The Walden Chamber Players, an
internationally known group of musicians, presented an outreach program on
Friday, March 25, 2011, at 1:00pm in the Harvin Center of Del Mar College for
middle school students of the Corpus Christi Independent School District.
Schools included were Hamlin, Baker, Cunningham, Martin and Wynn Seale, and the
class piano students of Wynn Seale were aleo in attendance. This program was
sponsored by the Corpus Christi Chamber Music Society.
The program opened with the “Gypsy” Rondo
from Haydn’s Piano Trio in G Major, Hob. SV, No. 25. The players exhibited
their virtuosity at a dazzling tempo!
Cellist Ashima Scripp introduced each
member of the trio and proceeded to have a conversation with the students about
their participation in the orchestra programs of their respective schools. Her
manner was captivating, and her expressive gestures mirrored arcs of musical
phrasing when she talked about the music they were performing.
Pianist Jonathan Bass introduced the next
trio, a composition by the highly successful contemporary composer, Augusta
Read Thomas. “Circle Around the Sun” was a short work filled with colorful
sounds that fully exploited the resonance of the 6-foot Steinway piano that Mr.
Bass was playing. It began with extremely loud single notes vibrating as other
figures of softer piano sounds moved around them and added to the overtones
that were suspended in the air, producing an atmosphere of the brightest sun
imaginable. The violin and cello layered beautiful melodic lines atop the piano
sounds and, as the piece progressed, it became more rhythmic—even a bit jazzy!
The trio members stood to acknowledge
appreciative applause from the students, and all three engaged the students in
describing their reactions to this unusual piece. Violinist Irina Muresanu’s
questions elicited multiple responses from the students who were anxious to
take part in a discussion of the music.
Enter Clark Matthews with his French horn
and the gorgeous opening phrase of the Brahms Piano Concerto No. 2. Having put
us in the mood to hear Brahms, the first movement of his Horn Trio, Op. 40, was
heard next. The discussion that followed evolved to a demonstration by Clark of
holding the French horn aloft with one hand in the bell and playing scale tones
without using the keys (which operate the valves) to play a fanfare-type salute.
The group ended the program with the
finale of the “Horn” Trio in presented fine style, articulating the fast
principal theme cleanly at an exciting tempo. This was a lively and exuberant
performance, and it positively stirred up the student audience.
Traffic was brisk that afternoon, the
Harvin Center being the social hub for students and faculty alike, and most of
the people passing through lingered a while to listen. Several Del Mar music
professors were also in the audience and took the opportunity to visit with the
musicians
Corpus Christi is indeed fortunate to be
able to host musical groups of this quality, and the Corpus Christi Chamber
Music Society is delighted to be able to serve in this capacity.
The AEOLUS STRING QUARTET
at the
HOUSE OF ROCK
presented by the
CORPUS CHRISTI CHAMBER MUSIC SOCIETY
Article by Carol Domasco
Pictures by Laurel and Ken Herring
Philip Hii
The Corpus Christi nighttime crowd was treated to a unique presentation by Phillip Hii and the Aeolus String Quartet in the VENUE room at Casey Lain’s HOUSE OF ROCK on Friday, February 11, 2011 in downtown Corpus Christi. Presented by the Corpus Christi Chamber Music Society, this gifted soloist and energetic quartet held an enthusiastic audience spellbound for over two hours.
To open the performance Mr. Hii played: Feste Larianne by Luigi Mozzani; Two Preludes by Heitor Villa Lobos; Variations on a Theme of Mozart by Fernando Sor; Three Waltzes by Pierre Lerich; and Three Venezuelan Waltzes by Antonio Lauro; 1) Natalia, 2) Angostura, & 3) Aire de Joropo.
Philip Hii started playing guitar when he was 10, and in 1975 won second prize in a Malaysian National Competition. By 1978, he had won the National Cup of the New Zealand Federation of Classical Guitar Societies in , and went on a national concert tour. Twenty years later, Philip settled in Corpus Christi, TX and began teaching guitar at Del Mar College and Texas A&M University Corpus Christi. He is currently documenting his guitar playing experiences in a series of books titled, ‘The Art of Virtuosity.’
Philip is an internationally known recording artist and recitalist as well as professor of guitar at the college and the university. The Corpus Christi Chamber Music Society is deeply grateful for his generous participation in this community outreach experience.
The Aeolus Quartet began its program with a the opening movement of the Quartet in a minor by Mendelssohn the first theme of which the composer had based on a song he had written at age 17. It opens with a chorale and is said to be a love song to an idealized girl he had never met! As the music develops, it is easy to feel the emotion and depth of the composer’s passion.
The musicians then introduced themselves: Nick Tavani, 1st violin; Rachel Shapiro, 2nd violin; Greg Luce, viola; and Alan Richardson, cello. As students of the Cleveland Institute of Music, they formed in 2006. The Aeolus has been referred to as one of ‘the finest young quartets performing today.’ In 2007, they were the first college quartet in Residence at the Pine Mountain Music Festival in Houghton, MI. It was then they presented the world premiere performances of ‘The Diaries of Adam and Eve’, an opera for string quartet and voice by Evan Premo.
In 2009, the quartet won the Coleman International Chamber Music Competition in Pasadena, CA where they were awarded the Coleman-Barstow Prize for Strings. They have been mentored by members of the Julliard and Cleveland Quartets. Currently they are the graduate quartet in residence at the University of Texas where their two year residency will culminate in fulfilling the requirements of their masters’ degrees.
The quartet performed works by Bela Bartok, William Bolton, Mendelssohn and other composers’ works from the afternoon’s program (see previous article). They also shared that ‘classical music in bars’ is hardly a new concept adding that the famous composer and virtuoso Johannes Brahms actually started his piano career as a barroom pianist.
Nick
Rachel
Casey Lain from House of Rock
Greg
Alan
Aeolus Quartet
The AEOLUS STRING QUARTET
at
CHULA VISTA SCHOOL of FINE ARTS
courtesy of
CORPUS CHRISTI CHAMBER MUSIC SOCIETY
in collaboration with
The Corpus Christi Independent School District
Article by Carol Domasco
Pictures by Cheri McDonald
Aeolus String Quartet
The lucky students of the Chula Vista School of Fine Arts were entertained and educated on February 11, 2011, 1:30pm, by the Aeolus String Quartet, the Graduate Quartet-in-Residence of the University of Texas. Its members, Nicholas Tavani and Rachel Shapiro, violinists, Gregory Luce, viola and Alan Richardson, cello, presented an upbeat and thoroughly engaging program to a wildly enthusiastic group of young people whose interests in music have already been nurtured and expanded by their being able to participate in a curriculum that emphasizes the arts.
In a pre-performance interview the musicians declared their dual-purpose format to be that of introducing the instruments and their purposes to the audience and stressing the concept of careful listening, this latter point being the most important element of performance and enjoyment. The group gives 20+ presentations of this kind every academic year in various venues, the most unusual having been in a Farmers’ Market! They declared their favorite audience to be of elementary school-age because of the raw energy exhibited in a developing passion for music. Today’s outreach program found them in exactly the right place for that experience!
After a brief introduction by the Chula Vista principal and the Chamber Music Society the quartet began the outreach program with a lively rendition of the opening movement of the Beethoven Quartet Opus 18 #1 and followed this with the question: How many of you play stringed instruments? The response was overwhelming, for at this fine arts school, EVERYONE is taught to play one or another of the string family as well as other instruments. This led to the members of the quartet introducing their individual instruments and highlighting the contribution of each to the overall quartet sound, i.e. 1) cello – the lowest and loudest sounding member, the foundation which supports the upper strings but which can also be featured as a melodic element; 2) the viola - the next to the lowest sounding voice (all instruments are said to have a ‘voice’ which ‘speaks’) and functions as the middle voice between the cello and the violins, and 3) the violins who have the highest voices in the ensemble with the first violin frequently supplying the melody while the second violin supplies a close harmony. Of course, all of the instruments are playing ‘in harmony,’ but the notes being played by the two violins are much closer in pitch to one another than they are to the lower instruments.
The quartet explained their use of ‘AEOLUS’ as their chosen name, because, in Greek mythology, Aeolus was the god who controlled the four winds, so, as each of the four winds, north, south, east and west, has its own purpose in the world, so the four strings each have a specific function, sound, and personality, yet, combined in a group, the individual sounds blend to form an entirely new hearing experience. Next the unique ‘personalities’ of the instruments were highlighted by using other mythological beings. Alan Richardson announced that, as the cellist, he plays the role of Atlas, and, as Atlas held the entire world on his shoulders, so the cello is the support for the music and the instruments of the string quartet. Greg Luce announced that the viola is the mighty Hercules who was known for his bravery and power, thus providing the ‘muscle’ for the ensemble. The god portrayed by Rachel Shapiro’s violin and second violin part is that of Calliope, the story teller, and, since story-telling evokes pictures as we listen, her violin and its music provide color and imagery. Nick Tavani, first violinist explained that his instrument’s purpose is to create beautiful lines and romantic shapes in some music thus calling forth the spirit of Aphrodite, and in others as Hermes, the messenger God, to define the melodic structure in a more ‘clean and pristine’ manner, such as in music from the Baroque period. He demonstrated by wearing pink, metallic glasses for the romantic demonstration and dark ‘shades’ for the other. All of the above was presented in a humorous and engaging manner, and the students responded accordingly.
They began to play again, this time a Mendelssohn excerpt, but the cellist mischievously said that he ‘needed a break’ and was going to ‘work out.’ The other three musicians played, but it was obvious that something important was missing. Suddenly, Nick, the first violinist, said he needed to leave and deliver a message to the principal, and he, too, disappeared! The remaining players labored on, but the overall sound was not at all as pleasing as when all four were together, so “Atlas” returned to play the bass line, and Aphrodite/Hermes literally leaped off the stage to return and add his god’s part with the satisfying result being the unique and complete quartet sound.
Once the roles of the instruments had been established the quartet members began to suggest different ways of listening to music. In a lively interaction with the students, the concepts of color, emotions and stories were explored. It was explained that there are NO wrong or right answers to questions about these three elements, because each individual listener has his/her own response to all music, and enjoyment and appreciation develops from attentive listening.
The interactive segment of the program ended with a question and answer session in which many hands were raised, so thoroughly interested were the young people, and the quartet graciously answered every question asked. During the pre-program interview, the quartet had been asked what they hoped to inspire and nurture in young people, and they replied it was their hope that all young people would set their goals and pursue them in spite of handicaps and detriments that might occur (such as Beethoven’s deafness), because history has shown us that such impediments can be overcome and success is attainable. The Corpus Christi Chamber Music Society thanks the teachers and students of the Chula Vista School of Fine Arts for extending a warm welcome to an outstanding and entertaining group, the Aeolus String Quartet.
The CYPRESS STRING QUARTET at the Performing Arts Center of Texas A&M University of Corpus Christi, TX courtesy of the Corpus Christi Chamber Music Society in collaboration with the Corpus Christi Independent School District
and
Texas A&M-CC Community Arts Advisory Counsel
article by
Carol Domasco
photos courtesy of the University
Cypress String Quartet
On
January 28, 2011 at 10:00am, in the Performing Arts Center of Texas A&M
University, Corpus Christi, the renowned and popular Cypress String Quartet
presented a program for Corpus Christi Independent School District students and
teachers from Smith, Los Encinos, Kostoryz, Carroll Lane, Oak Park, Shaw and
Woodlawn schools and for students of St. James School.
In a
pre-program interview, members of the quartet were asked what they hoped the
students would remember from their presentation, and their response was that 1)
Music expresses feelings and ideas;, 2) Music evokes images that are universal
yet each listening experience is personal and, 3) There is no wrong or right
where the impact of music is concerned – the degree of ‘rightness’ exists in
one’s own imagination. When asked about the most unusual questions they had
been asked by young people, they replied that most were interested in the
amount of time they spend rehearsing, how the four musicians originally got
together, how long they have played together and how they resolve arguments!
When asked about unusual venues in which they have performed they immediately
responded with: Giants Stadium; prisons; cruise ships and churches in Austria
that had no light or heat!
For
this receptive audience of more than 700, the quartet opened the program with
the first movement of the String Quartet No. 12 in F Major, opus 96, by Antonin
Dvorak (1841-1904), and then they spoke to their listeners, many of whom had
never heard stringed instruments, about the nature and components of the string
quartet, (two violins, a viola and a cello), how the quartet is built and what
part each instrument plays in the overall sound. To accomplish this, the simple
and familiar melody, ‘Twinkle, Twinkle’ was played
in unison by all four instruments.Next the first violinist played the
melody,the cello was added for a bass
line, the second violin was included to create harmony, and , finally the viola
was added to provide rhythm, demonstrating that the combination of instruments
has a sound all its own and that each instrument is important to the final
sound quality. The quartet also talked about their own instruments one of which,
the viola, was created in 1947, and the rest of which were from the years 1681,
(1st violin); 1701, (cello); and 1734, (2nd violin).
The
next offering was a lively movement from a Beethoven (1770-1827) quartet in
which the melody was passed around from instrument to instrument and the
audience was asked to describe what they heard.The students said they found it “amusing, exciting, and energetic,” and
the performers said that is exactly how they feel when playing it.They also said that composers use certain
techniques to evoke such emotions. This led to several renditions of “Happy
Birthday to You,” one very fast and loud (happy), one slow and soft (sad,
depressed, sleepy), loud and scratchy (mad and crazy) and high (squeaky and
somewhat like a whistle), and these reactions allowed the quartet to fulfill
their purpose of conveying that music produces emotions and images. This was
followed by a quartet movement by Schulhoff (1894-1942) that contained all of
the elements that had been demonstrated plus pizzicato (the plucking of the
strings), al legno (playing on the wooden side of the bow), and sliding the bow
up and down the strings.
The
idea of ‘story-telling’ was then illustrated by the playing of “Chippewa
Farewell” by Griffes (1884-1920).In
this meaningful composition, the song sung by the Chippewa tribe as they say
goodbye to those going off to war was imitated by the various stringed
instruments.Griffes had written in his
score that the strings were to make ‘sounds like Indian (Native American) drums’.It was very solemn and deeply emotional, and
it did, indeed, ‘tell a story.’
Further
interaction with the students covered rehearsals (the musicians do not only
play but discuss with one another what the music is about which allows each to
express his/her own views as they make decisions on the final impression),
other instruments (none of them has time to play other instruments), advice
(practice, have a positive attitude and DON’T GIVE UP!) and pleasure (yes, it is
hard work, but you enjoy it.)
The
first movement of the only string quartet written by Debussy (1862-1918) was
received enthusiastically, and more questions followed, such as:
Q. Can
you hold your instrument like a guitar and play it?
A Yes,
but then we cannot use the bow!
Q. Are
all the bows the same size?
A. No.
A comparison was then made followed by how bows are used to make different
sounds and how they try to use their bows as paint-brushes to accomplish this.
Q. How
long have you been together?
A.
Since 1996.
The program concluded with the fourth
movement of the “American” Quartet by Dvorak, and the very well behaved
audience broke into appreciative and energetic applause. The Corpus Christi Chamber Music Society is proud to have
had a part in bringing this outstanding chamber group to Corpus Christi.
We will long remember the Cypress Quartet, its personal warmth, its
professionalism and its dynamic and memorable performance.
St. Louis Brass Quintet
St. Louis Brass Quintet
Outreach Programs and
Master Classes
courtesy of
CORPUS CHRISTI CHAMBER
MUSIC SOCIETY
in collaboration with
The Corpus Christi
Independent School District
at
Wynn Seale Academy of Fine
Arts
and
Wolfe Recital Hall, Del
Mar College East Campus
funded by
Mid-America Arts Alliance
Article by Carol
Domasco
Students of Wynn Seale
Academy of Fine Arts and of Allen,
Evans, Menger, Prescott & Travis Elementary schools of Corpus Christi were
entertained Friday morning, October 15, 2010, by the artistry and antics of the
popular St. Louis Brass Quintet in an outreach program made possible by the
Corpus Christi Chamber Music Society.
In the afternoon the quintet presented its second outreach program to
the students of Baker and Haas Middle Schools and King, Carroll and Flour Bluff
High Schools, and this effort included coaching of selected students from the
high school. The last event of the afternoon was a series of Master Classes for
the brass students of Scott Hagarty, Del Mar College, and Dr. Mary Thornton,
Texas A&M Corpus Christi.
The original St. Louis
Brass Quintet was composed of five members of the St. Louis Symphony, but, over
the years this has changed, and now only the trombonist, Melvin Jernigan,
actually lives in St. Louis with the other members holding distinguished
positions in music schools across the United States. Since they are only
together when touring, their rehearsal slogan is “lots of playing, not much
talking.” Their philosophy
of ‘music as communication’ is apparent both in formal performance and in their
relaxed and entertaining demeanor in programs for young people. Their respect
for the music and for one another’s gifts is apparent, and this professionalism
is projected at all times.
In an interview before
beginning the first program, the very approachable and friendly quintet members
said their thrust during outreach programs and master classes is always to
educate young people about different styles of music, the history of their
instruments (trumpet, French horn, trombone and tuba), and the way instruments
are made. When asked about the
most unusual venue in which they had ever played, they shared that they had
once given a concert in a brewery!
Creating their own
fanfare, the quintet opened this event with an energetic Renaissance Volta
after which they introduced themselves, their instruments and the quintet’s
history, and then they played a Spanish Renaissance ‘cancion,’ with the trombonist
serving as percussionist. The mutes (which change sound quality) used by brass
instruments were then introduced and used in performance.
The contemporary
composition, “Daylight to Midnight” by Dana Wilson, captured attention by its
unique use of the many sounds available on modern brass instruments, and this
created a whole new texture which enhanced the various moods of the piece.
A new arrangement of “The
St. Louis Blues,” prepared especially for the quintet by Wayne Conoglio was
auditioned. Trumpet player Alan
Dean remarked that the “St. Louis Blues” should be their theme song, but they
have not quite decided on which arrangement to choose. This new one was lively, jazzy, funky
and ‘bluesy,’ and it effectively captured the spirit of its namesake city. Each instrument was featured
prominently, with solos by Alan and Mel as well as by Tom Bacon on French horn
and Dan Perantoni on tuba, with the quintet members further entertaining by
walking around and whistling while trumpeter Ray Sasaki improvised. The musicians then returned to their
seats and gave a rousing and proper St. Louis ending to the piece.
Next they played movie and
television music, all of which was recognized by the students who interacted
enthusiastically with the group. A special feature was the sharing of the
forerunners of early brass instruments, among them a short trumpet from the
tomb of King Tut and a straight trombone created before man knew how to bend
metal. Performances on a
bugle, a mini-trombone, the straight trombone, and the unique “Garden Hose”
(pronounced ‘HOZAY,’ plastic
tubing with a funnel for a bell) were followed by a ‘conch shell quintet’ of
“Happy Birthday to You” which was dedicated to Mr. Cortes, teacher at the
school and which inspired the students to join in and sing.
The SLBQ demonstrates on early instruments
After a brief question and
answer session, the program concluded with “When the Saints Go Marching In”
delighting an already excited and thoroughly engaged audience with more
‘walking and whistling’ showing, once again, that serious musicians, while
always serious about the pursuit of excellence have a ‘funny’ side as well and
that chamber music can be FUN, FUN, FUN!
The second
outreach program was held in Wolfe Recital Hall of Del Mar College East Campus
at 1:00pm the same afternoon for the students of Baker and Haas Middle Schools
and King, Carroll and Flour Bluff High Schools. It was a repeat of the earlier event, but was enhanced by
selected high school students who performed brass solos and were then coached
by the members of the quintet. These young musicians were very well prepared
and seemed exceptionally mature as they accepted the guidance of the
artists. They seemed to realize
that this was an unusual and valuable experience, and they worked very hard to
comply with all directions.
Ray Sasaki coaches Rob Allen
Chris Clark's father and Ray Sasaki discuss Chris' performance
The third program followed
the second in the same setting at 2:30pm.
This time the students of the brass ensembles of Del Mar College and of
Texas A&M, Corpus Christi performed and were given group coaching with hints
for improving their overall sound and improving their ensemble. Tempi and balance advice was given as
well as suggestions for phrase-shaping and flow.
Candace Castillo and Mel Jernigan discuss trombone technique
The Corpus Christi Chamber
Music Society, the Mid-America Arts Alliance, Del Mar College and Texas A&M
University, Corpus Christi, and the Corpus Christi Independent School District
are all pleased to have been part of this effort.
Chiara Quartet at House of Rock, Corpus Christi, TX
CHIARA STRING QUARTET
‘ROCKS’
THE HOUSE OF ROCK!
article by Joan Allison;
photos courtesy of Laurel Herring
In keeping with its motto, “Chamber Music in Any Chamber,” the Chiara Quartet demonstrated its versatility Friday evening, March 26, 2010 in a performance at The House of Rock in downtown Corpus Christi, TX. The format included two 45-minute sets, but, unlike most ‘pop’ groups who disappear between sets, the Chiara members were available to visit with people in an audience that even included some young music students attending “Beethoven in a Bar” with their parents.
The music chosen for their ‘sets’ showed variety and virtuosity. They glided from movements of classical quartets to contemporary music with the greatest of ease. One might have been concerned that the intense slow section from “Tryptych” by Robert Sirota would prove to be a difficult piece with which to engage listeners in this setting, but, by the time they programmed it, they had already won the audience completely with their comfortable way of speaking in the introductions to each selection and an obvious commitment to the music that was evident in every note they played.
The atmosphere was relaxed, yet everyone was thoroughly attentive during the performance. After the second set, the quartet members again visited with many individuals, and, although they must have been tired from a long day that included a sound check and rehearsals as well as the two performances, they appeared to be in no hurry to leave the venue, the performance space of The House of Rock.
Several attendees confessed that they had never been to a chamber music concert before, adding that they really enjoyed it! This was evident from the enthusiastic applause and personal responses elicited by the group. The Chiara Quartet clearly achieves its aims to reach people directly and to win friends for the music they love.
Greg speaking with fans at House of Rock
The Chiara Quartet performs for CCISD students at the Performing Arts Center at TAMUCC
Chiara Quartet cellist, Greg Beaver, takes questions from the CCISD audience.
The CHIARA STRING QUARTET at the Performing Arts Center of Texas A&M University of Corpus Christi, TX courtesy of the Corpus Christi Chamber Music Society in collaboration with the Corpus Christi Independent School District article by Carol Domasco, photos courtesy of the University
Over 400 students from the 4th and 5th grades of the Corpus Christi Independent School District (CCISD) were treated to a musical outreach program by the internationally renowned Chiara String Quartet at the Performing Arts Center of Texas A&M University of Corpus Christi on Friday, March 26, 2010 at 10:00am. This event was sponsored by the Corpus Christi Chamber Music Society in connection with its developing collaboration with CCISD. Other guests were home schooled students and advocates of music education and performance from throughout the community as well as interested parties from the university. The Chiara Quartet's performances in Corpus Christi are funded in part by a grant from Mid-America Arts Alliance.
The Chiara Quartet is not only one of the premiere young ensembles in the United States, but it is known to be one of the most innovative and creative groups in terms of bringing the experience of chamber music to not only dedicated and avid fans of this genre, but to listeners of all ages and from all walks of life. Thus, to that end, you will find their concert schedule to be a varied palette of traditional concerts, programs for students from kindergarten through university and presentations in taverns, bars and bistros - wherever people congregate, there will be the Chiara Quartet.
Their mission statement says: "We believe that music reflects the entirety of human experience and has the power to heal and transform people's lives. The Chiara Quartet seeks transformation through engaged performance and teaching, innovative programming and interpretation, and an active relationship with local and global communities. We are committed to promoting new composers and their works alongside the well-known, and presenting them to an ever expanding circle of listeners. In order to accomplish these, we must be present to each other and to our listeners in every note and phrase that we play. We will be successful when audiences have a direct and personal experience with each performance, and when people say, "I need the Chiara Quartet in my life"
In an interview prior to the outreach program, the quartet was asked if it has a favorite venue or type of performance. The response was that they are all very flexible and ecumenical in their tastes. Julie Yoon, second violinist, remarked that they take a particular delight in kindergarten children and a "Mole Music" activity. "Mole Music" is a book for young children written and illustrated by David McPhail. This book teaches us that ANYONE can learn to 'make music,' and it is a good concept for people of all ages to embrace. Concerning the thrust of the presentation, Jonah Sirota, violist, stated their intent to demonstrate their sensitivity to one another in terms of their music and their purpose, a factor that makes them a family that works together while yet defining and projecting their individual roles.
Before the presentation, Nora Cason of CCISD welcomed the students and discussed 'concert etiquette' with them. The children were delighted to be able to practice their applause and their "bravos!" Then Dr. David Parker, president of the Corpus Christi Chamber Music Society, extended further greetings to the audience, explained to them what a string quartet is, and introduced the Chiara Quartet who bounded energetically onto the stage and immediately sat down and played a brief excerpt from a quartet by Haydn. They were warmly welcomed by the students, and the fun began!!
The members of the quartet introduced themselves and their instruments, Becca Fischer, 1st violin, Julie Yoon, 2nd violin, Jonah Sirota, viola and Greg Beaver, violoncello, or 'cello, and it is commonly called. Each musician took a turn demonstrating the sound of his or her instrument, and Greg remarked that the name of the 'cello could easily be remembered, because it is a 'cel-LOW, the lowest sounding instrument of the ensemble! They then explained the similarities and differences of the instruments in a lively exchange with the audience.
This concept was utilized during the interactivity with the students, for the next part of the program dealt with their definition of themselves as a family, as they compared their musical experiences to the conversation around a dinner table, noting that the first violin, as the little sister of the clan, always had a LOT to say! Again using a Haydn excerpt, they compared their "table conversation," i.e. their playing, to having a discussion about what they would have for dinner the next evening. Each 'member of the family' seemed to have something to say musically with wide differences in their choices, but finally they were in agreement as the excerpt came to a close, and the Chiara performed an entire movement for the captive audience.
The next topic introduced was that of the role of the composer in music. It was explained that, just as stories have certain elements, so do musical compositions, and composers utilize them in many ways. Volume was one of the elements discussed, and they demonstrated this by using part of a quartet by the American composer, Jefferson Friedman, with whom they work and who has written music for them. They played briefly and then invited members of the audience to suggest what they might do with the music to make it their OWN composition. The students responded enthusiastically to this request, and a variety of interesting treatments emerged in the form of suggestions for certain volumes, registers and distributions of the notes.
The question of just HOW a musical phrase could be played was demonstrated by Becca Fischer saying, "I like Cheerios," repeatedly but with different inflections each time and likening it to the many ways a musical phrase may be shaped, manipulated and presented. The quartet then excerpted the opening phrase of the Beethoven String Quartet, Opus 18, #1 in F Major, showing how it was used and reused throughout the first movement with changes not only in instruments but in volume, tone quality, character and intensity. Beethoven's score calls for each member of the quartet to play the main theme many times, so, whenever it was one or another instrument's 'turn' to play, that player stood up while playing. Since the theme contains only six rapidly played notes in a distinctive rhythmic pattern, its appearance was frequent, and the four musicians were popping up and down like marionettes, much to the delight of the audience.
When asked to define what had been done, the very attentive students were able to show that they, indeed, had been listening, and their descriptions were both perceptive and accurate. It is a rare thing to see chamber music presented in this manner, and this remarkable visual effect cleverly conveyed the composer's intent.
Before the closing number the students were invited to ask questions, and the exchanges between them and the musicians further enhanced the communicative nature of a valuable and enlightening performance. When asked about the early influences that led to their choice of music as a profession, the musicians shared a variety of reasons, some having been born into musical families and others having been inspired by attending concerts. Students always seem to be interested in the ages of the instruments and seemed surprised to learn that while Mr. Sirota's viola is only six months old, a very new instrument, the oldest instrument is Mr. Beaver's 'cello at 290 years, and the violins of Ms. Fischer and Ms. Yoon are older ones as well.
Jefferson Friedman's String Quartet was the final number on this program, and the students responded enthusiastically to this energetic and innovative composition.
Musicians who do outreach programs generally have a central purpose in mind, an idea they wish to share with people of all ages, usually an interest that goes way beyond their own playing and careers. In the pre-program interview, Julie Yoon expressed the thought that all people, old or young, need to know that everyone can learn to play a musical instrument, everyone can make music, and everyone should be cautioned not to wait, but to get involved and become part of the vast music community of the world. This well defines the purpose of the Corpus Christi Chamber Music Society and the Corpus Christi Independent School District in presenting outreach programs, and it is hoped that this advice will be heeded and will bear fruit. Music has the power to enrich, to heal, to entertain and to communicate. The Chiara Quartet is to be honored for its role in the betterment of life through the gift of music.
The Aviv Quartet at Ray High School, Corpus Christi, being introduced before their Outreach Program for the CCISD International Baccalaureate Students of Baker Middle School and Ray High School
The AVIV STRING QUARTET
at
W.B. RAY HIGH SCHOOL
courtesy of
CORPUS CHRISTI CHAMBER MUSIC SOCIETY
in collaboration with
The Corpus Christi
Independent School District
Article and picture by
Carol Domasco
On April 30, 2010 at 1:00P.M., in the gymnasium of
W.B. Ray High School, the students of the International Baccalaureate Program
from Ray H.S. and Baker Middle School were treated to an outreach program by
the Aviv String Quartet from Israel, courtesy of the Corpus Christi Chamber
Music Society in collaboration with the Corpus Christi Independent School
District.
In an interview before the presentation, Evgenia
Epshtein, second violinist of the group shared the quartet's purpose of
acquainting the students with the unique formation of the string quartet, the
underlying principle of string quartets and the music composed for them in
addition to an explanation of how four different people can work cohesively to
produce one sound composed of a variety of instruments.She said they would also share
information about each individual in the group.
The quartet has presented these outreach programs all
over the world to people of all ages from toddlers to seniors.Although their general thrust is the
same everywhere, they find that the perceptions of each group guide the flow of
the discussions thus making each event an entity unto itself.One unusual event was a presentation in
a juvenile detention center where the young people in the audience seemed to be
very shy and non-responsive when asked if they had any questions.However, the atmosphere changed when
the quartet members began asking questions of the listeners thus turning the
dynamic around and making the exchange personal.The friendly demeanor of the artists put everyone at ease,
and the result was very successful.
When asked with what permanent impression the
musicians would like to leave the students, Ms. Epshtein's reply was that they
all need to remember that music and art are a special bond we have with the
entire world and this bond can be shared and developed for everyone everywhere.
After an introduction by Nora Cason of CCISD, the
group announced the program and indicated that after each number questions from
the audience would be welcome.They opened with the first movement of Quartet #1 by Ernst von Dohnanyi,
a 19th and 20th century composer whose style, while
classically structured, gave evidence of the respect and admiration Dohnanyi
had for the folk music of his homeland.The performance was enthusiastically received by an excited and
responsive audience.
Next, Sergey Ostrovsky 1st violinist, spoke
to the students telling them that the name of their quartet, AVIV, means 'spring' in Hebrew.It is also
significant for them that a quartet consists of four instruments and musicians,
and the word "aviv" has four letters, the two V's representing the violins, the
A, an inverted V representing the viola, and the I standing for the 'cello.He continued with the
concept that their quartet is a special formation, a family bound together by
the common bond of recreating the music given them by composers for
hundreds of years.In 1997 he
co-founded the Aviv with 2nd violinist, Evgenia Epshtein.
By way of individual introduction, Sergey explained
that he was born in Russia to a musical family where he began his study of the
violin at the age of six.At the
age of 16, he and his family emigrated from Russia to Israel where he continued
his musical education.As an
adult he has performed in many world symphony and chamber orchestras, as a
soloist with orchestras and as a chamber musician in all parts of the world and
with the major performers of our time.
In turn, Evgenia Epshtein, 2nd violinist,
shared that she, too, is Russian-born, began studying violin at age six,
immigrated to Israel in 1990 and studied violin in Tel Aviv.She has a varied career of performance,
scholastic achievement and educational experience having studied and performed
with known masters of the violin.
Nathan Braude, violist of the group, was born in
Belgium. Although he admitted to being more interested in sports as a child, he
also began studying music at an early age starting with the violin and opting
for the viola in his teen years.His record of prizes, performances and presentations is vast.He is the newest member of the
ensemble.
Rachel Mercer, 'cellist, a Canadian, began her studies
of the 'cello at the age of three.She is a consummate musician with prizes and accolades earned in Canada,
the United States, the Netherlandsand she has played and studied with the great teachers and performers of
the musical world.
The quartet next performed the last movement of the Dohnanyi Quartet # 1, which
was especially interesting due to the nature of the treatment of the main theme
which occurred not just as such, but also as in the form of a duet between
various combinations of instruments and an intricate but clearly defined
fughetto that showcased the individual instruments and the combinations as
well.After this segment of the
performance the quartet answered questions that showed the varied interests of
the students not just of the elements of the music but also of the lives and
personal preferences of the musicians such as their favorite cities, where they
met, how they had decided to make music their career, and why they move around
so much when they play!This last
was beautifully explained by Sergey who said that the music itself dictates the
movement of their body in relation to the place their arm and fingers must be
in order to produce the best sound.
A very interesting playing of the Schulhoff Quartet #
1, first movement,followed.This piece written by a 20th
century composer had echoes of the Romantic era, much use of Czech folk-music
melodies and rhythms, obvious percussive techniques, use of measures of unequal
length as is common in 20th century music, the use of drone-bass and
even a smattering of the American hoe-down effect, overall a truly delightful
piece.
This latter brought up the subject of bowing
techniques, and the bright and attentive young people were able to identify
them almost before 'cellist Rachel Mercer explained them.
The last segment was interactive, and many questions
arose from the audience, most notably:Are you paid to play?(yes):What is your favorite type of performing? (Sergey - when we are able to
create a special atmosphere;Evgenia - when the four of us forget about ourselves and become one
instrument; Nathan - when something different from what we rehearsed happens
and it works, showing that such flexibility is acceptable and to be desired;
Rachel - when you completely let go and the music takes over):Why did you come to Corpus Christi? (We
are on a world tour, and we like to visit as many different cities as possible
- the people in Corpus Christi are very friendly, quite different than some
other parts of the world):Who are
your favorite composers? (Sergey - Brahms, Shostakovich, Schubert;Evgenia - Bach, Mendelssohn;Nathan - Bach, Beethoven and
Brahms;Rachel - my preferences
keep changing all of the time!!!
Following this lively exchange, the quarter performed
the last movement of the Brahms Quartet # 1.They were thanked warmly by Nora Cason, and the group began
to pack up to leave, but they lingered long enough for Nathan Baude to shoot a
few baskets with the students who crowded around him for autographs and a
chance to join the fun.The
afternoon ended on this 'high note!!'
POULENC TRIO OUTREACH
PROGRAM
By
Carol Domasco, reporter
The Corpus Christi Chamber Music
Society
Music
students and teachers from Del Mar College and Texas A&M University, Corpus
Christi, and local musicians along with other interested parties, enjoyed an
outreach program presented by the Poulenc Chamber Trio on Friday afternoon,
November 14, 2009, at 1:00pm in the Music Building's Wolfe Recital Hall of Del
Mar College, courtesy of The Corpus Christi Chamber Music Society, Del Mar
College, and the City of Corpus Christi Arts and Cultural Commission. The
Poulenc Trio is named for the composer, Francis Poulenc, whose Trio for
Piano, Oboe and Bassoonis
the most famous piece written for this unique combination of chamber
instruments.
Irina Kaplan,
pianist, Vladimir Lande, oboist, and Bryan Young, bassoonist, are
internationally known.Their
repertoire includes music from all eras and genres, and they avidly support 20th
and 21st century music, this being manifested by their inclusion, in
their concerts, the music of living composers from all over the world.For the outreach program they played
the following selections, and in between the numbers, took turns addressing the
students and guests on music, on
being professional in the field, and on responsibility in creating a musical
life for oneself.
Selections
played were: Trio for Piano,
Oboe and Bassoon, Presto & Andante, by Francis Poulenc; "Jaunty" from the Trio for Oboe, Bassoon
and Piano, by Andre Previn; "A Spin Through Moscow", from the operetta- suite "Moscow,
Cheryomushki", op. 105, by Shostakovich, arr. By Trofimov, and "Otono
Porteno" from
The Four Seasons of Buenos Aires, by Astor Piazzolla.
Bryan Young, who displays a profound grasp of the technical aspects
and sensitivity to the musical possibilities of his instrument, the bassoon,asked the students to consider what
their lives would be like beyond their college years, and asked them to
consider what it might be like to be a professional musician and the transition
thereof that takes place. He
advised that they must first perfect themselves and then seek other musicians
with whom to build a group and, once having established that group, to further
define what is unique and marketable about it.
Vladimir Lande,
who simultaneously exhibited dominance and reverence when playing his oboe ,
stressed that the musical world is changing and that students should consider
just what might be done with their chosen instruments in terms of expanding
their musical opportunities.As a
trio, the Poulenc is one kind of chamber unit, yet they all pursue many avenues
of artistic expression, i.e. conducting, composing and arranging, all have solo
careers, all teach, and they are unlimited in their creative combinations with
other instrumental musicians and singers.
Along those lines, pianist Irina Kaplan
expressed her joy at being able to make music with others.Ms. Kaplan, a gifted and dynamic artist
with an extensive repertoire and a brilliant career as a soloist thus enjoys
not only personal fulfillment but increased artistic expansion as she enriches
even more listeners through her chamber music experiences.
All of the
artists agreed that musicians must be flexible, must seek, grasp and use opportunity,
and must build their own networks to forge connections that will grow and
reveal more links to even greater accomplishments.Other ideas presented were: Celebrate your uniqueness, do
not measure yourself against others; find like-minded people with whom to build
a group; behave ethically at all times; and always remember that performance is
a two-way street - your audience needs you, and you need your audience.
As a group,
the Poulenc displayed unrestrained energy, spontaneity, expressive artistry and
interpretive genius.The fusion of
sounds produced by the instrumental blend was unparalleled and a presence in
itself - three separate entities, with one musical soul.
The Corpus Christi Chamber Music Society
is proud to have had a part in bringing this outstanding chamber group to
Corpus Christi.We will long
remember the Poulenc Trio and their contribution to our cultural growth and
pleasure.
The Poulenc Trio answers questions from the audience.
The Poulenc Trio performs.
ALBERS TRIO at WYNN SEALE ACADEMY OF
ARTS
courtesy of the
CORPUS CHRISTI
CHAMBER MUSIC SOCIETY in collaboration with
The Corpus Christi
Independent School District
Article by Carol Domasco -
Pictures by Charles Mellenbruch (above photo promotional)
The string students of Wynn Seale Academy of Fine
Arts Middle School were treated to a chamber music outreach program January 25,
2010, 10:00am, by the famed ALBERS TRIO, courtesy of the Corpus Christi Chamber
Music Society in collaboration with the Corpus Christi Independent School
District. These three sisters
began studying music when they were only two years old, a startling revelation
to the attending students whose own musical instruction began, in most cases,
when they were in grade school. In an interview prior to the "Informance," the trio
said their plan was to speak about Music as Communication. At the start of the
event, the trio was introduced and welcomed by the Wynn Seale principal, Angela
Portis-Woodson. They began with a movement from the String Trio by
Martinu, a Czech composer. After a
somber and sedate opening, the music moved on to a lively and energetic
passages with echoes of Czech folk music and American jazz. Next the trio introduced themselves and
their old and very valuable instruments some of which date back to the eighteenth century.
The 'Albers' is a young trio, both in chronological
age and in their years of playing together. All three are working musicians, Laura is the first chair
violinist with the San Francisco Opera, Julia lives in New York City and plays
with orchestras all over the world, and Rebecca lives in Minnesota but she
teaches in Michigan at the University of Michigan's School of Music, Theater
and Dance. They have come together
as a trio for the last three years, and their goal is to tout music as a form
of communication and to be together, something their busy schedules previously
had not allowed them to do.
The performance continued with the Divertimento
in E-flat Major(K563) by Mozart, composer, pianist and viola player. The character of the piece suggested a 'question and answer' format, and this very well exemplified the communicative
nature this trio sought to demonstrate.
It was obvious that the musicians were fully concentrated at all
times, and an elegant choreography
was evident as they skillfully dictated nuances and shading to one
another. At times this interplay
was very subtle and, rather than hearing and seeing three people playing three
instruments, they seemed to meld into an entity whose music flowed in and
around them.
The trio moved on to excerpts from a Theme and
Variation by Mozart after which they explained the form, emphasizing that
the original melody, the theme, is always present and that it can be
manipulated to produce many versions.
Recently the Albers Trio began working with a
composer, Ross Bauer, in California, whose works reflect a non-traditional
approach to string playing. Bauer's Tahata was an energetic, exciting
and experimental experience in sound and rhythmic combinations specifically
designed to show other capabilities of the instruments such as their percussive
and sound level possibilities. The
players explained some of the techniques employed, among those being ponticello
(bowing on or near the bridge of the instrument), ricochet (bouncing the bow on
the strings), false harmonics (bowing while holding one finger of the left hand
solidly on a string and barely touching another part of the same string with
another finger) and slide (bowing while moving a finger or fingers of the left
hand rapidly up and down the finger-board. The young string players in the
audience enjoyed hearing about these variations and artistic devices.
Between numbers, the trio spoke to and interacted
with the young musicians. In
defining their topic, "Music as Communication," they stressed that, with music
you do not have to use words, and you do not have to speak a different language,
because music can be understood by anyone, thus you can communicate not only to
the listeners but also to one another as you play. They demonstrated a conversation completely without vocal
inflection and emphasized that it had no meaning and then played a musical
passage in the same manner. Both
demonstrations were followed by expressive conversation and music that had
meaning. "Music," they said, "is a
way of experiencing reality without the barrier of words."
The students had many questions. Among them were:
Q. Can you play one another's instruments? A. Not very well!!!
Q. What is your favorite piece? A. It changes, but we do have favorite
composers (Julia, Brahms); styles (Laura, romantic opera); and forms (Rebecca,
string quartets).
Q.
Why do you stand to play? A. When you stand, you have more freedom
and can communicate with your body.
Q. Where did you go to school? A. Many places including public schools
before entering Young Artists' programs and we attended Schools of Music.
(Cleveland Institute of Music & Juilliard)
Q. Do you ever 'mess up?' A. It is hard not to, but we try not to
communicate it to the audience. When one is 'in the moment' and makes a
mistake, it is difficult to 'come back.'
Q. Have you ever broken a string in
performance? A. This is very common. Usually you exchange instruments with
the person next to you who exchanges with the person next to him/her, and a
chain of exchanges gets the instrument back to the last player in the
section who changes its string and sends it back in a reverse path.
Q. What are your specific jobs in the
trio? A. The violinist dictates the shape (rise
and fall) of the musical phrases and gives the breathing cues, as they must
breathe together. The 'cellist shows
where every harmony is going, and the violist provides the inner voice.
In a reversal of roles, the students were asked
what instruments they play, and the response was enthusiastic showing that
they, too, love what they are doing.
Principal Portis-Woodson and the Albers Trio
ENSO String Quartet Outreach by Carol Domasco, Corpus Christi Chamber Music Society Board Member
A group of lucky young musicians from Kaffie Middle School was treated to a unique experience Friday, April 3, 2009. They were visited by the ENSO String Quartet in presentation of an outreach program based on their April 4 concert held in Wolfe Recital Hall at Del Mar College.
Members of the quartet, Maureen Nelson and John Marcus, violin, Melissa Reardon, viola, and Richard Belcher, cello, have played together for ten years, and are experts not only at their craft but also at presenting enrichment programs, some of which are, as in this case, connected with the local chamber music concert series. The quartet was here by invitation of the Corpus Christi Chamber Music Society, and the outreach program was provided through the Coastal Bend Community Foundation.
The musicians performed excerpts from The Art of Conversation, by Karim Al-Zand; String Quartet in D Major, Opus 20, #4 by Josef Haydn, 2nd & 4th movements (1779) ; String Quartet in d minor, Opus 56: Voces Intimae, by Jean Sibelius, 1st & 2nd movements (1908-9); and a lively contemporary composition with a Latin American flavor entitled Bagel on the Malecon (2006), by Ljova, this last piece being presented in its entirety.
Before and during each number, the ENSO members spoke of the composers' apparent intentions for writing each piece, stressing the conversational aspects of the two movements excerpted from the Al-Zand number. When asked to describe the second of these movements, the students immediately identified it as an argument!
Haydn was then recognized as the Father of the String Quartet, the composer who first introduced the idea of combining two violins, a viola and a violoncello, more popularly known as the 'cello.' From his D Major Quartet, a movement of variations that featured either one or two instruments as the lead voice/s was well received by the students who could hear their own instruments prominently presented. The quartet explained that a theme and variation structure can be likened to the same person dressing up in different clothes each time he goes out. This was followed by a lively dance movement which was described as 'fast and fun!'
The players moved on to movements from a quartet by Jean Sibelius, a composer known mainly for his orchestral music. When Sibelius applied his orchestral style of composing to music for only four stringed instruments, it translated into a unique sound that was very different from that of Haydn.
The final number, "Bagel on the Malecon," with its subtle rhythms and dreamy melodic lines, proved to be a fitting finale for a most enjoyable afternoon.
Questions asked by the students included: How old were you when you began playing your instruments? When and how did you meet one another? Why did you choose your particular instrument? Does chamber music ever include using the bass violin? Do you play other instruments? Do you only play string quartet literature? Do you ever play in an orchestra? How long does it take to learn a piece? Are you the best string quartet there is? The well-behaved and appreciative audience listened intently as every question was answered.
In an interview with the students, it was verified that this was their first chamber music experience, and the first question asked was whether they would like to be involved with playing in a chamber group. Mallory Gibson related that she would, indeed, because she would get to play as an individual rather than as part of a section. She also commented on the cohesive sound of the group and the variety of the selections that were presented. Lauren Leon and Mario Cosio expressed an interest in chamber playing as well, and both expressed their appreciation for the explanations of the music being performed, as well as the question and answer sessions. Lauren also liked hearing the stories behind the music, and felt the passion with which it was played. Danielle, (no last name given) remarked on the way the musicians blended the musical sounds, and stressed that the presentation was well organized. Joseph Graham stated that he would like to play chamber music, and James Sutphin, a violist, was impressed by the communicative power of the music. He also expressed great interest in the bowing techniques of the four artists. Raquel Valderrama and Kristen Thornburg, as well as all of the students interviewed, were enthusiastic about someday being able to attend a concert offered by the Corpus Christi Chamber Music Society.
When asked what message they would like to send to young musicians everywhere, ENSO said to first, choose an instrument that you love, second, develop a passion for playing, and third, be disciplined and totally devoted to your art. It was obvious to everyone present that ENSO follows its own advice to the letter.
After the performance, Patty Salinas, Kaffie Middle School's orchestra and string music director, told the students that, in the future, when they think about this wonderful event, they should remember that they did not have to travel to New York or St. Paul, Minnesota (where the ENSO is currently in residence) to hear this music, but that the ENSO came to Corpus Christi, to Kaffie School, to share, to enlighten, and to perform, all of which will enrich their lives in a way that is possible only through music. It is to be hoped that these young people will, indeed, remember this event forever.
Enso Quartet at Kaffie Middle School
John Marcus with students
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