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What I Learned from Performing in a Restaurant

Posted by Alberta Barnes on May 30, 2012 1:24:00 PM

… besides how to play Italian songs with as much schmaltz as possible and how to avoid stabbing the servers with my bow.

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Topics: Violin, Tips, Classical Music, String Community

Cello Sheet Music Recommendation: Elgar's Cello Concerto

Posted by Joseph Chapman on May 15, 2012 9:54:00 AM

Dear Alberta,

It's fitting that such an elegaic concerto is the last concerto of our letters. (Sad face!) Edward Elgar composed his cello concerto, Op. 85, in the summer of 1919; it's hard to ignore the fact that he composed the concerto in Sussex, where the previous summer he had heard the thunder of heavy artillery drifting across the English Channel from France.

War and art are such strange and perfect bedfellows. Although the poet Philip Larkin would probably take issue with the expressiveness of Elgar's concerto – he preferred understatement, probably to a fault – I can't help but think of Larkin's poem "MCMXIV," an elegy for the year 1914, the last year untouched by the horror of truly modern warfare. The last stanza of the poem reads: 

            Never such innocence,
            Never before or since,
            As changed itself to past
            Without a word – the men
            Leaving the gardens tidy,
            The thousands of marriages,
            Lasting a little while longer:
            Never such innocence again.

I know I keep quoting poetry to talk about music, but what other kind of language can say what I hear? The concerto sounds, at times, like Larkin's valediction: "Never such innocence, / Never before or since / ... / Never such innocence again" (Of course, the whole concerto isn't so elegaic, but I couldn't help but hear these lines in the opening of the Adagio, which is mournful stuff.)

The more I listened to this concerto, the more it gnawed at me. Why do I hear such sadness in this piece, Alberta? Does the cello, with its lower range, have a voice that reaches us in a way other instruments can't? Is it just me? It's possible that it's not just me: all the commenters (yes, I read them) on YouTube seemed to be crying into their keyboards too. I guess it didn't help that we were all watching the Jacqueline du Pré performance.

It's intense stuff: Du Pré drapes her body over her cello (the 1712 Davidov Stradivarius) and her lithe and willowy bowing seems to come almost from the instrument itself, a gravity only she feels. Some players impose themselves on an instrument, it seems – they control it – and others have a conversation with it. (At times it seemed like the Stradivarius swayed before du Pré swayed.) I've never seen a musician listen so intently – to the concerto, her conducter, and the instrument – while playing so expressively. All of this is to say that maybe du Pré  is to blame.

In any case, I'm suspicious of my reaction to the Elgar concerto because it's so strong. Am I really hearing the Elgar cello concerto when I feel such heavy sadness? And am I imposing all this stuff about World War I and an instrument and composition that so deeply inspires both the performer and listener? 

If it's all projection and sentimentality, tell me why I feel a gravitas that's not my own.

Yours, Joe 

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Topics: Sheet Music, Cello, Classical Music, Elgar

"Going Home" -- Dvorak and America

Posted by Alberta Barnes on Apr 27, 2012 9:52:00 AM

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Topics: Violin, Viola, Cello, Classical Music, Music History, Chamber music, Dvorak

Quiz: Which Classical Composer are You?

Posted by Alberta Barnes on Apr 25, 2012 2:00:00 PM

I know you've wondered who you'd be if you were a composer. Here's your opportunity to find out!

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Topics: Classical Music, Quiz, For Fun

Dvorak's String Quartet No. 12: Is There Anything American About It?

Posted by Joseph Chapman on Apr 25, 2012 1:22:00 PM

In this week's letter to the violinist Alberta Barnes, I try to figure out what's so American about Dvořák's String Quartet No. 12. 

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Topics: Violin, Cello, Classical Music, Music History, Chamber music, Dvorak

An Apology for the Beethoven Violin Concerto

Posted by Alberta Barnes on Apr 20, 2012 7:00:00 AM

I defend Beethoven's Violin Concerto, a piece which I ardently love.

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Topics: Violin, Beethoven, Classical Music, Violin Concerto, Violin Repertoire

Beethoven's Violin Concerto in D Major: Am I Allowed to Dislike It?

Posted by Joseph Chapman on Apr 18, 2012 2:43:00 PM

In last week's series of letters, Alberta Barnes and I discussed Saint-Säens's Symphony No. 3 in C Minor, Op. 78. This week we're tackling Ludwig van Beethoven's Violin Concerto in D Major, which, for some reason, left me feeling indifferent. Want to defend Ludwig? Have a favorite piece you want us to write about? Leave a commment below or send me an email at joec@sharmusic.com.

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Topics: Violin, Beethoven, Classical Music, Violin Concerto

SHAR's 3rd Annual String Quartet Competition

Posted by Alberta Barnes on Apr 17, 2012 11:50:00 AM

SHAR Music is proud to announce the winners of its third annual Quartet Competition!

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Topics: Violin, Parents, Education, Beethoven, Viola, SHAR, Cello, Auditions, High School, Classical Music, Chamber music, Dvorak, SHAR Apprentice, Schubert, Strings, String Community, Performance

Interview with Charith Premawardhana, Founder of Classical Revolution

Posted by Alberta Barnes on Apr 13, 2012 7:00:00 AM

This week I had the privilege of speaking with Charith Premawardhana about Classical Revolution, a national movement which brings live classical music into accessible venues.

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Topics: Classical Music, Chamber music, Classical Revolution

The Glory of Saint-Saëns' "Organ" Symphony

Posted by Alberta Barnes on Apr 12, 2012 11:20:00 AM

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Topics: Classical Music, Music History, Saint-Saens, Symphony

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