Tomorrow I play at my church, Central Christian on N. Rock Road Wichita Kansas. I never thought I would be so nervous the night before a performance. Usually I am eating my favorite food and watching tv. Tonight, I find myself thinking a lot about the one piece I have to play and my practice is a little frantic even though I know it well. I wonder whether it is the sheer size of the congregation (around 2000) that is unnerving me, or that my piano professor will be coming, or that many of my friends there have never heard me play.
I also may have another opportunity to audition at another university. I don't know whether this would be the golden opportunity that I shouldn't miss or the straw that breaks the camel's back. I think that my confidence is in shreds and my nerves are shot, after the last audition. I wonder whether there are universities out there that would focus on what they can do for me, rather then just only on what I can do for them. I will write to the dept chair and see what I can find out. In the meanwhile, I have my cv, repertoire lists and what-nots ready to be mailed at anytime now.
Anyhow, I'm practicing dilligently and I'm doing alright financially at this point. I started a temp. job with the Sucess for All Foundation and I like it. That eases a lot of the worry as to whether I'll be able to survive through the summer.
Sleep beckons as a great opportunity awaits me tomorrow morning.
Saturday, April 30, 2005
Thursday, April 7, 2005
Piano Library Database
A couple years ago, I started putting all my piano books and vocal books into a database. It's a time consuming effort but I think it's worth it. I finally had a total sum of the money I've spent on piano literature and what the current value of those books are. Phewy!! I will consider insuring my library.
However, I have not entered my piano pedagogy materials and musicology related books into my database. Perhaps I will do so soon. What I'd really like is an embossing seal for all my books. So if anyone decides to steal my books, they'd have to cut out quite a few pages.
If you walked into my apartment now, you'd see piles and stacks of books everywhere. I have effectively run out of bookshelves to store all my books. At least, my piano books are shelved alphabetically by composer so there is some sense of order, though it doesn't seem so at first glance. I think every musician has a stack of music somewhere that isn't organized :)
However, I have not entered my piano pedagogy materials and musicology related books into my database. Perhaps I will do so soon. What I'd really like is an embossing seal for all my books. So if anyone decides to steal my books, they'd have to cut out quite a few pages.
If you walked into my apartment now, you'd see piles and stacks of books everywhere. I have effectively run out of bookshelves to store all my books. At least, my piano books are shelved alphabetically by composer so there is some sense of order, though it doesn't seem so at first glance. I think every musician has a stack of music somewhere that isn't organized :)
Wednesday, April 6, 2005
Upcoming Performances
April 29, 2005, 7:00 pm
Wichita Area Technical College Commencement.
Prelude Music, Processional and Recessional.
May 1, 2005, 8:45 am & 10:30 am Services
Central Christian Church, 2900 N Rock Rd. Wichita KS
Special Music: Beethoven, Sonata No. 15 in D major "Pastorale" - Rondo (4th mvt)
May 8, 2005, 10:50 am Service
Grace United Methodist Church, 320 College St. Winfield KS
Special Music: Granados, Valses Poeticos - Introduction & Vals 1
Offertory: TBA
Wichita Area Technical College Commencement.
Prelude Music, Processional and Recessional.
May 1, 2005, 8:45 am & 10:30 am Services
Central Christian Church, 2900 N Rock Rd. Wichita KS
Special Music: Beethoven, Sonata No. 15 in D major "Pastorale" - Rondo (4th mvt)
May 8, 2005, 10:50 am Service
Grace United Methodist Church, 320 College St. Winfield KS
Special Music: Granados, Valses Poeticos - Introduction & Vals 1
Offertory: TBA
CMS Paper "Jasmine Flower in Three Different Lights"
Abstract:
The East has always held a seductive grasp on the West. Considered unusual, yet highly regarded, many artists looked to the East for inspiration, blending the exotic and their own authenticity. The famous Chinese melody, “Jasmine Flower” or “Mor Li Hua” has been used by at least three different composers as the basis for their works. It is the only authentic Chinese melody in Puccini’s opera. “Turandot” and Australian-American composer, Percy Grainger and Russian composer, Anton Arensky both have piano settings of this tune. The simple tune, based on the pentatonic scale is raised to a higher level of art by elaboration and/or harmonization. Percy Grainger’s work successfully captures the authenticity of the Chinese theme through pentatonic harmonization, but Arensky’s and Puccini’s works display the exoticism of the melody through diatonic harmonization. Grainger, who based his work on Joseph Yasser’s earlier harmonization of the tune, proves that even the most superficial use of the Chinese pentatonic scale has beauty in its simplicity. Arensky displays the more sentimental aspect of this tune, but elaborates it into a sparkling display of piano technique. Puccini associates the main character, a foreign princess, of his opera with this melody. The three different settings of “Mor-li-hua” display the three different approaches to the assimilation of orientalism into their compositions intended for Western instruments and audiences.
A complete understanding of orientalism in art and music in the Western world remains incomplete even though much research has been done. Much of the research on this topic has been slanted by Edward Said’s view that orientalism is a form of imperialism fraught with political agendas. Even though I am Asian and am aware of some instances where the East has been exploited, I approach this research project with an opposite focus that the West does not always mean to deprecate the East when it adapts Oriental idioms. Artists and composers are frequently uninterested in politics and would probably prefer to remain uninvolved. On the other hand, this does not mean they are unobservant of the times and the social issues that are at hand; sometimes they are simply caught in between art and politics. I would argue that the composers I wish to discuss today used an oriental tune in their compositions, but had no political agendas and treated this melody respectfully.
“Jasmine Flower” or “Mor-li-hua,” a famous Chinese melody, has been documented by many, transcribed by many, and creatively used by several different composers. This tune, a simple melody based on the pentatonic scale, was performed at the closing ceremony of the Olympics in Athens last year to anchor the opening ceremony of the Beijing 2008 Olympics––thus is the popularity and patriotism this melody symbolizes for the people of China. Opening with a Chinese instrumental ensemble, accompanied by a modern techno beat, and closing with an unaccompanied version of this song sung by a child, the melody retains its charm. It is unquestioningly one of the most famous Chinese folksongs today. There are about six known variants of this melody. The most famous variant, made well-known by Giacomo Puccini in Turandot is utilized by Anton Arensky in his Etude op. 25 no 3, by Percy Grainger in Beautiful Fresh Flower and in a more recent rendering by award-winning Chinese composer, Tan Dun, in the first movement of his Symphony 1997.
-------------------------
For a copy of the paper, you can feel free to email me. If you know of any more resources that you think would be of interest to me, do contact me. Of course, you can feel free to post your comments and suggestions on this topic.
The East has always held a seductive grasp on the West. Considered unusual, yet highly regarded, many artists looked to the East for inspiration, blending the exotic and their own authenticity. The famous Chinese melody, “Jasmine Flower” or “Mor Li Hua” has been used by at least three different composers as the basis for their works. It is the only authentic Chinese melody in Puccini’s opera. “Turandot” and Australian-American composer, Percy Grainger and Russian composer, Anton Arensky both have piano settings of this tune. The simple tune, based on the pentatonic scale is raised to a higher level of art by elaboration and/or harmonization. Percy Grainger’s work successfully captures the authenticity of the Chinese theme through pentatonic harmonization, but Arensky’s and Puccini’s works display the exoticism of the melody through diatonic harmonization. Grainger, who based his work on Joseph Yasser’s earlier harmonization of the tune, proves that even the most superficial use of the Chinese pentatonic scale has beauty in its simplicity. Arensky displays the more sentimental aspect of this tune, but elaborates it into a sparkling display of piano technique. Puccini associates the main character, a foreign princess, of his opera with this melody. The three different settings of “Mor-li-hua” display the three different approaches to the assimilation of orientalism into their compositions intended for Western instruments and audiences.
A complete understanding of orientalism in art and music in the Western world remains incomplete even though much research has been done. Much of the research on this topic has been slanted by Edward Said’s view that orientalism is a form of imperialism fraught with political agendas. Even though I am Asian and am aware of some instances where the East has been exploited, I approach this research project with an opposite focus that the West does not always mean to deprecate the East when it adapts Oriental idioms. Artists and composers are frequently uninterested in politics and would probably prefer to remain uninvolved. On the other hand, this does not mean they are unobservant of the times and the social issues that are at hand; sometimes they are simply caught in between art and politics. I would argue that the composers I wish to discuss today used an oriental tune in their compositions, but had no political agendas and treated this melody respectfully.
“Jasmine Flower” or “Mor-li-hua,” a famous Chinese melody, has been documented by many, transcribed by many, and creatively used by several different composers. This tune, a simple melody based on the pentatonic scale, was performed at the closing ceremony of the Olympics in Athens last year to anchor the opening ceremony of the Beijing 2008 Olympics––thus is the popularity and patriotism this melody symbolizes for the people of China. Opening with a Chinese instrumental ensemble, accompanied by a modern techno beat, and closing with an unaccompanied version of this song sung by a child, the melody retains its charm. It is unquestioningly one of the most famous Chinese folksongs today. There are about six known variants of this melody. The most famous variant, made well-known by Giacomo Puccini in Turandot is utilized by Anton Arensky in his Etude op. 25 no 3, by Percy Grainger in Beautiful Fresh Flower and in a more recent rendering by award-winning Chinese composer, Tan Dun, in the first movement of his Symphony 1997.
-------------------------
For a copy of the paper, you can feel free to email me. If you know of any more resources that you think would be of interest to me, do contact me. Of course, you can feel free to post your comments and suggestions on this topic.
College Music Society Great Plains Chapter Meeting .. The Fun Stuff
I presented my paper entitled "Jasmine Flower in Three Different Lights" at the College Music Society Great Plains Chapter Meeting in Liberty MO. Unlike the previous week's trip to Kansas City, I brought my whole brain with me and had regained my sense of direction. I did not get lost and found William Jewell College easily.
I enjoyed the complimentary concert at the Music Hall immensely. The Prague Philharmonic is a great orchestra. The amazing feat performed by the substitute pianist at the last minute, was just awesome. We couldn't believe that he had not practiced and did not find out that he would be performing Dvorak's 2nd Piano Concerto until 5:30pm that day. There were hardly any mistakes.. maybe one or two notes that were a tad blurred. The audience gave him the applause he deserved and he played a Chopin Mazurka as an encore. However, the most amusing person was the timpanist. I have never seen a more enthusiatic performer, following and gesturing the conductor's every cue with his head (whom, by the way, had a dyed red mohawk). I could hear suppressed giggles in the audience. We knew when the timpani was about to appear since he flashes the biggest smile as his entrance approaches and he plays with such flair, no one would have missed him.
As far as my presentation went, I expected something to go wrong and yes, something did. My CD wouldn't play and I had to think very quickly. I wasn't prepared to play the excerpts without the approval of Dr. Trechak, my piano professor and certainly didn't want to read open score for the opera excerpt. The tech. had to plug in my laptop and play it from there. It was the first time that I walked on stage to a podium instead of the piano. Although I have no qualms about performing, I found out that I was nervous having to present a paper. I broke the ice by giving the background of my research and what it meant to me. Somehow you can always endear an audience when you talk to them about childhood. Yes, I learned the Chinese folksong "Morlihua" my first day at Chinese class when I was pretty young then. The presentation went nicely and I had to face the questions. I think I managed to give satisfactory answers to the ones posed.
I am certain I was the youngest participant and presenter at that conference. It gave me a chance to see what a musicology conference is like. I received many compliments about my paper and left calling cards with a few people. They are going to take my project back to their classes. I met someone from Italy who has the same interest in my topic. That is what I had hoped would happen so I believe I would be in contact with this person.
I enjoyed the complimentary concert at the Music Hall immensely. The Prague Philharmonic is a great orchestra. The amazing feat performed by the substitute pianist at the last minute, was just awesome. We couldn't believe that he had not practiced and did not find out that he would be performing Dvorak's 2nd Piano Concerto until 5:30pm that day. There were hardly any mistakes.. maybe one or two notes that were a tad blurred. The audience gave him the applause he deserved and he played a Chopin Mazurka as an encore. However, the most amusing person was the timpanist. I have never seen a more enthusiatic performer, following and gesturing the conductor's every cue with his head (whom, by the way, had a dyed red mohawk). I could hear suppressed giggles in the audience. We knew when the timpani was about to appear since he flashes the biggest smile as his entrance approaches and he plays with such flair, no one would have missed him.
As far as my presentation went, I expected something to go wrong and yes, something did. My CD wouldn't play and I had to think very quickly. I wasn't prepared to play the excerpts without the approval of Dr. Trechak, my piano professor and certainly didn't want to read open score for the opera excerpt. The tech. had to plug in my laptop and play it from there. It was the first time that I walked on stage to a podium instead of the piano. Although I have no qualms about performing, I found out that I was nervous having to present a paper. I broke the ice by giving the background of my research and what it meant to me. Somehow you can always endear an audience when you talk to them about childhood. Yes, I learned the Chinese folksong "Morlihua" my first day at Chinese class when I was pretty young then. The presentation went nicely and I had to face the questions. I think I managed to give satisfactory answers to the ones posed.
I am certain I was the youngest participant and presenter at that conference. It gave me a chance to see what a musicology conference is like. I received many compliments about my paper and left calling cards with a few people. They are going to take my project back to their classes. I met someone from Italy who has the same interest in my topic. That is what I had hoped would happen so I believe I would be in contact with this person.
How To Blow A Grad School Interview (with much grace)
Answers You Do Not Give At An Interview:
How many Beethoven Sonatas have you played?
One.
How many Mozart Sonatas have you played?
One that I'm sure of. Maybe more but I don't remember
How many Haydn Sonatas have you played?
One. .. Well I didn't list the works I don't remember studying with a teacher. There is likely more, but I can't recall at this point.
Have you played a concerto before?
No.
Have you sightread a concerto before?
Yes.
Which one?
Mozart's no. 15 in B-flat major.
Who is your favorite Romantic composer?
Don't really have one. Maybe Brahms and I love the Grieg piece I played. It's not Chopin.. a little too melancholy but I'm sure as I grow older and go through more heartbreak, I will appreciate it more.
What did you do last semester?
I kept working on my previous recital pieces and I wrote a paper on two pieces I played in my graduate recital. I will be presenting that paper at the College Music Society next week. (No response from interview committee)
Is the Chinese piece you played very famous?
Yes it is, in China. The composer and transcriber are household names over there.
What is your technical work in?
Umm some Hanon but it's really haphazard so that's what I really want to and need to work on.
Do you sightread well?
I think so.
Questions I Wish They Asked: (but it's just wishful thinking)
What are your future plans?
What are some pieces you would like to learn?
How are you planning to expand your repertoire list?
Where do you see yourself pianistically in a few years?
Now you wonder what exactly happened at my audition interviews besides getting lost at every turn trying to get to UMKC and showing up late to my audition, dealing with a vibrating piano bench at OU (because there was some really loud stuff right below the studio). Another possible explanation is I may be turning blonde!! But could that really happen? I hope not.
I plan to just forge on despite being turned down. I still like the piano a lot, and someday I will love it I hope. Without the stress of the auditions, I actually look forward to practicing every day and enjoy it very much. By the way, the neighbour that complains about my "noise" (I call it music) moved out!! I am thrilled.
How many Beethoven Sonatas have you played?
One.
How many Mozart Sonatas have you played?
One that I'm sure of. Maybe more but I don't remember
How many Haydn Sonatas have you played?
One. .. Well I didn't list the works I don't remember studying with a teacher. There is likely more, but I can't recall at this point.
Have you played a concerto before?
No.
Have you sightread a concerto before?
Yes.
Which one?
Mozart's no. 15 in B-flat major.
Who is your favorite Romantic composer?
Don't really have one. Maybe Brahms and I love the Grieg piece I played. It's not Chopin.. a little too melancholy but I'm sure as I grow older and go through more heartbreak, I will appreciate it more.
What did you do last semester?
I kept working on my previous recital pieces and I wrote a paper on two pieces I played in my graduate recital. I will be presenting that paper at the College Music Society next week. (No response from interview committee)
Is the Chinese piece you played very famous?
Yes it is, in China. The composer and transcriber are household names over there.
What is your technical work in?
Umm some Hanon but it's really haphazard so that's what I really want to and need to work on.
Do you sightread well?
I think so.
Questions I Wish They Asked: (but it's just wishful thinking)
What are your future plans?
What are some pieces you would like to learn?
How are you planning to expand your repertoire list?
Where do you see yourself pianistically in a few years?
Now you wonder what exactly happened at my audition interviews besides getting lost at every turn trying to get to UMKC and showing up late to my audition, dealing with a vibrating piano bench at OU (because there was some really loud stuff right below the studio). Another possible explanation is I may be turning blonde!! But could that really happen? I hope not.
I plan to just forge on despite being turned down. I still like the piano a lot, and someday I will love it I hope. Without the stress of the auditions, I actually look forward to practicing every day and enjoy it very much. By the way, the neighbour that complains about my "noise" (I call it music) moved out!! I am thrilled.
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