Show 232: Listening Guide

From the Top’s broadcast for Show 232 was taped in the Dekelboum Concert Hall (within the Clarice Smith Performing Arts Center) at the University of Maryland College Park, MD on Saturday, April 16, 2011. We asked our performers to tell us about the music they performed on the show:

Kimberly Hou, 16, piano
IV. Fuga: Allegro con spirito from Sonata
By: Samuel Barber

For me, the Barber Fugue is a classical music piece with substantial jazz references. My favorite aspect of the piece is how Barber created a four voice fugue (something that we usually associate with Bach or another Baroque composer) with colors and rhythmic syncopations that belong to contemporary music. In other words, the fugue is a classic example of where conventional composition forms meet modern jazz. That’s a combination we don’t see every day.

Many people would probably think the technical passages are the hardest or the most important things in the piece, but I would say conveying the rhythmical message and the personality of the piece to the audience is most essential. One of the most fun aspects of jazz is the play on rhythm and the strong beats popping up where you don’t expect them. Since a more modern composer like Barber incorporates that into a technically classical piece, it’s rather important to focus on the big picture when performing it.

Post-Show Reflection: I loved many small things about the experience as a whole, such as listening to Mr. O’Riley practice the Grieg Piano Concerto, chatting with the other performers about various music-related topics, and listening to the performers shine with their music. There is also the “snap” of a broken string I heard from inside the piano while I rehearsed the Barber Fugue the day of the show… Whether on the stage of Carnegie’s Weill Recital Hall or in the dining lounge of the local retirement home, performing is always exciting and fun for me; it’s one of the big reasons why I play the piano. Performing on the From the Top show was honestly no different for me. I absolutely loved every second performing there.

Music can completely refresh and uplift the listener’s spirit, give joy and excitement to the child, and instill lasting inspiration for entire families. I believe music has the potential to cuddle the human soul and give a fresh, positive outlook that makes a person believe he or she can overcome any predicament.

Brian Hong, 17, violin
Sonata No.4
By: Marco Uccellini

This piece is a wonderful example of bipolar music in the best sense. Baroque pieces tend to have a single affect, or mood. However, this sonata is, in a sense, a one-movement sonata with many divisions and affects. I feel like I have to change my mood every 30 seconds! I sometimes think that I’ll end up bipolar myself from playing this incredible music.

This piece is incredibly different from others in its structure. It is a very short sonata, but has 5 to 6 mini movements that all flow attaca into each other. Each movement has a specific mood and that is important to get across. And, honestly, that is the hardest thing to nail (besides shifting without a chin rest and shoulder rest!). I actually find the Uccellini sonata to be more similar to contemporary works by the likes of Berg and Schoenberg in its structure than even other works within its time period.

Post-Show Reflection: A favorite memory besides Kimberly snapping the piano string during sound check? It actually has to be the arts leadership orientation.  To be honest, I was a apprehensive about a 3 hour meeting talking about arts leadership (I was like, what is that, anyway?) but thanks to (From the Top), the actual meeting itself was the highlight of the whole experience in my eyes. I had never really ever been in a situation where I was with a whole group of people who saw music and life the way I did; and thus, I was able to talk very freely, be myself, and share many intimate and personal stories and details about my life that I had never openly shared with anyone ever before (and the fact that I had just met most of these people only 2 days before made that even more astounding).

I believe that there is a plethora of ideas of what music can do. However, I believe one of the most poignant powers music has is to heal. It helps to quell the hurts, sorrows, and fears within a person, helps them to feel accepted even when they are not. That is what music did to me, anyway, back when I had horrible social issues. I also recall a gig I played at a church (once) – a…boy with Tourettes syndrome was listening to the music being performed with the choir, and he was swaying side to side, humming, with a huge smile on his face.  For that short period of time, there were no problems in the world for him; he was normal and happy.  

John Williams, 16, guitar
II. Valseana & III. Preludio e toccatina from Aquarelle
By: Sérgio Assad

The Aquarelle suite is one of my favorite guitar pieces and is written by my favorite guitar composer: Sergio Assad. The second movement is incredibly beautiful and allows you to be very expressive. The third movement is extremely difficult and really shows off technique.

Unlike a lot of contemporary music, this piece keeps me interested throughout the entire suite. Its combination of beautiful melodies, Brazilian rhythms, and difficult passages truly make it an amazing work. The amount of notes and different things that Sergio has you do at the same time really set this piece apart from anything I’ve done before.

Post-Show Reflection: My favorite memory was after the performance and we went to meet the audience. The pressure was off, and it was really encouraging to see how many people had come to see us perform! Performing on stage was incredible! I have listened to FTT for years, so to finally be on the show was just an amazing experience! Also, the performance hall itself was very cool. Definitely one of the better halls I’ve played in!

I believe music has the power to draw so many different emotions and just be really inspiring. It can put you in a good mood, sad mood, or make you feel basically any way. That’s why I think being a musician is a really great way to express yourself.

Sandra Bailey, 18, bassoon
I. Allegro con moto from Sonatine
By: Alexandre Tansman

This piece of music was actually the first piece that I had connected to a story. While I attended the Northwestern High School Music institute I met a singer who told me how easy singing is because there is always a story to help convey the purpose and emotion. While at camp I began to look up music in the library with this different view and came across the Tansman. When I think of this piece a lot of emotions are felt. I can sometimes imagine many of my lives past struggles and it is relieving to play it because I feel that they are devoured with my music. In the first movement particularly, there is a lot of stress that I feel is relieved through the fast and hard articulated phrases. In the middle passage where things slow I feel that I am explaining why the beginning was so frantic. My favorite part is after Meno mosso at “A Tempo” when it speeds up because of the energy that is exerted when playing. My least favorite part would be the beginning just because of the confusion that can be brought upon the listener with this contemporary piece.

This piece of music is unique because of its contemporary style and simply the time that it was written in, the early 20th Century. During the time this piece was composed, many influences such as Jazz and worldly conflicts manipulated its contents. When I am playing this music I believe that it is important to show listeners how all of these elements are implemented in this “classical: but contemporary piece. It can be a little difficult to play; this song is this bizarre style when it is noted as a classical piece, but it broadens my idea of classical music.

Post-Show Reflection: My favorite memory was when Kimberly Hou, after a great run through of her piece, broke one of the b keys on the piano. After, one of the FTT staff members yelled out, “Sandra, please don’t break your new bassoon”, and my mother responded. “Ohhhh Nooooo!” Then stage helpers had to take out the broken piano and bring in another from the next hall. Even though this seemed like an inconvenience, Christopher O’Riley said he liked the other piano anyway.

I believe music has the power to uplift, calm, excite, and change any person in this universe.   

Conrad Tao, 16, piano
Eventide
By: Conrad Tao

Eventide is an exploration of what happens after the initial desire and passion of love subsides. It is also sonic interpretation of the evening, of its intimacies. The piano alternates between delicate, crystalline passages and quietly urgent, flickering textures, contrasting with lyrical lines in the strings. The violin and cello dance around each other, constantly meeting and falling apart, and meeting and falling apart, again and again, until they finally fuse together for a brief but crucial moment. The movement ends in a very lonely place. Eventide is cold.

Compared to other pieces that I’ve written, Eventide is significantly more sparse yet also more conceptually intact than most of my works. I remember writing the piece in a very short time – two days, in fact, and to this day, it remains virtually untouched from the very first draft. It was also one of my first works with a good portion composed at the piano, and one of my first pieces to receive a significant influence from ostensibly “pop” artists.

Dawn Wang, 17, violin
Eventide
By: Conrad Tao

This piece evokes in me the image of sunset by the beach – one of those few moments of a day when one can look directly at the sun and marvel at its warm, gentle beauty. The piece has a very fluid, impressionistic quality, creating this mystical, surreal atmosphere. It is easy, while playing or listening to it, to forget where I am, as if the music can cast a spell and submerge me into this other world of stillness, sunset, beach, and eternity. FYI: Maybe due to its “fluid” quality during one performance I came in late for my entrance, and after the concert no one – not even the composer – had a clue about my mistake =)

It’s always special to play a work by close friend I’ve grown up with over the past 8 years, especially when we’re playing the piece together. For me, one of the hardest things asides from the counting, is to constantly remember there’s never a moment when it’s just “me”, but that I’m always part of the whole picture and overall effect. Also, though there are many seemingly repetitive measures in the piece, I feel that every note, every moment is special and essential, always pointing towards and building up to the next scene in the story.

Post-Show Reflection: My favorite part of the three days had to be when, in the green room, I tried to play Brian Hong’s Baroque violin.  It’s the first time I’ve ever played one, and I needed to adjust a lot of bow arm techniques to play it.  But, I loved it!  It especially worked well playing chords in the Bach Fugue =D The performance itself wasn’t that much different from other performances. What made it special, though, was knowing that this is From the Top, and an interview would follow that can connect you with the audience from a different perspective, which never happens in ordinary concerts.  Also, the knowledge that you’re being taped, recorded, and broadcasted to the entire nation and even the whole world is quite scary, but exciting too!

Music can touch people in places that words or pictures can’t.  It is a universal language, and a highly personal one as well. I believe that no melody can strike two people quite the same or evoke the same images and emotions. It is a most effective way to reach out to humanity.

Alum Update from Oliver Aldort

On May 21st cellist and From the Top alum Oliver Aldort (Show 126 in Boston) gave a recital in Miami Beach, Florida as part of the Miami International Piano Festival.

Below is a video excerpt from Oliver’s performance, featuring the Chopin Sonata.

This summer Oliver will attend the Tanglewood Summer Festival Program, and in the fall he will start at the Curtis Institute of Music, studying with cello teachers Carter Brey and Peter Wiley.

There’s more information and performance videos on Oliver’s website.

On the Road with Joanne Robinson: Show #235 Oklahoma City

Miss America statues on the campus of Oklahoma City University

Hi everyone! Last week we were in Oklahoma City, where we taped an episode of the radio show at Kirkpatrick Auditorium on the beautiful campus of Oklahoma City University. We stayed at a gorgeous hotel, which happened to have a bright red grand piano in the lobby, right outside of a sports bar, and it was there that I witnessed one of the coolest things ever! More on that in a moment.

First, let me tell you a bit about the show, which featured some very moving moments. Kicking it off, 16-year-old Noah Dugan played a movement from Oskar Bohme’s Trumpet Concerto before revealing to the audience that he was born with severe hearing loss. It was inspiring to hear how he never let this restrict him from becoming an accomplished musician. Next up, 11-year-old Victoria Young treated the audience to Bach and talked about an exceptionally difficult period she and her mother went through. Following that, Norman North High School Chorale sang Eric Whitacre’s Water Night with exquisite beauty, and 14-year-old cellist Anne Richardson played Hindemith with great passion. Closing the show, 14-year-old violinist Randall Goosby, the junior division winner of the 2010 Sphinx Competition, treated the audience to some expertly played Mozart.

When we arrived back to the hotel after the show, the hotel bar was in full swing with a crowd of sports enthusiasts who had just watched their hometown team win the NBA playoff series. Victoria took one look at the red piano in the lobby and asked if she could play it for a bit. The hotel management agreed to that, so she sat down and began playing Bach. Before long, the crowd from the sports bar filtered out and began gathering around the piano, and when Victoria finished the piece there were shouts of “Encore!” Victoria obliged, playing piece after piece, and when she finally stopped, she was met with enormous applause. Luckily I was there with my flipcam to catch some of her impromptu performance. Enjoy!

Arts Leadership in Oklahoma City, OK

This past weekend, From the Top taped a radio show at Oklahoma City University’s Kirkpatrick Auditorium. This show featured four stellar soloists, as well as a 50-person youth chorale! Our four instrumentalists and two of the choir members joined us the next morning for the Arts Leadership Orientation, where we explored the ways that music can empower and inspire others to make a difference.

When asked to define Arts Leadership, our young artists agreed on the following three definitions:

1. Viewing yourself as PART of something BIGGER
2. Opening new doors
3. Opening up people’s emotions

The same day of their performance, the Oklahoma City Thunder defeated the Memphis Grizzlies in Game 7 of the NBA Semi-Finals. To honor this victory, our performers named their show “Classical Thunder,” and filmed the following video to introduce themselves as well as their message on arts leadership (with Gershwin’s Rhapsody in Blue as their musical selection) – check it out!

Tune in the week of June 27th to hear their show! Broadcast times can be found here.

Call for Composers!

Beginning this summer, The Boston Conservatory introduces a new two-week High School Composition Intensive for students ages 15-18 who are serious about music composition. Program Director Andy Vores has teamed up with the QX String Quartet to give young composers the opportunity to work with professional musicians and have their pieces played by a professional string quartet.

The two-week High School Composition Intensive runs from July 17-30 and will involve workshops, private composition lessons, concerts and hands-on seminars with QX members.  Each student will have his or her piece (or a section of it) workshopped, coached, and rehearsed. The program will culminate in a public concert of the final student compositions.

Space is limited and the extended application deadline is this Friday, May 20. Click here for more information, or watch the short video below.

Alum Emily Brown Wins Second Prize in Composing Contest

This just in from double bassist Emily Brown (Show 230 in Monterey, California): She snagged second prize in the Robert Avalon International Competition for Composers!

Aside from being a superb double bass player, it seems like Emily also has a talent for composition. She entered the contest with her first composition ever, a piece for solo bass called “Nocturne.” Emily will be performing it at the award ceremony this Sunday, May 22 at Rice University in Houston, Texas. More information and tickets are available here.

Congratulations, Emily!

And in case you haven’t seen it yet, here’s Emily’s performance on Show 230:

Update from Alum Thomas Steigerwald

Pianist Thomas Steigerwald, who performed on Show 185 in San Antonio, Texas, will be attending Eastman School of Music in Rochester, New York this fall. Thomas will be studying with Douglas Humpherys and has received the highest level of scholarship that Eastman offers!

As the winner of the 2011 Future Stars Competition, Thomas will be performing with the San Antonio Symphony on May 22. He will play the third movement of Prokofiev’s Piano Concerto No. 3.

His mother writes, “His experience with performing for From the Top was instrumental in establishing confidence in himself.” (Thanks Mrs. Steigerwald!)

Congrats to Thomas, and good luck on May 22!

On the Road with Joanne Robinson: Show #234 Virginia Beach

A beautiful gift basket for everyone, courtesy of violinist Annika Jenkins

We’re back in Boston for a short stretch following our taping last week at the beautiful Sandler Center for the Performing Arts in Virginia Beach, where we met six terrific teenage performers.

Kicking off the show was a cello duo comprised of 17-year-old Naomi Benecasa and 18-year-old Richard Mazuski. They performed from Menotti’s Suite for Two Cellos and Piano and discussed their different approaches to the piece.

Following the duo, 15-year-old guitarist Noah Kim took the stage to play the fiery “Fuoco Libre” by Roland Dyens. Nick told us he has stage fright, but you’d never guess it from his relaxed presence onstage. He delivered an amusing list of one-liners for classical guitarists to use if teased about their long fingernails.

17-year-old bassoonist Keith Buncke was up next, playing from Sonata, Op. 168 by Camille Saint-Saëns and telling the audience about life at Interlochen Arts Academy.

Next, we were treated to a second helping of Saint-Saëns by 16-year-old violinist Annika Jenkins who played Danse Macabre. An arts activist, Annika was actually instrumental in the creation of the Sandler Center for the Performing Arts.

Following Annika, talented 13-year-old pianist Michael Davidman took to the stage to play Liszt’s Mephisto Waltz – a devilish ending to a dynamite show!

Below, check out a taste of what you’ll experience when this show airs the week of June 27, 2011.

Center for the Development of Arts Leaders: Team GEEKSystem

For the past few months, From the Top has been hard at work launching our Center for the Development of Arts Leaders (CDAL)! This blog is the fourth in a series written by Linda Gerstle, Director of Education and Community Partnerships, chronicling the pilot year of this program. You can read the first post here,  the second post here, and the third post here.

The Conservatory Lab Charter School (CLCS) is a K-5 elementary school in Brighton, Massachusetts with just over 200 students. Its mission is for students to achieve academic, creative, and social success through a comprehensive music-infused curriculum, which includes the El Sistema approach of transforming lives through music. All CLCS students are in school until 5:00pm daily participating in instrumental, choir, percussion classes, as well as string orchestra and wind ensembles. This combination of programs and underlying philosophy makes CLCS an ideal partner site for From the Top’s Center for the Development of Arts Leaders (CDAL)!

(L to R) Edalina Wang, Brian Kaufman (mentor), Elizabeth O’Neil, Rebecca Levi & David Malek (from CLCS), Karolina Nunes, Graziella Oliveira

The CDAL team partnered with CLCS is GEEKSystem (GEEK is an acronym made up of each team member’s first initial). Their mentor, Brian Kaufman, is also one of the sixteen teaching artists at CLCS and in his dual role is able to add a multi dimensional perspective to the experience of his team.

Edalina & Graziella working on an instrument for the paper orchestra

GEEKSystem is helping CLCS with an awesome project – the “paper orchestra.” Though students are not inducted into the full orchestral experience until second grade, El Sistema program directors David Malek and Rebecca Levi prepare kindergarteners and first graders to study music through a creative and hands on approach – the paper orchestra. The students decide which instrument they would like to play and then create a scaled version of that instrument in paper-mâché, which they must take care of during the school year.

GEEKSystem member Karolina says, “By constructing instruments out of paper-mâché the kids learn how to handle their instrument with care because it is so delicate.” Not only is the paper orchestra a fun project for the kids and CDAL arts leaders, it is a way to teach the students how to treat music instruments properly before they ever pick up a real violin.

Elizabeth playing with CLCS students

In addition to supporting the paper orchestra, GEEKSystem is working with a researcher to document student experiences at CLCS through observation and individual interviews to determine the effect of the program on the students’ lives. The team is also creating an on-going relationship between El Sistema Boston at CLCS and Somerville Public Schools through multimedia communication, mentoring, and performance, inspiring Somerville students to make music a larger part of their lives. The CDAL project will culminate in November 2011 with a fundraiser concert at a Somerville Public School auditorium, giving everyone an opportunity to make a difference through music.

Arts Leadership in Virginia Beach, VA

Last week, From the Top taped a radio show at the Sandler Center for the Performing Arts in sunny Virginia Beach. We were joined by six young artists from across the country for a phenomenal performance! The next day, all of our performers took part in the Arts Leadership Orientation, where they explored the power of music and the infinite possibilities for using their art to make a positive change.

In considering how musicians can make a difference, our performers agreed that “Arts Leadership Is…”

  1. Sharing your passion with others
  2. Never settling for mediocrity
  3. Going beyond what words can describe

Our performers wanted to commend the “fiery” repertoire of their show, as well as their post-concert outing for ice cream at the nearby Coldstone. They thus named their show “Fire and Ice(Cream),” and created a short video to introduce themselves and share their definitions for Arts Leadership. They also included an excerpt from a piece they all know and love: the Brahms Double Concerto. Check it out below!

Tune in the week of June 27th to hear their show! Broadcast times can be found here.

Follow

Get every new post delivered to your Inbox.

Join 61 other followers

%d bloggers like this: