“I like very much this chord”: An interview with Stravinsky

This video clip doesn’t really belong in the previous post, but I still want you to see it. It features Stravinsky talking about working on The Rite of Spring, and his hilarious description of what happened when he first played it for Diaghilev.

As with the other videos, he again comes over as someone who is totally in love with music.

Rehearsing with Stravinsky

I know what it’s like to rehearse Stravinsky’s music, because I’ve played in some of it—most notably The Rite of Spring a year or two ago. It was hard work and involved learning a lot of tricky rhythms.

What would it be like to rehearse with Stravinsky, though? Here are some videos which perhaps give some idea. In all of them, Stravinsky comes across as someone who absolutely loved music and the process of making it.

First, an extract from a 1967 TV programme in which we see Stravinsky rehearsing the Troronto Symphony Orchestra in the Scherzino from his ballet Pulcinella (without a baton, I notice):

A 1955 film from Columbia Records, showing part of a rehearsal and recording session for The Soldier’s Tale:

(By the way, if anyone knows of a version of this video in which “Enter your text here” doesn’t pop up several times, please let me know.)

The final clip doesn’t actually have any video, only sound and some still pictures, but for me it gives the clearest idea of what it would be like to actually experience one of his rehearsals as one of the players. It’s a 1962 rehearsal of his Symphony in C with the CBC Symphony Orchestra in Toronto (also including a rather entertaining exchange between Stravinsky and the recording engineer):

Cake Wrecks

I came across this blog yesterday. Since several of the posts reduce me to uncontrollable laughter and laughter is generally a good thing, I thought I should share it with you.

It’s about cakes. Mainly, ineptly or unwisely decorated or constructed ones. Some gems you’ll find there:

(Links go to the posts, not necessarily the specific cakes—you’ll need to scroll down in some cases.)

That’s all. Put down any hot or cold drinks, ensure your mouth is not full, and visit the site.

Nobody has an accent

In 2008, an American friend of mine returned to live in the US after twenty years here in Britain. Recently she applied for a new job, via a two-stage interview process. It’s a job in which diversity of backgrounds between workers is important.

The man who gave her initial interview recommended her for the second stage. Excellent news. But she was bemused when he then advised her “not to bring up the subject” of where she was originally from.

When she rang the woman who was to do the second interview, she was surprised to hear a northern English accent at the other end of the phone. And it fell into place.

She herself still has a thoroughly American accent: not an Alistair Cook accent; not the certain type of American accent which can be confused with a certain type of Irish one; unambiguously American. Except to Americans.

Where I live, there are easily perceptible changes in the local accent over distances as short as five miles. But they’re only easily perceptible if you grew up locally yourself and are familiar with them. To me, my friend’s accent could only possibly be American. I would have no way of knowing from her voice that she had ever lived in Britain, though her familiarity with every aspect of British life would be a bit of a giveaway. I can’t hear a trace of anything non-American in it.

To other Americans, however, she sounds British. So British, in fact, that the man who interviewed her thought that if she didn’t mention having been born in the States, she would sound British to a British-born interviewer . . . but there’s no chance of that. No chance at all.

It was funny (though I hope she gets the job!). It was also interesting: it shows just how different our perceptions of a voice can be from someone else’s. I’m not an expert in phonetics, but it seems to me that most of us feel that we ourselves don’t have any accent, and neither do other people who speak the same as us. We don’t hear the whole of the accent: we hear the deviations in the pronunciation of the various phonemes from the way we ourselves say them. And that makes sense: the differences between us are what make us recognisable as our individual selves.

My friend’s experience, I think, is an example of that: I can only hear the features of her speech which make her sound American, whereas her interviewer could only hear the features which make her sound British.

More seriously, I think our minds can sometimes work the same way when it comes to ideas, and especially deeply-held ones such as religious or political beliefs. Conflict often comes from thinking that because one particular aspect of someone’s thinking is different from ours, we have nothing else in common either. That’s how we are able to have enemies and fight wars. But I don’t want to get into that now. I just want to share the story and be fascinated by the way spoken language works.

And lest you should think the difference in hearing English accents just applies to English speakers: in Germany, I once asked an old lady in the street for directions somewhere. She asked me “Sind Sie english oder amerikanisch?”—”Are you English or American?”. All she could hear was that I had an English-speaker’s accent, but not whether it was a British or American one.

“Greatest Hits of the Second Viennese School”

Recently I came across this. It’s . . . Well, what it says. A spoof advert for atonal music. Much of the humour comes from picking out entirely the wrong feature of a musical passage for comment—e.g. commenting on the tunefulness of a passage which consists entirely of harmony and orchestral colour, or the tenderness of . . . Watch it and see.

As a violinist, I particularly like “the virtuoso violin writing of Alban’s Violin Concerto In case you don’t know, the concerto starts with the soloist playing the four open strings. (By the way, you can see someone performing the concerto here. Oddly, the vibrato in the audio seems not to match his hand movements in the video.)

Actually the video is rather unfair to Schoenberg. And I quite like atonal music. So, here to redress the balance is a more serious one: an interview with Schoenberg about his paintings and his music, recorded in 1949.

Follow the “related video” links for more material, both serious and otherwise.