Entry 5. Newfound Music I

I really enjoyed the Newfound Music Festival this year, though I didn't get to attend nearly as much as I wanted to. I had planned on attending more of the sessions, but between being sick, working for one of the student recitals, going to the 1:00 one and having chamber music rehearsal, I did not get to see a lot. You can only hear so much from backstage, so I did not get to hear some of the really groovin' music played in the 11:00 concert, and immediately after my piece was played in the 1:00 concert I had to leave the auditorium to say goodbye to my friend who moved to BC on Friday, who had stopped in at the last minute to hear my piece.

I did get to two of the concerts, and I'm really glad that I did. I did not get to the one on Thursday night because the weather was really bad and I was sick (the combination of the two would've been REALLY pretty...Not.) but I got to go to the one on Friday and Saturday night.

So this blog will be about the one on Friday night!

I was very impressed with the variety of different pieces which were played. Of course, it was really great to hear music by two of our own- Clark Ross and Andrew Staniland- and by the guest composer, Derek Charke. There were a lot of surprising things in this concert, and my ear felt very satisfied with what it had heard. You know that feeling? It's marvellous when your ear has that nice sigh, as though it's just had a full, three-course meal and has unlatched its belt a notch. Now it's time for some hardcore napping and digestion!

Well, save the nap for later, maybe.

I really think "Shooting the Moon" is a good title for Clark's piece. There were several ponts during the piece when I heard a rhythm which caught my attention, and the octave-notes in the left hand really reminded me of the disco piece that Megan Warren had composed last year. I could easily hear both the disco and the jazz influence, and it's very satisfying even when all you get is a tiny snippet of music from a style you're listening for.

This was the first time I'd heard something by Andrew Staniland all the way through (we listened to the first movement of one of his pieces in orchestration and arranging) and want to hear more, so I can see where this fits into context and know what his style is like. That's how I like listening to music- I like to listen to several pieces by the same composer and get a better feel for not only the individual pieces as I listen to them in context, but by the overall style with which they've been written. There was a moment in the beginning of the second movement which was absolutely beautiful, and I found the majority of his music to be intelligent, edgy and captivating. I also think he represented the text really well with the music.

I also found the title of Derek Charke's pice very fitting. I've always liked the sound of hearing a performer play something with music playing in the background, and the melee of sounds and textures in his piece were both very mesmerizing. I kind of found myself wondering how one would notate that- do you write in the score what to listen for in the recording? Of course, as the composer, he would obviously know what to listen for, but all the same, for someone reading through the part the first time, how would they know when to play? One more note- he is a great flautist! Kudos for being able to both write and play beautiful music!

The piece by Onishi was really a treat to listen to, though as a string player who values both their bow and violin strings, by the end my mind was screaming "Oh noo!! Please don't break your strings!" and "You're definitely going to need your bow rehaired!" Bartok pizzicato always makes me cringe. I don't think I could do it if someone paid me to, not even if I borrowed a cheap violin. And I take great pride when I break one bow hair, and find it absolutely amazing- enviable, even- when people break four or five, but as a student who is clutching every penny dearly, I still kind of shudder when I think about getting a bow rehaired after playing just one piece.

All that rubbish aside, it was a lot of fun to listen to! I found there was always something going on, and I didn't know where to look or listen next- especially since they were seated so far apart, but that was what I liked about it. I liked hearing the music coming from remote parts of the auditorium. I'm an easy giggler, though, and had to really try not to giggle when either Aaron or Michelle made funny noises into their instruments. I loved the advanced techniques very much!

The Wuorinin piece is one I think I'd have to warm up to. I love the sound of classical guitar (any type of guitar, really) and was setting myself up to hear something tonal and classically pretty. I have to admit, whenever someone is introducing their piece and says '12 tone' my ear kind of pouts. I would love to see the music, go through it and analyze it, but that's because 12 tone music is beautiful on the page and somewhat...Strange to the ear. Like what Milton Babbit said in "Who cares if you listen." This isn't music to listen to, though that's what we do with it.

Good concert, though! Great variety of styles and instrumentations. :)