It was singing that began my lifelong love affair with music, and it is singing that has significantly influenced my bassoon playing. When I am unsure about where to place a breath in a phrase, I will sing through the music and let that guide my decisions. Something I remind myself of and talk with students about is the concept of “singing” while you are playing. Vocalists do not have keys to press but rely on pitch, muscle memory and good listening. Putting your fingers on the right keys is only part of what is needed to play in tune with others. When you sing you have no barrier between you and the musical idea you want to express. As an instrumentalist I constantly strive for that transparency in my interpretation.
One of my favorite vocalists is Cecilia Bartoli. One piece that made an impression on me is Vocalise – Étude (en forme de habanera) written for voice and piano by Maurice Ravel. Since this piece does not have any words it can easily be adapted for instrumentalists. I love the way Cecilia Bartoli changes the timbre of her voice from soft and breathy to intense and full. She also uses a wide range of vibrato; at times she sings with a completely straight tone, and at times she uses a wide and fast vibrato. I was particularly struck by the way she plays with the time using rubato, giving the piece a very sensual and free flowing character. When I decided to work on this piece a few years ago, this version inspired me to try some new ideas in my own playing by emmulating her phrasing, tone, and vibrato.
Below is a video I created of Cecilia Bartoli singing Vocalise – Étude (en forme de habanera) for voice and piano from her album Chant D’Amour. Please click on the link below to listen.
Vocalise-Etude (en Forme de Habanera)
This video is my interpretation of Piece en Forme de Habanera arranged for bassoon and guitar.
