As I'm preparing for our upcoming Bach St. Matthew Passion workshop, here's a little music analysis which I feel is exciting to share:
Besides the solos in this monumental work, there are these many seemingly "easy" chorales to play. However, these chorales were very important as they would have been well-known to the congregation. They brought everyone spiritually together, including the layperson who might not understand the meanings of the big arias. Conveying the text through the albeit simple melody is the key in playing them. Take a look at this excerpt from "Herzliebster Jesu, was hast du verbrochen". (Dear beloved Jesus, how have you transgressed) from his St. Matthew Passion. There are 3 things that are happening around the word "Schuld" (guilt in the legal sense, or crime): - It's an important word in the text - the "d" in "Schuld" is more like a "dt" in German pronunciation which gives the word a definite closure - There's a comma afterwards So all these things make the end of that "Schuld" note slightly detached from the rest, the sound has to close before going on, creating an "articulation silence", in order to reflect those same nuances in the text. In baroque flute playing, it is common to use the technique of closing the sound with the tongue. Going on directly or making the sound legato with the next note will degrade both the literal and emotional intent of the passage. The concept is simple and yet it can have such a profound effect on us players as well as on our listeners. This is just one of many, many instances in the endless connections between music and text, and it's a whole lot of fun to discover them! Playing chorales this way will then become meaningful and create a defined musical presence in the performance.
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In my recent talk together with Amanda Markwick, we delve into the question of what makes the music of J.S. Bach so challenging.
For me, it's definitely the amount of stamina needed, mentally and physically. Playing Bach's music can feel like a test of how well we can coordinate all of our techniques to function together. We first need to have a concept about the music, then arrange all what needs to happen physically: breath work and management – how we regulate our air to produce sound, just like singers do. In addition, Bach's music is notorious for us flutists because we're struggling to find good places to breathe! The question is - where and how to breathe? Articulation – Having our articulation contribute to the affect of the passage. Knowing early articulation methods is a key to that. Navigating difficult keys – Navigating through difficult keys is related to our breath, our embouchure, and coordination with the fingers. Bach wrote some of his greatest works for the flute in the worst keys for us. Think about “Zerfließe mein Herze” from his St. John Passion, or the E major flute sonata. (we don't even get a break in between - no comfort in C# minor!) So all these physical elements need to function together, at the same time, on command to carry out our interpretation. That's a tall order! It IS a challenge but I also see it as motivation. Flute-playing is a physical activity and the practice of it (whether 'practicing' or performing) makes me feel strong and builds confidence in my body. I do enjoy feeling that physical aspect of the challenge and the reward it brings. Another challenge I see with Bach's music is simply finding those important clues which help us in our interpretation. It's like solving a jigsaw puzzle. Because of the common practice back then, things like dynamics and phrasing were mostly not given by the composer (unlike in later music). But that's Bach's trust in us that we're able to nevertheless understand his intentions. Or perhaps we can think of it like a game we play with Bach – he gives us some clues, can we get what he's talking about? I recently received a question about how to deal with the left hand tension on the baroque flute. Especially if the flute model is a larger instrument (say early baroque, or a 3-part instrument where the middle joint is in one piece, or a flute in low pitch), it can really present a problem for players. Add the fact that the 4th finger is our weakest finger, the stretch between our middle and 4th finger can feel impossible.
If you come from the modern flute, you may wonder how people played back then. The problem may never disappear for some players, but I thought to offer what has helped me so far: Try to stand securely, perhaps the feet wider apart than you might normally do, and really shift the center of foundation to as low as possible. When playing, try shifting your weight between your feet every now and then, for me that helps free up that feeling of tension in the hands and allow the fingers to move as relaxed as possible. If I feel like I don't have a solid base, it exacerbates the problem. And now here's maybe a weird visualization - I imagine I'm able to extend my fingers longer than they actually are, somehow that helps me feel like I'm able to accommodate that big stretch and also further relax the fingers. When they're in tension, the fingers bunch up and "become short", which is not desired. Make them long. Also, play around with the position of your left thumb - how does it feel to place it between your 2nd and middle finger? I used to play mostly with the thumb under the 2nd finger, but have found by moving it further down it can help me with 4th finger movements. Since the 4th finger is the weakest finger, I once got a tip from the Italian flutist Laura Pontecorvo to sometimes practice without the thumb. (See my post about it here!) I found this trains the 4th finger to be more independent and may perhaps help improve the issue. I wonder if any of this helps for people. Let me know and feel free to chime in with your way! Above is a photo of my big flutes - a 4-part Scherer and an Hotteterre flute, both by the late Claire Soubeyran. Here's a recent post I did on Facebook, reaching out to those who appreciate Rudolf Tutz and Wilbert Hazelzet. It all began with some photos I did with my fancy socks, which people seemed to appreciate. You'll see the connections more clearly though once you read on:
Still no Christmas socks, but I've got two walruses enjoying a starry sky. When I began my historical flute studies in The Hague, I met the renowned Austrian traverso maker Rudolf Tutz for the first time.❤️ I mean this in complete and absolute endearment, and that is, his immense stature and unmistakable moustache reminded me exactly of a walrus 😅....The 415 flute I mostly play on is from him and it has taken me through thick and thin in life. It has a very hard-to-repair crack and I hope I'll never jinx my luck with it.🤞 ✨As the 2nd Advent approaches, I'm reminded of the second movement of JS Bach's B minor sonata for flute and obbligato harpsichord. As Wilbert Hazelzet once so eloquently put it, it's a piece about enlightenment and I think that's such a beautiful concept. Maybe that's what the "Largo e dolce" means - large in our phrasing, in our vision of the music, with a sweet and heartfelt expression. Here's to Bach, the stars, the universe.🌟 You can find me on Facebook under Teddie Hwang Music and Photography. Please like and follow! One of the barriers that people might find in using historical sources is the notation. Things like different clefs as well as simply the style of notation can throw people off. It is definitely something to get used to and your skill will only get better by actually doing it.
One major perk I see playing from original prints is that it can sometimes convey a better sense of the musical expression. Compare these two prints of Hotteterre's G minor prelude. Notice how the slurs are notated differently - we get a better sense of the motion of the notes in the original print (top) instead of a slur that just stays "neutrally" above. Also look at how some notes are barred together - they give us, I feel, a better visual indication of voicing (lower vs. higher), and those curvy bars just reflect a little nicer the fluidity and elegance of the music compared to the straight ones. There are advantages to using both, especially when modern editions sometimes come with some background information which can be really helpful. In any case, always take your time with the music and enjoy your own discoveries in every piece, in every musical landscape. |
ABOUT THE BLOG:I got inspired to document my own observations in flute-playing and music-making. Also, I thought it's important to pass on the teachings of the great Wilbert Hazelzet, as well as many other mentors who have influenced my artistic visions one way or the other. Enjoy this potpourri of tips, inspirations, and musings. TOPICS:
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