 The Clarinet BBoard
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Author: sfalexi
Date: 2013-04-24 15:09
I haven't seen too many live performances, but venues such as clarinet days and clarinetfest are perfect for seeing the differences in people's live performances and how it affects a crowd.
In short, sometimes people have practiced so much in practice rooms, or without an audience, that they forget the audience is there, and while they may sound beautiful, they don't make the most out of it being LIVE and maybe could have drawn in a few more people by considering there IS a live audience, one that can be interacted with and played off of.
I'm not talking about professional symphonies (although they could stand to use a little more "multimedia" sometimes IMO), but more chamber groups, soloists with piano or band backup, etc.
For some examples, at the latest clarinetfest last year, I saw a bunch of performers. Some of the "half hour" spots throughout the day were "setup, play, leave". Of course there's not much time for lolly-gagging in half hour spots. But some of the playing was very static, seated, staring at the piece of music, etc.
Looking at another level, the performance by Corrado Giuffredi just got me more into it. Granted, he's a GREAT musician, but having music memorized was a plus. He used the full stage, wandering around a bit and not staying in one place. He looked at the audience and smiled while the accordian player was tearing it up showing that HE was enjoying it, making us feel "ok" to smile and enjoy it too. He even threw in a few comical jokes or kinda pointed at the accordian player with an expression of "Wow! Pretty good, huh?" during that crazy fugue piece.
From the performances in the lobby of the hotel, there were lots of small chamber groups, but many kinda sat still, or relatively still. Sorta of "accepting" the role of being background music. Of course in some taskings, you are SUPPOSED to be background music and that's fine. I wouldn't exactly choreograph anything to pomp and circumstance or any music at a wedding reception and INTENTIONALLY take the focus off of the event that we're there to enhance. But if it's your own gig, go for it.
I've just been thinking and I'm wondering how many people practice interacting with the audience and drawing them in visually to KEEP their attention and GRAB their attention if their minds start to wander.
When I was working with the dixie band while deployed, I tried to interact with the audience. Didn't have everything memorized, but every now and then would interject a short joke or quip or something. Step forward while soloing, step back when not. If we made a drastic change to triple pianissimo, SHOW the audience we're getting softer by slowly scrunching down and lowering our bells to the floor so they VISUALLY get the impression that it's getting even softer. When it's time to punch it back up to as loud as humanly possible, stand up quickly and point all bells directly at them. If it's a repeated pattern, maybe all point to the left for the first two bars, then swing to the right for the next two bars. If it's a call and answer, I'll point my bell at the trumpet and look back at the audience while he points to me as though DIRECTLY answering my "call".
THings like that sometimes are missed. Does missing them take away from the music? Nope. But can adding little things like this ADD to the experience an audience gets? I sure think so. I think it can take a performance from, "that was pretty good." to "they were AWESOME". The general public hears a lot with their eyes, and while you don't need pyrotechnics, I'm wondering how many small groups add visual aspects to their music and performances and what reactions they've gotten.
Alexi
PS - Of course, examples.....
https://www.youtube.com/watch?v=JfM0KFQgiGA
Sounds great, but maybe visually could add something according to audience http://www.youtube.com/watch?v=oSxBnN1KJ-A - I will certainly accept that they are by themselves, recording themselves, and maybe WOULD have planned more for a live performance. But besides being blown away by four great bassoonists with a very good arrangement, just imagine what little things could be done for a live performance to bring the audience experience up a notch.
And of course, the quintessential group with interacting with the audience, same song as above.... https://www.youtube.com/watch?v=hBLm747tyn0
All three are the same song, different musical groups playing them, and as a musician, I appreciate all of them. If I were to invite some non-music playing friends or my wife, it'd be the last one hands down because I feel that's a better overall experience for EVERYONE, not just other musicians.
US Army Japan Band
Post Edited (2013-04-24 15:12)
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Author: Paul Aviles
Date: 2013-04-24 15:58
There are plenty of examples of adding performance enhancers through history. For example the choreographed movements of some of the top big bands such as Glenn Miller; also the highly regimented positions of instruments in many of Karajan's later videos and live performances.
I find myself torn by the idea of "presentation" if it is looked at as the sole cure to a performance. Certainly the Mnozzal Brass is a group of top flight musicians who put on a very musically polished performance and add theatrical elements to engage the audience. I would just hope that the concept not lead us down a path that ends in "Spinal Tap."
..................Paul Aviles
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Author: davyd
Date: 2013-04-24 17:59
Chamber music is, or is supposed to be, the music of friends playing with and for each other. If an amateur chamber group is in the foreground (as opposed to the background), it's imperative that someone introduce the pieces and the players. This doesn't have to be a dissertation on the piece, or a restatement of whatever Wikipedia has to say about it. If what's said gets a laugh, so much the better.
One little thing that makes a difference with larger groups (concert bands, etc) is: when you're asked to stand, STAND, leg problems notwithstanding. I've been in situations where a countable number of seconds elapsed between the conductor's signal to stand, and all the various individuals finally getting to their feet. It's not enough for the players to be physically present; they need to be psychologically present as well.
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Author: Katrina
Date: 2013-04-24 19:38
I always perform either solo or with a group with the goal of making the experience "enjoyable" for the audience. In some circumstances, this means "schtick." In others, it means being in the background or acting more solemnly. It all depends on the type of performance, and my role. Regardless, I think audiences want to connect in some way with the performers, whether it's a "fun" setting or a "serious" one.
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Author: Ken Shaw ★2017
Date: 2013-04-24 21:40
Where the composer calls for dancing (Stockhausen's Harlekin), you do it as an essential part of the performance. But an effective performance doesn't necessarily mean swaying or clowning (though you can, if that's what works).
Connecting with the audience is about making each audience member feel that you're playing for and to them. I pick out my beloved wife (or a very pretty young woman I'm in lust with) and sing directly to her.
I've played with a wonderful soprano who enters with a confident walk and a radiant smile that put the audience in the palm of her hand before she sings a note.
When I perform Shepherd on the Rock, I visualize the mountain vista at the back of the hall and play out into it. I smell the forest air and want the audience to smell it too. At the cadence before the soprano entrance, I phrase as if I'm waving a tablecloth so that it ripples out and settles perfectly on the table, ready for the singer.
We also work with and off of each other. She yodels and I yodel back to her as the echo. At most, we raise an eyebrow to the audience to say "Isn't this fun!"
You can do this standing absolutely still. Jascha Heifetz was the master of this. Watch his performance of the third movement of Bruch's Scottish Fantasy https://www.youtube.com/watch?v=aIGZtQpBkOQ. His face might be sculpted in stone (with only a light rise of an eyebrow), but his bow and fingers dance and tug at your heartstrings.
Ken Shaw
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Author: MichaelW
Date: 2013-04-25 09:16
There are nuances between static playing (“setup, play, leave”) and a sort of performance around the music. I was impressed by a (Russian) teacher telling my nine year old grandson in a rehearsal: “Speak to the audience. Let them feel your rage. Here you can only speak with your cello”.
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Author: clarnibass
Date: 2013-04-25 12:19
Yes, I practice funny faces every day, unfortunately none is possible to do with a clarinet.
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Author: AAAClarinet
Date: 2013-04-25 15:55
If only Martin Frost would add some movement and emotion to his performances : )
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Author: kdk
Date: 2013-04-25 16:26
Movement, of course , doesn't necessarily equate to audience engagement. I've attended performances by Anne-Sophie Mutter and find that I can't watch her for long periods of time - I have to close my eyes and just listen. A lot of performers' movements on stage are still self-absorbed and self-involved and don't produce any particular connection with the audience. On the other hand, a quick, subtle wink from Emanuel Ax, whether toward the audience or the conductor or even the concertmaster during a tutti passage of the concerto du jour, can be enormously humanizing and, for me, breaks down any barrier the stage apron may impose.
It isn't so much calculated techniques or "shtick" that engage an audience as it is little things in the performer's general demeanor that indicate he or she enjoys the process and the fact that the audience is there to enjoy it, too.
Related but maybe peripheral, one of the seemingly small changes that has taken place at Philadelphia Orchestra concerts in recent years is that the orchestra players, when they stand to acknowledge applause, now turn toward the audience. It used to be that they would stand in front of their chairs still facing the conductor as they were when they were playing, sometimes carrying on conversations and not even looking into the hall, and most of the string players were not facing the audience at all. Another recent touch has been to turn the orchestra around and actually face the audience members seated behind them in the balcony that is used for the choir when there is one but otherwise is sold as regular seating. When they first began to do it (always on a signal from the conductor that is sometimes exaggerated for effect), it got giggles followed by even stronger applause as people in the seats throughout the hall understood the gesture to be a recognition of their importance in the process.
Karl
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Author: Paul Aviles
Date: 2013-04-25 17:43
This is an interesting touch that you bring up Karl. When first asked (told) to cant toward the audience I didn't think that 10 degrees would make a hill of beans difference. But as you point out something so subtle actually makes a huge difference to the crowd that actually feels recognized.
I am all for subtlety !!!!!
.................Paul Aviles
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Author: flubadoo
Date: 2013-04-25 21:11
http://www.youtube.com/watch?v=5d21HMq3ir0
I thought this was something pretty cool of Martin Frost to do.
Dancing clarinets!
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Author: Katrina
Date: 2013-04-27 00:43
The other thing I think I forgot to mention is that I find it very easy to connect with an engaged audience, and I've been fortunate enough to have played to many of these. The few times the audience has been less interested, I've relied on the more successful experiences in order to at least attempt to connect.
It's not so much about choreography or specific facial movements at specific points in the music for me. I typically don't need to "practice" these skills. It feels natural to play to the audience.
Of course, an audition is another matter entirely...
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Author: bethmhil
Date: 2013-04-28 07:26
Katrina makes a REALLY excellent point: "It's not so much about choreography or specific facial movements at specific points in the music for me. I typically don't need to "practice" these skills. It feels natural to play to the audience."
This is probably venturing off topic a little, but I'm hoping it's somewhat relevant.
Last November, I had a coaching with David Maslanka on his piece, Eternal Garden... it is essentially 35 minutes of pianissimo sustained notes that are in unison with the piano and fade in & out of niente. Emotion & color are what make this piece work. It goes without saying that I was terrified out of my mind to work with him on a piece that I still have an intense attachment to... Thus, I was forcing things a bit during the first reading.
I would like to share a quote from Dr. Maslanka on the Elegy movement:
"I know how much you love this music, but this is not about you. It's not about your pianist. It's not about me. It's about that even in the midst of devastation and horrifying degradation of human life, there is still tremendous beauty in the world. This music is not about proving that you can play a demanding piece, that you can play in tune and convey emotions through your playing... it is not about trying to prove that you are a good clarinetist. You are already a good clarinetist. This music is about letting go of all the worry, the angst, the need to please, and simply allowing the music to breathe and to happen."
You can't force emotion or force the audience to feel what you are feeling. You can only tell your audience what you are feeling through your playing, and hopefully, they will stay with you throughout the journey.
BMH
Illinois State University, BME and BM Performance
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Author: Ken Shaw ★2017
Date: 2013-04-28 14:10
Dietrich Fischer-Dieskau wrote that you must keep a certain distance from the emotions of the music. Your object is not to feel the emotions yourself, but to evoke them in the audience. You spoil it if you choke up in tears at the end of a despairing song.
It's a delicate balance. You must have a strong feeling for the emotion and establish a bond with listeners. I've achieved it only a few times, most strongly when I played the slow movement of the Mozart Concerto at a remembrance gathering for my mother. As Beth says, I let the music breathe through me.
Ken Shaw
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Author: EEBaum
Date: 2013-04-29 02:22
Making a performance fun isn't something to practice, any more than making a piece sound sad or happy.
But you *can* make a performance fun with attention to presentation, venue, atmosphere, attitude. My number one priority in my shows is always to show the audience a good time. It's my style. It took me a long time to come to peace with that, because the music itself just wasn't doing it for me, but something as simple as changing the position of a few chairs I would find an art in itself.
Everything the audience sees, hears, and does from the moment they even hear about the concert is an opportunity to add to the experience of the performance. Flyers, pre-concert buzz. Signs on your way to the auditorium. The presentation of programs, placement of said programs at the door, content of programs, presence or absence of ushers, attire, mannerisms, arrangement of chairs, lighting, allowance or disallowance of late entry. The way in which you walk out on stage, whether the audience is addressed, how the audience is addressed, whether you make it an air of "playing for friends", or a look into a terrarium, or a grand regal event, or a rock concert, or a hippie stone-a-thon. How the performers are arranged, how they come out before and after a piece, how and whether they bow, whether they're serious or having a good time. How the intermission is announced and ended. What you do while you play. More importantly, what you do while you rest. Whether the performers get along. Whether you invite or block out the audience.
So many of these variables are never even considered, and a default is presented, a default that, in my humble opinion, makes the audience bored out of their mind before the first note is even played. Is this something you're excited about, or is this an obligation? Are the people in the audience doing you a favor by being there, or are they excited because they know you're going to blow their minds?
When people talk about "making a performance fun", it often devolves into stage antics and prancing around. On occasion (e.g. Frost), that can actually be really effective, but in most cases I consider that an incredibly narrow slice of the availability of ways to engage the audience, without laying the slightest finger in the actual performance of a piece.
Given control of the venue, I could make any concert or recital "fun" without even asking the performers involved to do anything different in how they play the music, and without reducing the event to some dumbed-down "pops"-style event.
-Alex
www.mostlydifferent.com
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