I never thought I'd catch myself writing a blog! The word itself always had a jarring sound to my musical ear. But, whether I like the word or not, I now offer the following thoughts.
I'm fortunate because the world of music is so rich. That doesn't mean to imply that other subjects don't offer their writers a vast landscape, but with music, perhaps, it's different. After all, music is itself another language. It may be a cliche to say it, but it's a form of expression that goes well beyond words. And that's where I'd like to start.
Expression. Expression. I think my response to music, like many other people, has always been much more emotional than intellectual. It's why, perhaps, piano lessons, first undertaken at the age of 6, were so challenging to me. It was such a struggle to make music; to make the series of individual notes, which I was dutifully thumping out, coalesce and form a tune. It was way beyond my ability at a stage where note-recognition was the main goal. I've seen this problem, as no doubt many piano teachers have, with young children at the start of their studies. They want to make music, but they are so severely impeded by the challenge of learning to read what amounts to a whole new alphabet that, eventually, they give a shrug and walk out. There could be many reasons for this, of course, but putting those aside, I am suggesting that it was too hard for them simply to make music, to find expression. Much easier to kick a piece of leather around instead, to score a goal and, by means of wild gesticulations, express one's triumph!
There is no doubt that it takes a great deal of patience, perseverance and determination to achieve decent results when it comes to learning an instrument and, not only that, but, in the words of the great pianist of yesteryear, Arthur Rubinstein, you must be born with talent. I'll go a step further than that and say that you must have a desire to give expression to the music you are playing.
One of the first pieces of music which really resonated with me was the second movement of Beethoven's 7th Symphony. I was all of 8 years old, but the piece appeared in a piano tutorial book in a very simplified arrangement. By that time, I could recognise the notes well enough to be able to play them and to make a musical structure, or, at least, a sentence. Of course, like all kids with a good ear, a "performance' by my piano teacher in the lesson was a great help in the process of translating the written notes into a sound that represented music for me. The sombre tones of the simple melody (although the first twelve notes are all the same!) were coloured by Beethoven's underlying harmony. The first phrase ends in the major key, despite the fact that it has begun in the minor mode. It doesn't take long until the music wends its way back to the minor to end the first statement (which, in my piano book, was the end of the whole piece). In Beethoven's actual Symphony the piece unwinds majestically and dramatically, passing between the various sections of the orchestra, with a whole contrasting and lyrical middle section, winding down to end enigmatically. But the dark meanderings of the music in this simple arrangement somehow struck a chord (pardon the pun) deep within me.
That's the amazing thing - that it touched me as it did. There was no orchestral colouration, no interplay between the various sections of the orchestra which bring the actual symphony to life. The truth is, when I first heard an orchestral performance of Beethoven's 7th in my teens, I was in total shock when the second movement arrived and I recalled my childhood encounter with the music. It was a whole new world (if I can borrow another cliche.) It wasn't just the expressiveness of the melody or the harmony that mattered now. It was the orchestral sounds of the initial low strings, the counter melody riding over the melody, the woodwind interpolations, the distinct sound of brass and drums. Above all, a whole new world of expression - but, all the same, expression; exactly the same tune, but now encased in an exciting new sound-world!
The reality is that If I can't relate to a piece of music, even on an initial hearing, at least to some degree. If my emotions don't co-join with the composer's, however remotely, it's probably a piece of music I won't visit again in a hurry. To some it might appear to be musical snobbery if I dislike a piece of music. But it goes deeper than that. It's usually a feeling that something is missing for me. Nothing stirs within me.
To paraphrase the same Arthur Rubinstein, a musician should never play a piece that doesn't speak to him. To which I'll add the thought that the successful performance of a given piece music will best - or only - find true expression in the hands of a sincere artist who has studied the music to such a degree, and identified with the composer's feelings and intentions, that it literally flows through his veins.
I hope to be able to discuss many musical subjects in this forum, sometimes touching on personal encounters with pieces of music; to relate historical insights and anecdotes; to pass on listening suggestions and some great performances of specific works. It will be exciting to visit the worlds of popular music, Musicals, popular song, etc. In short, there's a rich tapestry to explore!
The world of music is before us! Please join me as often as you can to share the journey.
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