There is a multitude of research on the subject of how music affects our brains. What a wonderful topic to investigate! However, what about how music affects our hearts?
Monday night, I witnessed music that did what it ought to do: it moved my heart. The highlight of Monday evening's performance was the Brahms Violin Concerto in D Major, op. 77, performed by the impeccable Midori as soloist with the Vancouver Symphony Orchestra under the baton of Maestro Bramwell Tovey. It was not the first time that I'd heard this piece performed live. In fact, earlier this year, in Montreal, I heard it performed by Maxim Vengerov with the Orchestre Symphonique de Montréal. However, my friend and I arrived literally one minute too late and were not able to be seated in time for the first half. Nonetheless, we watched disappointed from the cushy, gorgeous, comfortable lobby at Place des Arts on their video screens. My heart was aching because I knew that I was missing a once in a lifetime opportunity.
Moving on from that tragic experience, involving the wrong bus on Avenue du Parc, I bravely continued with my concert-going life. As fortune would have it, 2013 granted me another opportunity to hear this formidable concerto live. Monday night, after an extremely hectic day of teaching school, teaching piano, and tutoring, (with 10 minutes to spare for something that resembled food), I headed downtown to the Orpheum Theatre.
My friend who accompanied asked: "So, what makes this Brahms Concerto so special?" I smiled and replied: "Oh, it has many technical challenges. The melodies are quite nice though." My answer should have been about how Brahms' music touches the core of the human soul and what it means to love, lose, try again, and experience joy and pain during life's journey. After Midori's sensitive, humble, and touching interpretation, my answer would have been that this amazing work of music allows us to experience all of those sentiments on such a heightened level.
What allowed Midori to play Brahms' music so that I felt each emotion that the composer intends for me to experience? In a word, her maturity. Midori is in her early forties. She has been concertizing since the age of eleven. What I witnessed on stage was her taking a secondary role to the music. Her stage presence and choice of dynamics allowed us to appreciate the notes that Brahms has left us. We rarely noticed Midori, but we sure paid attention to Johannes! Thatis what a true musician is supposed to do when they interpret a composer's work of art for us. They are, in fact, simply the vehicle by which that composer's art is delivered to us. From this concert experience, I will always remember how Midori made herself literally and figuratively small. She is a diminutive woman in stature but she made herself small in relation to her ego. There was no encore. We did not need one. She had given of herself and was an incredible partner with the orchestra. There were moments when I had wished to hear more of her violin and I had wanted her to "play out" more. Then, after a few minutes, my ears adjusted and I simply listened more carefully. Her modesty was simply exemplary. In fact, my dear friend, who is an accomplished pianist, made the comment: "A showy person really couldn't play this concerto."
There were a few points during the first movement where I could actually feel my heart hurt. Since Midori so faithfully presented the music to us, her willing audience, we were able to experience loss, yearning, frustration, love, peace, and triumph - all of the sentiments that Brahms includes in this masterpiece. I have no qualm with the fact that many feelings of loss or melancholy stayed in my heart after the concert. That, after all, is what good music ought to do. It ought to affect you profoundly and emotionally. If the musicians are successful, and the composer has written something to which you can relate, a wonderful performance will touch deep scars, open old wounds, and make no promise to patch them back up again.
A few days ago, I checked the website for the Met Live Opera Schedule to buy my ticket for their presentation of Les Troyens. I was genuinely surprised to see that there were only a few tickets remaining for the Vancouver presentation downtown on Burrard Street. I quickly purchased my ticket. I was definitely looking forward to this Met Opera broadcast, live from New York. I had not attended any Met HD Live broadcasts since July 2011 in Montréal when I watched Jonas Kaufmann, Deb Voigt, and Bryn Terfel literally knock my socks off in Wagner's phenomenal Die Walküre.
Before this morning, I was completely unfamiliar with Berlioz's grand opera Les Troyens. All I knew was that I was in for a fairly long day. The performance was to last from 9 am until 2:30 PM! Earlier this week, I went and borrowed a copy of the score from the UBC Music Library with the noble intention to listen to the whole opera before Saturday. Well, the week got busy and I only listened to the first fifteen minutes of Act I. Saturday's broadcast would have to be a surprise - and a surprise is what Berlioz delivered!
Not once, during the entire 5 hours of the opera, was I tempted to check the time. The amazing musicians of the Met Orchestra, Met Opera Chorus, and the stunning soloists kept me engaged the entire time. This, after all, is what fine art is designed to do - capture the attention of its audience and prompt their thoughts on the human condition.
What is it about this opera that kept me engaged? After Acts I and II, I was already impressed musically and dramatically by what the composer had created. After seeing Les Troyens, I would argue that Berlioz is one of the 19th Century's more underrated composers. The choral writing, small ensemble writing, and arias are simply wonderful.
Acts III and IV feature gorgeous ballet scenes where Berlioz's gift for orchestration truly shines. Oh, and the love duet between Dido and Aeneas at the end of Act IV was one of the most sensual, beautiful performances of opera that I have ever witnessed. One almost felt as if it were appropriate to leave the couple in privacy. Berlioz perfectly captures the intimacy shared by Queen Dido and the Trojan hero Aeneas.
Just when you thought things were going well for this lovely couple, you realize: "Right, it's French romantic opera. People have to die and the lovers break up." Welcome to Act V and the reality check that you knew was coming but didn't want to admit was going to actually materialize. To make an extremely long (as in five hours long) story short, the power couple of Queen Dido and Aeneas call it quits. Forced to choose between staying with his love, Queen Dido of Carthage and re-building Trojan civilisation in Italie, Aeneas chooses to be loyal to his duty and leaves with the entire Trojan fleet in search of a new home, namely Italy.
Dido doesn't take the news very well and ends her own life with the blade of Aeneas' sword. I would make comments about her being a "drama queen" but after taking a step back, Berlioz' music actually leaves his audience quite sympathetic to the heartbroken mezzo-soprano. The music in Act V is, for lack of a better word, intense. The string section of the orchestra is kept extremely busy and the emotional level is heightened.
How is it that a modern audience can sympathise with a character from the Ancient World? Perhaps it is because the problems that Dido and Aeneas face are not unfamiliar to modern audiences. The problem that Aeneas faces is not uncommon today. He has to choose between his "professional duties" and a relationship. The music in Acts IV and V shows that he deeply struggles with this decision. (Honestly, he's a decent guy!) Opera (and other forms of art) endure across periods of time because they speak to something universal that affects a wide variety of audiences. I have observed the pain that people go through when making a choice similar to the one that Aeneas made. I have also observed the pain that people who are on the receiving end of that decision feel. This opera leaves us with more questions than it does answers. What prompts someone to choose professional duty over romantic loyalty? Can someone be faulted for choosing to pursue a career rather than a relationship? Did Aeneas make the right decision by being loyal to his people as their de-facto leader? Berlioz leaves it to his audience to make that decision. In conclusion, what keeps someone in their seat for a five-hour opera? We are kept in our seats because although the costumes being worn are from Ancient Troy and Carthage, the hearts of the characters are our hearts. The decisions that the characters face are our decisions. The range of emotions portrayed on stage (passion, love, betrayal, despair, helplessness) are the feelings that we experience.
When one says the words "Christmas music", a few reactions can ensue. Some people roll their eyes and say that if they hear Mariah Carey once more, they'll cancel Christmas. Other people get giddy and start singing carols. I, for one, am in between those two various extremes. I generally enjoy the music of Christmas. For me, as a Christian, Christmas is a huge joyful celebration because God has loved us so much that He would send His son to deliver us from sin and bondage. Therefore, I'd like to share some of the music that speaks to my heart at this time of the year. Johann Sebastian Bach's amazing Christmas Oratorio was written for performance during the Christmas season in 1734. From the beginning chorus, we hear brass instruments and an exuberant choir sing out: "Jauchzet, frohlocket, auf, preiset die Tage", which means "Make a Joyful Noise to Praise the Days!" The way in which Bach captures the joy of the birth of Jesus is phenomenal. The strings have quick, exciting passages and the brass instruments punctuate this opening section signalling royalty and an important event.
Another gem from the Baroque that is often heard during Advent and Christmas is from G.F. Handel's famous oratorio, The Messiah. The first section of this masterwork revolves around Old Testament prophecies that are seen by Christians as pointing to the birth of Jesus of Nazareth. Thus, this section is known as the Advent section. My absolute favourite chorus is "For Unto Us a Child is Born", the text of which is from Isaiah 9:6.
"For to us a child is born, to us a son is given; and the government shall be upon His shoulder, and His name shall be called Wonderful Counselor, Mighty God, Everlasting Father, Prince of Peace."
One of my favourite classical Christmas compositions is Archangello Corelli's Christmas Concerto, op. 6, no. 8 in g minor. There is nothing explicitly "Christmas" about this piece other than the composer indicated that it was written for the evening of Christmas, in 1690! I find that the fast movements, if one listens carefully, give a sense of winter approaching. The second movement, a truly gorgeous Adagio in E-flat Major, gives the sense that one is watching a quiet town that has finally fallen asleep on Christmas Eve and waits patiently for the joy in the morning.
Well, let's fast forward three centuries to the 2000s, for a modern, celtic rock take on a great old carol: Adeste Fideles or "O Come All Ye Faithful." At Christmas, Christians come together and sing songs in adoration. There is much to adore about this baby born in a manger - a humble King of Kings.
I wish all of you a very joyful and Merry Christmas. We have so much to rejoice over at this time of year as God's son laid down His crown and came to be our Emmanuel, God with us. May you all have health and blessings in the New Year!
A week ago, I attended a wonderful concert of the Vancouver Symphony Orchestra. It was a fairly last minute decision, which in itself is a rarity these days. The dark times of report cards are upon me and that means planning out my time awfully carefully. Nonetheless, the program was all Mozart and I could not resist. Plus, at $15 per ticket, the price was right. I ended up trudging through the rain with my dear friend Christina to attend this event.
It has been said of Mozart that his music is God speaking to us. As a Bible-believing Christian, I know that God has spoken to us through His Word but I do not discount that Mozart's music has the power to invoke thoughts of God.
The first piece was the surreal, Ave Verum Corpus, K. 618. This is the last religious work that Mozart composed before dying at age 35. Jesus says in John 14:27 : "Peace I leave with you; mypeace I give to you. Not as the world gives do I give to you. Let not your hearts be troubled, neither let them be afraid." The gentle and prayerful mood that Mozart creates in this short but stunningly beautiful work reminded me of the peace that we receive from believing in the promises that Jesus fulfills by dying on the cross - the promise of eternal life in the high courts of Heaven.
After the intermission, the orchestra and choir performed Mozart's Mass in c minor, K. 427. From the very introductory notes of music in the Kyrie, my heart was deeply moved. Kyrie is the first part of the traditional Latin Mass and means "Lord have mercy." That's when I realized, again, that it is indeed Christ's property to have mercy upon those who are faithful and turn to Him in repentance. As Mozart's music filled my ears, my soul began to understand once again that God is rich in mercy because of the great love with which He loved us (Eph. 2:4). As the choir made supplications for mercy, it became clear to me that Christ's response is to indeed have mercy and "if we confess our sins, He is faithful and just to forgive us our sins." (1 John 1:9).
Recently, I have been struggling with guilt and just feeling generally weighed down by sin. Whether or not Mozart believed in God or Jesus is not for me to know or to even speculate. I simply know that the music that Mozart composed communicated to me a sense of truth - the most comforting truth. I left the Orpheum Theatre very convicted that indeed my transgressions have been wiped out by God by His one and sufficient sacrifice - Jesus Christ.
In Him we have redemption through His blood, the forgiveness of our trespasses, according to the riches of His grace,which He lavished upon us, in all wisdom and insightmaking known to us the mystery of His will, according to His purpose, which He set forth in Christas a plan for the fullness of time, to unite all things in Him, things in heaven and things on earth. - Ephesians 1:7-10
What now? I am graduating with a Masters in Literacy Education from UBC in a week? Unreal! The day is finally here. Over the last two years (beginning in September 2010), my life has been dedicated to my studies and trying to maintain some semblance of a running classroom. Often, when my graduate studies were going well, my teaching seem less organized. Often, when teaching seemed to be going well, my grades in my Masters seemed to suffer oh so slightly. (Alternately, I just did not sleep.) One of the biggest sacrifices, however, was that the amount of music in my life decreased hugely and my soul felt that. I was no longer able to take violin lessons because, well, there just wasn't the time to properly dedicate to practising. I wasn't able to attend as many concerts due to ticket prices and time constraints. Between tuition rates and twenty-five page papers, live music had to move down on the priority list. After having my thesis approved on August 26th, I've been able to attend more recitals and concerts and it is simply wonderful! Nonetheless, graduating in a week has rendered me quite reflective. Be forewarned, this list is a combination of the utterly ridiculous and the very serious. I present to you my Top 10 Things I did in Grad School. 1) I read a lot of stuff. (No like actually, I really did.)
2) I spoke a lot of French and learned many new French words, like "jaser" - which means to chat! 3) I learned how to teach a child to read - properly.
4) I got to live and study in Montreal - twice. These were, without a doubt, the two most incredible summers of my life. I wouldn't trade them for an entire Henle edition of all Schubert's works. 5) I learned about ethics in research, teaching, and writing and the value of intellectual property. 6) I complained a lot. 7) I didn't sleep. (Needed Wotan to cast a spell of Magic Fire I guess!)
8) I typed a lot of words on the computer screen. I think I used that keyboard thing that has letters? 9) I kind of went to the library...twice?
10) I was privileged to work with the most amazing group of educators in BC and saw what true, selfless collaboration looks like in a professional setting.
Hats off in a week to finishing and to the pay raise that means more classical music albums! Hurrah!
There comes a point in the school year where the class melds together and cohesion happens. Today was that glorious point!
Generally, the school year has started very well. I have an extremely full class of 29 students which makes addressing their individual needs quite challenging. Nonetheless, it has been my delight to see them come together as a group, care for each other, learn to be more independent, and to appreciate classical music.
I saw some astonishing things occurring in my classroom today that made me pause and ask myself: "Wait, how did that happen? How can a climate of learning be created for that to happen again?"
Our day started beautifully with silent reading (en français bien sûr!) The musical selection during silent reading was Beethoven's exquisite Sonata no. 3 in A Major for cello and piano. This is one of my absolute favourite pieces of chamber music because Beethoven has so much contrast in this one work. You'll never guess who plays this on YouTube! You've got it - Glenn Gould!
One of my students who was initially resistant to the idea of listening to classical music found this piece exhilarating and enjoyable. Can one blame him? The energy in this composition is remarkable. I firmly believe that the classical music is an excellent complement to their silent reading programme. This class has become increasingly disciplined with their silent reading practice and are starting to value literacy on their own accord.
After silent reading, the class worked in small groups on a French vocabulary activity related to a novel we're currently studying. The students put themselves into partners or groups of three with ease and not a single person was left out. I am so fortunate to teach such a caring class where students seem to be highly aware of the needs of other people. Each partnership was engaged in the activity and I heard an increasing amount of French spoken amongst the students! This was truly encouraging.
After recess, I witnessed pure magic. The greatest challenge I have faced this year is providing each of my students with an appropriate yet challenging Math curriculum. I've struggled with this because each child comes to my class with a different set of numeracy skills. Moreover, the Grade 5 Math curriculum is a gigantic leap from Grade 4. To compound the challenge, I only have seven Grade 5 students so the other students in my class must be working independently for me to give the Grade 5s the attention necessary. Today, after two previous lessons working on double-digit multiplication, I let all of the Grade 5 students work together on the Math that was assigned. The rule was that the whole group had to wait until each student had finished the question before moving on. Also, the group had to agree upon an answer before proceeding to the next question. I sat beside them and observed. To my awe and amazement, not only were they graciously helping each other, but they were in fact SPEAKING FRENCH. You will just have to believe me when I tell you that they were not prompted by me to speak French. They just simply understood that French is the language of communication in our class.
I immediately praised this group for their use of French as it has been one area in which they needed to improve. Moreover, one of the students in Grade 5 chose to work on the Math alone, which is fine. The student also asked if they could listen to Mozart while doing their Math! (By this point, I'm beaming.) I supply the student with headphones at our listening station and off they go! Multiplication and Mozart: does it get better?
After a lovely lunch in the sunshine with my colleagues, the Grade 4 students returned to work on their French vocabulary assignment while the Grade 5 students still had Math that needed to be completed. Again, they were collaborating IN FRENCH without my prompting. The students invited people they did not normally associate with into their groups to work. I could see new social connections forming. The highlight of my day was when one of the students who has resisted speaking French said to me (direct translation): "I think we should work in groups more because that's going to make us speak more French."
Of course, this makes perfect sense to me. French is a language of communication - not simply the language of instruction in the class. Having lived in Montreal for the last two summers, I understand that French is a living language. People do business in French, eat in French, work in French, and having friendships in French. For these students to sense that French is a living language, they need to be interacting in French with each other even more than they already are.
Today at school was a blessing. I witnessed what my students are capable of. My class is a group of children who love to learn together and wish to help each other on their educational journey. Oh, and they don't mind one bit if that journey is en français. Tomorrow the school bell will ring once again and I can not wait to see what extraordinary learning my students accomplish - just by the virtue of their own abilities.
At the beginning of the school year, I announced to my class of grade 4 and 5 students that we would be listening to a lot of classical music during the year. Eight of the students were in my class last year and simply smiled. One of them had grown to adore the music throughout the year.
One boy, whom I did not have as a student last year, looked at me and said: "No offense, but I won't like this music - ever." Over the last month, he has teased me a bit about the music I play - never crossing the line of being rude or disrespectful. He even likes to announce that he enjoys a piece to get my hopes up and then quickly retracts by saying "just kidding Madame!" We'll call this boy Robert. He becomes a key figure shortly!
Last year, we did some structured listening of classical music. I introduced the class to Peter and the Wolf and Carnival of the Animals. This year, however, with an older age group, I wanted to implement something even more structured. With Glenn Gould's 80th birthday being celebrated (and remembering the 30th anniversary of his far too early death in 1982), Bach has been on my mind and heart. Moreover, the Vancouver Recital Society opened their phenomenal 2012-2013 season with Andràs Schiff playing Bach's Well-Tempered Clavier, Book One at the Chan Centre for Performing Arts at UBC. This was one of the most memorable recitals I have ever attended. I was so incredibly moved by Schiff's playing that I knew immediately what I was going to do for a formal music listening program in my classroom.
I was going to play one piece from Bach's Well-Tempered Clavier each day for the students. I was going to play it in the morning at 9:30 - directly after silent reading.
Normally, I play classical music during silent reading. However, this would be a different experience. All of the students would gather on the carpet area and have to listen silently - as if in a concert experience. In order for this activity to be successful, I had to explain to the students what was expected of their bodies, minds, souls, and hearts while they listened to the recordings of Bach. The class was completely co-operative and I could feel the positive energy of the children enjoying the glorious music of the C Major Prelude and Fugue on day one.
Their faces were reflective during the Prelude. Some, as if by instinct, bowed their heads and seemed almost prayerful during the Prelude. Some whose heads had been bowed or eyes closed during the Prelude began to smile when the Fugue with its catchy dotted-rhythm subject began to play. Many of the students play piano or violin in my class so a few were able to explain what it meant for a piece to be in C Major. The next day, the students reminded me that it was "le temps d'écouter" (the time to listen) and that they wanted to hear the piano music! Imagine how thrilled I was that they were initiating the proposition of listening to the music.
As the Prelude in c minor, BWV 847 began to play, a young girl in my class caught my eyes and began smiling. She did not speak but there was something in her glance that indicated that she had heard this music before and that it had a special place in her young heart. Indeed, she politely waited until Gould had finished playing the fugue when she rose her hand to tell me that her older sister was learning this piece for her grade 9 RCM piano exam. As an educator, it is my distinct joy to see students connecting content from class with the life they experience outside of school. Knowing this girl and her sister's close relationship, I sensed that the music meant a lot to her.
The next day, I had to again be reminded that it was time for our daily Bach listening. Off to the carpet we went in search of C-Sharp Major. I showed them on a large piece of paper what the key signature of C-Sharp Major looks like on the grand staff. I explained the anomalies of E-sharp and B-sharp which led to a discussion of semitones. Nonetheless, I played Andràs Schiff's version of the Prelude and Fugue in C-Sharp Major (BWV 849) first. The joy that is contained in this piece is truly remarkable. Schiff does an excellent job on his new and highly-acclaimed ECM recording. Then, I had an idea. Why not compare his interpretation (which uses no pedal, by the way) with Glenn Gould's interpretation?
Gould's tempo is considerably faster than Schiff's and his articulation is crystal clear. You hear every blessed sixteenth note with absolute precision.The energy is frenetic and at any moment one feels as if Gould might spin completely out of control. Of course, it's Gould and he remains as steady as a rock. His gentle ending with rolled chords is simply ironic and delightful considering the ordered chaos that preceded it. From the very first note that Gould played in the Prelude, a grin of disbelief spread across my face and I could see that their was a sense of wonder in the students' eyes as well.
After Gould's wonderful and rhythmic interpretation of the Fugue had finished, the class burst into applause! Oh, if only Mr. Gould had been in the room with us. He is said to have loved children. I asked the class to consider the two very different versions of this piece that they had heard and to tell me which they preferred.
You will never guess whose hand shot up into the air. Yes, it was Robert. He said without hesitation. "It's the Canadian player. His playing is so exciting." The other children nodded and added their own accolades to Gould's playing. Some comments included: "The Canadian player's playing makes me feel like I'm running through a forest and being chased but I'll be all right in the end." Another boy stated that he preferred Gould simply by default because he was Canadian! (Honestly, who am I to argue with such patriotism?) A few students could not decide between the two great pianists. Finally, one girl mentioned that she preferred Schiff's playing because she could better keep track of the notes and it sounded less "busy." I really wonder what the class would have thought of this harpsichord version!
After what must have been ten minutes of focused discussion and debate, the class decided that both pianists were fine gentlemen indeed and that "Monsieur Bach" would have been happy to have heard them play. I was simply delighted that my class had participated in such a wonderful dialogue about classical music. Moreover, I was highly encouraged by the fact that one of the participants was a student who initially resisted the idea of listening to or enjoying classical music. Okay fine, I was more than encouraged. I was beaming.
Why did I choose the Well-Tempered Clavier as our listening? Firstly, why not? It's phenomenal music. Secondly, as I listened to Mr. Schiff perform all of Book 1, I realized what a journey it was to go through each key signature's emotional landscape. Bach's genius for creating harmonies and counterpoint is fully exposed in the writing of the fugues. Thirdly, and most importantly, I have many memories of these pieces. Not only have I learned some of these preludes and fugues for RCM piano exams, but my dear friends have performed them at their various recitals. I have the fondest recollections of hearing my friends play Bach at the University of Alberta for their performances that were a graduation requirement. During Mr. Schiff's concert, my heart ached for those people and for that time in my life that was so full of music. Now, instead of missing those places and those special people, I have a chance to create new memories of Bach's Well-Tempered Clavier with my class of eager, co-operative, open-minded students. Instead of being sad that I do not have people who share music with me, I will share music with them.
I am thrilled that my class looks forward to our music sharing time. It is with eager anticipation that I look head to sharing the rest of Bach's Well-Tempered Clavier. We are only on c-sharp minor in Book One which means that we have forty-four more preludes and fugues to hear! When I started this activity with the children, it was mainly to take a break from our hectic day and simply relax during what was an extremely busy week for both teacher and pupils. Nonetheless, this ten minute activity of listening to Bach's glorious music has become more than a relaxation technique. It has become a shared ritual which, like Bach's music, carries deep importance and meaning.
