Today was our chance to explore our individual interests in the city of Berlin. The day began with a visit to the Musikinstrumenten Museum, directly next to the Philharmonie. I had good luck with this museum because currently on exhibit is a comprehensive history of the development of valved brass instruments. Over 130 unique pieces covering 200 years of invention were on display.
So first, some history: prior to 1818, trumpets and other brass-type instruments (meaning that the lips are buzzed into a cup-shaped mouthpiece, e.g. cornettos, trombones, and trumpets) all were simple, single tubes. Trumpets in particular were limited to one key per crook used, and then scalar use only in the highest, 'clarino', register. There came a desire for a chromatic trumpet, and around 1770 Anton Weidinger invented a chromatic trumpet by drilling holes in certain places along the tube length, then covering them with saxophone-like keys which the performer could operate by hand. This created the first chromatic trumpet, but because of the holes the sound quality suffered greatly.
In 1818 Heinrich Stoelzel and Friedrich Bluehmel created the first self-contained valve system. This allowed the sound to stay in the trumpet through the whole tube, and each valve activated more tubing, giving the trumpet greater chromatic range. Things began with one- and two-valve systems, and eventually settled on the three valve system we know today. There were also many different kinds of valves: rotary (like french horns), double pistons (still used in the Vienna Phil horn section today), box valves, and Perinet (single piston).
After the museum I made my way to the Staatsoper Berlin, in the Schiller theater because the Staatsoper building is under renovation. There I met with Rainer Auerbach, solo trumpet with the Staatsoper Berlin. We talked together about all things trumpet, did some playing, and I got to meet other members of the brass section. In addition, Herr Auerbach was able to sneak me in to see the production of Aida that night, which I found very interesting.
The opera was set as a dream, in a 'Night in the Museum' style. Ramedes and Aida are visitors in an Egyptian museum, and then the exhibits come to life and the story unfolds: Radames, General of the Egyptian army, is in love with Aida, a slave girl. She is the daughter of the King of Ethiopia, Egypt's sworn enemy, but Radames does not know this. The Pharaoh's daughter, Amneris, also loves Radames, and wants to put Aida out of the picture. Word comes that the Ethiopian army is on approach; the priests pray to the gods for victory, and Radames is tapped to lead the attack. Aida is torn between her love for Radames and the suffering/despair of her people at the hands of the Egyptians. The Egyptians win and take many prisoners, among whom is Aida's father Amonasro. She manages to persuade the Pharaoh to let her people got, but he retains her and her father as prisoners. As reward for victory, Radames is given Amneris' hand in marriage. Later, Aida's father convinces her to escape with him, and to draw the Egyptian army's battle plans from Radames. She then meets Radames, who affirms his love for her and desires to flee with her. In the conversation the battle plans come out, and once Radames realizes that Amonasro overheard this, he is overcome with guilt and turns himself in as a traitor. He stands trial, Amneris promises to free him if he renounces Aida. He refuses, is sentenced to death, and both he and Aida are buried alive in a sarcophagus.
The orchestra was wonderful, and the huge trumpet forces required all played top-notch. Another successful night in our trip.
Berlin Konzerthaus: 14.2.2014
This evening I had the treat of acquiring a rush ticket for the Berlin Konzerthausorchester concert. The Konzerthaus lies between two identical cathedrals designed by Carl Von Gontard. He built two in order that the French Protestant Huguenots and New German Church members could both have a place of worship in the city. The three buildings make for a very nice plaza and undoubtedly draw crowds in the warmer seasons. The Konzerthaus itself, designed by Karl Schinkel, harkens back to the days of the Kaiser, the grand staircase leading into the Parterre, the renovated ballroom floor. The hall seats the audience just like in the Philharmonie, with seats making an entire circuit of the room so that one can sit behind the orchestra. Many paintings of Apollo, God of music and the arts, decorate the walls, and several bright chandeliers throw a magical glow over the entire auditiorium.
Tonight’s concert was an adventure into the music influence of Spain. Before the concert there was a performance in one of the side halls by two local dance teachers. They showcased steps from the tango, cha-cha, and probably other Latin dances that I am not familiar with. It was an excellent appetizer for the evening’s entertainment, and made for a good segue into the first half of the concert.
The first half of the concert consisted of Piazzolla’s ‘Tangazo’, Villa-Lobos’ ‘Melodia Sentimental’ and Tupinamba’s ‘Sao Paulo Futuro’ (featuring singer Cuemar), and Milhaud’s ‘Le Boeuf sur le Toit.’ These Latin-inspired pieces made for a nice change of pace from the typical concert scene, although the singer’s two pieces seemed to me unengaging. She did make up for it by playing great guitar, however, and the Mihauld was very interesting to hear, the mix of French and Spanish influences in a piece that was obviously inspired by and based on Gershwin’s ‘American in Paris.’
The second half was where the orchestra could finally shine. Three pieces from Ravel: La Valse, Pavane pour une infant defunte, and Bolero. Both La Valse and Bolero were very thrilling, and the trumpets definitely brought the heat for each piece. I found the Pavane most moving; Ivan Fischer did a good job of shaping it into a quietly beautiful experience.
My inaugural concert (to listen, at least) in the Berliner Konzerthaus was overall a great success. Hopefully my music and work will bring me back for more in the coming years.
Viennese Churches 12.02.2014
Wednesday was the day that we could explore our own interests in the city of Vienna. I chose to visit many of the historic churches in the old city. In these buildings one can see the stories of the people, and the earliest houses of music in the Vienna.
My first stop was the Votiv Kirche, a monumental Gothic cathedral whose twin spires dominate the Vienna skyline. Inside, the sanctuary is lit well with natural light because of the plethora of rich stained-glass windows. These windows depict religious stories of course, but also are memorials for donors of the church, whose names are recorded at the bottom of each window. These windows are what sets the Votiv Kirche apart from the others and makes for a breath-taking experience.
The next church was the Karls Kirche, a cathedral built in a strange Baroque/Byzantine style. The facade seems mostly baroque, but the two columns in front liken to minarets and suggest an eastern influence, likely from the siege by the Turks in 1592. Inside is a true treat. Following the restoration of the cathedral, the scaffolding was left up so that one could literally climb into the heavens and see the frescoes up close. In addition, the scaffolding allows access to the peak of the dome and a magnificent view of the city.
There is a Russian Orthodox church which lies outside the inner city. I had never seen one before, and found it very unique. The facade was magnificent, with the classic onion-dome structure. Inside were many murals of Christ and Saints, and elaborate pictures of patron saints were placed on pedestals around the sanctuary. I found this one to be unique amongst all the churches I have ever seen.
In the eastern half of the inner city, there lie two churches, one Domicican and one Jesuit, in neighboring streets. Both had the classic cathedral aesthetic; dark, grand, somber. The Jesuit church has a most magnificent organ, but unfortunately there was no rehearsal or service going on so that I could hear it played.
After the events of Wednesday, I feel that I have a fairly good handle on the layout and culture of the City of Vienna. Hopefully when I search for work this coming year I can use this to my advantage and secure a place in or near the city.
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