This quarter (Winter 2015), I participated in two chamber groups--- both a quartet, but extremely distinct in instrument combination and blending of the sound. One group's piece was an arrangement of Beethoven's Symphony No6 ("Pathetique"), originally intended for piano, violin, and cello, a familiar combination (many piano trios take this combination--- e.g. Brahms Piano Trios). However, the group I participated in arranged it further to include a flute part. Finding balance with this combination was difficult. My familiarity had always rested with the traditional string quartet or chamber group (i.e. violin, viola, cello, bass) setting. I did have experience playing with a pianist and a flautist but in separate or inharmonious contexts*. The first time we recorded ourselves, we found that the other instruments overpowered the flute in many parts, and the dynamics were quite plain and boring. We took extra precautions to listen to ensure balance, distinguish the characters and melodies of the piece, and make sure the parts with the main line truly spoke and the underlying harmonies provided support, rather than compete with the main melody. In the end, I felt the group got a much better blend of sound, with each part and melody being more distinct than previously. Unfortunately, we were not able to get a video recording of this performance. However, there was a recording of the other quartet available below.
The second group I was a part of played the Ravel String Quartet (performance video below). Learning this piece was exciting and enlightening not only because I had dreamed to perform this piece for a while but also because it gave me a new perspective in the chamber music composition. However, I was initially not eager to play. I was disappointed when I was assigned the second violin part. The reason being (though embarrassing to admit) that I previously did not notice the second violin part and thought the first violin part was the "more interesting" part. I was both delightfully surprised and ashamed by my previous ignorance to realize the opposite. The inner voices (i.e. second violin and viola) of the quartet, though often not in the spotlight, contribute much to keep the group together rhythmically and harmonically. Especially in this rich and beautiful piece, the inner voices and the cello parts provided a lush texture while the first violinist (and often cellist) twinkled and floated on top of the base sound. While I previously pondered on how to deliver the melodies as a first violinist, I newly focused on how to shape and set the mood as an inner voice. Each rehearsal of and listen to the piece became a treasure hunt to discover the different ways the second violin part flowed into and embellished the melody. It was a humbling experience overall to become aware of the importance and contribution of each part to the music. Despite my initial, brief disappointment, in the end, I felt extremely fortunate and glad to have played Ravel as a second in the quartet.
* Last quarter (Autumn 2014), I did perform in a larger group with multiple string players, a pianist, and a flautist. However, I felt the group never found the proper balance and ended up sounding like multiple distinct instruments rather than a cohesive ensemble. Thus, I did not feel comfortable with this combination of instruments at this point.
The second group I was a part of played the Ravel String Quartet (performance video below). Learning this piece was exciting and enlightening not only because I had dreamed to perform this piece for a while but also because it gave me a new perspective in the chamber music composition. However, I was initially not eager to play. I was disappointed when I was assigned the second violin part. The reason being (though embarrassing to admit) that I previously did not notice the second violin part and thought the first violin part was the "more interesting" part. I was both delightfully surprised and ashamed by my previous ignorance to realize the opposite. The inner voices (i.e. second violin and viola) of the quartet, though often not in the spotlight, contribute much to keep the group together rhythmically and harmonically. Especially in this rich and beautiful piece, the inner voices and the cello parts provided a lush texture while the first violinist (and often cellist) twinkled and floated on top of the base sound. While I previously pondered on how to deliver the melodies as a first violinist, I newly focused on how to shape and set the mood as an inner voice. Each rehearsal of and listen to the piece became a treasure hunt to discover the different ways the second violin part flowed into and embellished the melody. It was a humbling experience overall to become aware of the importance and contribution of each part to the music. Despite my initial, brief disappointment, in the end, I felt extremely fortunate and glad to have played Ravel as a second in the quartet.
* Last quarter (Autumn 2014), I did perform in a larger group with multiple string players, a pianist, and a flautist. However, I felt the group never found the proper balance and ended up sounding like multiple distinct instruments rather than a cohesive ensemble. Thus, I did not feel comfortable with this combination of instruments at this point.