ATMOSPHERES, MOODS AND EMOTIONAL STATES
During the second session the breakout groups were working on translating emotional states, moods and atmospheres to music. While I don't intend with this research to add to the discussion and substantial body of literature already written on the subject of musical expression, it should be noted there are nevertheless clear pitfalls to be avoided in this kind of translation work: we all know the well-known and simplified clichés, like 'minor equals sad' and 'major equals happy'. While sometimes true, obviously music is able to evoke many profound and complex emotional states, which are in the first place subjectively perceived and conceived, rather than having any meaning in the absolute sense. We addressed this matter also in our initial discussion, before breaking out into smaller ensembles again. It may have been only a small beginning for some of the students, but hopefully leads them to think more actively about these matters in their musical future.
It was furthermore decided that the groups should each come up with 2 different pieces and present them afterwards to the larger group.
The groups came back with the following subjects: despair, excitement, crazy, calm, suspense, celebration, lonely, aggressive, mysterious and chaotic. One of the groups had an interesting idea: they created a continuous piece starting from lonely and slowly developing into aggressive. The video on the right is a compilation of an early stage of these ideas.
ORCHESTRAL IMPROVISATIONS INSPIRED BY THE REPERTOIRE
Before even starting the first experimental session, Jason Lai, principal conductor of the YST orchestra, had guided the students through two movements of Ma Mère L'Oye a couple of times already (Pavane and Petit Poucet), so that they were familiar with their parts and to a certain extent with the parts of others. To begin the process I analysed some of the essential materials Ravel used. We spoke about characteristics, contrasts, direction, polyphony and layers in the score.
Then there followed a discussion on how to improvise with these materials, and what it would be like to add new music and new ideas to Ravel's score. No-one including me knew where this was going. Some suggested we should create a piece that would stand alone next to the other pieces in the concert program. Some others suggested that we should insert interludes into the existing Ravel piece as a means of reflecting on the piece, thus making the reflection part of the piece. This would make for a unique rendition. Some others suggested that we should use different spaces in the performance hall, as a way of contrasting Ravel's movements which would be traditionally played on the stage. There was some concern that improvisations may be of a weak quality, taken the music of the masters down. I argued, challenging a bit, that they as orchestral players know there instruments intimately and should be able to extract exquisite sounds and nuances from those instruments that would be at least on par with what composers can write down. Some disagreed, certainly in the case of Ravel.
I was actually happy that we did have a discussion in the first place, and that the idea was not altogether disqualified. Talking further two strains emerged that were potentially interesting to follow. The first one was an idea to create improvised versions of some new fairy tales. To complement in fact the stories in Ravel's piece with more of them. In fact this is what Ravel did himself when expanding his original 5-part suite to a ballet version: the order was changed considerably, the Danse du Rouet et Scène was added as well as a Prelude and connecting passages between the stories. Le Jardin Féerique changed status to become the Apothéose.
The second strain to be followed was to create small scenes consisting of improvised expressions or emotional states, which could complement the more storyline based scenes in Ravel's work. One student came up with this idea and suggested that these scenes could function as reflective moments complementing Ravel's score.
Since we had only two sessions in this semester as a preparation for the work in the next semester we went straight to work. As a result of the COVID restrictions we had only 30 players in the orchestra, they were split up in 5 groups of roughly 6 and sent to breakout rooms to start inventing materials and stories. The time allocated for this was roughly 80 minutes, during which I would check on the different rooms and give advice and coach the process.
It is important to note here that this was not something completely new to the students. As pointed out already in the introduction, this orchestral project is a pilot to see how we can extend the experiences of the First Year Creative project further into the curriculum. Taken further into account that there is also a module in the first two years of collaborative practices (group activities), of which many have an improvisational component, most students have at least some experience with improvisation and know some of the basic premises. Most of my coaching remarks were about choice of material, especially to keep it limited, but also on the importance of being conscious of your role: don't think too much about concrete notes and pitches, think of the colour your instrument is contributing, think of the moments where it is appropriate to play or not to play, think of the playing style, don't forget extended techniques and always keep listening to the whole.
VIDEO MATERIALS OF FIRST CREATIVE IDEAS
After talking to the students, we agreed to explore two different paths: firstly the extension of Ravel's composition with new stories (much in the way Ravel himself added a story in his Ballet version), and secondly expressing emotional states, moods and atmospheres.
COMING TOGETHER
The last part of the session was dedicated to selecting ideas and bringing them together. With the final performance being still 6 months away we had time for experimentation. No final decisions had to be made, we could simply try out what might work or not. We took the following steps:
• Selection process: the different pieces were played for the full group, after which 2 pieces were selected to be part of the larger whole. The same was done with the sketches of the emotional states, and it was discussed how these could function as preparations, transitions or coda.
• Storyline: we discussed a posssible montage of elements that could connect the various elements to make a larger whole. Then we tried to connect it to Ravel's Pavane de la Belle aux Bois Dormant. The video to the right is a first try-out of the idea. The montage is as follows:
Ravel Pavane -> Mysterious -> Beauty and the Beast (first part) -> Cinderella -interrupted by- -> Chaotic -> Cinderella continued -> Beauty and the beast (second part) -> Party
• Orchestration and arrangement: we experimented with instant orchestrations of the materials. Some things are obvious, like doubling parts with similar instruments in the orchestra. But we tried also how it would work if we would take an improvised attitude to orchestration; everyone was allowed to take the initiative to double up, or support certain layers in the creations of the smaller ensembles. A good example of this is how the first cellist (not being part of the Cinderella ensemble) is improvising a supporting part for the harp at the beginning of the Cinderella piece (see trying out video 2:16>>)
• Reflection: the last step is reflecting in the results. There was a discussion right after the first trying out. The students agreed that there could be much more refinement, but more time would be needed. My suggestion was to go back to Ravel's score and look for inspiration in orchestration, playing techniques and ways that he develops material.
Lastly, my intention with this project was not to make the students compete with Ravel's composition, but to use the collaborative creative process to let them come closer to the music, to provide a different way into the score. If the results of this are succesfull, they will develop agency and ownership of their performance, as well as a deeper understanding (and renewed respect) of the score that inspired them.
The project will be taken up in March 2021 and is scheduled to be performed along Ravel's score in the YST orchestral concert of April 8th 2021.
STORIES
The stories the students came up with were mostly existing fairy tales, with the exception of utown princess, which they made up themselves. Just like the Mother Goose collection was an inspiration for Ravel, in this time and age we see the classic Disney stories and adaptations of fairy tales fulfilling that role. In the coaching of the individual ensembles I tried not to interfere too much with their ideas. We talked mostly about how to make sense of a storyline, which roles each player is fulfilling in the whole, and how to take the inspiration of Ravel's ideas and means of expression into their own creations.
The videos on the right and below show some early versions of the new stories: Cinderella, The Ugly Duckling, Frozen, Beauty and the Beast, and UTown Princess.
The groups played for each other, after which three of the five ideas were selected. The next step was to experiment with spreading the ensemble ideas out over the full orchestra. Suggestions were given and tried out. Players were also encouraged to spontaneously contribute in an improvisatory way to the orchstration process.
