Reflections on Influence

Published by Liz Garnett at Helping You Harmonise on Thursday 28th September 2023
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The concept of ‘influence’ is central to both academic and informal discourses about music. It serves as an explanatory narrative to make sense of how a particular artist’s work emerged with the particular traits it did. There’s quite a lot written about what it actually means, and how it might work, though in fact most people who talk about influence haven’t read much if any of that literature, and still manage to make sense to each other.

I am going to try not to get too distracted by that bigger-picture stuff today as there is a specific thing I want to reflect on: how discourses about female composers often talk about who influenced them, but rarely seem to credit them as having influence on other composers. Just as women are in the west traditionally named as adjuncts to men, taking their father’s then their husband’s names, our stories about female artists are patrilineal.

On Having a Starting-Point

Published by Liz Garnett at Helping You Harmonise on Monday 18th September 2023
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When I sat down to write today, I thought I was going to be using the title ‘the problem with cleaning’ to reflect on the way that the process of cleaning can have the effect of raising your standards of cleanliness, such that the job is never done. It’s not simply that it’s only when you’ve removed the film of dust over everything that you can see the stain on the carpet clearly. It’s that as you give it attention, you just keep noticing more that needs cleaning.

But as I started to write, the thoughts felt awfully familiar, and the search function reveals that I reflected on this experience as a metaphor for rehearsing back in 2011. (I should add that today isn’t the first time since then I’ve done any dusting.)

Going in Deep with Bristol A Cappella

Published by Liz Garnett at Helping You Harmonise on Wednesday 6th September 2023
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BACsep23Saturday saw me back with my friends at Bristol A Cappella, coaching them for the first time since they stormed into a gold medal in the BABS mixed chorus contest in May. It is said that you start singing better the first time someone pins a medal on you, and there was definitely a new sense of assurance on show. They’ve always been an intelligent chorus, willing to engage with things that will help them improve, but the process of making those gains is quicker when the singers aren’t wondering whether they are capable of them.

Our task for the day was to work on four repertoire songs for their up-coming show to celebrate their 10th anniversary next month. It felt like the earliest times I worked with them, back before the barbershop mixed chorus existed, with a wider range of styles and repertoire, including a texturally-adventurous 8-parter. You can buy your tickets here: bit.ly/BAC10yearconcert

Clara Schumann’s Op 6 no 1 – When was it written?

Published by Liz Garnett at Helping You Harmonise on Friday 1st September 2023
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Clara Wieck (later Schumann) published her Op 5, 6, and 7 in 1836, having sent them all to the publisher in August, about a month before her 17th birthday. Op 5 and Op 6 are collections of pieces for solo piano, the former consisting of four character pieces with programmatic titles, the latter of six pieces identified by genre labels: Toccatina, Notturno, Ballade, Pollonaise, and two Mazurkas. Op 7 is her Piano Concerto.

I’m primarily interested in Op 6 at the moment, but it’s worth thinking about all three works together as they were published at the same time, and were being worked on in parallel. We don’t have a lot of evidence about their genesis (no autograph score of Op 6 has been found), but a handful of mentions in Clara’s diary* give us a few date stamps to work with. The catalogue of works in Nancy Reich’s biography is invaluable here; I am once again grateful to the hardcore musicologists who dig down deep and dirty into the source material and process it in ways that make it useful to those of us who come along afterwards with questions.

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