Tag Archives: Folk music

Project Finito

After almost a year from planning and researching, to living in Trieste for 3 months, to writing my documentation and giving a presentation, I have finally finished my Practice in Context project. Without a doubt, I’ve learnt loads and really enjoyed the process.

So this is just a post to say…. thank you to everyone who:

hosted me, gave me a bed, played music to or with me, taught me tunes, gave me advice, gave me contacts and put me in touch with people, fed me, clothed me, watered me, talked with me, gave me information, invited me, gave me music c.d’s and other resources, drove me around, taught me Italian and was patient enough to listen to me in Italian.

I could not have done this project without the amazing contributions from the citizens of Trieste and around!! There are so many people who fit into one or more of these categories, so thanks! It’s been a joy.

In other news my band, Four People have been invited to play at a festival in Lake Garda this Summer with a stage from from a folk music bar in London. So tour of Northern Italy 2014 is looking very hopeful!!

I’m re-performing my presentation again tomorrow for other students who are about to plan a project to see how its done and give some tips etc. How well I’ve fared in the module is yet to be seen – I think I’ll find out in a couple of weeks. Fingers crossed.

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An extremely overdue post about my trip to Milan.

First of all, I think this post is about two months late. Since I returned from Italy I have been manically documenting my project for university deadlines. I made a book with photos, diagrams and c.d. and last week I gave a presentation. I made a theatre studio into an osmiza to make my presentation nice and informal. So it is only now that I’ve got around to updating my blog – apologies to my most dedicated fans!!

So a bit of context about this last venture in my trip: I briefly met Stefano Schiraldi at the Barcolando in October. He then contacted me through this blog and we began meeting informally to play music. He told me about this project he was working on, creating original music and songs for a theatre piece. He was writing for many different arrangements such as solos, group vocal pieces, accompaniments, so I we were able to try out various parts and develop the scores.

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(performance flyer)

After a few of these meetings, quite unexpectedly, Stefano asked if I would like to join him and the theatre company in Milan. Of course I willingly accepted the offer and couldn’t quite believe my luck. So on Monday 25th November we drove to Milan to start rehearsing – the performance would premiere on the Thursday and ran for 4 nights and 1 night in Trieste the following week.

The company had only these three days to rehearse the piece pretty much from scratch so the rehearsals were quite tense at first because many things had to be achieved before opening night. As a result the music changed a lot, having to cut and paste sections here and there. Having to navigate the situation solely in Italian was… challenging. Not being familiar with the performance or cues was an added difficulty especially as there was little time to faff about/continuously ask people to repeat themselves! But luckily I soon caught on the the structure of the performance.

By the opening night Stefano and I were confident that the music would go well. We had developed a good rapport and communication over the rehearsals and his ruthlessness over accuracy and selection of the final performance material had paid off.

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Dell’Umiliazione e della Vendetta (of humiliation and revenge) dealt with attitudes and violence towards women in Italy but, moreover, it celebrated womankind, femininity and girl power. It was a piece of Music Theatre devised by an all-female company.

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In discussion with the director, Marcela Serli, I found out more about the devising processes. Although the piece was contemporary there were quite a few influences from traditional practices such as the Tarantella dance  and Marina Abramovic’s Balkan Erotic Epic.

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In short, it was a great opportunity to be able to work on and perform in this piece and I am reaaaally grateful to ATOPOS (the company) for letting me play and to Stefano for guiding me through! It was whirlwind of a week – I stayed in no less than 4 different people’s houses in various locations around Milan which was quite disorientating but also pretty exciting.

Overall it was heaps of fun and I am very happy to have been involved in such a quality piece of theatre.

Barcolando!

This weekend, the biggest regatta in Italy took place in Trieste: La Barcolana.

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This event attracts thousands of people from all over Europe. As well as the race on Sunday, there are other events such as markets, talks and a music festival. I was also excited for an alternative music event, Barcolando, organised by the MaxMaber Orkestar – a band I met playing in the street last week.

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I thought the weekend would be the optimum moment to try busking in the centre of Trieste. Due to dreadful weather, my chances of being able to play were looking quite slim. But on Saturday I decided to bite the bullet and bring my violin out with me for the afternoon. Within minutes of leaving the house, the heavens opened and I took shelter under some scaffolding for almost an hour! Feeling a bit disheartened, I continued on my journey to look for a good place to play. My prayers were answered when the sun started to shine through the black clouds. I eventually found a spot that had a good amount of traffic and no conflicting noise (loads of restaurants and bars were blasting out music in celebration of the Barcolana) and played a half an hour set of jigs, reels and other miscellaneous tunes with a slight maritime theme. I was slightly apprehensive about playing in public by myself as I’d never done it before and the other street musicians in Trieste are all really accomplished bands – my jigs and reels seemed humble in comparison! I needn’t have worried, the performance went down very well – many people approached and thanked me, and a few made requests. I decided to give the set another go in a more densely populated area – the pier opposite the main square where all the boats were docked ready for the race on Sunday.

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The performance worked equally well here – although it was much more touristy and many people were taking pics and filming me, so I started to feel like a bit of a gimmick. Maybe I was asking for it, playing the Sailor’s Hornpipe…

Overall it was quite a success, I made 30 euros – not bad for an hours playing. I have decided that I will make busking or playing in the street a regular fixture whilst I’m here. This maritime playlist was quite tailored to this event, so I’d like to experiment a bit with different playlists. I specifically chose not to play ‘classical’ pieces this time, firstly because of the maritime theme and secondly because my project is focussing on the performance of music that has primarily been passed down aurally and is not part of the western classical tradition. However, having been taught the violin using the Suzuki Method, I have a large catalogue of classical pieces committed to memory. I don’t think it would hurt to experiment with a classical playlist for busking in the future – it seems odd, even, that I would ignore this large part of my musical experience. And maybe, in the not too distant future, I will have a playlist of new pieces that I’ve learnt here.

Back to the Barcolana – I was making my way over to the Barcolando concert (leaflet above) when the crew of one of the boats, invited me on board for a glass of wine. They had heard me playing and enjoyed it so much, they invited me to join them for dinner later on in the evening in exchange for a few more tunes, which is what I was secretly hoping for!

I was slightly nervous about asking to record a few songs at the event – I didn’t know whether it would be completely out of the question. But when I approached Max (the organiser) he laughed and said “sure, everything’s free here. We’re not in Church.” No, we definitely were not in Church – we were at Piazza Cavana, in an area known as ‘la zona vecchia’ (old town) at the start of a free outdoor concert, complete with makeshift wine stand. All more or less illegal. An evening of counterculture mayhem was about to arise. Here I will give a description of the bands with some soundclips that I made.

First to play at the concert was Rosamarina, a folk group based in Trieste but playing traditional songs mainly from Southern Italy.

This performance really stood out from other music performances I’ve seen because of the integrity of the vocal delivery! You can probably hear the intensity and purposefulness of the two female singers on the recording – they were also really lively, moving around the whole performance space, dancing, interacting with each other and the audience. In modern music performance it is rare to hear voices using so much expression and singing in a different, more ‘shouty’ area of the voice. It reminded me that there are so many different ways of using the voice – it was really exciting to hear this style!

Next up was Irene Brigitte, a musician involved in various art projects in Trieste. She sings in Italian and French and played some of her own compositions with ‘world’ influences and some well known songs that the crowd joined in with.

Then there was Matteo della Schiava – a 3-piece band. Quite rock ‘n’ roll ish – and really unusual sounding with djembe and tambourine.

Stefano Schiraldi, a well known performer in Trieste, played songs in the Triestine dialect.

At this point, I went to have dinner on the boat and played them a Swedish dance, which drew quite a crowd. Hopefully they’ll send me the video and I can post it up here. I was lucky enough even to be invited to sail with them in the race the next day!!!

Back at the concert, Shukar Quartet was playing – an instrumental group I had already met busking. They play balkan and gypsy jazz tunes with a very mediterranean style.

At the top of the bill was the MaxMaber Orkestar  – a group I had also previously seen busking and who had informed me of this event. They play a mix of balkan, klezmer and italian songs. The volume on this recording is a bit wonky because I was having to dodge a spontaneous circle dance!!

After this song, I got rid of my recorder and bags etc and joined right in with the dancing.

At the end of the concert, I thanked Max and the other performers for one of the most exciting concerts of my life(!) before going home to get some sleep before the race on Sunday.

One of the things that struck me about the evening was that while most people were listening to well-known Italian performers at official Barcolana concert,

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a much smaller handful of people chose to come to the Barcolando.

 

 

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So I am wondering if one of the ways the performance of traditional music, or music with traditional influences continues to be played outside of mainstream music culture is to exist as a kind of musical subculture. I don’t know much about the study of subcultures – but it’s something that I want to look into. Everything about the evening was unofficial – on one hand I think this is one of the reasons why it was so creative and exciting, on the other hand I think its a shame these kind of performances don’t gain much recognition outside of the small group of people who know about them.

I am also thinking about the context of my own presence at these events. Throughout the evening, the audience joined in with many of the songs. I, of course, was hearing most of the songs for the first time. I didn’t know what they were called, or what they were about. I only knew the words to one song, which I learnt in my first week here. So one thing I would really like to do, is find out what these songs were, as I feel like a huge part of the context is missing. Hopefully as I become more familiar with Italian and the music of the performers in Trieste, I will be able to take in more than just the melodies!