Western Classical Music – Page 3

One winter’s evening, I set off on a journey in heavy snow, across the Forth Bridge to Edinburgh. It was turning to blizzard conditions but I kept going, I wasn’t going to miss this chance – to hear a live performance of John Cage’s famous piece 4′ 33″. I made my way up the road towards the Queen’s Hall but as I reached the place, it looked closed. Surely I hadn’t got the day wrong? Then I saw the notice on the door. ‘Due to bad weather tonight’s performance has been cancelled.’ If you know the piece, you will realise why, even though I was disappointed, especially after making that trek, I was amused by the irony of it.

Here’s a photo of the score:

EPSON MFP image

There aren’t (m)any pieces that require the performer to be ‘tacet’ (silent) for the whole piece! For the first performance, at Woodstock, N.Y. in 1952, pianist David Tudor indicated the beginning of each part by closing the piano lid and the endings by opening the piano lid. (!) He used a stopwatch to time the movements. Cage’s score states that it can be played by any instrumentalist(s) and that the movements may last any length of time.

Was he having a laugh? Well perhaps, but he was making a serious point too: that there is more to music than we might apparently hear. So in the ‘silence’ of the hall during those four minutes and thirty three seconds, there will be sounds to listen to and every performance will be different. (At that first performance, at Maverick Hall – an open barn-like structure set in the woods, there was the sound of the wind in the trees, of rain falling and by the third movement, the sound of the audience themselves getting restless). Once you start to notice the sounds around you, music is everywhere.

I have been so captivated by Cage’s notion of listening to the sounds of our environment as music, that I enjoy ‘Cageian’ moments all the time. Last month, I was at a local school’s ‘Summer Picnic Concert’ and as the choir sang ‘Lean on Me’, a seagull flew by, giving a screech in a different key as a boy crackled his crisp packet. Then a gentle breeze picked up, rustling the overhanging branches as the choir went on to sing ‘The Birks of Aberfeldy’ and at the end, a tiny bird chirped a little solo above the final chord. For me, it was a delightful finishing touch that made that performance unique.

And I’ll never forget a late night recital of Bach’s cello suites given by Miklos Perneyi during the Edinburgh International Festival at The Hub: the venue situated right next to the castle. Towards the end of a sublime performance, the sound of solo cello filling the hall was overwhelmed by a cacophony of explosive bangs as the fireworks went off at the Edinburgh Tattoo.

Once you start listening, every dripping tap, whirring fan, humming hoover and even hammering and drilling can take on a musical significance of its own. As I made my way back along the street, I noticed how the snowfall had muffled the city and I listened to the scrunch of my footsteps in fresh snow and the occasional shrieking of young voices. I hadn’t needed to travel anywhere to hear 4’33”. It’s a soundtrack that’s playing all the time and you can tune in any time you like. Just listen.

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Since the great cellist Pau Casals brought them out of obscurity, with his famous recordings made between 1936 – 39, the Six Unaccompanied Cello Suites by Bach have become the pinnacle of the cello repertoire. Previously thought of as technical studies, the performance of each of these contrasting sets of preludes and dance movements makes great demands on the cellist. To bring out the character of each movement of each suite, the player must interweave melody and harmony, with dexterity in string crossing and a feeling for phrasing and rhythm. It can be physically demanding to make the music seem to sing and dance without effort. Casals studied the suites for twelve years before performing them in public, recognising them as works of great musical value, which exploit the possibilities of the instrument further than any of Bach’s contemporaries had done. “Bach was in advance of his time.” (Casals. 1956). Performance of Bach’s cello suites has fluctuated in style since Casals’ day, and from one cellist to another they can be played in quite different ways: ranging from a full-toned romantic style with vibrato, to a lighter-touched bowing style with no vibrato. Listening to the Bach cello suites can be an experience of contrasting emotions: exuberance, introspection and sheer joy. To me this music is perfection. I never tire of hearing its many interpretations.

Of course, interpretation of the Bach Suites may develop and change throughout a cellist’s lifetime and for international soloists this sometimes leads to a new recording. The world famous cellist Yo-Yo Ma has released his third recording but more importantly, he is performing the Bach in a series of concerts to highlight the need for connection between people in our increasingly divided world. Yo-Yo Ma’s aim with ‘The Bach Project’ (which began in 2018) is to perform 36 concerts in six continents. Using the ‘universality’ of this music to communicate across boundaries, Yo-Yo Ma believes that the arts provide just one way of connecting with people and deepening our understanding of one another. The need for making such connections is urgent and he is using his skills and renown as a cellist to further the conversation. Each concert is followed by a day of action to bring attention to this issue and to talk about a way forward for the future of our world.

Particularly poignant was the performance beside the US/Mexican border. Yo-Yo Ma said “… in culture, we build bridges, not walls”.

There are four concerts still to go: one in the USA, two in Australia and one in New Zealand.

Find out more at The Bach Project

Find out too about Yo-Yo Ma’s ongoing Silk Road Project which began as a group of exceptional musicians from different cultures performing music together in a unique collaboration (Silk Road Ensemble) and has grown to encompass education projects with the aim of creating a world that values our global cultural riches and brings people together to share, collaborate and make connections.

Source: ‘Conversations with Casals’ by J.Ma Corredor. Translated by André Mangeot. Hutchinson. 1956.

Category: Western Classical Music

My Almost Silent Encounter with the Music of John Cage

Yo-Yo Ma Builds Bridges with Bach

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