I
always fight a mini-battle with Franz Liszt in the months leading to a
performance. Why Franz, why your
self-anointing obsession with memorized performances? Couldn’t you foresee the
unimaginable complexity of the compositions that followed your own? This
was particularly pungent last year as I attempted to master John Harbison’s Mirabai Songs, a feat of which I’m
proud, but not without immense mental and emotional scarring. I ended up
performing them without music, but such a task would have been preposterous to
ask of my pianist.
This
past Friday at Longy’s Septemberfest concert
“La Muse en Voyage”, I pondered the question of memorization in the concert
world, particularly in light of the double standard in regards to 20th
and 21st century music. And by intermission, I had resolved my
complicated battle with Mr. Liszt: he was right. Musicians owe it to
themselves, the music, and the audience to perform sans score. While my own
experience performing the Mirabai Songs drove
home the immensity of this task, and almost rendered memorization arbitrary,
disingenuous and at the expense of accurate musicality, the concert on Friday
allowed me to evaluate this idea from the objective audience’s point of view.
Cook’s Music: A Very Short Introduction discusses the musical hierarchy
that ranks, from low to high, audience, performer, composer; the notion of
authenticity; and also the symbolism of music notation. All of these topics
came to mind when violinist Jesse Mills and pianist Rieko Aizawa took the stage
in Pickman with Lukas Foss’ Three
American Pieces (1944). Before any notes sounded, upon seeing the score on
Mr. Mills’ music stand, I (as objective audience member) knew this music was
not his own. It came from an external source, and he was merely relaying this
information to the eager audiences. Following this realization, I felt myself
at the bottom of the pit: not only was the performer subordinate to this piece
of paper, but I was beyond subordinate to the performer. His elevated location
on stage and the stifling silence of the concert hall inundated me with my own
ineptitude – it was as if the setting was yelling to us all, “YOU are too dumb to
read this piece of paper, so this nice man on stage is going to read it for
you, and you have to shut up while he’s doing it.”
I stifled a hearty laugh at the
absurdity of the situation. As Mr. Mills and Ms. Aizawa played (wonderfully, I
stress), I longed to appreciate a greater authenticity from their performance.
If they had been without music – as is the case with most performances of 17th-19th
century compositions – I would have been infinitely more engaged, as if his
astounding harmonics and seamless communication with Ms. Aizawa were
improvisations, reflections, musings on the moment itself. This is an
experience I relish in chamber music concerts – a memorized Brahms sonata is one
of the most mutually (between composer, audience, and performer) expressive
experiences one can have. And, luckily for the recital singer, custom asks that
we perform hands-free; Ryan Turner’s performance on Friday is evidence of the
gripping hold a liberated singer can cast over an audience. I have had this
same experience of expressive “unity”, and usually an even stronger one, at
non-classical or atypical classical performances – the most powerful were my
favorite band, the Tuareg desert rock group Tinariwen, and Yo-Yo Ma’s most
recent project, the Goat Rodeo Sessions, a bluegrass-classical crossover group
including Edgar Meyer, Stuart Duncan, and Chris Thile. What do all of these
situations have in common? I don’t have to see the music. I’m sure that in the
case of Tinariwen, there was no written music; and in the Goat Rodeo Sessions’
case, the anecdote (according to Mr. Ma) is that he and Meyer learned from
score, Duncan and Thile by ear. But in the end, it was certainly of utmost
unimportance to the audience.
But as soon as that pesky piece of
paper shows up, a flimsy barrier gels in front of the audience. It makes me
wonder how far behind the concert world is behind the world of theater, of TV –
do actors perform with scripts? No, because otherwise we wouldn’t believe a
single utterance of their character. Why do our television networks go through
the hassle of creating cue cards? So we can believe our news anchors, our
comedians, our sitcoms. So we have an element of authenticity. Why are
politicians coached to either memorize their speeches, or look imperceptibly at
their podium? So we believe they are speaking directly to us, responding to our
presence. Why doesn’t the musician have this same responsibility?
Cook says “the idea that the performer’s role is to reproduce
what the composer has created builds an authoritarian power structure into
musical culture, whether expressed in the relationship between composer and
performer or in relationships between performers … especially between the
conductor (who acts as the composer’s representative) and the rank and file orchestral
players” (26). Never is this more obvious than when there is a physical object
– a proclamation of authority, if you will – proving to the audience that they
are incapable of understanding this musical idea without aid. Is there some
sort of twisted joy that we, classical artists, marginalized members of
society, feel from showing this to the audience? Is this the only aspect
preventing us from obtaining the authenticity that blesses rock musicians, who
appear to be effusively improvisatory in every performance?
Using our scores is a disservice to
all, no matter the century of the composition. As cook says again, “the
essential note-to-note structure is only part of the music. For between and
around these notes, so to speak, lies a vast domain of interpretive possibility”
(64). In a word, authenticity. Mr. Mills and Ms. Aizawa showed this exquisitely
in their performance, but, in a sense, it didn’t matter. I didn’t want to attribute
it to them. I wanted to attribute it to the composer, because I saw his paper,
and that made me, to put it simply, mad.
So, what do I do? No more battles
with Franz, for certain, just private battles with composers for making life
hard. I will do everything in my power to memorize everything I sing. As a
composer, I will always encourage my players (if I’m lucky enough to coach
them) to memorize; and if they lose a few notes in the process, I probably
won’t care.
No comments:
Post a Comment