Understanding the music with Mark

Today's session was held with Kokoro's Conductor, Mark. Who provided great insight into not only the construction of music, but also into the story told purely within the music in 'The Soldier's Tale'. This is one of the most fascinating talks I have had during my degree as although being able to read sheet music and play an instrument I had no idea how music is actually put together. He gave a brief history of how music was formatted throughout the Baroque period using Diatonic scale, (harmonies and tonality) to produce a proportioned  and balanced piece of music. Yet this all changed after Wagner rewrote these rules in the late 19th century. Stravinsky is from the Russian School which have their own style of music and his early work reflects this such as 'The Firebird' (1910) and Petruschka (1911). The Firebird being his first collaboration with Diagalev and the Ballet Russe who had a residency in Paris every year. These both received great success yet his Rite if Spring caused controversy with his new style of rhythmic patterns that created an entirely new sound. It is this style where he manipulated the rhythm of the music by polyrhythmic layering that creates an 'offset' out of sync and quite uncomfortable sound that is also used in The Soldier's Tale. This can also be seen within the dances of Tango, Waltz and Ragtime within the piece that are all slightly disjointed and crude sounding. Mark also talked about how Stravinsky collaged the sounds in this work and included elements such as the Trumpets to create the traditional Royal March we all recognise. Elements of the music mimic the scenery such as the picato nature of 'Airs by a Stream'. What I found fascinating was the use of the music to story tell evident throughout such as a mock fanfare for one of the Devil's entrance as he imagines himself as Royalty when he is in fact nothing of the sort. The music is trying to be more sophisticated than it is, as is the Devil; the music painting his mood. It is entrances such as these that the actors will have to be careful with as altering them too much will conflict with the music and look wrong.

Reflection:
Mark's talk has made me want to listen to the music much more not only to get a fuller feel of the story but also to familiarise myself with entrances/exits in the music that may be relevant to costume changes and timings. Mark reitterating that the music is a collage has also made me feel greater confidence in my set design as it ties in flawlessly with my set decoration in the cubist style. I am interested to see how the disjointed music works with the acting style that Doug wants to experiment with - it all seems to be coming together really smoothly and securely - everything interlinking - decoration, visualisation, action and music. Some further points Mark added  from viewing the set was not to be afraid to squish up the musicians as they are used to playing in smaller places but also that the Double Bass player has a stool at a special height that she is likely to want to use rather than our chairs that we will have to accommodate.  At the moment I am wondering whether we can do this using fabric like the idea for covering the music stands but I shall get in touch and see what she suggests. The chairs must also not be too low and how no arms which Nick already notified me of.