Concerto for left hand and umbrella

...already the premise...

It's 'impossible' to do everything with the same hand, the pianist explains, one will have to decide whether to "hold the umbrella or play", but the listening focuses "on what the umbrella tries to protect in vain".

(?)

there is even an article in the Bostonglobe about another performance of this concerto

http://www.bostonglobe.com/arts/music/2013/12/14/score-pianist-reinier-van-houdt-debut-concerto-for-left-hand/5c4T7j7zKSagWdFoNuyOwM/story.html

and this is the presentation by the AngelicA Festival, a bit more exhaustive than the one from the ANSA agency

http://www.aaa-angelica.com/aaa/angelica-marchetti

anyway it is always a pleasure to read your interventions, so sharp and full of insights

thallo wrote:

there is even an article in the Bostonglobe about
another performance of this concerto

http://www.bostonglobe.com/arts/music/2013/12/14/score-pianist-reinier-van-houdt-debut-concerto-for-left-hand/5c4T7j7zKSagWdFoNuyOwM/story.html

and this is the presentation by the AngelicA Festival, a bit
more exhaustive than the one from the ANSA agency

http://www.aaa-angelica.com/aaa/angelica-marchetti

anyway it is always a pleasure to read your interventions, so sharp and full of insights

Thanks Thallo, I didn't understand the story about the sharp and rich interventions... but oh well.

There is also a video ... I was wondering how things like this could still exist nowadays ... Then I read the composer's biography, and it explained itself to me (in practice, he remained a Cagean of the sixties).

http://video.repubblica.it/edizione/bologna/angelica-concerto-al-piano-per-mano-sinistra-e-ombrello-la-prima-italiana/167015/165502

@Thallo, perhaps you didn't receive the comment part that I quoted and you are right, who could understand it. Do we realize it?... is anyone able to decipher it?

In the meantime, everyone knows that the left-hand repertoire (for pf) does not consist of just one piece; if you want, I can update you @Thallo. Having said this, the difference compared to the existing repertoire lies in the fact that here, instead of fiddling around, the left hand is holding an umbrella; from my point of view, she could even have masturbated, if the pianist had been a "female" ... or even depilate the forest (see the talented one just indicated by IlChitarrista55 http://www.pianoconcerto.it/forum/index.php?/topic/3633-talentuosa-moderna/), etc.

In light of this, I re-propose the "introduction" proposed by the topic author:

> It is 'impossible' to do everything with the same hand, explains the pianist
Who said that? There are pages of wonderful music written for a one-handed pianist, so if he wrote the piece and "it will be impossible" to do everything with the same hand"... he probably didn't take the performer into account, who by THEIR choice has only one free hand. Therefore, he has very little to explain to us; it is better that he goes back to school. But let's continue with the comment:

> one will have to decide whether to "hold the umbrella or play"
"One will have to", who? The performer? Well, see first (wasn't it enough to give correct indications in the score?)

> but the listening focuses "on what the umbrella tries to protect in vain".

I understand now, the tomatoes he expected them to throw at him during the performance.

From my point of view, besides there not being even a single novelty related to the instrumental gesture, DURING the listening, the umbrella is SUBSTANTIALLY irrelevant... it would have been just as well if he had proposed a piece for 2 hands, so the pianist wouldn't have to decide the fate of the umbrella... given the premise.

And furthermore....
RedScharlach, why is he a "passatista" [reactionary/old-fashioned]? (nice term, I wrote it in large letters and framed it)... it will be as you say, in the meantime they have reserved the San Leonardo in Bologna for him (with Reinier van Houdt for AngelicA Festival). Are we sure there wasn't anything with less mold to present at a festival?"

Shark wrote:

if you want I'll update you @Thallo

In the meantime someone else has asked, just for completeness

http://www.pianoconcerto.it/forum/index.php?/topic/3638-repertorio-mano-sinistra/

Shark, I fear I am going off-topic. I could reply that you are right, as I have written in other discussions. But I prefer to be sincere: I consider these comments of yours absolutely useless. Talking about a composition that cannot be understood, with the sole purpose of mocking it, is equivalent to publishing a photo of a bearded woman. You know very well how I feel regarding the bullies who come to snicker at things they do not like. To me, it is uncivil, rude, and unethical. But, above all, absolutely useless for the purposes of any serious discussion. It is endless coffee-shop talk.

That being said, to avoid going off-topic, I will add that conceptual art has always fascinated me. I have been moved more than once listening to 4'33'' and I would be very curious to witness a performance of this concerto.

thallo wrote:

Conceptual art has always fascinated me

Me too, I could spend hours watching a bicycle wheel roll on a fork ....but if it's about playing, then I am interested in musical art

thallo wrote:

I consider these comments of yours absolutely useless. Talking about a composition that cannot be understood, with the sole purpose of mocking it, is equivalent to publishing a photo of a bearded woman. You know very well how I feel regarding the bullies who come to snicker at things they don't like. To me, it is uncivil, rude, and unethical. But, above all, absolutely useless for the purposes of any serious discussion.

You are indeed one who shouldn't play it, perhaps you should

One day they will give you an audition to sing in the fart choir, where the choristers must burp and fart to a syncopated rhythm with an umbrella where the sun doesn't shine, except that the chorister will have to decide whether to hold the umbrella or make room for the air.

Conceptually it makes perfect sense and I hope you like it and don't snicker (as you predicted) because that would be uncivil. Consider that it is a recorded work of mine, so do not fall into the "unethical," especially since you do not believe in ethics related to music.

I return to my indifference, until next time.

thallo wrote:

I was moved more than once listening to 4'33'' and I would be very curious to attend a performance of this concerto.

But it should be without the audience's knowledge, otherwise (to this day) the result could be "distorted", no?

thallo wrote:

Talking about a composition that is not understood, with the sole purpose of mocking it, is equivalent to publishing a photo of a bearded woman. You know very well how I feel regarding the bullies who come to snicker at things they don't like. To me, it is uncivil, rude, and unethical.

I have read the entire discussion, and sincerely, I find none of that in Shark's posts.

I also listened to the track in the video with the umbrella... without watching it (audio only with a fixed screen on my desktop)

Shark wrote:

RedScharlach, why are you a "passatista" [someone stuck in the past]? (nice term, I wrote it in large letters and framed it)... it will be as you say, in the meantime they have reserved San Leonardo in Bologna for them (with Reinier van Houdt for AngelicA Festival). Are they sure there wasn't anything with less mold to present at a festival?

Dear Shark, indeed yes, but looking at the Angelica website one understands that it is a Cage-oriented festival for at least 80% of the programming... A sort of museum of musical conceptual art, then. Given these premises, I am not all that surprised.

RedScharlach wrote:

Dear Shark, indeed yes, but looking at Angelica's website one understands that it is a Cage-oriented festival for at least 80% of the programming ... A kind of museum of musical conceptual art, then. Starting from these premises, I am not all that surprised.

You know Red, this thing has destabilized me a bit.

Are you telling me that in a Bach-oriented review (at least 80%), I would be authorized, as a living composer, to write a beautiful Bachian fugue. And I would even have the seat of honor?

If I am transcoding correctly, it is a sort of "In the manner of ...", mmhm, perhaps it could even work with Bach, at least for demonstrative purposes, to exemplify live how to improvise a fugue.

What do you say? With Cage yes and with Bach no ....? ...

Abate doesn't miss a beat, in fact maybe he is pushing his luck too much... writing an opera today with the premises of a century ago perhaps doesn't make much sense. Absurdly, it might make more sense with Bach; at least one can see live how to improvise a fugue... how else would they do it?

AbateFaria wrote:

You are telling me that in a Bach-oriented review (at least 80%), I would be authorized, as a living composer, to write a beautiful Bachian fugue. And I would even have the place of honor?

You would certainly be authorized, if the artistic director commissioned such a piece from you! And in any case, what Dante observes is certainly true: in an organ concert, an improvisation test can (or perhaps must) also be a test in style. I know that in France, Germany, and Denmark there are real organ schools of improvisation in style, whereas I fear that here in Italy this tendency is less developed.

In any case, this was not the point of my speech. The point was that Angelica, from what I read in the programming, dedicates a good part of her concerts to conceptual music, which is a musical style that made its history during the Sixties: Marchetti's piece, which I believe is already several years old, and which seems like nonsense to me in any case, is in any case part of this trend. It should also be noted that Marchetti was born in 1931. In short, it is a bit like if at the beginning of the nineteenth century some composer had lingered in writing a piece in the galant style (which doesn't seem entirely out of place to me, by the way!).

Anyway, when I wrote 80%, I certainly exaggerated!

The last theme touched upon by Red seems important to me, and I was reflecting on it with a colleague in recent days. Average life expectancy has increased, and the average duration of things has shortened tremendously. Therefore, one of those born in the '30s who, fortunately for him, arrives intact to the present day, cannot afford the luxury of forgetting that many things have happened in the meantime during the century he has lived through (if Chopin, Schubert, or Mozart or whoever had also made it this far...). I find it more appropriate to say: "it's a bit like if at the end of the nineteenth century some composer had lingered to write a piece in the galant style"

Granted and not conceded that I see nothing wrong with it (especially if there is a commission), everyone can express themselves however they please in this world; one just needs to be aware of it.

LucaCavaliere wrote:

I have read the entire discussion, and sincerely I don't find any of this in Shark's posts.

I also listened to the track in the video with the umbrella... without watching it (audio only with a fixed screen on my desktop)

Ah, so when Shark talks about the possibility that the pianist masturbates or shaves "the forest," this is not a way of mocking the piece... I have no idea what the result of this piece is, whether it is to my taste or not, but I am starting to get tired of the mockery of others. The entire comment about the chorus of farts and burps is out of place; it really strikes me deeply... contemporary art is full of profound research into the truths of the body, and by being squeamish, one always misses the opportunity to learn and deepen one's understanding.

I am fresh from a wonderful production of Purcell's "Dido and Aeneas." We were with Fabio Bonizzoni and La Risonanza in Germany, in Regensburg. We from Costanzo Porta did the choir, but we found ourselves with a director, who is actually primarily a contemporary dance choreographer, who hired us to perform a large part of the direction. In other words, we "danced" for the entire show. This "dance" consisted of rubbing, embracing, gazing, and rolling on the floor, which we achieved through a brief but intense 3-day training. We were always on the verge of tears; it was one of the most profound things I have ever done on a stage, and at the dress rehearsal, we saw the rest of the choreography, the part that didn't involve us but the solo dancers (the professionals). At the beginning, they were inflating and popping plastic balloons. Having worked in that situation, we were holding our breath, enchanted by the sometimes senseless ritualism of certain gestures. The Festival critics wrote that the choreography made no sense.

I have no idea what the artistic result of a composition like the one we are commenting on is, but if I had the chance to play it, I would throw myself into it completely, precisely because I believe there are possibilities that "mainstream" music does not give you. Burps, raspberries, and farts have been used for decades to make more or less ironic music; if Elio e le Storie Tese called me to use them, and if I were able, I would use them with joy. Besides, even if not very well, I know how to burp on command; I would be enthusiastic about using burps musically. And since I am an opera singer, I cannot distinguish music from all other performing arts. Whoever does, especially in a professional field, is poor.

Dear Thallo,

Very briefly.

i did not sense "giggling" in Shark's post.

Bringing up masturbation or hair removal as an alternative to having to hold an umbrella in one's hand... Yes: I agree: if you or others heard it as irreverent... that's understandable.

i continue to think, however, that it was not Shark's intention (who can confirm or deny).
in any case, while reading his post, I focused on the criticism he makes of the piece (playability/performer's choices/novelty of the instrumental gesture...).

His other post that strikes you deeply, the one about the chorus of farts and burps, seems to me a consequence of yours: that regarding the usefulness of his comments.

What are they for?... Well... everyone should evaluate for themselves what their own comments are for.

If the conclusion is even just to express dissent, that already seems like something to me (as in that case).

What you then write about contemporary art and the exploration of the body is another matter. Interesting.

I will surely be taken for what I don't understand and for being the insensitive one on duty, as usual... I don't give a damn. I have my own idea about these phenomena who appeared out of nowhere, who usually return to nowhere after a few months.

Honestly, I cannot find anything poetic in playing a piano concerto for left hand and umbrella (among other things, it should be for right hand and umbrella since the left holds the umbrella and the right plays) - I feel ridiculous just giving this definition. Among other things, a concerto for the left hand has already been composed by Ravel for a war veteran: Wittgenstein, if I am not mistaken, who had his right arm amputated. Therefore, the only "innovation" in this publicity stunt seems to me to be just the umbrella.

One must therefore distinguish between what is motivated by a noble gesture and music composed by a great composer (I am obviously speaking of Ravel) and what is motivated by the commercial gimmick of a guy who started putting his hands on the piano without receiving any basic training and who knows no one.

This case seems to me to refer more to the second hypothesis.

Moreover, it seems to me that this "modernity" is a modernity dictated by the intrinsic slogan: "We don't know what the hell to invent anymore!"

Do you want to make conceptual music? Fine... Explain this concept. Many contemporary music composers attached pages and pages related to its reading and the idea behind it to the score, and as if that weren't enough, it also had to be convincing... Xenakis, Stockhausen were examples of this.
In this guy who appeared out of nowhere, I see absolutely nothing! I might be harsh, perhaps even ignorant or a bully, as Thallo said, but I don't care at all; until proven otherwise, I am free to think and express my opinion: behind this guy, I read nothing... With my eyes, I see something absolutely ridiculous, and with my ears, I hear even worse; so I really think he was right to bring the umbrella because any moment is a good one, and I believe he is aware of it too.