Peter Lunow

Composer : Peter Lunow           from”sketches for flute, cymbalom and double bass” ( 2012) . Marieke Schneemann,flute

Michiel Weidner, cymbalom

Ernst Glerum, double bass

Takemitsu( 1930-1996 ), de eerste Japanse componist die erin slaagde een wereldwijd publiek te bereiken, zei :

“From John Cage I learned life – or I should say, how to live and the fact that music is not removed from life. This simple, clear fact has been forgotten.Art and life have become separated and specialists are concerned with the skeletons of methodology. Aesthetics led us to music without any relationships to live sounds, mere symbols on paper.”

 

mythe en waarheid

Ik kwam een interessant artikel tegen van ene Alexander Poznansky over Tchaikovsky. Sinds enige tijd zijn alle archieven in Rusland  voor het publiek vrijgegeven.Alle complot theorieen (gedwongen zelfmoord…) blijken hierin niet voor te komen. De mythe dat de man constant ondraaglijk leed, door zijn homosexualiteit, komt in dit artikel in een heel ander licht te staan.

DeVictoriaanse moraal onderdrukte elke vorm van sexualiteit, maar in Rusland golden ook andere opvattingen, die meer op status gebaseerd waren dan op moraliteit.

Tchaikovsky was al tijdens zijn leven een gevierd en beroemd componist en kreeg volop erkenning . De tsaar   gaf hem jaren lang een toelage omdat hij zijn muziek waardeerde.Hij had vele vrienden, hartstochtelijke affaires  en waardevolle vriendschappen .Kortom , hij had een vol en kleurrijk leven Natuurlijk waren er altijd roddels en geruchten over zijn sexuele leven ,maar het beeld dat hij altijd leed, komt niet overeen met de werkelijkheid, als ik Poznansky’s artikel lees.

Op het eind schrijft hij :

“An inquiry into the personality of any great artist is imperative if we want to deepen and enrich our appreciation of his or her achievement, since it allows us to respond in a more complex and powerful way to the emotional and psychological issues involved in the creative process and their artistic resolutions. In the case of Tchaikovsky, his inner longings, which we cannot fully comprehend without studying the realities of his life, had a bearing on the striking and peculiar emotional poignancy of his music, which is either extolled, or berated as “sentimentalism”.Ultimately this kind of study will enable us consructively to reconsider the whole set of musicological cliches about the man and perhaps even his status in the cultural Pantheon, as well as the relevance of his work to our present day cultural and spiritual concerns. ”

 

 

Ninth Piano Composition Competion Fidelio

fotografie: Evelien Lodewijks

Ene Antonio Ruiz Asumendi nodigde mij uit mee te doen aan een pianocompositie concours dat hij elk jaar organiseert via internet. Dit jaar was de negende keer. Ik las wat commentaren op zijn initiatief (Piano CompositionCompetition Fidelio) en besloot mee te doen. 180 deelnemers uit 29 landen en de deelnemers waren tevens de jury (behalve voor hun eigen werk uiteraard).

Ik heb de eerste prijs gewonnen met een van mijn Astorwalzer.  Het feit dat mijn muziek over de hele wereld werd gehoord, en om ook nog de eerste prijs in de wacht te slepen, geeft me een gevoel van erkenning.

 

memorisation

It’s one of the great romantic images, isn’t it? The solo performer alone on an empty stage, faced with that huge black beast of a full-size concert grand piano, armed with nothing but his or her memory and willing, well-trained fingers?

 

There is a lot of snobbery surrounding memorisation, and yet it’s one of the most absurd things pianists put themselves through. We have Clara Schumann and Franz Liszt to thank (or blame!) for the tradition of the pianist playing from memory, and both were significant in turning the piano recital into the formal spectacle it is today. Before the mid-nineteenth century, pianists were not expected to play from memory and playing without the score was often considered a sign of casualness, or even arrogance: Beethoven disapproved of the practice, feeling it would make the performer lazy about the detailed markings on the score; and Chopin is reported to have a hissy fit when he learnt that one of  his pupils was intending to play him a Nocturne from memory.

Few pianists today would dispute the legacy of Liszt and Clara Schumann, and now playing from memory is almost ‘de rigeur’, so much so that if you go to a concert where the pianist plays from the score, you may hear muttering amongst the audience, suggesting the performer isn’t up to the job or has not prepared the music properly. Which is of course rubbish: sometimes, especially in contemporary or very complex repertoire , it is simply not possible to memorise all of it. Interestingly, memorisation has actually limited the range of repertoire performed in concert: many soloists won’t commit themselves to more than a handful of works each season because of the burden memorisation places upon them( as pianists, we have to learn more than double the number of notes of any other musician!).

 

There are sound reasons for playing from memory and it should not be regarded simply as a virtuoso affectation  ( the ability to memorise demonstrates a very high degree of skill and application ). It can allow the performer greater physical freedom peripheral vision more varied expression and deeper communication with listeners. But the pressure to memorise (a pressure which is imposed upon pianists from a young age and reinforced in music college or conservatoire ) can also lead to increased  performance anxiety- I have come across a number of professional pianists who have given up solo work because of the unpleasant pressure to memorise and the attendant anxiety. The late great Russian pianist Sviatoslav Richter gave up playing without the score when he reached his 60s as he felt he could no longer rely on his memory, and both Clifford Curzon an Arthur Rubinstein both struggled with memorisation.

 

While each individual will have his or her own particular method of memorisation, pianists in fact utilise four types of memory, all of which must be employed when learning music:

VISUAL MEMORY:    human beings use this part of their memory function to record large amounts of information, such as faces and colours and everyday objects. Music is made up of patterns and shapes, and the pianist uses visual memory to “picture” the score, as well asto recall the physical gestures involved in playing.

AURAL/AUDITORY MEMORY :  this is what enables us to sing in the shower! Music is an assortment of sounds, arranged in a certain order. The pianist uses aural memory to know e/she is  playing the correct notes and to anticipate what he/she will play in the next few seconds.

MUSCULAR/PROCEDURAL/KINAESTHESIC MEMORY: the ability to recall all the movements, gestures and physical sensations required to play music. Muscular or “procedural”memory is trained by repetitive practice: just as the tennisplayer practices his/her over-arm serve in exactly the same way each time to ensure the fingers land on the right notes every time.

ANALYTICAL/CONCEPTUAL MEMORY: the pianist’s ability to fully comprehend, absorb and retain the score through his/her intimate study and knowledge of it.This involves understanding structure, harmony, dynamics and nuances, phrasing, reference points, modulations, repetitions, etc., as well as the context in which the music was composed, whether it is Baroque, Classical or Romantic, for example. This “total immersion” in the score  should result in a rich, multi-layered awareness of it.

 

Many young students rely, often unconsciously, on auditory and visual memory, or on auditory and muscular memory, and many can play very competently from memory. However, to play expertly from memory and to ensure that one’s ability to download and deliver music very accurately is completely secure, all four aspects of memory must be trained and maintained.

I have noticed a growing trend: more solo pianists (Alexandre Tharaud is a notable example) are now using the score (accompanists and collaborative pianists tend to use the score, with the assistance of a page-turner, or the modern alternative of an iPad or tablet with a score-reading app. It is possible to perform from the score, and to deliver a quality performance which is rich in expression, gesture, and musicality. Well-managed page-turns with the assistance of a discreet page-turner, should not detract from the performance, and after all, isn’t a concert fundamentally about communication, between performer, composer and audience? If you get that right, nothing else should matter.

 

 

 

 

zingen met geestelijk gehandicapte tieners

Vandaag werd ik uitgenodigd om een ​​groep geestelijk gehandicapte jongens en meisjes te ontmoeten. Of ik “iets met muziek ” wilde doen. Daar sta ik dan met een toetsenbord en allerlei plannen en strategieën en instinctief  voel ik dat ik alles overboord kan gooien en Sinterklaasliedjes kan spelen en zingen. Het trekt onmiddellijk de aandacht en men begint aarzelend mee te doen. Een boom van een jongen van begin twintig, opent zijn strot en ik weet niet wat ik hoor: een volle, krachtige stem, die me kippenvel bezorgt.  Een meisje van dezelfde leeftijd, doet liever kerstliedjes. Gaan we de volgende keer doen, maar ik weet wat ik moet doen: de volgende sessie neem ik veel liedjes  mee en de staf medewerkers zingen ook mee. Voor mij een enorme uitdaging om mijn eigen hoofd leeg te maken, de tijd te nemen en  aandacht te  geven aan iedereen. Verder heb ik geen doel, geen lesplan of strategie. Het enige dat telt: ga mee met de stroom en heb plezier.

thought and word

You don’t have to have words to think.Thoughts are primary, not words and thoughts are the language the subconscious can understand. There is no point in trying to communicate with the subconscious in the language of the intellect. Fortunately, humanity has preserved one means of universal expression through art.We do not need words in order to understand works of art. Everyone can understand the language of the heart. This is the language of things created with love and passion.. When a person walks towards their innermost dream through the right door, i.e. does the thing that suits their soul best, they become capable of creating a masterpiece. This is how art is born.       Vadim Zeland

 

techniek en expressie

Franz Liszt: “Het kan me niet schelen hoe snel je octaven kunt spelen. Wat ik wil horen is de galop van de paarden van de Poolse cavalerie voordat ze kracht verzamelen en de vijand vernietigen.”

Maria Callas: “Before you sing a phrase, you always prepare it in your face and give it to the public, have it read in your mind, in other words: you think of the phrase, you prepare it on your face and then you actually perform it. That is the beauty of bel canto; offering it to the public and having the public reading your mind and then actually hearing it”

Debussy, a painter in sound

 

 

“The history of musical analysis is full of expressions like “a kind of sonata form” , “a sort of rondo” which reveals the desperation of the writer to fit any and every piece into a predetermined form. But in any decent work of art, form is a by-product of material, subject-matter and workmanship, not a process of filling a template, like a dot-to-dot drawing or a do-it-yourself tapistry”.

Stephen  Walsh

Waarom Debussy belangrijk voor mij is

music for flute, cymbalom and bass by Peter Lunow .

Marieke Schneemann, fluit

Michiel Weidtner, cymbalom

Ernst Glerum, contrabas

4 okt. 2018 .         In een uitstekend boek over Debussy,”a painter in music”, van de muziekcriticus en musicoloog Stephen Walsh:

“With him ‘epater le bourgeois’ was never an issue; on the contrary his watchword was beauty and he honestly felt that attentive listeners would be able to hear and appreciate this quality if only they could shake off their attachment to the familiar and predictable in the standard repertoire. it turned out that they could. His music never seems to have created significant problems for audiences, although critics were wary of it because  it didn’t meet their normal criteria of elucidation or assessment. Debussy’s main enemy was the Conservatoire and the book of rules that were supposed to tell you what you could and couldn’t do as a composer to respond to an inner voice.”

en

“Much of what happened to music-and in art in general-in the 20th century marked a break, conscious or not, with the 19th century. The past was an orphan parent, rejected by its children, despised by its grand-children. Debussy, too, found fault with his forebears and tried to do things differently from them, But while he questioned their methods, he never doubted their fundamental intention, which was to create beauty and to share sensibilities, to communicate wonder at the richness of the world around us and the various ways our senses give us of responding to it. His music is without ideology and without doctrine. Like the world, it simply is, take it or leave it.”

web log van een musicus

 

“Een vriend vertelde mij dat hij niet terug wil naar Emmen, waar hij is opgegroeid. Er is daar een dierenpark. Op weg naar school kwam hij elke dag langs reusachtige condor, die maar net in zijn kooi paste. Omdat deze vriend componist is (Peter Lunow) hoor ik flarden aanzwellende muziek, wanneer ik denk  aan hem als jongen, die zo hard mogelijk langs de kooi fietst. Wanneer hij dichterbij komt, spreidt de condor zijn vleugels, zover als de kooi dat toestaat. De instrumenten zijn niet goed gestemd. De condor spert zijn bek open maar er komt geen schreeuw uit. Ik weet niet precies hoe een condor er uit ziet. Toch huist de ongelukkige vogel in mij. Ik hoor zijn verstomde schreeuw in de muziek van mijn vriend, ook wanneer hij opgewekte muziek maakt.”

Maria Barnas

 

5 april 2017

Zo’n 28 jaar hou ik een dagboek  bij, elke dag…  Al heel lang zeggen mensen, die ik stukken heb laten lezen, dat ik  ‘er iets mee moet doen’. Onlangs zei een hele goeie vriend: ‘lees ze na op zaken ,die met muziek van doen hebben, dat is tenslotte je leven’. Ik geloof nu waarachtig dat ik  daarmee de sleutel heb gevonden om  mijn blog te openen.

Ik doe het  niet in de chronologie van het dagboek, maar op keuze van een onderwerp.

Blog nr. 1  ( uit dagboek 23 mei  2014 –  14 februari 2015)