Author Archives: william nitransky

Finally I was able to attend some performances by associated with the early music ensembles on campus. Firstly, it was very interesting to compare these ensembles to the orchestras I have been attending lately. The lack of instruments is quite refreshing and forces the listener to seek out intricacies. For the most part many of the pieces that included a harp or harpsichord played in either a homophonic or polyphonic manner. More homophonic than anything. In fact there was a piece accompanied with a classical guitar. Seeing both the harpsichord and guitar contribute to the melody in a homophonic way was rather exciting. I remember the piece Concerto for Five Flutes in D Major by Boismortier using a lot of imitative polyphony. With 5 instruments that are identical without any bass or accompaniment, imitative polyphony is a good tool to use when trying to provide depth to pieces. There was also a Vivaldi concerto for violin that primarily used ritornello. The violins would go back an forth accompanying each other while one would solo. Then they would return to the primary chorus or theme presented in the beginning.

The main event for this concert was the Cantata Burlesque BWV 212. This is my first opera I have witnessed at UBC. The ensemble included horns, strings, flutes, oboes and a harpsichord. The piece itself exaggerated how many townsmen/women felt about royalty that ruled the lands that they lived in. It felt like a jovial, sarcastic expression of frustration. Even the way the bass and soprano vocalists bobbed their heads suggested they were playfully arguing about some thing. The text suggests that they were not the most wealthy two in the land. They were often talking about their ‘boss’. Mostly how wonderfully and kind the boss-man and boss-lady are. I vividly remember the 20th movement which was a bass aria. “Dein Wachstrum sen fest und late for lust”. Possibly taking a shot at the royals who rule the land. He then pokes fun at how their fields have gotten in shape due to their ‘terrific spirit’. Which is definitely not how fields get into shape to produce a good crop. Melisma is used to change the delivery of the aria section. There was a lot going on in this section as there seemed to be two different melodies being played. The bass vocalist and the violin were imitating each other. This happens throughout the first presented theme of the aria. The B section is more homophonic as there was just one supporting harmony/accompaniment played by the harpsichord.

Overall it was interesting to see the relationship between the instruments and the vocalists. Arias and recitatives have a pattern in terms of musical support. Continuos were very easy to notice during arias especially. Providing support towards a musical expression of words blends well with the presence of a continuo of some sort. Recitatives often have little accompaniment which allow the words to be sang without competition. The lack of noticeable rhythm puts more emphasis on the speaker. This can introduce new context to an ongoing development or story. Recitatives introduced new context for the arias. Arias were a way vocalists could express emotion using ritornello. Honestly arias were more like choruses than anything else.

UBC Chamber Strings performed a number of beautiful pieces for String Fest. I went the first day and was in attendance for Beethoven’s String Quartet No. 9 in C major, Op. 59, No.3 “Razumovsky”. The ensemble which consisted of two violins, a viola and cello played the menuetto grazioso and the allegro molto.

The first movement, which is the third movement of the actual piece, is a slow minuet. At first I had trouble counting the meter as it was substantially slower compared to some of the pieces we have listened to in class. It began with a beautiful first theme played by the violins. The major theme was played repetitively, ornamenting itself every time it was played. The development of the movement had noticeable breaks that confused me. The modulation that happened throughout the first theme was subtle. So subtle that it was hard to tell which mode it was in. Most of the theme used harmony and polyphony to make a clear representation of the main theme. The first theme was played without too much modulation until the half way point. In general the first theme did not have any competition. It gradually grew from the introduction by adding fast runs within the major scale. While all is good, modulation did start to noticeably increase. After being play a few times it was then modulated fully into a minor theme which gradually transitions into the second theme. The transitional part of the movement used a lot more staccato compared to the first. The dark point of this movement was not subtle at all. Previously in the piece, breaks were often used to restart the theme. That technique was also used here. However, these breaks weren’t followed by the violins gliding into their notes like before. The breaks were followed by heavy jabs that were more passionate. The notes are more like dots than continuous arcs and valleys.

The concluding movement, allegro molto, is very interesting and reminds me of Beethoven’s Sonata in A Major No. 2 written for piano and violin. Particularly the first movement allegro vivace. Very fast paced and abrupt. The difference between the works is the level of dynamic change. The major mode is played at a much softer volume and with more fluidity. When the volume and aggression increases, that usually signals a modal change.

The ensemble also performed Serenade for Strings, Op.48, TH. 48 by Tchaikovsky. Talk about dynamics! The first movement made good use of homophony as the introduction began by ascending and descending throughout the C major scale. The accompaniment was the more interesting part of the piece. The melody was simple in structure. But the layers of accompaniment made it interesting. Throughout the piece homophony is primarily used to create emotion. Often switching in-between homophony and monophony to provide more variety.

Walzer, the second movement was a waltz and used a substantial amount of polyphony. There seemed to noticeably be two different melodies competing for attention. Also accompanied with a bunch of chords in the background. The rather happy major themed theme created a feeling of dancing in a ballroom with the spotlight on you and your better half. Very open and well rounded section.

The third movement, Elegie, was very dramatic and was at a very slow pace. Often with any rhythm structure. More polyphony is used throughout the piece. It was more intricate in comparison to the previous movement. Similar to the openness of the second movement and the dynamic changes in the first. It made good use of volume changes and scale meandering. It really feels like a waltz. Just with more drama.

When the Finale first started, I thought they were tuning up. It had the same melodramatic feel. Then, as the theme developed it introduced some string plucking to accompany the melody. Polyphonic textures were presented with breaks of monophony. Often the strings will be moving away from each other in relation to the major scale. It did sound like there were some chromatic runs thrown in they as well. There were definitely more modal changes throughout this movement in comparison to the others. The final part of the Finale also returned to the first theme of the first movement. Changing it a little by adding a relative minor note when resolving to the tonic.

This was my first time going to see the UBC Symphony Orchestra and I was blown away! This particular day they performed A Northern Suite by John Luther Adams, Jean Francaix’s Clarinet Concerto and Claude Debussy’s La Mer.

The first piece was rather abstract. More instrumental in comparison to the others. It had five different movements that were all very ‘atmospheric’. The movements were trying to create a feeling of being in a cabin in the mountains during the winter. It was definitely something that is trying to create a mood or feeling related to human senses. Contrary to sonata form, I feel like every movement in this work didn’t alter their tempo. New themes weren’t introduced in such a way that would suggest sonata form either. Rather, ambiguous sounds, often without any rhythm, painted a picture of a snowy, wintery wonderland.

The second piece preformed by Carlos Savall-Guardiola and originally composed by Jean Franciax was a lot easier to identify themes and movements. The Clarinet Concerto has four different movements that really showcased Carlos’ virtuosity. The first allegro movement introduced the initial theme which is jumpy tune. Homophonic in nature, as there is only one melodic line, the initial theme is accompanied by the bass horns very well. I feel like using the horns that have a little more bass complement the clarinet quite well. As the clarinet is very sharp and juxtaposed the roundedness of the bass. The first movement concludes with the orchestra giving the clarinet a recitative of sorts. This solo is very operatic and tells a story with little use of ostinato.

The second movement of the Clarinet Concerto is in triple meter and at a tempo that is moderately fast but definitely slower than the first. The rhythm is controlled by the string section. To the ear you predominately hear the strings minuet contribution supporting the clarinet. As the theme develops, some horns come in to contribute to the 1, 2, 3. I also did notice some horns that weren’t contributing on every beat but only on the one to provide more depth.

The third movement was andante or andantino. It almost is like the clarinet is a dandelion seed floating in the wind. The orchestra, to my ear, supports the clarinet by switching back and forth from major and minor modes to create a story. After the first theme, the orchestra seems to be playing the primary melody as the clarinet plays many virtuosic arpeggios to create this whimsical feeling of flying. All in all, a very relaxed section.

The last and final movement is the last ‘hoorah’ simple because the tempo is even faster than the first section. The meditation that was occurring during the andante movement is violently interrupted by the pace and dissonance lead by the clarinet. It showcases violent violin jabs and breaks that allow the clarinet to contribute a trill.

The third and final piece of the day entitled La Mer was another instrumental/atmospheric composition that had no specific rhythm or meter. Like the titles of the three parts of the composition suggest, La Mer dramatizes the relationship between the earth’s elements by creating a dialogue within the orchestra. Especially in the second part of the piece entitled Play of the Waves is just that. The movement starts off relatively slow. Like a sunrise peaking out from the horizon and gleaming on the calm ocean. Then it picks up. Like the afternoon swells that can tip a freighter.

Preformed by a trio consisting of pianist Jane Coop, violinist Joan Blackman and horn player Oto Carrillo, Horn of Plenty showcased three different pieces. The first piece was Beethoven’s Sonata in A Major for piano and violin. The second being John Harbison’s composition entitled Twilight Music. And finally, Johannes Brahms’ Horn Trio in E flat major. I will focus on Beethoven’s sonata as I think I can only describe one with the word count allotted.

The rendition of Beethoven’s sonata written for piano and violin began like almost all sonatas do with an allegro pace. The first movement, allegro vivace was very ‘bouncy’. The main theme of the movement highlights the partnership between the two instruments. Making very good use of triplets, the violin accompanies the melody played by the piano. As the theme later develops, it kind of feels like an argument of sorts. However, it is in a major key. As it is argumentative dynamically, it sounds rather jovial. As if the argument is being done by a couple still in their ‘honeymoon phase’. Contrary to the first theme which primarily had the primary melody played by the piano using monophonic texture (in a major mode), the second theme uses polyphony as well. The minor theme uses more syncopation to emphasize the jovial, free flowing nature of the tonic theme is over. Assisted by some modulation, the theme is more desperate in feeling. The notes themselves seem to descend, then possibly chromatically ascend, only to descend again. Like someone taking a step forward and taking three steps back. This theme complements the first because of how much it contrasts it. Because the first theme is longer and faster, the second theme creates a much needed struggle to an otherwise overly happy initial tonic.

The second movement is were you can finally have a sip of the water you so desperately needed after the first. Although there are some instances where triplets are used that reference back to the movement, they are much more relaxed in nature and less syncopated. If the allegro is an argument, the development stage is a conversation. It does have dynamic changes that make it feel like there still is conflict carrying over from the first movement, but overall it feels more relaxed in nature. A lot more polyphony here, as the violin and piano seem to be on the same page.

Finally the third movement was my favourite of them all. The rondo is rather uplifting and is at a tempo that resides in-between the first two movements. For me it was hard keep tract of all the themes that are presented in this rondo. But it is so pleasant I didn’t seem to care. Both the piano and the violin go through these arpeggiated runs that are very virtuosic. We had the initial argument, the developmental conversation and now we have the finale which showcases how the two instruments can work together as a team. The section is very complimentary and highlights the fantastic relationship between the violin and the piano.

The first concert that I attended for the class was the Brazz jazz ensemble during the music program’s Wednesday noon hour. I was pleasantly energized after witnessing some of the best jazz I have ever listened to, let alone seen in person. The ensemble preformed seven different pieces that varied from classic blues/jazz pieces from artists that lived in the early 1900s to a Willie Nelson tune.

The ensemble was composed of eighteen musicians. Fourteen horns in total attributed to a sound that was always full and dynamic. With no saxophones, their sound relied heavily progressions played by a combination of french horns, trumpets and trombones. A euphonium and tuba were also in the back providing support. Every piece showcased a soloist that was either a trumpet or trombone. The percussion contributed a variety of tasty fills and meter changes throughout the performance as well.

Before going into detail of the pieces that stood out to me, the thing that pleased my the most was the atmosphere this type of ensemble created for the listener. Firstly, the emphasis put on the horns was an interesting sound which is very different from a full orchestra. Without the presence of strings, the horns fill that void and support soloists by playing chord progressions behind the focused homophonic theme presented by the player being showcased. The ensemble was also unique as it was kind of a different take on jazz. Usually free flowing, filled with new, emerging themes and the use of ostinato to form more spontaneity; this jazz was very rehearsed. The musicians themselves were still playing off of each other similarly to a jazz band but not with the same spontaneous manner. They were playing off of each other because there was a lack of a conductor (which was sometimes played by the role of Fred Stride, the pianist, at some points of the performance). The genre of music and the fact that the were arranged by members of the band made it feel spontaneous. However, their tightness can be attributed to how the pieces were arranged and rehearsed.

The piece that stood out to me was an original arrangement done by the pianist named Higher Groovin’. The play on words paid homage to the original piece, Grooving High which was composed by Dizzy Gillespie and Charlie Parker. The performance also paid homage to the original by showcasing the ensemble’s trumpet soloist Derry Bryne. Dizzy Gillespie and Charlie Parker wrote the original with alto sax and a trumpet. The arrangement done by Brazz did use the primary theme from the original. The arrangement did also have many instances in which the meter changed. When looking on, it was fun to see the bassist and drummer nod with resolve when returning to the original theme after a break. The use of staccato was very present during this piece. The horns used staccato as a dynamic tool at some points, and the percussion section noticeably syncopated the beats more and more which provided a sense of tension throughout the latter part of the piece.