A Woman's Paris ~ Joie de Vivre

(Part one) Mezzo-soprano Clara Osowski and pianist Mark Bilyeu‘s interview on French mélodie, part two, explores their processes as musicians and as professionals, how the experience of working as a team has changed their world. It is preceded in part one by their insights into musical structure and color, how sound moves, and how we respond to melody and words. The essence of the art song, particularly the French mélodie, lies in the subtle interplay between language and poetry, fine distinctions that touch the human spirit with images, sentiments, emotions, and rhythms. From Clara and Mark, we gain an understanding of the qualities that run throughout the art song genre and learn what it is about the art song, particularly the French mélodie, that delights the ear and brings us such satisfaction.

“When talking about art songs, it’s almost always French vs. German, Debussy vs. Schubert. For me, the extroverted nature of the Germanic art song reaches out and grabs you, whereas French song stays put, is more demure, and waits for you to approach it. Both these camps have stood the test of time, but I think there’s something very charming and peculiar about French music that grabs us.” —Mark Bilyeu, pianist

“During a master class I was told that I didn’t have to necessarily make the audience see what I see, but suddenly understand the “feel.” I came to realize that art song is an extension of poetry that can and should be interpreted in individual ways to develop true civility and understanding in our society. The free release and dissolution of the absolute made the art song so much more attractive as a communicative art form.” —Clara Osowski, mezzo-soprano

Mezzo-soprano Clara Osowski and pianist Mark Bilyeu perform mélodie Française song-cycles at the Francis Poulenc Festival in Tours, France, August 20-30, 2013. Clara Osowski: (Website) (Twitter) Mark Bilyeu: (Website)(Facebook)

The Centre International de la Mélodie Française and the Académie Francis Poulenc

Mezzo-soprano Clara Osowski and pianist Mark Bilyeu have been selected to perform at the prestigious Francis Poulenc Académie and will participate with art song performers from throughout the world in Tours, France, August 20–30, 2013. For more information visit: (Le Centre International de la Mélodie Française (CIMF)) (Académie Francis Poulenc)(Francis Poulenc Summer Event and Poulenc 2013 Complete Schedule)

The Minneapolis-Tours Sister Cities Alliance
Clara and Mark are being supported by the Minneapolis-Tours Sister Cities Alliance. For information visit: (www.mplstours.org)

INTERVIEW: PART TWO

AWP: Name the single book or movie, work of art or music, fashion or cuisine that has inspired you.

Clara: Just recently, I find that the silliest little, banal things of everyday life can inspire the strongest reactions—and I’m actually really grateful for that.I can’t trace back to one thing—perhaps the Sound of Music? I watched it religiously as a child. Every day was either the Sound of Music or Seven Brides for Seven Brothers, followed by Sesame Street, on repeat. Most recently, Quartet, Dustin Hoffman’s movie about a retirement home for musicians (they exist!), inspired me. I can’t even begin to put into words the renewed feeling and approach to singing, love, life, joy… all of it! Go see it!

Mark: In 2004, pianist Karl Paulnack gave a welcome address to an incoming class of students and their parents at the Boston Conservatory, where he teaches. This speech, in which he speaks about the function of classical music in today’s society, went viral, and has been an inspiration to musicians—young and old—since. I’ve sent it to family and friends, and keep it bookmarked on my web browser and return to it frequently. It can be found at: http://www.bostonconservatory.edu/music/karl-paulnack-welcome-address

AWP: What was your first exposure to music?

Clara: My mother was a church choir director and music teacher, so I was introduced to the piano and the saxophone very young. I distinctly remember the most spiritual moments in church were during the hymns and trying to sing duets with my mother next to me in the pew. My dad can also whistle any tune perfectly, even some of the very earliest solos I had in elementary school.

Mark: My father was a high school band director and private music instructor. Music was always an important part of my family life, and I am so grateful for that.

AWP: Could you talk about your processes as musicians—as a pianist and as a singer?

Clara: It’s really a slight miracle. As musicians, we are just interpreting a graph, focusing on accuracy, but we are also developing its interest. It’s extremely important in the process to nurture both. Understanding the text has to be equal to learning pitches. The style of the composer has to be equal to the history of the music at the time of composition. It’s a very delicate balance between the historical and the contemporary, and as much as I can blend these opposites into my practice, the process becomes rewarding for me—and eventually the audience! Some days, though, reality hits, and all I have time for is getting the right notes and rhythms.

Mark: When approaching a new song, I start with the text. Reading it over and over (now with my ears covered), trying to find the poet’s voice through rhyme, rhythm, sonorities, etc., because this is what the composer first read and was inspired by. As a pianist, this isn’t instinctive. Pianists see black dots on a page, and we intuitively want to hear the sound, find the perfect fingering, understand the harmonies; we want to play it. Spending time on the text is something I have to force myself to do, but this work lays the foundation for a more nuanced and accurate performance. From there, it’s time to learn those notes, and once that’s accomplished, it’s all about simultaneously playing and singing. I’m no Pavarotti (who is?), but unless I am able to sing the vocal line, I’ll never understand the physicality of forming the words in my mouth, of having to sing an entire phrase in one breath, or have the visceral experience of delivering the poetry. It’s what makes a good pianist and good partner, and that’s the ultimate goal for me.

AWP: As professionals, how has the experience of working as a team changed your world?

Clara: Forgiveness, trust, growth, communication, communication, communication! It’s really fostered a professional relationship that navigates through whatever the other person needs. The way Mark practices has influenced the way I now practice, and it’s stretched me to think of new ways to get to the same place. It’s also easy to share a cup of coffee (and stress levels) before we make music. There’s really no other way to make rehearsal as fun or as insightful as by working with Mark.

Mark: As a pianist who specializes is collaboration, I work with a lot of people and  personality types, often on a short-term basis. That’s partly why I love the work: it’s always changing, and never dull. That aside, it’s so rewarding to really commit to a partnership and invest time and energy into something you want to last beyond the proverbial “next project.” Clara and I have been working seriously together for just over a year, but have developed a really special relationship where we are able to speak directly and candidly to each other without the social obligation of inserting a buffer, like “maybe if we….” I have a lot of respect for Clara’s musicianship, her diligence, and her abilities, and it’s energizing to work with someone who inspires me to push myself. Some of my most meaningful music-making has been with Clara, and if I say that now after 16 months, I can’t wait to see what happens in the next 5 years.

AWP: Tell us something we as an audience probably don’t know about musical performance—behind-the-scenes details, the concert stage, the instruments, etc.

Clara: This is something that I don’t tell a lot of people: I loathe the pageantry in music performance. I want to sing comfortably, I don’t want to be separated from the audience, and I don’t understand the importance of a costume change. It’s necessary at times to put my feelings aside, of course, and put on my best dress and shoes, but I really don’t want to let that get in the way of the music and expression… it’s a lot of work!

AWP: You’ve recently studied with François LeRoux, Director of the Francis Poulenc Académie at the Vancouver International Song Institute. What was that experience like?

Clara: François LeRoux’s patience and care with each student was inspiring as a teacher. It’s an action of being and understanding, rather than instructing.

Mark: Mr. LeRoux brings with him an energy that is hard to describe, and impossible to avoid. His love for French song, and for French music in general, is entirely infectious and truly one-of-a-kind. Here’s how I know his love and dedication are genuine: he’s always offering his personal “tips” and “tricks” which have made him the interpreter he is, which he’s learned fromhis own interactions with composers, or their students, etc. They are things which can change the way I play a phrase, but also are things which potentially change the way I play Ravel entirely. I sometimes feel like I should stop him and say, “No. Don’t tell me this. Stop. I’m just me, and this story is too big for me.” But he teaches us, because his commitment to an authentic performance is genuine. It doesn’t matter if he’s the one on stage (which isn’t always the case with performers!), it’s the art that’s important, and that makes festivals like the Poulenc Académie so important.

AWP: As musicians, do you keep a journal? Is there the temptation to keep a journal to preserve what you’ve experienced?

Clara: Yes. I could always journal more. Recital programs, concert programs, the margins of my music and even my taxes all are included in my journaling process. Sometimes a personal plaguing issue will be resolved in a choral rehearsal, and so often I will sit in my car before commuting home. It’s mandatory for me to reflect before I can turn off whatever music is playing in my head—most nights, this doesn’t happen if I don’t release my information through physical pen to paper.

Mark: I go in spurts when it comes to journaling. I find myself writing when I’m in a high-intensity learning environment (such as the Poulenc Académie), and I let it lapse when I’m back in my home-base. I sometimes wonder if that’s the time I most need to be writing down ideas, but often times don’t.

AWP: What is the best musical advice you’ve ever been given?

Clara: Your musical work and performance saves lives. Enter the practice room knowing that you will do this someday to communicate through your craft and to save a life. Musical practice, medical practice, law practice—it’s all similar practice for small, intense moments. My purpose as a musician changed in that very instant.

Mark: My teacher in Chicago, Mary Sauer (the principal keyboard player of the Chicago Symphony for the past 53 years), has a type of mantra which has always stuck with me: “Practice doesn’t make perfect, practice makes permanence.” This has really shaped the way I approach my practice time, as well as how I view myself as a performer. It somehow makes the process more about progress and development rather than creating a sterile “perfect” product. Aside from that, I’m often told by mentors to simply “breathe, Mark.”

AWP: Your lives are extraordinary. What’s next?

Clara: More traveling, more auditioning, and a more active role in my schedule! Minneapolis has a great culture for more collaboration specifically within art song, new composition, new poetry, and experimentation with art—I think there are a few more individuals with ideas to be developed! Collaboration outside of music organizations is also really beneficial for the entirety of communities, so hopefully more concert programs, exchanges and commissions with the Minneapolis-Tours Sister City Alliance.

Mark: After our time in Tours, we’ll be applying to (and hopefully competing in) a few international song competitions, creating some engaging recitals to offer in Minneapolis and elsewhere, and hopefully continuing our relationship with the Minneapolis-Tours Sister Cities Alliance to sustain a musical exchange between these two wonderful cities.

VIDEO PERFORMANCES BY CLARA OSOWSKI AND MARK BILYEU

Maurice Ravel “Le Paon” from Histoires Naturelles
http://www.youtube.com/watch?v=8pf7h9xu8Ts 

Claude Debussy “Colloque Sentimental” from Fêtes galantes
http://www.youtube.com/watch?v=F7wMoRasgSY

Aaron Copland “Going to Heaven!” from Twelve Poems of Emily Dickinson
http://www.youtube.com/watch?v=XZY-YDc4agk 

RECORDING AND BOOK RECOMMENDATIONS BY CLARE OSOWSKI AND MARK BILYEU

Recordings

Voyage à Paris: Songs of Poulenc, Dame Felicity Lott, soprano; Graham Johnson, piano
Voyage à Paris: Frederica von Stade, mezzo-soprano; Martin Katz, piano
Francis Poulenc Mélodies, Pierre Bernac, baryton; Francis Poulenc, piano

Books

A French Art Song Companion by Graham Johnson and Richard Stokes
Interpretation of French Art Song by Pierre Bernac
Le chant intime : De l’interprétation de la mélodie française by François Le Roux

The Centre International de la Mélodie Française and the Académie Francis Poulenc

The Académie Francis Poulenc was started in 1997 by François Le Roux with the support of the city of Tours, France, the region where Francis Poulenc made his secondary home. Each August, since 1997, the Académie Françis Poulenc has hosted a 10-day series of workshops and performances permitting a limited number of talented young artists to gain further insight into the formalities and nuances of the language and the poetry, along with guidance in musical performance. Le Centre International de la Mélodie Française (CIMF) was founded in the 1990s as a center devoted to the French “chanson” and “mélodie,” and shares its website and mission with the Académie Francis Poulenc which has its own membership association, the Association Francis Poulenc.

For more information visit:

Le Centre International de la Mélodie Française (CIMF)
Académie Francis Poulenc
Poulenc 2013 Complete Schedule

Resources: Following is a list of local resources pertaining to Tours culture.
Mallet Workshop (The Tours ensemble)
La Nouvelle Republique  (Tours Newspaper)
Tours Inf0  (The official monthly Tours magazine)
Tours Tourism (A French/English Tours tourism Website)

A Woman’s Paris–Elegance, Culture and Joie de Vivre

We are captivated by women and men, like you, who use their discipline, wit and resourcefulness to make their own way and who excel at what the French call joie de vivre or “the art of living.” We stand in awe of what you fill into your lives. Free spirits who inspire both admiration and confidence.

Fashion is not something that exists in dresses only. Fashion is in the sky, in the street, fashion has to do with ideas, the way we live, what is happening. — Coco Chanel (1883 – 1971)

Text copyright ©2013 Clara Osowski / Mark Bilyeu. All rights reserved.
Illustrations copyright ©Barbara Redmond. All rights reserved.
barbara@awomansparis.com