“Kyrie” from Lord Nelson Mass — Franz Joseph Haydn & “Daemon Irrepit Callidus” — György Orbán
“Kyrie” from Lord Nelson Mass — Franz Joseph Haydn[youtube:http://www.youtube.com/watch?v=MSGa5oJDELE&feature=youtube_gdata_player%5D
“Daemon Irrepit Callidus” — György Orbán[youtube:http://www.youtube.com/watch?v=_RNBf3CS9KU&feature=youtube_gdata_player%5D
For me, music attaches most strongly to memory when I perform it. I never learned to play an instrument, although I can strum a few chords on a guitar and pick out a melody on a keyboard. What I did was sing in various choirs throughout my school career. Don’t get me wrong: I’m not extraordinarily talented, nor should I audition for American Idol. Still, my experiences with music will always be colored by performance, by letting music flow not only into but also through my body.
I can clearly remember the dress rehearsal for my first high school concert. We were singing Haydn’s Lord Nelson Mass. At the time, I sang in the women’s choir, so I was only used to hearing the soprano and alto parts along with the piano accompaniment. At the rehearsal (and in the concert), the advanced choir—complete with tenor and bass—would join us, as would four professional soloists and my school’s orchestra, who had practiced the same piece for a joint concert.
If you haven’t heard it before, you should check out the first movement—“Kyrie”—from the Lord Nelson Mass. It’s not exactly a shy, retiring melody. Rather, it’s a wall of sound that hits the audience full-force from the beginning. On the afternoon of that dress rehearsal, I was stunned by the power added by the men’s voices and orchestral accompaniment. Overwhelmed by the beauty and strength of hundreds of voices and instruments combined, I literally forgot to sing . . . until my friend elbowed me, that is. It was the first time I really felt that potent sense of belonging that comes from being part of something much, much greater than oneself.
That sense of belonging took a slightly eerie turn with György Orbán’s “Daemon Irrepit Callidus,” a quick, devilish Latin number used for the All-State tryouts my junior year. I hadn’t tried out before, so I didn’t know what to expect. We met at the high school early one Saturday morning and drove to another school for the auditions. I remember receiving a tryout number and then walking toward the school’s auditorium with my nervous gaggle of classmates. The imposingly thick, heavy wooden doors—you know the type—transmitted only muffled sound. Once heaved open, that sound expanded into the unbearably strong yet irritatingly tinny noise that can only come from accompaniment on cassette tape played too loudly (and on a continuous loop) through the auditorium’s sound system.
Hundreds of high school students, glassy-eyed with lack of sleep and practically shimmering with nervous energy, perched on the upholstered auditorium seats. They all faced the empty stage with its closed, blood-red curtains. Sheet music in hand, they sang along with the tape, practicing the tryout section over and over again while waiting for their numbers to be called. It was far too loud for conversation, so my friends and I wandered, trance-like, to the first free row of seats, sat down, pulled out our music, and began to sing along, as glassy-eyed and nervous as the others.
There, the sense of belonging was tinged with the strange, cult-like feeling I get whenever I hear (and participate in) groups of people reciting the same thing all at once. It was intense, magical, and somehow just a little bit off—exactly like the music itself.
Don’t get me wrong. I love performing. Whether I’m belting in the shower, mumbling my way through half-understood Spanish-language lyrics in my car, or singing onstage, the act helps me connect to a piece of music in a deeper way. The experience is admittedly hard to define. However, both of these intense experiences epitomize what it is, to me, to be not just a listener but, in fact, part of a song.
- Classical Music Composers (mademan.com)
- Marlboro Music Festival @ Marlboro, Vt., 7/18/10 (timesunion.com)
- How the great symphonies became our soundtrack to a changing world (guardian.co.uk)
- How did Joseph Haydn influenced music (wiki.answers.com)
- Haydn: Piano Trios Vol 1, Nos 24, 25, 26, 31 – review (guardian.co.uk)
- Beethoven’s Fifth: the Base and Peak of Romanticism (nightofzel.wordpress.com)
- J.Haydn – Cello Concerto No.1 in C major – M. Rostropovich and Academy of Saint Martin in the Fields (euzicasa.wordpress.com)
Posted on 09/09/2011, in In Touch, Past Experiences and tagged All-State, American Idol, choir, Daemon Irrepit Callidus, dress rehearsal, György Orbán, Haydn, high school, Joseph Haydn, Kyrie, Lord Nelson Mass, performing, Rosemary's Baby, sing, The Omen. Bookmark the permalink. 1 Comment.