Hidden Gems đź’Ž
Serena Hsu & Melivia Citravani Raharjo
Louis Vierne: 2 Pieces for Viola and Piano, Op.5
Gabriel Fauré: Après un rêve
🎥 BEHIND THE SCENES 🎥
There will never be a time in which one won’t hear the opening of the Bartok Concerto, Brahms F minor sonata, the dreaded opening octave of Der Schwanendreher, the dreaded 16th passage from the Walton Concerto movement 1, and more, in practice rooms as you walk down the hallway for the 5th time because of course, there aren’t any rooms available; or on the streets from an open window in an apartment as you walk home. Everyone seems to be learning the same repertoire--and yes, there is only so much standard viola repertoire, but why not explore more!I came across a few of these pieces around 2 years ago from Tabea Zimmermann’s album and did implement a few of them in my yearly recitals but always wanted more. Given the current situation, I decided to indulge in these hidden gems. The first prototype of my “gems” project was so difficult. I first tried to plan out what concepts would be important in virtually collaborating--which in it’s own sense consists of different elements. Since live virtual collaboration is difficult with modern technology, not to mention varying internet connections and quality of equipment. Much of video conferencing microphones are geared towards speech and enunciation, but do not fare well for instrumentalists with the same resources. With this in mind, recording live was not an option.I decided not to dwell too much on details and to immediately jump in and begin the process of trial and error. I recorded an audio file of me just schenkerian counting the whole first movement of Vierne’s Op. 5 piece. I then recorded a video of me playing just the viola part--keeping in mind the accompaniment phrasing and rhythms. I sent it to my amazing collaborator, and received feedback. She then sent trial video recordings of solely the accompaniment part. After receiving it and playing with the recording a few times, I gave feedback on elements that I would like which she implemented immediately and sent the final prototype edition. I then recorded along with the accompaniment video.Recording with an existing video straight-through was so difficult and draining. I always felt blessed and grateful to have live accompaniment when I did have it, but with the current situation I feel even more indebted to them on a deeper level. The ability to connect and collaborate in person is something we all relate to, even non-musicians. Being able to be spontaneous is something I love to do musically, and recording with a preexisting recording didn’t allow me to do that. Instead, I found myself in the role of a follower, which all you chamber musicians know, is the worst thing you can possibly do. It’s called a collaboration for a reason. And yes, we did communicate, but through words. In my opinion, I’m a huge believer in the thought of music being indescribable in words. To me, words aren’t enough. And in this context, words and recordings of how each of us feels the music, is all we have.With all that aside, I had a wonderful experience working on this “Hidden Gems” project of mine, and I look forward to a time where we can all collaborate in person together. Enjoy~ 🎵
