Dreamy… to start with.

The composer Zoltan Kodaly has a special place in my heart and history. I like much of his music, which is very folk-based. He was the chap that pioneered formal classical music based on local regional folk & popular music. He actually traveled around his native Hungary with wax cylinders recording peasants, villagers and gypsies singing their made-up songs. Then he composed pieces of music based on them, and inspired his colleague Bela Bartok to base much of his music on folk tunes and hence the formal genre now known as ‘ethnomusicology‘ was born.

Hungarian Cimbalom Ida Toth Tarjani, 1987 Kodaly Hary Janos Stephen P Brown

Hungarian Cimbalom player Ida Toth Tarjani, 1987

Perhaps Kodaly’s most famous piece is a suite from his opera Hary Janos which features a weird instrument called a cimbalom – it’s like a sideways piano played with sticks instead of keys. When I was playing this piece in Budapest I actually got to have a 3 hour lesson (through an interpreter) with the famous soloist we were playing with, Ida Toth Tarjani. I still fondly look through her autographed instruction manuals with intrigue as I still don’t understand the Hungarian language.

But Kodaly was also present on that trip. Scarily so. In one of the towns we toured through, the orchestra played in a modern concert hall with large huge headshots of Kodaly and Bartok on the sides of the stage overlooking proceedings. During the Hary Janos Suite by Kodaly I made a mistake and played a cymbal crash in the wrong place (something I did again in a Tchaikovsky piece when playing for Henry Mancini a few months later. I was 17 and we were on a barge!). After playing it in the right place I sat down and continued counting the beats until my next entry.

As I counted, I was naturally embarrassed and desperately hoping no-one noticed. But I felt a presence, a “look”. It wasn’t the conductor. My fellow players were giggling at me. Inconspicuously I turned around and looked up, and there was the 12 foot face of Kodaly glaring down at me from on high! The composer did not approve.

I’ve played the piece many times since and never had a problem.

Another of my favorite pieces that Kodaly wrote is the Dances of Galanta. As it happens, this is not based on actual folk songs Kodaly collected but because he became so studious at them, he was able to compose original music that sounded like folk music. It starts out wonderfully dreamy and evocative, but I love the fast-pace ending. Click on the video to watch, and ENJOY!

 

Memory lane: Was it good, bad or empty?

Each month I keep an eye on the conversations I’m having with people to find topics for my next #OrchChat – an hour of discussion on Twitter about orchestras. Usually the three topics of each chat are quite diverse but so far have somehow bled into each other. It’s really a fascinating hour.

Click here to read the transcript of January’s #OrchChat

Over the past couple of weeks there is one conversation that has cropped up several times from several sources, including the excellent & brief daily snippet of arts news You’ve Cott Mail, and I was just wondering about your experience in the arts. This topic just might be included in February’s #OrchChat (on the 12th at 6pm ET).

Were you in a youth orchestra, choir or musical?

Were you in a youth orchestra, choir or musical?

For example, when you were in school or even college, did you ever sing or play a musical instrument? Were you in a play or musical? Did you ever attend a school concert or show that a friend or sibling was in? What about in the community?

My point of barraging you with these questions is to find out what, if any, experience you had with music and the performing arts, especially whether or not you enjoyed it.

Are there any specific memories of good feelings or events that come to mind?

Have a think about it.

Then send me an email with your observations and experiences. If you feel like sharing, go global so all the world can learn: add a post to my Facebook page.

 

Today’s choices

I first came across Chris Guillebeau in early 2012, stumbling upon one of his posts about his travelling the world. Literally. He set himself the goal of visiting every country in the world by the time he turns 35 years old. He currently has eight (that’s “8” out of 200 or so) countries left.

Most interestingly, on his travels he has met hundreds of self-made people. People who found a passion and are earning their living at it. People who saw a need and earn a living filling it. People who had an idea and earn a living selling it.

So he interviewed them and came up with a great book: The $100 startup (Amazon affiliate link)(You will get a lot out of this book, folks).

But, when recently asked by Marie Foleo what the one single most important feature these hundreds of successful people across the globe shared was, he replied:

The choices we make now affect the opportunities available to us in the future. @ChrisGuillebeau via @Stephen_P_Brown
(Click on it to tweet & share it with your world)

Right now, think of three choices you have to make today, and share in the comments below how you think they may affect your future.

 

 

Have stick, will travel

For several years the busiest conductor on the planet was Valery Gergiev. His conducting style is unique (to say the least) but he gets players rallied together to produce fantastic live performances.

Interestingly, he often doesn’t even use a stick (speaking vernacularly. The posh term is ‘baton’ but that’s one of those ‘tomahto, tomayto’ transatlantic words).

Hey – tweet this one:
UK/US translator: Tomahto, Tomaydo = BATTon, buhTONN via @STEphen_P_Brown

There’s one video out there of him conducting with a toothpick! He has three cell phones and keeps a suitcase of clothing in five cities in the world – at least if his flight is delayed he doesn’t have to wait around for his luggage.

Find out what it’s like to be a truly international conductor:

If you could travel the world doing what you love most, what would it be?