The Future of Music - Hidden Reflections

Four years ago I set out on a journey. I was going to college to be trained for a profession that doesn't exist so I set my ULTIMATE GOAL: to figure out what was the "next step" for classical music. I thought of everything, from ways to compose music in a more communicative manner and changing the performance settings to the audience's role and possible ensembles. After several intense years I collected a massive amount of ideas from brainstorming and started a new concert design. There was only one major problem with the new design, it was missing something. It was so frustrating. The one major element which would later become the centerpiece of my master plan. (I sound like a mad scientist...)

Then one day this past summer while I was sitting on a pier in Italy I figured it out. Wow...it really came out of nowhere, I was thinking about the metaphysical nature of the Scriabin Fantasy Op. 28. How the characters in the piece may actually be interacting or if they only fantasize a reunion of the souls. All of a sudden the idea of classical music or any art form having a concrete effect on audiences surfaced. I'm not really sure where that idea came from, but it exploded in my mind (POOFF!). I just stood up and started to smile, then laugh, and then cover my eyes while speaking to myself as I realized that I figured it out. That minature thought morphed my thought process into an avalanche.

Before I realized I had returned to The States with the knowledge to help me officially start my career as an artist. I started putting together an advisory board and compiling resources. I was going to start a company! An Artist Collective company that would bring together all types of artists in order to create a performance no audience will EVER forget. Just take a second to imagine a company which employs every type of artist (Dancers, Musicians, Painters, Poets, Sculptors, Photographers, Actors, Composers, and so many more). Collectively these creative masterminds will perform shows that challenge interactive audiences and push the definition of artistic collaboration to the absolute limit. Improvisation, humor, and genius are just a few of the elements that will run through the concerts which may occur in ANY type of venue - anywhere: OUTSIDE? WHAT?...

I know it sounds impossible or "too good to be true". That's the same thing that came into my mind as I imagined it all. BUT WAIT!!! The amazing news is that TODAY is Day 1 of Hidden Reflections LLC. As a company we are preparing for performances this summer in Atlanta and New York. All the artists are recruited and I can confidently say that I have an incredible group in each city. Keep an eye out for videos this summer after our performances, as well as a website and SO0oo much more...

I can guarantee that by drastically changing our s t a l e performance tradition Hidden Reflections LLC will illuminate the artistic world which has slowly been buried under our feet.

Here's our promotional video for the New York performance:

Hidden Reflections - "Unleash Your Imagination" from Julian Toha on Vimeo.

This is a promotional video for my newest project. We are uniting all art forms to create a concert that is rich visually and aurally. We plan to revolutionize classical music performance as well as create a stronger bond between all art forms. At the same time, all the artists involved are recruited from the cities which we perform in. This allows each performance to not only be unique, but more importantly rooted in the traditions and culture of that city. Concerts are being organized this summer (2010) for Atlanta and New York. For more information visit www.juliantoha.com or www.hidden-reflections.com.

More blogs on Hidden Reflections to come...

Different Beginnings

By comparing the lives of these two VERY prominent composers you can't help but notice that they came from two very alternate universes. Although Stravinsky grew up in Russia, which is not completely different than Hungary, you have to break it down to the details to really notice it.

So Bartok first. He grew up in a village called Nagyszentmiklós, with his mother, father, and sister, who didn't really have much more to offer besides their love and piano.

So that's exactly what Bartok did; piano. He actually got quite good. So good that by the time he was 8 he was studying with a student of Liszt at the Royal Academy of Music in Budapest. The rest is history; from there Bela just worked his way up the ranks until he took over the world as one of the 5 Best composers of the 20th century (a future blog)!

Now Stravinsky took a slightly different path, but still ended up on my list of the 5 Best composers of the 20th Century. Brought up in St. Petersburg, Russia Stravinsky's has been quoted as having a bad childhood, but I disagree with him. He wasn't getting medicine from the Witch Doctor for his deadly rash (Like Bartok did for most of his early years. Which he probably contracted from playing outside with the gypsy kids in his village). So, like I said, Stravinsky grew up in St. Petersburg where things were probably not too bad. One unfortunate event that occurred early in his life (by the way, he lived forever - 90 years!!) was the passing of his father when he was about 20. This is one commonality between Stravinsky and Bartok. Bartok's father died when he was 8. Another commonality is the fact that both were accomplished pianists by a young age. Interestingly, Stravinsky actually went to law school (forced by his parents) for a while, until his Blood Sunday. From thereon he concentrated on music. His turning point came when he ran into Nikolai Rimsky-Korsakov. From there Stravinsky was set as a composer and musician.

Now output of the piano works by these two greats is slightly unbalanced. Bartok has a relatively large output for piano. With pieces ranging in difficulty from his piano sonata or piano concerto no. 2 all the way down to his first book of Mikrokosmos, he covered every level. Stravinsky on the other hand, who is known more for his ballets and orchestral works, has a lesser output for the piano.

Bartok's Piano Sonata is definitely one of the best pieces of the twentieth century piano repertoire. It has a rhythmic drive and percussive nature that can greatly effect audiences. It was originally used by Bela as one of his performance pieces. Today, it has become a constant on the concert stage (along with his Out of Doors Suite). At one point I used to watch this video everyday:

Zoltan plays this better than anyone

Stravinsky also has one exceptional piece for piano which is, well, not even originally written for piano; three movements from Petrushka. This can best be decribed as a "virtuosos delight". With wide reaches, blazing tempos, and scary leaps this is a very difficult piece. With that said, if you can pull it off, you have yourself an amazing competition/recital piece and don't let it escape your fingers! Besides this transcription, Igor also wrote a couple of sonatas, a set of etudes (these are good), and a tango! The only other piano work, which I really really love, is his Concerto for Piano and Winds. I am starting to learn it currently and it cannot be decribed as anything else, but INCREDIBLE (sorry to use such a big word). Go to the library and find a recording of Boris Berman playing it, it will make you want to learn it.

Until Next time. . .Toha OUT!