Read, research, discover!

I'm a singer specialized in early music and as being one during my preparation for a concert  (regardless it's a programme that I put together or someone else) I'd do my research on the pieces I am supposed to sing. Looking up the origin of every single thing I have ever been busy with is probably a result of my insatiable curiousity, and it just got "worse" as I've got more and more involved with medieval and renaissance repertories.

Doing research became also a necessity, but also something I've always enjoyed to do. I think I've mentioned this before, but I decided to become a singer in the last year of grammar school (it is quite late to make such a decision, according to current standards - NB: it's a stupid standard), because I was tired of library hours and I needed challange. I didn't want to spend my entire adult life in a library. Little I had known back then that I'd be involved with early repertories which will demand a certain amount of library hours. I wasn't planning to become an early music singer I've just gradually become one. I still remember how I hated and cursed square notation and Gregorian chant at my first encounter with them during my studies and now I wouldn't be able to imagine my life without Gregorian chant, square notation and neumes! It was a true metamorphosis from being an old school Classical Musician-Singer into a brand new Early Musician-Singer. I had finally the tools to search back the origin of all those Renaissance motets I had ever sung with chamber and church choirs. I finally understood that Ave vera virginitas is just a little part of Josquin's Ave Maria motet. And I understood at last, why would historians would state that Johann Sebastian Bach was a revolutionaire composer for applying the old techniques with his newly developed ones. My growing knowledge on early repertories helped me to become a better and updated Classical Musician. The more I had to perform from early notation the better my sight-reading skills become.

I've seen classmates at conservatory who were completely clueless when they were pushed into doing research. They found it somehow a waste of time, and not as an opportunity to become better performers. The thing is that research will help you understand the pieces you're performing. Either you acknowledge this or not, sitting in your practice room won't ever make you a better performer, it will just make your technique better and not your performing skills. Imagine you have a really abstract piece on your programme: if you just playing the notes without understanding the piece itself, it doesn't matter how flawless your performance is, your audience will be bored and they won't understand the piece. Easy or abstract, any piece needs to be understood and only becoming as good as anyone else won't make you a better performer. Communicating the message behind - a message you decoded from the piece - will excite your audience. Technique will never excite or elevate them on the long term.

Therefore: read, research and discover! You think you've seen it all? Do you think you know everything? You couldn't be more wrong...

Spending some precious time with the audience...

I have to start by telling you, before this sentence hits bigger than it should, that it is so interesting how musicians have become elitist snobs (not everyone, but 95% of them) in the last decades. I have two conservatory diploma's, but I am sick and tired of the traditional way of performing music (nicely dressed up - preferably in black, or in a suit -; the venue doesn't really matter, any traditional musician can make a snob, elitist concert hall out of any venue). They do an excellent job, but meanwhile they are doing their best, they give a flawless performance, they forget to enjoy the whole thing (whole thing = the piece they are performing, the fact they are giving something to their audience, and all the emotions music can squeeze out of performers and listeners alike), and they also forget the fact that a flawless performance is a piece of cake for a machine as well.

Guess what? I would like to hear performing musicians make mistakes and show me they are just as much of a human beings as I am, moreover, I would like to see how they get over their mistakes. I don't care about how well you can play that piece, show me some flesh and blood, and please, please, entertain me! Make me laugh, or cry, I don't care, just make me feel alive!
Every single time I see a performer making a mistake and coming out of it, he/she becomes immediately very special to me and I will make sure I'll check out his/her performances in the future. For one single reason: for letting me see the human side of a performer. It is the madness of nowadays, that (literally) everything has to be perfect, though as far as I know only the dead are perfect, everyone else (the living) has a lot to accomplish still, right?


So... Now that this is out of our way, we can talk about spending time with your audience. I know, the paragraphs above seem nothing to do with the title of this entry, but believe me, that few paragraphs of rant will all make sense in the end.

It is funny, how we are not taught to spend time with the audience. I have met many people (singers and instrumentalists alike) who cannot say anything to the compliments and comments of their audience. We are so busy with doing our best on stage that we forget about what really matters: the people. I was also for a long-long time confused and I was at loss for words what to say when someone complimented on my performance or even shared some constructive ideas with me about it. Of course everyone comes to the final solution of saying "thank you" to these compliments and maybe a few more neutral sentences to those constructive comments. But while we are looking for this final and best solution, we really forget to spend time with our audience. Isn't listening to them after they listened to us would be at least the minimum we could do for them? Wouldn't it be the best way of figuring out how we can please their ears (and not the ears of other professional musicians)?

I used to be one of those singers who couldn't deal with her audience, and I am so happy I am not like that anymore. Also, fortunately I have been an exhibitionist person since my early childhood (showing off with my drawings, the new songs and poems I had learned, etc.), so it wasn't too difficult to reach out again to this. Now that I could (more or less) get back to this mentality, and I don't care anymore about saying something smart and artistic to my audience's words, I am able to enjoy the warm bath they are preparing for me: the compliments are the hot water, the bath oil and the bubbles, and the comments (constructive or not) are the cold water and the towel. And that's how everything stays in balance. I am happy I am finally able to enjoy their company after the concert and their happy faces make me feel satisfied - despite the mistakes I might have done.

Do you know what's good about your audience? First of all, they are cheering for you. Secondly, they forgive the mistakes you make at the concert, and they appreciate if you overcome the shock caused by this mistake. They forgive you, because you're human, just like they are. It is not bad to show your vulnerability to them - actually they love it, It is just the illusion created by music teachers that perfection and invincibility to motivate their pupils to practise enough. But if you bore them, that's something beyond recovery, I'm afraid. You can agree with me, and you can disagree, but it's true. After all, music is so much fun, so why would you keep all the fun for yourself?

Get it by your hands

"Don't beg for it, earn it! Do that and you will be rewarded."
(Eureka SeveN)

I have never been the kind of person who would be satisfied with anything that's granted. I have always found satisfaction in my achieved goals and my successfully accomplished tasks/missions when I had to really work hard for them (even if I had to perform a miracle). I would hate to be appreciated for being who I am (for my name, I mean) instead of what I do. When I told this to a dear friend of mine, he told me that it is an honorable and nice feature of one's personality, but it's also a little bit stupid. I cannot help, this is who I am, but I have to admit, I agree and disagree with him at the same time.

I agree, because it is indeed comes with more seemingly unnecessary investment (qua time, energy, money, etc.), and living on what you've already got by birth, everything that you can take for granted (thanks to your ancestors, and your name, or the position you happen to have) is much easier than to fight your way inch by inch towards your goal. But if you keep on working from the resources that you were given, you'll prevent yourself from reaching for an unimaginable success, because you cannot and you don't want to see anything else, but these resources. Of course, probably you may come up with new ideas, and manage to obtain new additional resources and connections to your current and given ones, but you'll only be able to use them until a certain limit. That's what happens also when your experience becomes a burden instead of a benefit. And anyway, who on earth like limitations in anything?

So I have to say, I firmly disagree. I am rather fond of the theory of the Greater Fool. The greater fool theory states that the price of an object is determined not by its intrinsic value, but rather by irrational beliefs and expectations of market participants. A price can be justified by a rational buyer under the belief that another party is willing to pay an even higher price. Or one may rationally have the expectation that the item can be resold to a "greater fool" later. (yes, Wikipedia is your evil friend sometimes... I wouldn't quote from Wikipedia if I wouldn't checked it carefully). The Greater Fool in my opinion is also someone who doesn't really looks for fame or the merits he may get out of anything he does. Instead of that, he leaves everything behind and leads the way through the unknown and creates new paths to follow for the ones that are coming after him. That's why he doesn't look at the price and the amount of investements he has to put into a certain project or new approach. The only thing that matters for him is that everyone who decides to follow the path he created will result something better than before. That's why he chases after his dreams (or in other words, the irrational beliefs and expectations of market participants).
The Greater Fool don't beg for success, he earns it, and get it by his hands, though sometimes he's rewarded with success.

Why is this important for a singer (or even for an instrumentalist)? Singing and working on your (vocal) development demands one to become a Greater Fool. If I would make a calculation on how much I've spent for school, singing lessons and travelling for the sake of my own education so far, I could buy a furnished house, and pay for its expenses for a few years. And on the other hand (and this is quite old argument, but still good) if I would get paid for all those hours I work on programme's, organizing concerts and projects, or just for practising, even on the minimal wage's hourly payment, I would be a millionaire. It always takes more investment in time, energy, money, etc. than it actually pays back in cash.

But just imagine: you sing a song at a concert (not even at any of those fancy concert locations, just a song after mass or anything like that), and then you see the happy faces of your audience - well, you can be sure that they will bring something nice home in their heart. Making people happy doesn't pay you in cash, and it doesn't pay off immediately, but it makes you a better person, and who knows? Maybe later on you will get an unexpectedly nice comission from someone or you'll be asked to join a project that's interesting and even pays well. NB: the other side of this coin is that you better not screw around with people, because that's also pays off, but that payment will hurt pretty bad.

Enough of complaining about you cannot do what you really would like to, and that there are no challanging projects you can join! If you really would like do something interesting, well do something interesting! Don't beg for it, earn it! Do that and you'll be rewarded.

Post-graduation shock

Oh, I already know, this entry will be just like the one with the title If I had ever knew that...
 
It is so amazing how your graduated musician friends and your teachers don't talk about the year after their graduation. To be honest, in the past year I seriously had moments when I was sure, I have gone slightly mad, or I have lost something I had during Conservatory. I missed the almost constant fizz and fuzz (but of course not the fuss), and I thought if I don't have this fizzy-fuzzy bubbly days constantly I must be doing something really wrong. Of course I've been told that I will probably need some time to get used to the idea that I have a bachelor and a master diploma, but I have never imagined they meant something like this.

And then last Thursday I went to listen to the bachelor final recital of a friend of mine, here in Tilburg. I met a few old friends as well, friends whom I haven't seen for a long-long time, and each of them asked me the same question: what are you doing here? They meant it in a way that since I am graduated, there's no school anymore for me, so they were wondering what keeps me still here. Many of the conversations were rather on the funny slide, and I explained them that I am living my life, and for that I have chosen Tilburg - for now at least. To the last person on that evening who asked me this question I confessed that I am trying to recover after that 6 years at the conservatory (however much fun it was, it was still an impulsive, intense and stressful period in my life), and honestly I wasn't really looking for opportunities to get employed according to my diploma's - to which he told me that it is normal. Appearantly, the year after the graduation is seasoned and featured with reaching the bottom (sometimes in extremes), and building up your career is not as easy as you have been told at marketing lectures. It is certainly not like sending dozens of application packages (including your CV, recordings, portfolio, etc.) to a dozens of professional ensembles and hoping they would call you back. That works in other sectors of the job market but not among musicians, and also not among singers (where you just throw a piece of rock and it hits at least 3 sopranos before it hits the ground gently, because the last soprano was really short).

The year after the graduation is the nihil that nobody likes to talk about and they would rather forget about it. And yet, I still feel blessed for this past year regardless all the struggle I have had. I would rather reach for the bottom of the bottom than to get to breaking point. I would rather have a few struggling days than to ignore the struggle and end up with a burn out. I felt guilty for not being able to do the same amount of work and pracitising hours without emotional outbursts, and I also felt guilty for not seeking the opportunity to perform whenever I can. I used to be someone who couldn't stay put for more than 5 minutes and was constantly making plans for the future. In the past months, especially since January I crawled back to my shell in shame and I was reading the books I wanted to read for a long-long time and also some more I was advised to read at that time. And now, about a 5 or 6 weeks ago I was finally able to come out from my shell and wake up from my slumber. I moved out from my old and tiny room from Doctor Nolensstraat and moved in to a more spacious house with a friend of mine (we are singing in the schola at Ringbaan West).Proving how silly a human being can be, after getting over my guilt about not wanting to show off my gifts like I did before, after moving in a more spacious house I felt guilty for being happy about having more space... Silly is that... And then the sun began to shine again, I spent a a few hours in the garden, enjoying the sunshine and I forgot about that remorse as well. My weight loss stopped and suddenly I began to gain weight again (I'm almost at the point that I am saying, Now, that's the minimum to survive, milady). Simply: I decided to enjoy life again, which I somehow mysteriously forgot to do for a few months in the near past...

So... What am I doing here? I am living my life. I spend it sometimes with music (with Scherzi Musici or planning the up-coming concerts of Bartók Rózsái, sometimes with baking brownies. I make money to be able to travel and to get singing lessons (for the sake of my development, but on the first place, because I love to sing), and to make a living. I have a church choir to conduct in Reeshof at the St. Antoniuskerk, and I am singing in the schola at Ringbaan West on every 4th Sunday of the month. It is not that glamorous (yet), but I love it - and maybe I don't need the glamour, but I need to become the sparkle. And now I remember that I have a pile of motets from Bamberg Codex to make a selection from and make a programme and get the singers and musicians together for it. I have plans again, and my plans are crawling up on the hierarchy in my life with every single goodnight sleep... Oh, how I love my curtains and my new bed!

Anorexia vocalis - the singers' disease

I am not too good at Latin, I'm just guessing that "vocalis" means vocal or something that can be connected to the human voice. I've made up this fancy Latin name from the eating disorder's latin name anorexia nervosa (if anyone can correct my Latin, I will be more than happy).

Because, yes... Music industry and digital recordings produce many vocal anorexic singers. When I am talking about anorexia vocalis, I am talking about the wish of every young singer: to sound like the big names on the recordings they hear when they are listening to CDs, tracks on Spotify, and so on... You wouldn't believe how damaging these digitally remastered and studio-steril recordings can be. But it's not the fault of studio workers, I wouldn't put the blame on them: they are just doing their job, though they assist in spreading the disease. No, no... The real suspect is the insane guy who came up with the idea of well temperament. I'm sure he just wanted to give a stable and easy system that would help musicians to find their way in the dark forest of tunings, and his intention was pure, I'm sure about that. Also, in the very beginning "well tempered" meant that the twelve notes per octave of the standard keyboard are tuned in such a way that it is possible to play music in most major or minor keys and it will not sound perceptibly out of tune.You see? People didn't play out of tune before the well temperation, it just sounded perceptibly out of tune.(Side note: I don't mean to rip on classical trained musicians, but meantone, pythagorian and other early music tunings don't equal with "playing out of tune"...). And on the other hand, this system suggests that there are no notes between E' and F': true, there is almost none for an instrumentalist (especially on a keyboard), but I assure you, there are plenty of notes between those two for a singer.

Intonation and how tuning works depends on several factor. It depends on the architecture of the building where you are singing. For example if you have ever sung in a Gothic church, or anything like that (like the Chapel at Fontys Conservatorium in Tilburg), I bet you've realized that the architecture pulls up the sound, and even if your intonation is flat, the architecture will pull it up (along with everything else) for you, while Roman churches are pushing down on your voice a little. Composers before the time of well-temperament were aware of this element, so they took it in account when they were composing a new piece (for example organum will never sound as marvelous in a Roman church as it does in Gothic cathedrals).
Another factor is the breathing: if the singer doesn't have a natural and healthy airflow, the lack of it will lead to intonational problems. If you are pushing the air instead of letting it flow, your intonation will be flat, and you cannot get into your resonance or at least you'll have some difficulties with it.

I know great singers, whom are considered having bad intonation, though they have excellent ears. They are constantly fighting with the negative feedback of exam committees and senseless concert venue directors (who - for some really weird reason - think that they know everything about singing... ridiculous...): they are told that they should develop a better intonation, but these "clever" people have no freakin' idea, that their feedback doesn't help the singer.

I suffered from anorexia vocalis as well until I figured out, that studio recordings are studio recordings, and "clever" people are not as clever as they think they are. Cleaning up the sound on a studio recording is like photoshopping a pizza into a woman. If you think it's not possible, just check the video below

I'm not saying that everyone sings like a pizza and then they are going to make a studio recording and they become a hot chic. Nope... I'm just saying that even the most excellent singers have bad days and they also sing out of tune every once in a while. I agree with Andrea von Ramm, that a concert where every single not is well in tune is a boring concert. Please, dear performer, make a mistake for me! Prove me that you are a human being like I am and you don't thing that perfect intonation rules above all. I'm interested in your talent not your perfect intonation.

On mainstream ad platforms

I don't like websites. Even though I have one, I still dislike them.

I don't like them, because everyone nowadays have one and I feel also obliged to have a website where I can show-off a little. Having a website is like getting and asking for attention 24/7 even if you don't need that amount of attention. Don't misunderstand me, I like to be in the middle of attention, I am an exhibitionist to the core, and I feel great on stage while performing, but the big difference between having the attention of people 24/7 and having their attention for a concert is the duration. Therefore I am obviously not aiming for being a mainstream artists in the sense of having a bunch of followers and/or stalkers who keep me entertained for the rest of my unnatural life.

I remember, when I was a little girl I loved to show my drawings to anyone around me to show-off with my drawing talent, but I hated when they wanted to watch the process as well. I haven't changed ever since: I like to share the songs I am singing and I enjoy the attention of the audience to the utmost, but when the concert is over and also the audience time is over afterwards, I enjoy to retire myself to my shell and (anti-social behaviour or not) keep myself away from people. That's also my main problem with fame, actually. You get unwanted attention and you have to keep your cool, otherwise you'll definitly loose your audience.

But back to websites... Yes, I have one and please feel free to check it out: http://www.johannafoldesi.com/

And no, I will not feel offended if you check out my website. I prefer to call it "online portfolio", or bungalow... or anything else but a website. The main reason why I hate to have one is that it wasn't my choice to get one, I was rather pushed to make one for myself, and even though I enjoy writing the contents and update it every once in a while, there's a slight loathing towards the fact that I am objectifying myself, I am making myself a product on 24/7 instead of doing that every once in a while by giving concerts. Let's nail my colours to must: an ensemble having a website or a facebook page, that's OK, I'm perfectly fine with that, because then a certain "organization" is advertising itself, and that's already condemned to objectify itself since it's not one personality but a mass of personalities.

Soooo... back to "whoring"... Please check out my website: http://www.johannafoldesi.com/

Catering industry vs. Classical musicians

OK, not Classical Musicians... Classical Musicians and Early Musicians alike... 

I have a part-time job at a restaurant in the outskirts of Tilburg. No, I am not a perky waitress, neither helping out in the kitchen. I am on the bottom of the hierarchy: I am one of the dishwashers. Heavy physical work, but if you do it right it can bring your body some benefit (it is like a complete work out). I work here since Easter last year, and though doing the dishes doesn't match with my profession, it is good to  keep my financial basis firm and on the other hand the schedule is flexible. There's not such a high salary that would pay enough to give up such flexibility. As a musician you need this flexibility, because the amount of commissions and concerts are not frequent enough to provide you enough money to make a living. 

I am sure many of you have done this kind of job before, but comparing to other restaurants, this one is different in many ways. First of all you cannot order a meal a la carte, because they don't have a menu card. They are specialized on parties, events, catering, feasts, birthdays, weddings, receptions, etc. Three halls, a bar, and two smaller independent buildings give place to these events, and there are days when all of these are full of people and they even have more than one team going on providing catering service somewhere else. Yes, it is extreme, but I love it. It tears my body apart, because my task is not only doing the dishes, but also cleaning everything up, and put the clean stuff where they belong to (in the kitchen, or on the backroom, or wherever they have to be put). So it is not only physical job, but also requires some smart planning of logistics, fitnesse and effective quickness.

I have spent several months there until now, and I have to say that we, musicians (especially classical and early musicians) have what to learn from these people. Here's a list with some explanation to each point:

1. The customer's No.1 priority

It doesn't matter how much time and energy the chef invested in that particular dish, if it tastes awful, the customer won't pay for it. It is interesting how our audience works, and in many sense we, musicians, can be really grateful for their patience. I mean, nobody would ever let anyone to push some awful tasting food down his/her throat at a restaurant, but our public will clap no matter what we do. But no matter how much time the chef spent with that disgusting stuff, you won't eat it. Isn't this a little upside down? There's one thing in common though with restaurants with horrible food and musicians giving terrible concerts: after a short time they will loose their customers (and not only because nothing lasts forever).

2. Effective teamwork is more important than anything

During parties, dinner events and many more, waiters, waitresses, chefs and everyone in this restaurant are working in such an effective and cooperative way that the result works as a well-oiled machine and all the guests have a great time there. But when the guests are going home, this team continue to work on preparing the other day’s event, and they are helping eachother in order to finish as soon as possible. This is definitly something I am always amazed about, whenever I see it. They either learned or they behave by nature in this certain way, because they know that being an obstacle cause them nothing but trouble and misfortune (not immediate, but long-term trouble and misfortune). There is this joke about the waitress and her friend are having a conversation about a night out in town:

- Sooo... Can you make it tonight to go out in town?

- I don’t know, I have to work from 16:00 o’clock.

- And when will your shift finish?

- Finish? My shift doesn’t have an end-time...

There is no definite end-time of the shift: it finishes when the job is done.

On the level of musicians teamwork (in best cases) works until the final cadence of the concert, and then they are just looking for their own benefit. I may be wrong (I've already said that I'm not right, neither I possess the truth – nobody does actually) but musicians can be really an obstacle in eachothers development and success (more often on purpose than unintended, unfortunately). They call it competition, which is OK, if two ensembles are competing with eachother on the market, but this occurs too often among the members of an ensemble and in my point of view, that's just simply pointless and stupid. Being an obstacle in your fellow musician’s way is the same thing when a waitress’ priority is not being part of the team, but seeking her own good. Musicians and singers don’t do this because they are bad or evil people, they are doing so, because they are so busy with being an artist and with the music they are performing (especially with the interpretation they imagined behind the notes) that they are just completely clueless when it comes to behave like a human being. People (and this applies on everyone in general, this is just human nature) don’t think about long-term solutions. For some reason they are also happy with temporarly pleasures and their selfishness only brings them misery, bitterness and loneliness. They are choosing for the short-term pleasures, because long-term solutions require sacrifices, and because these sacrifices don’t pay-off immediately, and because people are impatient in general, they won’t take the risk of giving away something small for something bigger (which pays off at an unexpected and unpredictable time).
NB: Dear Singers, I have really bad news for ya... Being a singer means to take these risks and make these lesser (sometimes even seemingly bigger) sacrifices if you would like to do your thing right. Good news: it always pays off quite nicely and your reward will also stay for a life-time (if you are smart enough).

3. If the customer is happy, we are happy

This seems to be the same thing as the first one, but this actually rather points out that if you make your customer happy, it will make you (as the provider of this happines) also feel good about it. Positive feedback and positive emotions are just as important for someone who works in the catering industry as it is for you, dear performing musicians. I hear many people complaining about how they cannot make a living as a musician or as a singer (nevertheless, comparing to the Middle Ages, when musicians were the outcast of society, you can be happy about being considered as an equal human being, protected by the law as anyone else). Well, it is because you know what would make your audience happy, but you are just refusing to satisfy their needs. Of course they won’t want to listen to your mindf*cked ideas, if you don’t serve it in such way that it would get them in the mood of eating it. It’s like having sex with someone without any foreplay: a quickie can be exciting and pleasuresome from time to time, but invade your partner with only quickies and having only one-night-stands will only fuck-up your emotional life. The opposite also applies: if you serve your a little-bit of perverted ideas in an „edable”-way, even a mindf*ck will spice up your relationship with your audience. You just need to put these ideas in context and be really clear about communicating them.

 

Among this list, and to refer to someone else’s words proving we need to change our mindset about concert and/or music concepts, there you go: a really interesting, recently published article. Those, who follow my posts on Facebook, might have already seen me sharing this article, saying: I firmly believe that if one begins to think differently and voices his/her opinion, things may change things for good. (Partly that’s the reason why I am writing this blog, and also because I’m a hopeless exhibitionist craving for your attention – like every performing artist is). I had the luck to meet Brendan Walsh (the author of this article), and I was also attending his lectures Cultural entrepreneurship at the Fontys Conservatory in Tilburg. To be honest I didn’t want to go to his lectures, and I had one simple reason: in my experience, though Fontys Conservatory is an innovative institution willing to improve education with great lecture ideas, their business-related lessons during my Bachelor years were simply a disaster (guest speakers without any clue about music industry or the manners of the classical musician world). So I thought he will be just the same as his predecessors, but I was wrong. Maybe the most remarkable memory from his lectures regarding the subject of this entry when he stated something I had never imagined a performing musician would ever admit: the new generation of musicians is a threat for the generation before them. When I’ve heard him saying that I was silently applausing and rejoicing in myself, and with this statement he became (in my eyes, at least) from an entertaining teacher and presenter to someone worths pay attention to. So there it goes, a shout-out for his article: Classical Music is dead... Long live Classical Music!
NB: He mentiones a few recent attempts to make classical music a product which sells better, by putting classical music performances in new context (regarding location, dancing to classical music and such), which is (in my opinion, again) a good way to point out we need change, but until our attitude won't change, none of the results (good or bad) will hold - nevertheless, we need these pointing fingers.