antonio Salieri in ‘Amadeus’) has stage presence and dramatic skills that are magnetic, riveting—ideally suited to this historically-informed production. The poetic urgency of Abraham’s delivery is wholly compelling, especially when evoking the Renaissance Jesuit’s skeptical regard for faith as a way to explain events in the physical world; when evoking Cervantes’s ironies; when rendering his humor and ruses.

We were 100% captivated by this superb performance—diverted by it, yes, but also led to reflect on the ambiguities and conflicts that the elements that were juxtaposed in the meta-meta-mashup conjure … to decide what they mean for us in the audience, and what they signify to Cervantes and to Jordi and his colleagues. [Jordi’s trick faux-encore to surprise Murray Abraham by having the ensemble sing ‘Happy Birthday’ to him—before the group did their real encore—was a nice, impromptu touch. Abraham was genuinely moved by this gesture, and so, too, were we in the audience. Bravo!]

T o make the world plausible [the playwright; the composer] has to create someone with a substantial ego, someone who would recognize the existence of many other egos, but subdue them sufficiently by the sheer size of his own generous, charming, overwhelming confidence—someone who would believe himself to be the center of any universe—in other words, an actor. ... Inventing worlds is our stock in trade.”
— F. Murray Abraham, Midsummer Night’s Dream: Actors on Shakespeare, p. 2.

I t seems to me that the situation we find ourselves in today because of fundamental interpretations of religions has steered us into violence, which is what most religions suggest they are against. The point is that it’s not true. If Christians really practiced what Christ suggests, which I believe is great and revolutionary, and if people really followed the tenets of Mohammad, which embraces many religious ideas… But they’re not. … People who are suffering because of religions still cling to their religions. I don’t quite understand that. It’s possible they don’t want to think for themselves. It’s possible they prefer to give over their responsibilities as thinking sentient human beings to some ‘powers that be’, [prefer] to relinquish their responsibilities to their children, their families, their future.”
— F. Murray Abraham, interview in Gothamist, 21-APR-2008.

Saturday, May 12, 2007

Unplugged Folias & Romanescas: Acoustics Très Tendrement, Finances Très Tendres

The viola da gamba is a chamber instrument with a soft, sweet tone, incapable of the dynamic extremes and brilliance of the violin. This helps to account for its decline.”

— Columbia Encyclopedia, 6th Edition

CMT: During the interval I had a chance to glance at some of the music that Jordi had left on his music stand and on the floor. Beautiful hand-prepared manuscripts! Based on some idiosyncrasies in his scores, he seems to have intended to maximize exploiting the possibilities presented by the viola da gamba’s extended range. The gamba’s seven-string guitar-like tuning allows the performer a range of almost three octaves without shifting or changing positions (compared to two octaves plus a step on the cello). And its seven-string setup is conducive to virtuosic, arpeggiated passages. In one of the Marin Marais muzettes last night where a range of four octaves is spanned in only a few bars, Jordi demonstrated the flexibility the instrument allowed the composer. Phenomenal! The extended range of the viola da gamba is an “enabling technology” for a really dramatic melodic lyricism.

DSM: Together with Montserrat Figueras, Jordi Savall has founded three ensembles—Hespèrion XX, La Capella Reial and Le Concert des Nations. Each has in its own way charted new waters in terms of expressive beauty and lyricism. Savall’s performance in Alain Corneau’s film Tous les Matins du Monde (All the Mornings of the World), which won a César award for the best soundtrack, also charted new waters.

CMT: Sitting just 3 meters from Jordi at last night’s Friends of Chamber Music concert allowed me to observe his technique in detail. I was especially fascinated by his dramatic treatment of these pieces. According to Stowell’s Cambridge Companion to Cello, among the viola da gamba players of the 17th Century vibrato was associated with a tender, passionate or wailing quality. Jordi seems to favor a ‘flattement’ style of vibrato—one that’s extremely moving in tender pieces and on long notes. There is an intimate, introspective, confessional aspect to Jordi’s rendering of the Ortiz Folias—a storyteller’s sentimentality in his account of the Marais pieces. Almost autobiographical, when you are in the front row in a stone cathedral like this.

Diego Ortiz—Recercadas sobre tenores (Folias, Passa mezzo moderno, Romanesca)
Tobias Hume—Musickal Humors (Whope doe me no harme)
Gaspar Sanz—Piezas para la Guitarra (Jacaras-Canarios)
Marin Marais—La Viole de Louis XIV (Prelude-Le Labyrinthe)
Mr. De Sainte-Colombe de Fils—Fantasie en Rondeau
Mr. De Sainte-Colombe de Fils—Les pleurs
J.S. Bach—Bourrèe
J.S. Bach—English Suite in A minor
Antoine Forqueray—La Marella
Antonio Martin y Coll—Diferencias sobre las Folias
Jean-Baptiste Forqueray—La du Vaucel (Très Tendrement)

DSM: The movement of playing should serve to illustrate the music. Jordi does this superbly and consistently. These scores read as though they had a verbal text—well, in some cases they did have a verbal text, since much consort music was vocal in conception. But to see and hear Jordi Savall play is to believe that the entirety of the music is vocal in conception! The player must be ready to use a light, heavy or medium bow stroke according to the demands of the music. The melancholic music should be bowed lightly and evenly, while the left hand can use a tasteful amount of ‘tremolo’ to enhance the melancholy. Cheerful music requires the bow to animate the instrument and animate the music. You can only really see this adequately in live performance, close up! These pieces make you wonder for whom were the pieces written. Just who were the viola da gamba players and cellists capable of playing these pieces? Whoever the original dedicatees were, the performers must have been ones of great talent in order to do justice to this music.

CMT: You’re referring to the fact that every one of these pieces reveals big biomechanics issues, for the performer? These issues arise not only with the viola da gamba but basically with all other fretted stringed instruments that have more than four strings. Gambas and lutes and are tremendously delicate instruments. The bridge curvature on the gamba is pretty modest, and this makes it very difficult to apply bow pressure on a single string without touching off adjacent strings. Jordi is a phenomenal gymnast when it comes to expert bowmanship in the face of such risks. In the 16th Century, the necks of viols had very little backward tilt, making it necessary for the necks to be thick, to withstand the string tension. They were also narrow at the nut, bringing the strings very close together. There’s tremendous difficulty with chords and double-stops, especially for a player with a large hand or thick fingers, who would have difficulty in holding chords without overlapping other strings.

DSM: Compared to a modern cello, the absence of an endpin also makes the gamba awkward to play—hard to stabilize and hold between your gambas, I imagine. This physical precariousness of the gamba accentuates the delicacy of the sound, I think. For audience members who are in close proximity to the performer, the precariousness is visually captivating—somewhat in the way that we are captivated by watching a tight-rope walker—or a gymnast, as you put it. I was wondering in one of the Marais pieces whether Jordi had alternate-tuned one of the strings—scordatura? By the way, the fretted members of the string family, like the viola da gamba, came to be regarded as musical relics by the mid- to late-18th Century and were way out of fashion by the 19th Century, didn’t they?

CMT: Well, yes. The dark timbre and limited volume were the main reasons why, I suppose, given the acoustic demands of larger concert halls. Notably, the bright tone of gifted harpsichordist Pierre Hantaï achieved a volume perfect for balance between the instruments last night. Theorboist-guitarist Xavier Diaz delivered an exquisite offering as well. The full-to-capacity audience at Grace & Holy Trinity Cathedral responded enthusiastically—an appreciative standing ovation for the deeply moving and technically superb performance.

DSM: But the acoustical properties of the viola da gamba and theorbo and harpsichord still have consequences in terms of the economics of live performance then, don’t they? It’s unreasonable to program this Trio into a venue with an audience of more than a few hundred—with an unamplified sound so delicate as this Trio has. And, after all, how much can you charge per seat? So it’s hard for the presenter to gross more than $20,000 for this kind of program. Therefore, for the artists the financial viability of this delicate music really depends upon CD sales and paid digital downloads—to augment the proceeds from performance fees. And for the presenters, the financial viability of this delicate music really depends upon interested donors/patrons and upon grants from public-sector agencies, foundations, and commercial benefactors—to augment the proceeds from ticket sales/subscriptions.

CMT: You were speaking of ‘physical precariousness’ of the instrument earlier. I suppose a correlate of that is the ‘financial precariousness’ of the artform itself. Just as there is an appreciation of beauty created against all odds by artists like Jordi and Pierre and Xavier—the adversity and risk that their chosen instruments present to them—there’s also an appreciation of beauty and rarity—conservation of endangered early music and chamber music species against all odds, by chamber music presenters and other organizations around the globe. Attending concerts or supporting organizations that nurture these species in the Arts, don’t we participate in a kind of beauty that’s somewhat like observing a rare orchid?—contributing to habitat preservation for the spotted owl? Aren’t the gesture and its internal rewards a little like supporting Nature Conservancy?