Show 264: Listening Guide

From the Top’s broadcast for Show 264 was taped at the Sarasota Opera House in Sarasota, Florida on Tuesday December 11, 2012. We asked our performers to tell us more about their experience on the show…

Nadia Azzi, 14, piano 
I. So rasch wie möglich from Sonata No.2 in G minor, Op.22
By: Robert Schumann

My favorite part of the piece is the first chord – rather, the first measure. It is almost like calling attention to the audience: “listen to me!” I worked around with getting the 8371390696_f890f62894_cright sound of that chord as well. I think the music invokes all sorts of stories and images, but the main ideas that I got from learning this piece is that it is serious and humorous, but Schumann’s idea is crystal clear on what he exactly hopes to convey.

This piece is rather new to me, and I’ve never performed it in such a prestigious place before. I think the hardest thing to nail in the piece is the tempo. The tempo marking in the beginning is “as fast as possible.” Near the end, there are more markings that indicate to get faster and faster. It is hard to show the intensity without the right amount of speed. At the same time, it’s difficult to play clearly and precisely.

Post-Show Reflection: I loved performing in front of a live audience and getting to talk with Mr. O’Riley. The audience was very enthusiastic and energetic. After performing, I knew that this is exactly what I want to do in life.

I think music has the power to move people and change others’ lives. I believe that it can make a difference in the world more than anything else.

Kaitlyn Resler, 16, horn 
Nocturno, Op.7
By: Franz Strauss

As the piece begins, the piano sets the stage as it starts with simple D flat arpeggios. While just starting out, this seems to be a bed of flowers, where many memories lie. Through this piece the quiet flowing phrases invoke the image of a love story: a 8370335031_aa7398346a_c“prince” and “princess” fall in love with each legato line. The piece start to get louder, and comes to a climax as the love story faces issues – like they are being torn away from one another. As the piece continues, the issues are resolved and in the recap the “prince” and “princess” recall the time they first met. Through the long lines and beautiful phrasing, this love story ends well but with a slight twist of sadness right at the end.

This piece is so different than any other piece I’ve played because it is all about the long legato phrasing. Throughout the piece, each performer is given options of push and pull in certain areas. Depending on who is playing it, the performer can invoke different images and put their own story to it. This piece cannot be performed without emotion. In Nocturno, I (as the performer) can put my own heart, soul, and personality into each leading line and climactic phrase.

Post-Show Reflection: My favorite memory was the rehearsal from the first night. It was really awesome hearing all the talented performers in such a full space before the actual production crew. It was cool knowing everyone was there to support all of us, and no one was judging anyone. The show was an adventure. It was a calming yet amazing experience, and was in a different type of setting for performance. It was neat knowing everyone in the audience was there to hear beautiful music, and as advocates of the arts.

Music has the power to tell a story, and to make the audience relate to the performer. It also has the power to change lives.

Alumni feature: Abraham Feder, cello, age 27
I. Allegro vivace from Sonata No. 2 in F major for Cello and Piano, Op. 99
By: Johannes Brahms

When I play the Brahms Sonata in F Major, the first thing that pops into my head is my teacher, David Soyer, yelling at me, “It’s 8371405250_5ae72b49e1_cnot heroic enough!” He once told me in a lesson that I had to play a figure in the piece a certain way. But, when I said said, “But, Mr. Soyer, that’s not what Brahms wrote.” He responded, “I studied with Alexanian. Alexanian performed these sonatas with Brahms on the piano, and Brahms told him that’s how it’s played.” That was good enough reasoning for me!

One of the aspects of the piece that I absolutely love is that Brahms is capable of writing so heroically and lyrically, while at the same time requiring such careful, but seemingly carefree, agility from the performer. It’s what makes the piece so difficult not just to play, but also to create a continuity to the phrasing. Any hint of hiding in the opening completely destroys the character for the rest of the movement. I hope I pulled it off! Brahms absolutely one of my favorite composers. It was such an honor to perform this movement with Chris, and I can’t wait until I perform the piece again in its entirety!

Post-Show Reflection: I really enjoyed working with some friends who I haven’t seen in a few years, as well as meeting the news faces of the staff who keep From the Top alive. It was also great to listen to some very talented young artists – classical music has a bright future! For the actual show, I had the “home court advantage” here in Sarasota (in that most people from the audience know who I am). I really enjoy performing for this community. Over the years, I feel like I’ve established a report with this audience – I know them, they know me, and it was wonderful to be able to share some different music with them!

I believe that music is greater than all of us. It has the power to inspire, and the power to move people. I feel so fortunate that I get to wake up everyday and look forward to being a vessel for music.

Jennifer Kim, 14, guitar
Un Sueño en la Floresta 
By: Agustín Barrios Mangoré Kim

The piece that I am performing, Un Sueño by Agustín Barrios, is very romantic and dreamy. Whenever I practice or perform this piece, I try to imagine myself wandering through a tropical forest, like Barrios must have done. My favorite part is in the middle 8370345813_265e8dd51e_cof the piece, where there is a dramatic scale. One time, when I performed this piece for the American Guitar Society, someone in the audience had their cell phone ring. I was trying to play as musically as possible and I felt that the ring tone had an interesting blend with the music.

Most of this piece is using tremolo, where I play the melody with three fingers of my right hand in a fast, repeating pattern, and the accompaniment with my thumb. It’s a difficult technique to play evenly, accurately, with a beautiful tone, and also musically. There are a few moments in the piece that I feel are very tender, and I like to play those places very softly, which gives it a magical beauty. Towards the end of the piece, there is a phrase that reminds of two vocalists singing in octaves. What also makes this piece so challenging is because the left hand stretches are crazy, and it goes to the highest note on the guitar! Most guitars only go up to the high B, but in order to play Un Sueño, the guitar needs to have a high C!

Post-Show Reflection: My favorite memory from the three days was the pizza party – everyone was nice and kind towards me, and the staff were all very funny. When I performed on the stage, I was very nervous, and kind of scared, because I wanted to play well. I decided to close my eyes and just breathe for a few seconds. When I played the piece, I was striving to play musically, because that was all that I felt was important. Overall, it was a very fun and exciting experience.

I believe music has the power to change lives and motivate kids to new ideas.

Kevin Zhu, 12, violin
Carmen Fantasie
By: Franz Waxman

I think that this piece can really bring you into the music. Most of the time when I play this piece, I think about the Carmen opera by Bizet, and what the human voice sounds like. That helps me determine the music more than anything else and gives me a sense8370350755_c9da5d423d_c of how the piece should or could be played. The other times I’m solely concentrated on the technique, but the results vary. I don’t have a favorite part, but my least favorite part is during the last two minutes or so, where the technical difficulty is overwhelming and sometimes frustrating to play. Also, I have bad memories with the very beginning: during a masterclass with Midori, I messed up badly when performing that section, and I was really embarrassed.

This piece is unique in how much expression needs to go into it. I have never played a piece requiring so much heart and expression…parts of Chausson’s “Poeme” may be getting close, but almost everything else is way below this piece in terms of expression. I feel that this piece is technically difficult, and that comes into focus in the beginning and end. On top of that, you need to do it as musically as possible. That makes it a nearly impossible piece to play without precision, technique, and expression.

Post-Show Reflection: My favorite memory from the three days was the concert itself at the Sarasota Opera House. The hall was very wide and had a second balcony, so it was a bit nerve-wracking to perform. I was afraid my bow would hit the piano or the microphone, so I was cautious. Other than that, it was comfortable for me to be on the stage.

I believe music has the power to inspire others and change their lives.

Show 263: Listening Guide

Alex Zhou, 11, violin
Zigeunerweisen, Op. 20
By: Pablo de Sarasate

My favorite part of the Zigeunerweisen is the fast, dancing section. I don’t really have a least favorite part of the piece. Christopher O'Riley and Alex ZhouWhen I play the first half/slow part of the piece, I try to think of homeless people dressed in bright red dresses begging for food. Then, in the fast section, I imagine them rising up from their weary positions and dancing and twirling to the sound of violins.

When I play this piece, I think the things I need to get across are the many runs and arpeggios in the beginning, and the harmonics, left-hand pizzicatos, and spicatto at the end.

Post-Show Reflection: Other than performing, I really enjoyed the pizza party and hanging out with the other performers. It was quite nerve-wracking to perform in front of a huge crowd, but it was also really fun and a great performance.

Music has the power to empower, inspire, and create change.

Annie Wu, 16, flute
III. Lively, with Bounce from Duo for Flute and Piano
By: Aaron Copland

The Copland Duo is one of Copland’s works that emulates his signature American style. He uses many different rhythms and moods overall, and creates a bubbly, upbeat last movement. Some parts are even quite jazzy, and reflect Copland’s great interest in that genre. In the last movement, he switches back and forth between an energetic tune and a slower, jazzy one Annie Wuthat reminds me of a drunken Cowboy. I especially love all the opportunities to explore articulations – some descending runs even sound like a hearty laugh to me – hahaha!

The Copland Duo is such a pleasure to play and perform because it truly is a piece of chamber music. There is a constant conversation between the flute and piano lines that makes every performance a new and exciting experience. The characters of this movement are also very distinctive and varying – I especially love exploring them and finding ways to connect everything together in just a few short minutes.

Post-Show Reflection: My favorite memory was definitely the performance – it was an amazing experience to play and then talk to Christopher O’Riley. The show was invigorating – there was such a huge and receptive audience.

Music has the power to bring out emotions in people and memories.

Alec Holcomb, 17, guitar
Prelude No.15 in D-flat Major, Raindrop
By: Frédéric Chopin (trans. József Eötvös)

There are very few pieces that fit well and sound decent on the guitar. Fortunately, this piece (which I heard my brother playing on the piano years ago and has since become one of my favorite pieces) does both. What’s interesting about this Alec Holcombpiece being played on the guitar as opposed to the piano is, as an intimate piece, the guitar has such a broad range of sounds and colors that can really tap into the mood(s) of the piece in a profound manner. The guitar, for the guitarist, is one of the most intimate instruments because the player can literally touch the notes, making this prelude all the more intimate. I like to think if Chopin, being as passionate about the guitar as he was, had decided to compose for guitar, he would have been hard-pressed to write a more fitting piece.

This piece was inspired by raindrops Chopin heard during a rainstorm (though he would not admit it). A few months ago in a competition, I could not have played this piece at a more appropriate time, as it was storming outside, and the raindrops were audible on the roof of the hall. I got a few comments on the irony of my music choice that day.

The range of dynamics on the piano, compared to the guitar, is much greater, especially on the forte end of the dynamic spectrum. The guitar, at its loudest, is still a relatively quiet instrument. One of the difficulties I had with this piece was creating the illusion of becoming ear-splittingly loud on the build of the B section (the storm-like section). To do this, I learned to manage my color and volume in a sort of process that accomplished this goal. One thing I introduced to this piece was setting piano as my normal volume, and when there was a need for more “oomph” I had plenty of room to crescendo, the immediately return to piano afterwards. I also learned to use the ponticello sound of the guitar to create a false crescendo, which gave me even more room to grow dynamically.

Phoebe Pan, 15, piano
“Soirée de Vienne” – Concert Paraphrase on Die Fledermaus by Strauss, Op. 56
By: Alfred Grünfeld

This particular piece is a very energetic and lively piece. It conveys a certain sense of lightheartedness, and being a waltz, it’s an easy piece to dance to. Whenever I play or hear it, I always think of a grand ballroom in Vienna and people waltzing Phoebe Panwith grins plastered on their faces.

The unique factor in this piece is that it’s a piano arrangement of an opera overture. Therefore, it’s slightly more difficult to convey the feeling of the piece. With an orchestra, you’ve got the power of the strings, the crystal clear woodwinds, and the rich sound of the brass section. So I somehow have to communicate all of that through one instrument: the piano.

Post-Show Reflection: I loved the competitive “quiz” after my performance ☺  I also really liked being backstage afterwards and talking to the other performers. The waiting part before my performance was a bit nerve-wracking, but as soon as I stepped on stage I was fine. It felt really good once I finished ☺

I believe that music has the power to change people’s lives and bring new opportunities to everyone.

The Angeles Trio
“Primaver Porteña” from The Four Seasons of Buenos Aires
By: Astor Piazzolla

Kristina Zlatareva, 19, violin

I consider Piazzolla’s music to be very passionate and moving. Primaver Portena reminds me of a conversation between The Angeles Triotwo Argentinian tango dancers – while playing it, I can imagine the intricate steps that are involved in a tango, and the precise and specific movements incorporated in the dance. My favorite part of this movement is the violin solo in the slower section, which responds to the cello solo just before. I see the violin solo as the female elegance and beauty in a tango.

It is crucial that the precise tempos and rhythms are kept clear. It is also important to not let go of emotions while playing, because it can take away from the precision of the sound, tempo, and clarity. It is crucial that the cello and violin blend together.

Post-Show Reflection: I loved talking on the show with Christopher O’Riley, and spending time with the other wonderful and talented fellow musicians on the show. It was one of the greatest experiences of my life: being able to share my passion for music with such a broad audience was definitely a dream come true.

Music has the power to change one’s mindset and view on the world in a positive way – it has the power to soother, cure and inspire.

JiSun Jung, 18, cello

I imagine the love between a woman and a man, like they are having a conversation with each other. The Angeles TrioThe cello solo is like a man trying to attract the woman, and after that the piece goes back to the same them as the beginning.

This piece is divided into four seasons – we are playing “Spring.” Since this is a tango, the rhythm of this piece is really charming, and the cello solo is especially attractive.

Post-Show Reflection: My favorite memories were hanging out with/getting to know the other performers, the actual show, and the pizza party! The show was a new, fresh experience for me – I felt comfortable for both the interview and during the performance.

Music is something that makes people look inside, and feel passionate about their own power.

JiaYing Dong, 18, piano

This piece is about a dance called the “tango.” The music feels like it can be about a love story between a man and a woman. My favorite part of the piece is at the beginning – it’s the main theme.

This was the first time I ever played a dance piece, having never played tango music before. You have to capture the feeling right at the beginning.

Post-Show Reflection: My favorite memories were the actual concert and directly after, at the reception. The show was AWESOME! I felt really good, and it was so different than other performances I’ve done.

Music can bring pleasure to people, and make the world a better and happier place!

The Angeles Trio

Making Peer Connections in Davis!

Annie Wu Davis High

(photo courtesy Ruth Rosenberg)

The day after From the Top’s taping at the Mondavi Center for the Performing Arts in Davis, CA, we traveled to Davis High School to meet with students involved in the school’s orchestra program. Performers Annie Wu (flute), Kristina Zlatareva (violin), JiSun Jung (cello), and JiaYing Dong (piano) joined us for the event. In addition to playing some of their favorite pieces of music, our performers also shared some of their own musical experiences and gave helpful advice for staying motivated.

Check out the video below to see some highlights!

Show 261: Listening Guide

From the Top’s Show 261 was taped at New England Conservatory’s Jordan Hall in Boston, Massachusetts on Sunday, October 14, 2012. We asked our performers to share their thoughts on the music they performed for the show:

Sebastian Stoger, 13, cello
“Pezzo Capriccioso”
By: Peter Ilyich Tchaikovsky

When I play this piece of music, I think about different emotions: some angry, but mostly happy. I think of the angry emotions at the introduction of the Pezzo capriccioso and the happy ones for the rest of the piece (especially the fast parts!) The first time I performed this pieced has been the first time I ever played it with the piano accompaniment. I Sebastian Stoger2thought I was going to have to stop at some parts because I thought that the piano and I would have some trouble being together, but surprisingly it worked our alright.

This piece of music is very special compared to other music that I’ve played. In playing this piece, it is harder to switch from different ways of playing emotions than other repertoire. Something that’s really hard to nail in this music is the last couple of fast runs in the last part of the piece. Every time I play the runs, I always get sloppy at that last part. I keep practicing that part over and over again so that the last part isn’t sloppy…yet the next day, it is sloppy again!

Post-Show Reflection: My favorite memory was the day that I performed: I was so happy to see my friends from the Perlman Music Program and my family. Since most of the lights were off in the house, the audience seemed so far away. It was only Chris and I who were together. This is a good thing, because then I didn’t have to be nervous about the audience.

Music has the power to open people’s minds, and give them a fascinating imagination. Music has the power to shape cultures, and most importantly, change people’s perspectives.

Bryan Duerfeldt, 18, recorder

When I perform this piece, I have two roles. The first is straightforward – transport my audience to a different time and place (I like to think of a dance in a royal court), and give them a sense of nobility and relaxations that they may Bryan Duerfeldt1not always get in their busy lives. My second purpose is to expose them to the wonderful capabilities of the recorder (a widely misunderstood instrument). This piece, perhaps more than any other, allows me to show of the technical passages yet also connect emotionally with the audience, to create beautiful moments.

This is my favorite piece of music for the recorder – which is lucky, considering the countless hours I’ve spent practicing and performing it over the past couple years. There is a certain lightness that needs to come across in the fast movements, an ease of playing that cannot betray frustrating technical difficulties.

Post-Show Reflection: I loved pretty much everything Elizabeth (Aoki) did – Literally – and getting to hear everybody play at the first rehearsal. For the show, I just remember feeling comfortable and relaxed; it was just about having fun and sharing myself with my audience. Everyone was on the same team: making something beautiful together.

Music can facilitate connections between audience and performer, and break down barriers – socioeconomic, ideological, etc. It is truly universal, a pure honest medium that can promote positive change.

Vanessa Meiling Haynes, 15, piano,
III. Allegro ma non troppo – Presto from Sonata No.23 in F minor, Op. 57, “Appassionata”
By: Ludwig van Beethoven

I think the third movement of this Sonata is crazy! Literally! It was written shortly after Beethoven realized that he would never get his hearing back and would become deaf. I feel Beethoven wrote this movement when he really wanted to let his built-up emotions free, almost like he’s writing “emotions fly away, scatter on the pages!” in musicalVanessaHaynes1 form! Playing this movement is like running through the woods and being confused where I am. The further I run the more emotional themes I face. Finally, the woods thin – the emotions start to be clearer to Beethoven, so he goes into a coda that gives a completely different theme and emotion, almost like he is wanting to forget and move on. Then he remembers again, and here comes the most exciting ending cadence, where millions of bugs each filled with emotion fly by saying, “I’M DONE, GOOD BYE!”

I love Beethoven, and I love all of his piano sonatas. Many, including Beethoven, and me believe the Appassionata is one of his most tempestuous sonatas. The third movement is ESPECIALLY one of the most exciting but it is also one of the most difficult to grasp that I’ve ever learned. The most difficult aspect to nail is to be able to keep the intensity and keep the emotional meaningful through ALL of those flying notes, and not allow it to get boring. It is difficult to be able to control the timing of how many of the emotions should be allowed out, and how many should be kept in, to keep it very steady, and serious.

Post-Show Reflection: The live taping was SO MUCH FUN! I loved the crowd, the audience was so cheerful and supportive. Being able to share my story on stage with Mr. O’Riley was a great feeling.

Music has a great impact – it can tell stories, it can be personal, and it can definitely be therapeutic in a way. It can be all emotions.

Elizabeth Aoki, 9, violin 
“Introduction and Tarantelle,” Op.43
By: Pablo de Sarasate

Elizabeth Aoki3I like the piece – I don’t care for the Introduction, but really like the Tarantelle: it’s fast and exciting. To me, this piece reminds me of a fast dance. I played this piece for the United Nation’s Secretary General.

Compared to my other pieces, which are long like concertos, this piece is very short. When I’m playing, I think about intonation a lot. I hope and want to touch people’s heart though my music.

Post-Show Reflection: Everything was really fun, and the live performance was very exciting.

Music has the power to touch people’s hearts.

William Su, 18, bass/baritone
“Amor marinaro” (Sailor’s love)
By: Gaetano Donizetti

Post-Show Reflection: I had a really good time in the show and at the rehearsals – I loved the feeling of being on WilliamSuthat stage, and felt that the audience was very interested.

Music can help people find out who they are.

On the Road with Joanne Robinson: Show 263 Davis, CA

Performers from show 263

The performers sporting their From the Top medals after the taping

Late October found us in Davis, California where we taped an episode of the radio show at the Mondavi Center, a stunning concert hall on the campus of UC Davis. This show was full of interesting and talented kids, including three who’ve won major competitions.

Kicking things off was a very young violinist –12-year-old Alex Zhou, who played one of my favorite violin showpieces, Sarasate’s Zigeunerweisen. He was followed by flutist Annie Wu,who not only played classical flute, but also a beatboxing piece (you’ve got to check this out in the sneak peek – it’s pretty amazing)!

17-year-old Alex Holcomb was up next playing Chopin’s Raindrop Prelude transcribed for classical guitar. Chopin on guitar is not something you hear every day, and he played beautifully.

We met pianist Phoebe Pan next, who actually first met Christopher O’Riley when he was one the judges at a piano competition she won. We had to have some fun with the fact that three of the kids on this show were competition winners by having them compete in a quiz called “A Competition Competition.” The winning prize was a fabulous, aluminum, deluxe, logo-emblazoned From the Top water bottle! Clearly there was a lot at stake.

Closing the show was a trio of teens, all new to the U.S. from three different countries, who performed from “The 4 Seasons of Beunos Aires” by Astor Piazzolla – an exciting ending to a great show.

Check out the sneak peek below, and don’t forget to tune in when the show airs the week of January 14!

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On the Road with Joanne Robinson: Show 262, Greensburg, PA

All of the young musicians posing with host Chris O’Riley after their impromptu performance!

Towards the end of October we were in Greensburg, Pennsylvania for a taping at the Palace Theatre. It was a great show and the young musicians really bonded and had fun together– as evidenced by what happened during curtain call!

In what has to be one of the most unexpected moments in From the Top history, the entire group of young performers decided to treat the audience to a little Gangnam Style.

Haven’t heard of that? Have no fear – I hadn’t either until being schooled by the kids! Basically, “Gangnam Style” is the name of a catchy pop tune with a video that features the singer doing highly comical dance moves, and it has become a huge Youtube sensation.

Anyway, right before the show was to begin, we were all backstage getting ready to go on ­– and in From the Top land, that generally means laughing and goofing around. There’s always an atmosphere of excitement and energy before the show starts, and on this particular occasion several of the kids were having fun showing off their “Gangnam Style” dance moves to each other. And then they came up with this crazy idea…

Flash forward to the end of the show. It’s curtain call and all of the young performers have walked onstage to take their final bows. They bow as per usual, and the audience cheers, and then, without warning, the “Gangnam Style” song comes on over the speakers, and all of the kids start dancing! It definitely made for a fun and unique end to one of our shows.

I found out afterwards that the kids had stormed the control room with their curtain call idea – and as one of them happened to have an mp3 of the song handy (and as our producers happen to be extremely cool), they made it happen!

Of course we managed to capture some of this on Flipcam, and you can see it at the end of this week’s sneak peek! Enjoy, and make sure to tune in when this show airs the first week of January 2013.

On the Road with Joanne Robinson: Show 261 Boston, MA

October was a busy, but wonderfully energizing, month. The weekend after our Troy, New York, show, we were back at our home base, New England Conservatory’s Jordan Hall in Boston for a taping that featured a diversity of kids who expressed all sorts of new ways of looking at things.

For instance, 18-year-old recorder aficionado Bryan Duerfeldt  proved without a doubt that the recorder wasn’t just an instrument for elementary school classrooms! He talked about the perceptions people have about the instrument, and not only performed a gorgeous baroque piece, but also a contemporary jazz piece. Something that didn’t make it into the show was that, in part of the jazz piece, Bryan played two recorders at the same time! It was totally unexpected and cool, and of course, I made sure to catch it on video. Make sure to check our website when the show goes live to see him in action.

Another young musician whose story struck me was William Su, a teenage baritone originally from Beijing. He talked about having been kicked out of his school choir in China because his loud, low voice didn’t blend well with the others. This experience, while initially crushing, eventually led him to attend Walnut Hill School for the Arts, where his outstanding voice is now being appreciated and nurtured.

15-year-old Pianist Vanessa Haynes gorgeously performed the third movement of Beethoven’s “Appasionata” Sonata and then entertainingly went head to head with Chris O’Riley in a game of identifying film scores, and 13-year-old Sebastian Stoger, with his wonderfully infectious smile, performed Tchaikovsky’s Pezzo Capriccioso.

At the close of the show we were introduced to perhaps the teeniest musician who we’ve ever featured – 9-year-old violinist Elizabeth Aioki who played Sarasate’s Introduction and Tarantelle. She played it on a quarter-sized violin, but you would never know it by the huge sound!

Check out the sneak peek below, and make sure to tune in when this show is broadcast in mid-December.

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On the Road with Joanne Robinson: Show 260, Troy, NY

October is a busy month here in From the Top land. Last week we taped a show in Troy, New York; this past weekend we taped one in Boston; we’re off to Greensburg, Pennsylvania in a few days, and then we round out the month in Davis, California! But will I manage to post my blog in a timely manner during this mad rush of shows? That, my friends, remains to be seen.

Coolest cello case ever! It was hand-painted by cellist Miriam Liske-Doorandish.

But let’s start out on the right foot with a blog about our recent show in Troy! It was an all-cello extravaganza taped at the stunning Troy Savings Bank Music Hall. In addition to four phenomenal young cellists, we had the pleasure of featuring one of the master cellists of our time, Matt Haimovitz. He and Chris O’Riley are great friends and collaborators, and the two of them have been touring the country this year performing together. They also recently released an album called “Shuffle.Play.Listen.” which I encourage you to check out as it has quickly become one of my faves.

Like Chris, Matt is well known for stretching the boundaries of classical music, and he regularly performs in unexpected places to reach new audiences. In the spirit of that, we set up an impromptu performance at a local bookstore during lunch hour on the day of the show. Matt and the four young cellists surprised customers at Market Block Books with an electrifying performance of John McLaughlin’s “Open Country Joy” arranged for five cellos! We caught the whole thing on video, of course, and will post it when the show goes live. You definitely don’t want to miss it.

The taping that night was so exciting and full of truly remarkable cello playing, not to mention cello “drumming” (you’ll have to check out “Open Country Joy” to see exactly what I mean). Enjoy this week’s sneak peek – and don’t forget to tune in when the show airs the first week of December!

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Show 256: Listening Guide

From the Top’s broadcast for Show 256 was taped at the Palace Arts Center in Grapevine, Texas on Wednesday June 27, 2012 as part of the Military Child Education Coalition Conference. We asked our performers to tell us about the music they performed on the show:

William Hume, 16, piano
Rhapsody in B minor, Op.79, No.1
By: Johannes Brahms

I have enjoyed learning and interpreting the Brahms Rhapsody Op. 79 No. 1.  As I researched this piece, I was able to understand the music more and identify with the piece on a deeper level. I think that sometimes the vastness of the music stimulates certain feelings in the performer and the listeners that may be unfamiliar, such as anguish or longing for something special. I could imagine Brahms and the love and emotional conflict that he felt towards Clara Schumann, which I think is represented in this piece. I played this for several performances and competitions and each time I discovered new aspects of the piece. But the primary goal is to make the music sound as beautiful as possible when I play it, in hopes that the audience will appreciate it as much as I do. I love the dissonant harmonics in the bass at the very end of the piece.  The last few measures have a surreal quality and it is very exciting for me.  It is a real test of musicianship and professionalism for me to put as much enthusiasm and focus into each performance- making it a new and exciting experience each time.

The Rhapsody is a great piece because it is very expansive.  It includes contrasting themes and conflicting, varying emotions and characteristics in the different sections. It has everything that the audience loves to hear.  It is emotional, aggressive, lyrical, fast, loud, soft, strong, and sorrowful. This stimulates the performer and listeners to explore all of their own personal feelings.  It uses almost the entire keyboard with some of the lowest notes.  It is important to listen through the ends of the sections and phrases to transition into new ideas effectively.  For example, you cannot just jump into the softer lyrical section in the middle of the piece without listening very carefully to the end of the preceding phrase.  One of the more challenging aspects in the piece is maintaining the energy and pushing through to the fortissimos even as the chords are getting aggressive and physically demanding. You must maintain the tempo and build the energy through the climaxes of the phrases.  I also feel that it is important to understand what is behind the music you are playing, and what the composer intended. I think that giving a brief overview about this to the audience is helpful. Audiences seem to appreciate information about the background of the music that they will be hearing, and I think that this seems to promote a connection between the audience and performer.

Post Show Reflection: This was a great experience!  The cast and crew of From the Top were so kind and ready to help at all times.  They were very well organized.  The From the Top family enhanced my experience and enjoyment of the show and I felt very comfortable playing and speaking, and I was ready to give a great performance.  I was also finally able to get my program from Christopher O’Riley’s concert autographed by him!  I had heard him perform in Carlisle, Pennsylvania, in November of 2010.  It was also great to have a family photo taken with General and Mrs. Dempsey.  And the other performers, Dominic, Clarissa, and Devon, along with the members of The United States Army Band “Pershing’s Own”, were really wonderful.  It was great to meet people my age who share my passion for music.  It was a privilege to be a part of the first show featuring performers with military connections!

Music can unveil the initiative and action that is present in every human being. It is a timeless art that preserves the complex emotions of human beings for generations to come. 

Devon Naftzger, 18, viola
Praeludium and Allegro
By: Fritz Kreisler

My teacher suggested that I learn Praeludium and Allegro because it’s a fun, showy, and athletic piece that suits my personality well. It starts off boldly and stubbornly and then becomes playful and dramatic in the fast section. I love the last part because it has an epic ending that makes me want to hold the last note forever.

To me this piece is all about conveying contrast in character. The allegro molto section is very note-y and busy in the left hand, but it’s the articulation of the bow that gives this piece its spice. This piece has a lot of tough section all strung together so it’s important that I have the focus and stamina not to lose pizazz.

Post Show Reflection: I had so much fun dancing backstage to the military band’s Sousa march with the staff members and the other performers! It was such an honor to meet General Dempsey and perform for him sitting three feet away.There’s nothing like performing on stage with Christopher O’Riley and the From the Top “On the Air” sign behind you! Everyone was so supportive at From the Top, so it wasn’t scary to perform at all – it was really fun!

Music has the power to change people for the better. It builds relationships, emotes passion, and connects others.

Dominic Giardino, 18, clarinet
3 Pieces for Solo Clarinet
By: Igor Stravinsky

For me, this piece of music invokes a feeling of controlled chaos. When I first picked it up about a year ago, I remember feeling very confused and frustrated. This was a piece of music I couldn’t sing and I had such a hard time hearing it the way I wanted to. Because of this piece, though, I have learned to find melody where I once believed it did not exist. In fact, I have grown to believe that this is one of the most beautiful and exciting pieces in the repertoire. It brings about beauty with its tragic first movement, and then attracts the audience with its wild second and third movements; it’s an adventure.

I have learned more from the Stravinsky 3 Pieces than any other piece of music. It started as a piece that was so brutally painful to practice, and has grown to be one of my most favorite and publicly performed pieces. The fact that this is an unaccompanied piece has played a huge role in its facility as a part of my repertoire. As a musician it has forced me to be the entire piece of music. To this Day, I have not stopped looking for ways to further bring out the technical and musical motifs. Stravinsky so purposefully wrote, “It is most important to truly ‘perform’”.

Post-Show Reflections: My favorite memory from these past three days was talking with the “Pershing’s Own” Wind Quintet in the green room the night of the performance. The energy of the audience was spectacular – you  could really engage as a performer. On the other hand, I needed some time to get used to the “studio feel” of recording.

Music has the power to build relationships, and ultimately build community. It has the power of supplying unlimited opportunity.

Clarissa McLaren, 17, harp
Impromptu-Caprice, Op.9
By: Gabriel Pierné 

Impromptu Caprice reminds me of mini vanilla cakes covered in marzipan and chocolate, with a cream and jelly filling. I used those as a practice treat and motivator – they are delicious! My least favorite part of the piece is the page of bisbigliandos. It is a lot of control work and getting my fingers not to buzz against the strings.

This piece is special to me because I’ve always wanted to learn it. It was on the first CD of harp music I ever owned, and I immediately loved the moving melody and accompaniment, fancy glissandos, and overall showy-ness. The hardest bits are the powerful octaves and left-hand chords towards the end.

Post-Show Reflection: My favorite memories were partying and dancing backstage right after the performance, and meeting General Dempsey at the dress rehearsal the day before.  Performing wasn’t as terrifying as I imagined it to be, and the cast, crew, and musicians were fantastic! The opportunities to share my music and inspire others makes all of the practicing worth it.

Music can change people from the inside, and change society overall. It can inspire, create emotion, and give people a passion. 

On the Road with Joanne Robinson: Shows 258 and 259 in Beijing, China

The From the Top crew at the Great Wall International Music Academy in Beijing

Never would I have imagined when I joined From the Top over a decade ago, that there would come a day when our crew would travel all the way to China to tape our radio show, but earlier this summer, we had the amazing opportunity to tape not one, but two episodes of our radio show in the incredible city of Beijing!

As exciting as it was for all of us, taping our show outside of the U.S. posed some unique challenges. For example, we wanted to make sure the shows featured several native Chinese musicians (why else go all the way to China after all?) yet still produce the program for an American broadcast audience. While some of the young musicians were very comfortable speaking English, others were less familiar, so it was especially important for us to take extra steps to make sure everyone understood what was happening and felt totally comfortable. We also performed our show using a reduced stage set and local electronic equipment because we were unable to ship some of our items abroad, and to complicate matters one step further, one of the key members of the sound team suffered an injury a day before we left and was unable to make the trip! Thankfully, he is doing just fine.

Despite the challenges, both tapings went off without a hitch and were very well received. Our host was the Great Wall International Music Academy founded by the violin pedagogue Kurt Sassmannshaus. All of the young performers featured were studying there this summer, and the artistry we witnessed was astonishing. I was especially taken with 13-year-old Beijing native Ji Bolin who played the traditional Chinese ehru with incredible expressiveness, and I also just loved 9 and 10 year old violinists Christina Nam and Skye Park from the Cincinnati area, who played Bach.

And did I mention the delicious food in China? Or the awesomeness of the Great Wall? Fantastic music-making and extraordinary scenery definitely made this trip one to remember!

Enjoy this sneak peek of both shows, and be sure to tune in when they hit the airwaves in November!

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