Daily Archives: May 14, 2015 5:20 am

A year of ballet playing cards #16 : Esmeralda male variation music (3h)

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Esmeralda male variation music (clip of the piano score)

Click to download the score (pdf)

You can never have enough grand allegro, and this is handy because it’s in a class of pieces that are ballet music, which means that you have to be careful where you play them, but on the other hand, it’s repertoire that’s not often performed, so either people won’t know where it’s from, or they’ll smile and go “Isn’t that…??” and you look good because you know weird stuff that you found on Youtube. The solo is at 48’46” in the clip below. It should start there automatically when you click, but if it doesn’t, drag the slider to the correct time.

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Esmeralda male variation music: the meter (for geeks only)

This should really be in the Clubs suit, not Hearts, because it’s actually a truly triple meter, not the dodgy six-eight kind—the phrases end on the eighth count, not the seventh. What fooled me was the melodic phrasing, which is in two bar units, which definitely feels duple.  But look more closely, and not only are the cadences on 8, but also the harmony changes every bar, which strengthens the case for truly triple metre even more. Also, the introductory vamp before the first jump is one bar long, not two, which aligns somewhat with what William Rothstein has to say about “Franco-Italian hypermeter.” I transcribed this from the recording, so I don’t know whether in fact Drigo did write in 6/8, in which case the single count  vamp would align with that theory even more.  If it were the case, then the “extra” bar in the middle is not extra at all, because the melody begins on the half-bar in a 6/8 (but don’t try actually playing it that way in class).

On the other hand, it could just be a kind of compositional economy: given that you’ve already got an eight-bar phrase of entrance music, you don’t want to prolong the vamp any more than absolutely necessary, so keep it short, if you must have one.  Maybe it’s there  to provide the dancer with a run-up into the first jump (the vamp-like nature of the music telling the audience that what’s happening isn’t yet dance, just preamble to be ignored.

Once you start thinking about Rothstein’s theory (see other posts here and here) it makes something apparently as unimportant as an introduction suddenly fascinating, and it opens up all kinds of possible discussions about metre, grouping, phrasing, accent, and so on. For me, dance makes those questions particularly obvious because you’re dealing with accents and trajectories that happen in time, but they aren’t “musical” in the sense of being tied to time signature or accent. It’s like seeing a landscape compared to an ordnance survey map.

 

 

Trissie’s dollies: tunes, travel, gardens and a Blue Shawl

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trissies-dollies

“Trissie’s Dollies” – from Bournemouth to London via three gardens in 40 years.

Last year I either discovered, or re-remembered, that my friend, contemporary and colleague Julia Richter had been taught by Rosemary Barnes, who was a friend and colleague of my piano teacher, Trissie Cox. Julia said that she had in her garden what Rosemary had called “Trissie’s Dollies” (her nickname for “persicaria bistorta” or “common bistort“). That is to say, many years ago, Trissie had given Rosemary some of the plants for her garden, and Rosemary had given Julia some of those. Then In turn, last year, Julia gave me some of hers for my garden. And so here they are: plants from my piano teacher’s garden, uprooted and replanted three times, and flourishing a hundred miles away some 40 years later. It would be nice to think that I’ll have a reason to give a few to someone else one day.

It struck me that this is what happens to tunes when they pass from one person to the next. The person you got them from doesn’t lose them, they just give you a bit of the plant stock, and then you have some to play with too. You transport those tuneful plants all over the place, and they grow, as if they’d always been yours, and that’s probably how others think of them. It’s only when you come to blog about how you arrived at your repertoire (like I sometimes do) that the journeys become clear – and then only to people who read it.

What caused me to think all of this was a lovely incident in the seminar I was teaching at in Ljubljana for ballet teachers and pianists.  We were looking for music for an exercise, and one lady played a beautiful, plaintive waltz. A Russian teacher at the back of the studio gave a deferential nod and said “Thank you for that” – because, as it turned out, this was a famous WW2 song, and it happened to be VE day, so it was appropriate in more ways than one. It was one of those moments where you see a dozen meaningful transactions at once in a split second – which funnily enough was what I was going to talk about in another lecture, with reference to Daniel Stern’s forms of vitality. I asked what the name of the song was, thinking that if it wasn’t in copyright, I’d put it straight in the 52 cards repertoire. It was Синий Платочек (Sinii Platochek/Blue Shawl). It is in copyright, unfortunately, so I can’t transcribe and put the score here, but here it is: choose your moment and play it for your Russian colleagues, or just for the sake of a beautiful song for class. As you’re doing that, you’ll be taking part in the kind of replanting and gardening activity that is the subject of this post.

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