Building Bridges Between the Modern Composer and Classically Trained Singer

Georgi Sztojanov

Name: Georgi Sztojanov Main Subject: Classical Singing Research Supervisor: Anna Scott, Yannis Kyriakides Title of Research: Building a Bridge Between the Contemporary Composer and Classically-Trained Singer Research Question: How can the aesthetic oxymoron between the wishes of modern composers and the needs of singers be mediated or resolved, and what changes could be made on both sides in order to achieve a more fruitful relationship, resulting in compositions that are both singable and that explore the voice's potential beyond its Classical boundaries? Summary of Results: As a case study, I document the process of learning the tenor solo in Louis Andriessen's De Materie, and discuss how my classical training helped me to sing this demanding part even though it is not meant to be sung with a Romantic sound. After discussing two further projects in which I acted as a mediator between composers and singers, I found my initial suspicions to be true: many composers do not receive enough education in composing for the voice, meaning that they do not respect its physical limitations, they often misjudge the combination of ranges, dynamics and colors possible, and they believe that any singer can reproduce any sound (regardless of culture, style, or tradition). Clearly, studying these elements while working closely with singers would be one solution, as would choosing a more performer-centric notational system including expression markings and other indications that invite singers to find the intention or subtext behind the music—all of which can help the singer's instrument work more effectively. For their part, singers need more training in music theory, solfege and score reading skills, and while they need to master their classical technique, they must also be openminded and flexible enough to experiment beyond that training—while staying within the healthy limits of their sound production, and knowing how to communicate in order to preserve these boundaries. This study helped me to successfully mediate between composer-singer collaborators, and I hope to turn my findings into a booklet for those looking to create beautiful and exciting new vocal works together—not in spite of one another. Biography: Georgi Sztojanov has two MAs in composition from the Liszt Academy in Budapest and The Royal Conservatoire of The Hague. He obtained his BA in singing in 2016 with Sasja Hunnego. As both singer and composer he has broad experience with vocal premieres, multidisciplinary collaborative works, and leading ensembles and festivals. He received the Tenso Young Composers Award in 2014. As a composer he has a wide spectrum of works, and as a singer his activities are equally diverse, ranging from opera to lied, numerous premieres, staged productions, and ensemble singing (recently as a member of Groot Omroepkoor).

Building Bridges Between

the Contemporary Composer and the Classically-Trained Singer

- Aesthetical oxymoron or fruitful relationship?

TABLE OF CONTENTS

1. Introduction

1.1. Spotting the problem

1.1.1. Singing the ‘unsingable’

1.1.2. An instrumental metaphor/ analogy

Or - which instrument am I writing for?

1.1.3. Research Question

1.2. Personal background

1.2.1. Why me?

1.2.2. What do I do?

1.2.3. What to do now? – or, how to build a bridge?

1.3. The process - Is research just what I do anyways?

1.3.1. The two worlds – an inner need to unite

1.3.2. Setting borders, choosing frames

1.3.3. Chosen methods - What to expect?

1.3.4. Where could it lead? - A guide for composers and singers

2. The relation of Composer and Singer – a broken bridge or a cliff

2.1. A short look through of a long relationship

2.2. The ‘break’

2.3. Famous couples

3. The Singer’s Side

3.1. Interview subject: Noa Frenkel, the modern classical singer

3.1.1. Introducing Noa

3.1.2. The classical vocal training – what is a classically trained singer?

3.2. Modern vocal music – similarities, difficulties, preparation

3.2.1. Where and when does modern music come in the picture?

3.2.2. Different genres, different techniques?

3.2.3. First Thinking, then Singing – how to prepare modern music?

3.3. Collaboration with composers

3.3.1. ‘No,no,no’ – why am I here then? Limitations or opportunities

3.3.2. ‘Not well written’? - Problems with notation and/or not vocal writing

3.3.3. ‘Tailored for my voice’ – collaboration with a composer

3.3.4. Subtext, intention, character

3.3.5. Singing everything – the sports analogy

4. The Composer’s Side

4.1. Interview subject: Martijn Padding, the Modern Composer

4.2. ‘What do I feed it with?’ Education in vocal composition

– how much do composers know about singers in general?

4.2.1. Mapping the voice

4.2.2. Vocal Composing in education, and in the field nowadays

4.2.3. The aesthetics of the preferred voice

4.3. Composing – always a collaboration with the performer

4.3.1. Writing for a singer or an instrumentalist

4.3.2. Modern opera – a hybrid

4.3.3. Actor or singer? A matter of taste

5. Case study

Singing the tenor solo of ‘De Materie’ by Louis Andriessen

5.1. The piece

5.2. The role – a vocal challenge

5.3. Preparing – solving the problems

5.4. The outcome

5.5. Conclusions

6. When in the middle – being a singer and a composer

6.1. My own singers’ ideal as composer - before starting to learn singing

6.2. Voice – the subconscious connection

6.3. Private or personal

6.4. Singing with a composer’s ear – playing a synthesizer or piano?

6.5. Composing with a singer’s ear – after tasting your own pudding

6.6. The last scene of Twin Peaks – ‘Second years’ Vocal Project’

7. When in-between – two experiments for being a mediator

7.1. The specialist

7.2. Vocal coaching at Young Composers’ Meeting

7.2.1. Project background

7.2.2. Helping the singers

7.2.3. Indicating changes with composers

7.2.4. A lecture for composers

7.2.5. Results

7.3. Teaching ‘Composing for Vocal Ensemble’

7.3.1. Project background

7.3.2. Preparing the composers

7.3.3. Working with the singers

7.3.4. Results

8. Conclusions – a guide for composers and singers who work together

8.1. Suggestions to singers, wishing to sing modern music

8.2. Suggestions to composers, writing for the classically trained voice

8.3. Closing thoughts

9. Bibliography, sources

First chapter

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