New Music Marathon

Beginning at noon today is a “new music marathon” at St. Brigid’s.  Three back-to-back concerts for the price of one admission.  These include a performance by the Penderecki String Quartet and a program organized by the Ottawa New Music Creators.  Not to be missed.

A second marathon takes place tomorrow at the same venue so here’s your opportunity to hear six concerts of new music in short order.  Not to be missed!

Really, there’s no excuse not to be at these concerts since there are no other concerts at other venues until tomorrow afternoon.  So, unless you’re, like, working or whatever I expect to see you there.  Make the trip to St. Brigid’s and camp out for two days.

Er… come to think of it, it may be of interest to you to leave St. Brigid’s after the 3pm concert today to attend the Ottawa New Music Creators annual general meeting if that’s the sort of thing that interests you.  It begins at 4:30 and will be held at National Capital Dance Educators (new music is a bit like dance, or maybe dance is a bit like new music, i.e. ignored) at 111-A Rideau St., a few doors down from the Highlander Pub where we might have dinner.

gasp!…

but then of course go back to St. Brigid’s for the concert at 8pm.

The Schumann Quartets

Well, it is strange to be blogging during a performance but, on the other hand, it may be the perfect time to talk about it! I am working at the Box Office at Dominion Chalmers tonight where the Penderecki String Quartet is playing Schumann Quartets one, two and three. They are currently on the last movement of the first quartet.

From where I am sitting just outside the doors, I can hear everything perfectly. It has been a while since I’ve heard Schumann performed live and I have to say that it is absolutely thrilling. You don’t just listen to Schumann – you breathe Schumann, you engulf Schumann, you let it swallow you from head to toe. The Penderecki String Quartet has the obvious benefit of having played together for a long time, and it is especially evident in their music; every note is precise and crisp. The Quartets allow for plenty of dynamic variation and the String Quartet is taking advantage of it beautifully.

For being a long weekend, the house is very full and the crowd seems especially appreciative. Myself, I cannot imagine another place I’d rather be than listening to this wonderful music being played by a particularly talented group of performers (besides being inside the doors instead of just outside of them!). I hope everyone over at Bach and Baroque Gypsies is enjoying their show just as much.

Mandi Crespo
Box Office Worker and OCMS Blogger

Introduction to the Harp

Since there has been one harp concert already and there are several coming up I thought it might be interesting if I posted about the harp itself and how it works. This instrument is notoriously difficult to write for (I can attest to this from experience!) so perhaps this post will inspire some of my fellow composers out there to give it a go.

Harps can come in many different sizes and it’s very common for a harpist to have multiple instruments. I personally have two: a small 32-string lever harp and a 44-string pedal harp (specifically a Lyon and Healy 85 GP).

Before I continue, it might be worthwhile for you to glance at this picture which clearly labels the different sections of the harp.

Harp Diagram so that you can understand my harp-jargon

Let’s start with the basics. There are two broad categories of harp: pedal and lever.

The harp is strung with seven notes to an octave; the red strings indicate the note ‘C’ and the blue or black strings (it can be either depending on the harp) are ‘F’.

Lever harp on left, Pedal harp on right

Close up of strings

I hear you shouting “But Margaret, surely the harp has more than seven notes to an octave! Otherwise all of the music for it will be ultra-diatonic and thusly, rather lame!”

This is true and the levers/pedals allow harpists to play the absent notes in the chromatic scale. The lever harp does this by shortening the string when you push the lever up. Each string has a lever that must be individually changed (unlike the pedal harp which I will explain next).

Close up of levers (in natural position)

Close up of levers with one raised (C-sharp)

On the pedal harp a set of seven pedals controls this; each pedal corresponds to one note at every octave (ie. If I move the E-pedal to the natural position ALL of the E’s on my harp are natural). The pedals are at the base of the harp with three for the left foot (D, C, B) and four for the right foot (E, F, G, A). They each have three different positions they can be in: the middle notch makes natural notes, the bottom makes a note sharp and the top makes a note flat.

Harp Pedals (all in flat position)

Harp pedals demonstrating different positions (from left to right: D-sharp, C-natural, B-flat)

The pedals work through a set of metal rods that connect from the base, where the pedals are, up through the column and into the “neck” of the harp (the top part where all of the little pins and bits are). I’ve put the harp on the ground to give you a rarely-seen glimpse of the harp “innards,” the view into the base shows where the rods go up the column.

Harp Guts (as seen from base)

The pins at the top turn depending on how the pedals are set to push on the string essentially shortening it in length to create the desired pitch.

Harp pins

The pegs above the pins are used to tune the string. Harps go out of tune a lot, it really sucks. The harp is tuned using a tuning key and yes, I use an electric tuner. If our society collapses and we no longer have access to batteries, I will not be able to tune my harp. This troubles me.

Harp key and tuner

Tuning. Something that takes up a lot of my time.

Typically when people ask me what I play, the reaction is “oh isn’t that lovely!” and much of the harp repertoire is lovely and rather…. harp-y. Personally, I prefer music that explores some of the other aspects of the instrument. The harp can be aggressive, powerful and crass at times too. So Ottawa-composers, I challenge you to write something non-harp-y for the harp!

Nick’s Picks, Saturday

Well, I took a few days’ hiatus from Chamberfest to prepare for an audition but I am now back in action!  There are so many concerts at this festival all the time so it is difficult to go to everything.  I feel guilty when I miss a really great concert!  But life goes on.  The next 24 hours will be quite interesting, especially if you are a cyclist.  A Musical Breeze Bicycle Parade is this afternoon and tomorrow is Canal Music 2010.  Both curious concerts since they are outdoors instead of in chambers but sure to be an interesting experience.

Aura has strongly recommended going to the Constantinople concert this evening with vocal ensemble Barbara Fortuna.  This is my third pick.

Chamberfest and Rideau Canal Festival – Musical Breeze Bicycle Parade
Registration 1:00 PM
Parade 2:00 PM
Dow’s Lake to Marion Dewar Plaza

Ditch your car, bring your bicycle to Lansdowne Park at 1pm for the beginning of this event.  The Parade will take you down the canal for mini concerts culminating in the grand finale by the Torq Percussion Ensemble, lead by Ryan Scott and Jesse Stewart.  Maybe next year this can be coordinated with Sunday Bike Days?

Canti di a Terra
Constantinople & Barbara Fortuna
8:00 PM
Saint Brigid’s Centre for the Arts

Program

If you missed Constantinople’s previous two concerts like I did, here’s a final chance to hear them.  The repertoire is different from that Aura was raving about, but certainly promises some exciting, rarely heard music.  Vocal music from Corsica!

Canal Music 2010
2:00 PM
Rideau Canal – National Arts Centre

Kind of like the bicycle parade except the music’s on a floating barge.  This event is organized in conjunction with the Rideau Canal Festival.  Awesome.  Check it out.

Lights, Camera, Action!

Speeding down Cambridge, then Laurier, then Bay, howling as we flew down the Wellington hill past the National Archives, fellow blogger Aura Giles and I rang our bicycle bells gleefully in excitement for the concert. We ooohed and aaahed at the gorgeous view as we wound around the bike path toward the Museum of Civilization – it was the perfect pre-show.

A large crowd milled outside the theatre, buzzing away. We took our seats and settled in for a fantastic presentation of Christos Hatzis’ Constantinople by Maryem Hassan Tollar, Patricia O’Callaghan and the Gryphon Trio. Most of the time, I could hardly believe there were only five people on the stage – the production feels so large! At 85 minutes in length, Constantinople’s eight kaleidoscopic sections are performed without intermission; one can’t help but become totally immersed in the experience, embarking on a journey with those onstage. This is a complete production, with gorgeous staging and videography that highlights elements of the incredible city that divides East and West.

I’m not sure I can imagine the singing roles done by any others than Tollar and O’Callaghan – they are perfectly suited to their roles. Their intense female energy maximizes the effect of this production. Violinist Annalee Patipatanakoon interacted with them throughout, swaying in bare feet as she played.

I adore seeing dance, theatre, art and music brought together. I only wish it happened more often, but, alas, the sit and play/stand and sing attitude remains prevalent in Classical music today. I say, this is the future of classical music presentation. It will open doors, inviting in new people from all backgrounds, and push composers and other artists to make cross-genre connections leading finally to a new language.

Jacqueline Woods (lover of hybrid art)

It’s not Istanbul, It’s…

Constantinople.

Please, Listeners. If you can find time tomorrow, please go. Just go. You won’t regret it. Beautiful, touching music, deep and powerful imagery, symbolism and virtuosity in one fantastic 90 minute show. It is so worth it.

I’m going again, so better get in line early! But that auditorium is very good, all the seats are pretty decent. It’s not swelteringly hot and you can’t hear traffic from inside. Let these wonderful artists carry you away.

I’ll just close by saying…

Please go. See this show. 8pm. Museum of Civilization.

❤ Aura

ps-thanks for loaning me that cd, TIm. I promise to return it 🙂

The Hostess With the Mostest

Well, yesterday’s 3pm concert with Stewart Goodyear was an entirely new experience for me, as I had been invited to host. Having been fortunate enough to share the stage with Stewart at Sunday’s Orchestra in the Park series with the NAC, I knew we were all in for a treat

I practiced my host notes diligently for two days, lamenting my poor French speaking skills (It has been 10 years since I studied French! And in the meantime, I learned to speak Hungarian….there are NO similarities between the two!). Things were going okay, until I hit the French and began nervously stumbling over the words…..and then, after welcoming Stewart to the stage…..I totally caught my heel on a floor outlet and nearly full-on wiped out in front of the full house. Smooooooth operator, that’s me. I was barely able to contain my giggles, nor the fact that my face had become as red as my skirt as Stewart began playing….Aiaiai. I think it might be even harder to speak in front of an audience than to play in front of one!

Yesterday’s concert was the third of nine presentations of Beethoven piano sonatas by Stewart Goodyear. For many, this is a lifetime’s work. For Stewart, it appears it’s all in a day – well, five days, actually. I was impressed throughout at his energy and focus – he’s performing all 32 sonatas from memory, too! What a feat!

The concert featured four early sonatas, Op. 7 and Op. 10, Nos. 1-3. These sonatas (his fourth-seventh) are an interesting phase for Beethoven, as he began to experiment more aggressively, especially in Op. 10. While I enjoyed the whole concert, the second half held my favourite moments. The finale of No. 2 was quick and exciting, right to the end. In the Largo of No. 3, Stewart took his time and allowed the d minor to break our hearts a little.

You’ve got quite a few more chances to catch Stewart’s Beethoven, and I highly recommend that you do: today at 3 and 7pm, tomorrow at 10 and noon, and Saturday at noon and 7pm. The grand finale is sure to be that – the chance to digest the Hammerklavier and Op. 109-111 in one sitting is rare!

Jacqueline Woods (hostess extraordinaire *wink, Beethoven enthusiast)