Translating

Early music, the movement, has a diverse community. There are those who are drawn to it as an activity, some who dedicate their lives to research, others to teaching, more still who hope to make their living performing. But what motivates that third group? In Basel, a place which has traditionally been at the forefront of the movement, philosophies of performance are by no means unified, a fault which has many consequences for performers and audiences alike.

The Grand Concerto for 24 Bassoons is Published!

This month, my Concerto Grosso for 24 bassoons was published by TrevCo Music Publishing. The work was premiered last May as part of my final recital at the Schola Cantorum Basiliensis. You can read about the work, as well as watch a selection from the performance by clicking here.

If you are interested in purchasing the music, you can find it on the TrevCo Music Publishing website.

A Concerto for 24 Bassoons?!

Last May I performed my final recital at the Schola Cantorum Basiliensis. The program centered around the music of English theater composers from the first half of the 18th century. My goal for the evening was to posit that works by composers contemporary to G.F. Handel which are today overlooked were worthy of our attention. One particular personality who I focused on was that of John Ernest Galliard, the German immigrant. Galliard was a central figure at the Lincoln's Inn Field's theater for nearly three decades where he wrote the music to numerous productions.

On 11 December 1744 a concert was given for his benefit (likely marking his retirement) at Lincoln’s Inn Fields. Following a performance of Love and Folly, as well as four choruses written for the tragedy Julius Caesar, a “Concerto grosso, 24 Bassoons, accompanied by Caporale on the violoncello” was performed. The concerto is the only work of this instrumentation on record and was more likely produced with the intention of creating a novel entertainment than for artistic reasons. Sadly, this work, as well as any other information about its performance, has been lost.

In response to our predicament, I took it upon myself to compose a new concerto for 24 bassoons. Basing it upon a variety of music by both contemporary composers active in London, as well as those whose music Galliard was familiar with at the time of his benefit, this new concerto is stylistically plausible for the scenario of a performance in mid-century Britain. To be clear: my intention with this work is to present an entirely new creation, not to try and reconstruct the original using Galliard’s surviving works as a basis.

Below you can find a selection of movements from the premier performance at the Schola Cantorum Basiliensis on 27 May 2016. All bassoons present are modern copies (pitched at A=415Hz) of originals made in the 18th century. 

I should note that this was not a professional concert and that I hesitated to put any of this online. With an ensemble only a fraction of the intended size, and given the little rehearsal time we had, I feel that there is a better performance yet to come. There is no doubt in my mind, however, that Galliard's concerto was composed in a festive spirit, and I believe all bassoonists should be aware of that historic moment in 1744. Therefore, in the spirit of good humor, I present to you selections from:

The Grand Concerto

A Concerto Grosso for 24 Bassoons newly fashion’d by Mr. Burn in response to that by Mr. Galliard which was perf’d for his Benefit at Lincoln’s Inn Fields, 1744

"A Transportation"

A few weeks ago, my friend and colleague Lukas Henning had his Masterkonzert at the Schola Cantorum Basiliensis. For his concert, Lukas went off the beaten path, so to speak, by creating a theatrical work which he hoped would help give a context to the performance and creation of the music at the Barberini court in early 17th century Rome. After months of work planning, arranging, composing, and practicing, the final product was the most unique presentation within Early Music that I have seen yet. Take a look.

Five Weeks

Today marks the end of an incredibly busy chapter. Five weeks ago I boarded a plane to Amsterdam to begin the first of a series of projects which would test me both technically and psychologically. Sitting in Gatwick airport on my way back to Basel, I have yet to feel a sense of relief despite coming to the realization that I've survived this stressful period.

Claiming Authority

As an Early Musician, I have come across numerous philosophies (or pseudo-philosophies) relating to performance. I'm not saying there should be a consensus, but I am troubled that many tacitly assume their reasoning is generally-accepted since there is no real medium for collective discussion on the broader HIP movement. Of those who do make their thoughts known, the most visible opinions on early music performance usually make a bold claim. 'Authenticity', 'correctness', or whatever they call it, is often touted by performers and their agents.

Definitions

This post is one I've been meaning to make for a long time. Below you will find my own definitions to terminology I use periodically.

The Performance

A sacred act in music. The moment when energy, existing without form, is formulated by, and transmitted through the performer(s). The energy is then received by an audience, whose response returns back to the performer(s). The performer(s) prepare for this activity yet they are guided in the act by inspiration (sprezzatura). The goal of this activity is a shared experience between performer(s) and audience. 

Historically-Informed Performance (HIP)

Movement in 20th/21st Century classical music involving numerous aspects of performance. Musicians self-identifying in the HIP movement perform on period- and regionally-specific instruments (or copies of instruments) relating to a given work. Emphasis is placed on the understanding of past performance practices and contextual research. Any work from any time period can be subject to an historically-informed performance. 

Early Musician

A musician who has undergone a reevaluation in their development. One who has had the traditional classical music upbringing and is later introduced to HIP. This reevaluation includes a period of time focused on developing skills on a period instrument (or instruments), study of primary sources relating to performance practice, period-specific contextual studies, as well as an analysis of the goals of that musician and how they relate to the goals of HIP.

Period-Instrument Performer

Musicians who self-identify with the HIP movement but who have not undergone the above-mentioned reevaluation. Most often this musician plays a period instrument (or copy), or owns relevant equipment to perform with early musicians (baroque bow, gut strings, etc.). However, a period-instrument performer can have spent their whole development in HIP. Regardless of their introduction to the movement, period-instrument performers have not often fully considered the goals or merits of the movement and how they relate to their own. The technical level of these players can vary from amateur to world-class professionals.

Elements

A few weeks ago in MOMO class we had an exercise where every student had to speak for a minute or two on a given subject. Mine was 'age'. "If a conservatory were to hire a talented 21 year old in 1960, the hiring committee would, and did, see the candidate as an investment in the future of the institution. If that same candidate were to be hired today the decision would be looked upon as 'risky' and no doubt there would be a call for the committee to reexamine their options. So," I asked, "when do I lose my youth?" At that moment a discussion started. Discussions rarely happen in MOMO, but when they do there is plenty to think about.

Worth a Read

Last week Sara Sitzer wrote an article on Newmusicbox on defining success. Many musicians coming out of conservatories today need to assess what success means to them. Last week I was lucky enough to run a round-table at the Schola focusing on the rationale of a career in music. My reason for the subject was that if we could define why we aspire for a professional music life, apart from the usual 'I like it' or 'I can't see myself doing anything else', then even in our darkest hours we could take what we had learned to find the motivation to continue. In many ways Sitzer's article parallels this activity.

Not Exactly According to Plan

A few weeks ago I made a bold move. By announcing to the world my intentions to practice 2.5 hours a day, everyday, until the end of the year I hoped to make it seem more official. Really it was a mind game, but it worked for the month I wasn't on tour. Now, as I settle in from my travels, I see that my time away is putting me well behind of my practice goal. On top of that I've noticed an interesting divergence in the material I'm practicing.

And so it begins, again.

By now, school has begun again for most. In Basel, the Musik-Akademie is buzzing with new and returning students trying to get their timetables sorted out.

For me things seem to look much brighter than they did 12 months ago. There's a certain comfort level which wasn't present when I had just moved to the city and only knew a few people. A year later I can't seem to walk ten paces without running into a familiar face on campus, something I wasn't expecting even now.

A Question of Substitution

The other day I saw an interview on TVO of author and journalist Chris Hedges about his book, Empire of Illusion. Mr. Hedges is a thought-provoking speaker and his take on all of the topics which the interview touched upon hit home with me. Most relevant was his description of the changing of narratives in professional wrestling. The increasing drive towards a narrative which made wrestling personas relate to their audience, says Hedges, led them to be perceived as real in everyday life. Moreover, the constant spectacle of the media we consume today (television, films, the Internet, etc.) leads us to substitute rational judgments for emotional ones when making decisions in our lives.

Setting the Right Goal

One of the many life-altering habits that began two years ago was setting goals for myself, both long and short-term. Since I began setting them, I've managed to cross many of my original ones off, though new ones are added in time to replace the old.