This exposition explores classical improvisation on the violin. As a performing classical violinist with a previous background in jazz, I am interested in inserting improvisation in my performances. The objective of this research is to insert improvisations in between composed pieces of a concert programme. The improvisation played in between two pre-existing pieces is called an interlude and the act of playing such an improvisation, interluding. These interludes contain musical material of both the previous and the next piece, thus creating seamless transitions, a bridge between characters and/or a dialogue between the pieces. The main goal is to create a common thread in a program with an otherwise varied repertoire. This research identifies and compares the practice methods that can be used to achieve this goal.
The research question reads as follows: How can a classical performing violinist develop a practice method which serves for expanding their active musical vocabulary and applying it in an improvised interlude during a concert? To explain the term ‘active musical vocabulary’ a comparison with language can be made. Often classical music is played from the notes and instructions on the scores, as if the musicians are practicing to read, articulate and understand a foreign language. This could be called passive vocabulary. However, when really speaking a language fluently and having conversations, then active vocabulary is achieved. Therefore I call the musical richness that we can raise while improvising active musical vocabulary. This comparison between improvising and spoken language has also been made in a similar way by improvisers like David Dolan, a prominent classical improvisation teacher today.
Simply put I am a violinist that is looking for a way to give classical improvisation a place on the stage. I believe this topic can be relevant for all musicians and audiences. However, how can we define improvisation and why exactly is it so relevant today?
Hill defines improvisation as a spontaneous creative activity in which artistic decisions are made in the moment of the performance. This entails completely free improvisation, improvisation with fixed chord progressions, improvising ornamentations, etc. If you look at it in the broadest sense, it could even mean interpretation.
When looking at different sources there are three different reasons why improvisation is so relevant in classical music today:
First and foremost, improvisation can have an important role in performances. Historically it had a place in classical music. So bringing back these historical practices today can help to revive the music from that time. Forms of improvised performances can vary from improvising cadenzas and extemporization of entire pieces, to a more practical function supporting performances of modern dance, theater or in a church service. Improvisation also can have a place in contemporary classical music in certain graphic or text scores, and can be a part of more genre crossover projects. All these forms of improvisation can be relevant, since in the more individual culture of today, identity and creativity are highly valued. Improvisation can also be a tool to make classical music more attractive to a wider audience. It gives them an opportunity to experience music as a living language made up in the moment, which might be more engaging.
Secondly, improvisation can be used for educational purposes for performing musicians. Since it trains the aural skills and memory, helps understanding structures and theory, can improve technique, decision-making and self-assessment. However, Kalmanovitch also states there is a certain absence of viable models for training classical performers to improvise. In this sense research on this topic is still very relevant today.
A third reason is that it can be a tool to learn to let go of today's frequent perfectionism and to stimulate creativity. The tendency nowadays is more and more to take technically perfect and completely polished recordings as the 'right' standard.
Historically improvisation also plays a big role in creating new music. Composers like Bach, Mozart and others were often also performers, teachers and improvisers. Improvisation was an important part of their practice and development. One could say that without improvisation it would be impossible to achieve those same peaks of artistic greatness and profundity. Improvisation could still play an essential role in keeping music a living language. Reshaped in a modern context, it could also connect composers and performers with the past.
Improvising interludes is one way of bringing improvisation on stage. In this research this specific way will be explored on the violin. Used methods are the study of academic and educational sources, autoethnography, experiments in the form of performances, questionnaires for the audience, interviews with experts and recording the work in the practice room. Chapter I is an elaboration on what interluding is historically and how I see it today. Chapter II is focusing on learning all the separate words and building the active musical vocabulary. Chapter III is focused on structuring these words into stories and combining the vocabulary of two pieces in an interlude. To conclude, some sub-questions answered in Chapter IIIC and IV are: How does improvising interludes come across for the listener? Is there more thrill when you hear music that is invented on the spot? Is it maybe more engaging for the audience and/or performer? Finally, the limits of this format of strictly recycling (thematic) material are discussed, bringing to the surface other ways to use the concept of interluding.