Audrey Watkins, 16, flute
III. Presto giocoso from Sonata for Flute and Piano
By: Francis Poulenc

This piece is extremely hormonal, with all sorts of jumps form lyrical to technical and back again. It never quite decides whether it wants to be serious or not, although it mostly leans towards the not serious. The way I think of it is it’s like someone in a class with their best friend, trying to pretend to be serious but bursting out laughing in all the teacher’s awkward pauses.

It’s really hard to maintain the internal calm necessary for the technique of this piece while still having the giggly attitude. If you aren’t careful, you wind up with about half the notes and a lot of really sharp high notes. It’s gun to juggle all of the piece’s moods, you just have to be careful to not get lost!

Post-Show Reflection: I really enjoyed going out for ice cream with Eric, Eva and Michaella after the show was over. It was the best to just relax and hang out with other awesome musicians and talk about the show, auditions, college, etc. Everyone on the show was so cool! The show was nerve-wracking in that when you’re playing with a great pianist, you REALLY don’t want to make mistakes. The experience of going on stage with all of the fun and madness of the show going on around you, however, was one of the most relaxed and sort of “fly by the seat of your pants” performances I’ve ever had.

Music can control your mood, which can control your actions, which can control your future, which can control your happiness, which can affect the entire human race. Ergo, music makes you happy, which makes everybody happy.

Sung Moon Park, 15, cello
“Capriccio”
By Lukas Foss

Post-Show Reflection: It’s hard to choose a favorite memory! The interview was a fun and new experience. I really liked the Arts Leadership Program orientation. It really made me look at music in a totally different way. Music is not just a mere entertainment, but also something that can make the world a better place.

The show was awesome! I love how From the Top does these concerts. The whole interview and more relaxed environment make it just awesome. I actually thought that it was little bit odd that the staff expected us to be super nervous backstage right before the performance.

Music has the power to make the world a much better place. It can unite people. It can build emotional connections between people. It is the best tool of communication we have got. It can do anything.

Eric Goldberg, 18, percussion
“Scirocco” for solo marimba
By: Michael Burritt

“Scirocco” means “hot desert winds,” and this image is definitely well captured by the melody of this piece. It consists of a lot of notes in a very short amount of time, which helps contribute to its frenzied storm-like nature. This piece was a challenge to learn not only because of its technical difficulty, but it was difficult to figure out how to communicate the imagery of it.

This piece evokes more imagery than others I have played, and there is a story that I have to tell. The tempo and dynamic ranges help communicate the varying intensity of this storm, so it is my duty to make that clear to the audience not only by the sound that I produce, but how I present it physically.

Eden Chen, 13, piano
“Concert Paraphrase on Rigoletto” S.434
By: Franz Liszt

I feel like I can play this piece for any occasion. It’s got lyrical sections AND virtuosity. I’ve played it in small parties and larger concerts, and always get great reactions. I think it’s like a chili pepper: what you’ve got is the drama and scope of an opera packed into the length of an impromptu. I remember once I was performing it at a hotel for some relatives, and some little kids ran up and started playing random keys. It was pretty funny because no one wanted to interrupt me, but the kids wouldn’t stop.

One of the most important things to keep in mind is the overall structure and unity of the piece. Since it came from an opera, and an opera is a story, everything has to sound adherent. To me, that’s the most difficult part because it’s really easy to get caught up in all the details. It is the first transcription I’ve ever played, and I enjoy it a lot, so I’m definitely going to want to play more transcriptions in the future.

Mittelpunkt Duo
“Geistliches Wiegenlied” (Sacred Lullaby) from Two Songs for Alto, Viola and Piano, Op.91, No.2
By: Johannes Brahms

Michaella Cipriani, 17, mezzo-soprano

This piece is a lullaby for Jesus, and it’s a pretty dark lullaby. In some parts, the speaker is pleading desperately to the angels for help protecting her child. She’s yelling at the trees to shut up because they’re being too loud. Eventually, the windstorm calms down, the baby falls asleep, and everything’s very sweet and picturesque.

I think this is one of those pieces where expression is more important than beauty. For me, that means sounding “yucky” sometimes – using straight-tone, glottal attacks – stuff I’m not supposed to do. It’s an interesting balancing act between singing with technical correctness (legato, with clean onsets, tone that projects, vibrancy, etc.) with expressiveness.

Post-Show Reflection: I loved hearing all the other performers play and talk about their music. They’re all so passionate. I think everyone’s enthusiasm rubbed off on each other, and built up higher and higher. I was surprised at how non-nervous I was. I think it was because I had the personal, informal connection with the live audience from talking about silly things in the interviews. I felt like everyone in the seats were good friends, and I was just hanging out, making music for fun with my friends. 

Music has the power to create understanding between people who otherwise have trouble communicating with each other.

Eva Kennedy, 18, viola

This is one of the most gorgeous pieces I’ve ever played. It’s fairly repetitive, but the melodies are so beautiful that they never get old. One thing that we’ve worked on has been presenting the repeated melodies a little differently each time, so we ended up playing them over and over again in rehearsals and I still absolutely love playing and listening to them!

This piece has been a very unique experience for me – his is the first time I’ve ever played with a vocalist. It’s very different than playing with other string players, so it was difficult at first, but it has been fun and very beneficial, especially since we (string players) are always told to phrase like vocalists. We also had to take the meaning of the text into consideration when exploring different colors and characters, which is something I’d never had to do before.

Post-Show Reflection: One of my favorite parts was sitting backstage after we had finished playing with the other performers who had finished and listening to the show. It was so much fun to listen to the other performers; everybody sounded fantastic and the interviews were all hilarious, both of which were particularly apparent because of the audience’s reactions. Also, I had to miss the first night and two of the other performers missed the Arts Leadership workshop, so it was really nice to be there with everyone and feel that camaraderie.

It was so much fun! I had my last college audition the day before the show, so it was really exhilarating to walk onstage and know that I was just there to share this beautiful music–the audience wasn’t a panel judging me, they were a group of friends, family, and music-lovers who were engaged and excited to be there. As a performer, you can totally feel that.

Music has the power to do anything. Music can foster deeply meaningful human connections, international peace and understanding, personal growth and healing and discovery, and a million other things. If we continue to expand the boundaries of music and if we believe in it, music can do anything.

Maria Ioudenitch, 17, violin
Scherzo-Tarantelle, Op.16
By: Henryk Wieniawski

The Scherzo-Tarantella merges precision, tenderness, and passio to create a masterpiece of virtuosity. I have neither a favorite nor least favorite part, as all aspects contribute to an incredible entity, which has no boundaries of emotion. This piece begins with grandeur, and technique, flows into a graceful middle section, and continues to bring the brief “Cantabile” of lighthearted yet passionate excitement. Finally, the Scherzo-Tarantella ends back at “Tempo I”, reiterating the brightness of the beginning.

This piece is special in it integration of various points of the emotional spectrum. Unlike some other pieces in my repertoire, the Scherzo-Tarantella brings out my still (thankfully) youthful energy to the maximum, with no need to suppress it. This piece highlights the difficulty of control, in regard to technique. However, by working on this control, I gain ability to structure the masterpiece and hopefully pass on to the audience the great love that it brings out in me.

Post-Show Reflection: my favorite moments were being backstage with my fellow performers, and then walking out onto the stage and looking at the warm, accepting audience. Of course, the performance itself was the best experience. I was shaking, my hands were cold, my heart was beating irregularly…the nervous aspect coalesced with the excited. When I started to play, my mind was in technique, but after about 12 seconds my heart overcame and joined the music.

Music has the power to affect others.

Wickliffe Simmons, 19, cello
“Kaddish”
By: Maurice Ravel

Well there is a story behind this piece. In January, a good friend and I put together a memorial benefit concert at our school for the victims and families of the Sandy Hook Elementary School tragedy, Each piece was put in the program for a specific reason. We chose this piece because in Judaism, a Kaddish is the prayer for the dead. The idea we had in mind was that some things are beyond verbal description, so through music we could reflect and reach out to the Sandy Hook families, and faith or no faith, we wanted this piece to honor the students and teachers who were lost that day.

It has a very vocal or cantor-like quality. When I play it, I feel like I am solemnly pacing through a morphing, impressionistic atmosphere. This piece was written originally for voice and piano. Since the cello, in my opinion, is the closest string instrument to the human voice, it’s pretty cool that you can sing this piece without words. My teacher says that I should imagine that I am a Jewish cantor singing this prayer. I guess the hard part about playing this piece is making it have the same natural rise and fall of the human voice – just making it sound authentic and knowing the pacing you want to take before playing it.

Post-Show Reflection: It was great t meet all of these new, amazingly talented people, and realize how we all seem to know a lot of the same people. The rehearsals got rid of a lot of my anxiety before the show. When I walked onto the stage, the thought wasn’t to panic, but instead to just let go.

Music can speak as a language of its own, and draws out an emotional response.

Bokyung Byun, 18, guitar
“Recuerdos de la Alhambra” (Memories of the Alhambra)
By: Francisco Tárrega

The last two chords of the piece always confuse people. They often start clapping when the first chord is played because they think it is the end of the piece. In fact, the last chord often doesn’t get the chance to be heard. A friend of mine suggested that if audiences start clapping after the first chord, instead of bowing, I should wait until people stop clapping and play the last chord.

When I play this piece, I imagine a guitarist accompanying a singer singing the melody. I found it challenging to make the melody sing on the guitar, while making the accompaniment interesting at the same time. When I tried to listen to the melody, the accompaniment became too boring. When I tried to make the accompaniment interesting, the melody was not singing anymore.

Post-Show Reflection: My favorite memory was the pizza party! I loved how the staff members were so nice and supportive of us all the time. Also, it was nice to meet everyone for the first time. The performance itself was very relaxing. The audience was amazingly cheerful, and I really enjoyed performing for them.

I believe that music has the power to describe things that words cannot.

Ariela Bohrod, 17, piano
Andante Spianato and Grande Polonaise Brillante, Op.22
by Frédéric Chopin

Post-Show Reflection: I loved taking the quiz for my on-air interview! I learned some hilarious new things about the food preferences of famous pianists, and even though I only answered one of the three questions correctly, it still was a hoot. For the show, I thought I would be anxious to perform, but I was having too much fun to feel nervous.

Music is a universal language – something everyone can understand. It’s something that can connect people, help us to put aside our differences, and come together. I believe music has the power to change the world. 

Hartman-Warren-Doyle Trio
I. Moderato Assai from Piano Trio in G minor, Op.15
By: Bedřich Smetana

Luther Warren, 17, violin

In me, this music awakes images of the vase, rolling Czech countryside. Although I’ve never visited the Czech Republic, these images are vivid and tangible. This piece was written immediately following the death of Smetana’s daughter. As a result it conveys and enormous amount of grief, suffering, and poignancy. This is the mist important aspect to communicate to the audience.

Post-Show Reflection: My favorite memory was sitting in the Green Room with the rest of my trio while the show was starting. Only when we heard the crowd begin to cheer that what we were about to do really sank in for me. Performing on the stage at the show was about what I would imagine being in a 1950s live-broadcast TV show would be like. There was a rush of inherent and exciting energy about it all.

Music has the potential to bring beauty to a person’s life on a level far deeper than most other things can reach. 

Nora Morrissey Doyle, 16, cello

This piece is one that is filled with grief. Our coach told us about how Smetana wrote this trio after his daughter died from an illness, and I think that you can hear those emotions of grief throughout the piece. It speaks to his sorrow and frustration, but there are also fond memories, like when you hear the beautiful cello melody. My favorite part of the piece is in the beginning, when the cello joins the violin as the violin repeats its descending line and the cello plays an ascending one.

There are some places with tricky rhythms, and we had to work hard to get those places together. But those rhythms also add to the tension and the emotion of the piece. As with any ensemble, the blending of the different voices for just the right combination is a challenge. In this piece the dominant instrument changes around at times, and so we must listen carefully.

Post-Show Reflection: My favorite memory was meeting all of the performers and production staff at the pizza party. For the show, I was more comfortable than I’d expected. Having done the dress rehearsal in the morning, playing on that stage wasn’t as scare anymore. In fact, the only thing different from the dress rehearsal, to the performance was having a live audience, which was totally energizing.

Music can do basically anything, I think. It can transcend time, culture, distance, and bring people together. It allows people who don’t even necessarily speak the same language to communicate fluently.

Derek Hartman, 15, piano

This piece explores many different emotions, all of which transition between each other in a matter of seconds. My favorite part is the long violin solo, where Luther hits a high B flat. My least favorite part is the section where the strings are playing triplets while I play loud, C major chords, which lasts for several measures. I fell like the storyline follows different paths of pain and sorrow, as many emotions run through us at once when we experience that.

This piece has a strange piano part. Unlike most romantic piano trios, the pianist doesn’t have too many virtuosic parts; however, the part is surprisingly difficult. The chordal and octave passages make it a tough piece.  The hardest thing to nail is the right amount of “portato”.

Post-Show Reflection: In addition to performing (obviously), I enjoyed going out for dinner with all the “talent.” It was fun to get to know everyone. I didn’t think the performance was stressful at all – it was one of the most lighthearted, fun experiences I have ever had in a performance; very inspiring and invigorating.

Music has the power to bring people together for a common cause. It is also entertaining and provides a purpose, something to work for – it inspires, and provides hope. 

Chelsea Kim, 17, violin
Romance in F minor, Op.11 – by Antonín Dvořák

This is one of the most beautiful pieces that I’ve played. Mr. Weilerstein (my teacher) teaches me to think of a color when playing a specific scale/passage, and this piece shows me gradients and mixtures of colors that I could not even think existed. Unlike playing alone, when I imagine the orchestra’s pizzing and blooming harmony as accompaniment, I feel like I’m in a magical, enchanted place with this piece. Every time I play this piece is always like a new and different story, but most of them are dream-like, fantasy, mystical stories.

Mr. Weilerstein first suggested for me to play this piece as a practice to find my own personal voice and sound. That was the hardest and most unique aspect of this piece – I learned and attempted to carry out Dvorak’s voice and meaning of this piece as translated through my own voice. I had a lot of fun with it, and hope that the audience can hear my process.

Post-Show Reflection: One can say that Winter Storm Nemo was an impediment to our concert, but I rather think that it brought additional character and memory that became more special to my overall From the Top experience. Although it was not the sold out, 900-member audience concert at Jordan Hall, recording at the WGBH studio provided a more private and comfortable ambience. The little studio compared to the spacious hall also allowed for each one of us to interact with every one, and to really become close to each performer and staff. Performing at WGBH was a very familiar experience for me since I had recorded there previously for my college audition tapes. However, I was on the edge of my toes through my whole performance by the fact that my violin playing, unlike my audition tapes which I can decide to share with the public or not, was to be aired on the National Public Radio.

What Music Means to Me: Music is an essential part of a human being. There are theories that music is the origin of speech, and I believe that is true. I witnessed the power of music to communicate and heal autistic children who cannot speak, like my brother. I’ve also witnessed in the past how music can bring together and connect people of different nationalities through my experience of playing in orchestra on tour in Bratislava and Vienna. Despite the hardships and sudden scheduling we all had to face because of the snowstorm, we were all able to convene and share warmth through music at From the Top. All of the performers ranged in nationality, age, experience, etc., and yet I felt no different from them, and we all connected through the music we all played for each other. This is something only music is able to do. If we use it in the right moment for the right purposes, I believe some of the greatest achievements can be made.

Tatum Robertson, 17, soprano
“The Lordly Hudson” – by Ned Rorem

When I sing “The Lordly Hudson,” I think about my hometown: New Orleans, Louisiana. I think about my hometown because I feel this piece is an expression of hometown glory. The passenger that is speaking repeatedly emphasize that there is no river like the Hudson in any part of the world, and this is a parallel to me believing that there is no place like New Orleans in this world.

This piece is unique in that it doesn’t talk about passionate love for a lover like a lot of my pieces do. Therefore, this piece makes it somewhat easier for me to draw a parallel to since I have a place that I feel is like no other – it is a character that feels closer to me.

Tengku Irfan, 14, pianist/composer
Hungarian Rhapsody No.11 in A minor, S.244 – by Franz Liszt

I imagine that I am dancing when playing this piece! It feels like a gypsy dance. It is very contrasting, because of a slow dance and a fast dance. The thing that is unique about this piece is the fact that there is so much in just 5 minutes. The important thing to do is to contrast between the slow dance and the fast dance. That is the hardest to nail because one has to be expressive and the other must be light.

Post-Show Reflection: I really enjoyed the first time being interviewed and performing on radio, and being on From the Top! Also, it was great making new friends, and then there was the unforgettable snowstorm! It was so great to play a fantastic Hamburg Steinway in the amazing acoustics of the WGBH studio. It was very interesting to see what goes on in the making of a radio program and also how everyone works in the control room. Also, it is cool to see the phrase ‘On The Air’ light up in red!

What Music Means to Me: Music is a universal language that can break barriers and bring people together.

Ju Hyun Lee, 17, cello
Romanian Folk Dances – by Béla Bartók

The music evokes a different scene and character for each dance. The first dance presents a proud, declarative tune with a glimpse of a hidden, singing softer side. The second dance reminds me of an interesting pair of characters, either dancing or singing a duet. One is a playful soprano, while the other is a matching bass. The third dance is a nighttime scene: it’s dark and quiet, a fire flickers as an instrument plays a gypsy-like song. The fourth is reflective, melancholy, as if it’s an older character who is thinking of a past story. The fifth begins with a bright ring of sound, and the piano and cello have a lot of energy and fun that reaches the audience by the end.

There are so many different moods and characters in the folk dance that I have to create. I have to consider how to relate them to the audience, meaning I have to think about even the presentation for the music. It’s a lot of fun!

The Back Bay Trio
IV. Finale: Allegro giocoso from Piano Trio No.2 in C major, Op.87 – by Johannes Brahms

Kate Arndt, 15, violin

We have a pretty funny story that we relate to this piece when we’re playing it. We imagine a surprise party as an explanation for the mysterious element in the movement. The anticipation builds throughout the piece. There are a couple of places where we imagine the people thinking that the special guest has arrived, only to be left wondering. The end is when the party starts

This piece is pretty unusual. When we first started it, we didn’t really understand it. After working with it for a while, we’ve gained a sense of what the piece is about. I think the hardest thing about it is the level of detail. Brahms will mark certain effects in the music that make us wonder. Sometimes it’s hard to achieve exactly what we want and what Brahms would have wanted.

Zlatomir Fung, 13, cello

In all honesty, the last movement of the Brahms C Major Trio strikes me as being very quirky. It is definitely a beautiful and exciting piece, but some of the harmonies are quite strange in comparison to other music composed by Brahms. Despite all this, it is a blast to play and perform. When I play through the movement, there always seems to be this underlying energy, something boiling underneath. The piece builds up until the end where Brahms lets loose and expresses all the joy that has been held in. In the middle of the piece, there is a moment where all the instruments are playing very softly: my compatriots and I love to image small rodents scurrying frantically on the ground at that moment.

One of the relatively difficult aspects of this particular piece is simply figuring out what to do with it. At first, it just seems sort of weird, but after a deeper inspection, it is possible to find profound meaning in the music. Then, the struggle of the execution comes. Many of the textures in the music are difficult to create, particularly in the soft sections. Another tricky aspect of the piece is finding powerful contrast between the passionate, strong moments and the reserved, quiet moments. However, even in the softest moments, it is crucial to maintain a certain amount of tension and energy in the sound in order to preserve the excitement that is always present throughout the movement.

Post-Show Reflection: Since this show of From the Top occurred during the Great Blizzard of 2013, the weekend went a little differently than I had expected. The Back Bay trio stayed at the Colonnade Hotel in Boston, so we rehearsed and hung out over the course of three days; I found it particularly enjoyable to spend time with my comrades because we got to bond and know one another better. I loved working with the staff at From the Top (they are so wonderful!) and meeting the other musicians on the show. It was really a thrill to be surrounded by such dedicated and talented people.

I enjoyed playing in the Fraser Studio at WGBH! Of course it was a little different than a normal taping performance, but it was nevertheless thrilling. It was fun to be on the stage with my trio, especially considering that the hall is very intimate and has wonderful acoustics.

What Music Means to Me: Music has the power to transcend political, religious, and racial boundaries between peoples and appeal to the deepest parts of the human emotional spectrum.

Daniel Kim, 16, piano

I love this piece! I think it’s my favorite movement of the quartet – of course, technically it’s rather awkward for piano and therefore challenging, but I feel as though Brahms writes for the music, not for the player, which I really love about his works. They just sound so well-coordinated, so right, and this is no exception. Actually, Kate, Zlati and I enjoy making up little stories about the music. For example, in the development section, we imagine little animals scurrying around preparing for a surprise party.

Every measure of the piece has to have some sort of intensity in the mood, so it’s key to have good focus when playing it. Also it’s very abrupt in it’s dynamic transitions, so it’s easy to play contrasting sections only half-heartedly. One important thing Kate, Zlati and I constantly work on is playing everything to its full extent, even if it means blasting a joyous fortissimo that seems awkward or really cherishing the few more intimate moments.

Post-Show Reflection: Kate, Zlati, and I (the members of the trio) eating out at 5 Napkin Burger and having super heated debates on basically everything over decadent chunky milkshakes. It was the first time I’d ever performed at the WBGH Fraser Performance Studio, so it was pretty fun! The room was really nice and cozy. The piano was a little dull, though – it threw me off a little bit in some parts, but I was able to adjust fairly quickly. All in all, good times!

What Music Means to Me: Over the years, I’ve seen music do so many things: bring people closer together, comfort someone going through a hard time, build character, give people a purpose in life. But if I were to sum all of it up in one sentence, I’d say that music has the power to make anyone and everyone happy in some way. It certainly has for me.

From the Top’s broadcast for Show 265 featuring the Dallas Symphony Orchestra (DSO) was taped at the Morton H. Meyerson Symphony Center in Dallas, TX on Friday January 4, 2013. We asked our performers to tell us more about their experience on the show…

Aakash Patel, 19, violin
I. Allegro non troppo from Violin Concerto No. 3 in B minor, Op. 61
By: Camille Saint-Saëns

Saint-Saëns was a French composer, and French composers are known for their ability to create different atmospheres with their talent for understanding different textures of various instruments. When I play this piece, I think of the different atmospheres that Saint-Saëns tried to create, and relate such atmospheres to my experiences with them. This has helped me gain a deeper insight into the beauty of Saint-Saëns third Violin Concerto.

This piece contains some of the most beautiful lyrical passages I have ever played. This piece combines ideas of love and passion with a unique fluidity. For me it is a great challenge to convey this specific aspect of this piece. Although connecting the different portions of this piece together can be quite difficult, it is also quite rewarding. When I am able to convey this idea successfully, I get butterflies in my stomach.

Post-Show Reflection: I was asked, just before my performance, what it was like to finally be on the show – my response was, “pinch me, I’m dreaming!” 15 hours and many pinches later, my response should have been, “PLEASE REFRAIN FROM PINCHING!” From The Top has gotten me over so many hard blocks in my musical life – you guys keep my drive alive. Actually performing on the show was an unforgettable experience.

Many people say that man has the ability to move mountains. I was practicing outside a grocery store one day, and closed my eyes and began to play Bach’s G minor Sonata. After I finished, I opened my eyes and saw that an audience had formed – they all began to clap. I didn’t have to move any mountains, music had done it for me.

Russell Houston, 18, cello
Schelomo
By: Ernest Bloch

Whenever I play the Schelomo, I try to imagine it as the life story of a great king. I think it’s a cool piece to sit and play and really feel like a king, and the orchestra and solo parts contribute to this feeling. Further, it’s really fun to play because the orchestra parts are just so fantastic. My favorite part is the last tutti, it sounds so grandiose and overwhelmingly beautiful. When I was a little kid I used to really like the movie The Ten Commandments, and that tutti reminded me of that movie the first time I heard it. From the first time I heard this piece, I was determined to work on it, and wouldn’t stop talking about how much I loved it.

What’s really cool about the Schelomo is that it isn’t like other concerti where technique is the most important part – the Schelomo is like a painting, in that each part contributes to this overall panorama. The most important thing to communicate is the character of Solomon – the piece is about him. It’s really hard to communicate that wisdom and maturity he has in his old age, especially since I’m only 18! This piece is really fun to perform because it’s just as much about the accompaniment as the solo!

Post-Show Reflection: I loved walking out on stage for the first time at the live show – it was so validating seeing how many people were out there! The performance was great! The hall feels great to perform in, and the size of the audience was more affirming than frightening.

I think music can change lives, from changing how you feel any time you listen to having a life full of music. Music is enriching for the soul and makes life better!

Chase Dobson, 16, composer/piano
II. Sporting of the Gods from Piano Trio No.1
By: Chase Dobson

This piece is full of energy. The driving rhythm is part of it, but there’s also an element of it that comes from the three members of the trio together, all adding to the drive, competing with one another, but competing collaboratively. It takes a lot of precision to get the fine details together, but once it’s in performance, then the rush you get from it is unparalleled.

This composition is very special to me, in that it was the first composition I performed with live musicians. In the summer of 2011, I began rehearsing this trio with my friends Phoenix Abbo and Jorge Giron Vives. We prepared this movement for a benefit concert Phoenix was hosting, and we received a standing ovation at the performance, making the first public reception of my work very positive.

Post-Show Reflection: One of my favorite memories was Christopher O’Riley and the maestro’s rehearsal of the Shostakovich without the orchestral accompaniment – they both just hummed along during the piano breaks. I know it’s very specific, but it was so cool. It felt very comfortable to perform on that stage – there were so many steps to the actual performance that helped make it very easy, and very fun!

Music has the power to change live, bridge civilizations, entertain – essentially anything!

Greater Dallas Youth Orchestra (in a side-by-side performance with the DSO)
“The Great Gate of Kiev” from Pictures at an Exhibition
By: Modest Mussorgsky (orch. by Maurice Ravel)

Tiffany Mourlam, 18, viola

I absolutely love the Pictures at an Exhibition, and the “Great Gate of Kiev” is one of my favorite movements. I love the great contrasts between sections of the piece and how incredible the ending sounds. It’s one of the most magical pieces of music EVER. My favorite part is definitely the beginning, where the brass play the theme. It just feels so good to sit and listen to. I also enjoy the sections where the strings rest and the winds have a few bars to enjoy the music and transitions between sections of the piece. There’s nothing about this piece that I dislike!

The orchestration is incredible! Ravel was truly a master of orchestration, and I really like the way he chose to bring Mussorgsky’s ideas about the piece (as well as his own) into the music. It’s critical that the contrasts in this piece are pronounced because Ravel asks for so many different sounds and colors in Pictures at an Exhibition. The hardest thing was to achieve that difference in tone and color. I’ve loved this piece since I heard it as a child. Getting to play it is so fulfilling!

Post-Show Reflection: It was an incredible three days! I loved my backstage naps with Annie, and getting to introduce Mr. O’Riley and Tom (Voegli) to the extremely comfortable red chairs in the lounge. I also loved meeting my stand partner Valerie. The performance was incredible! The musicians were all so nice. At one point, I just looked around and couldn’t believe we were sitting with the DSO – one of my greatest childhood dreams come true!

Music has the power to connect people and change lives! I firmly believe that it has the power to promote peace and heal people.

Morgan Mitchell, 16, cello

Honestly the adrenaline rush I get from the Baba Yagá (the previous movement) is still with me, so the opening chords help me calm down and proceed. I absolutely love the dynamic contrasts because they keep me interested in what I am playing. My favorite memory of playing the piece was from this past summer in Litomyšl, because we were performing in a castle (a girl’s favorite place!) and I could feel everyone around me giving 100%.

This particular movement gives me the responsibility to convey and evoke emotion. It takes you out of your own brain and problems into a world of beauty and empowerment. The hardest things about the movement are sustaining the long notes with full pwer, and feeling as an ensemble. Compared to other pieces this one is not about virtuosity or showing off – it is about reflection.

Post-Show Reflection: Being on the Meyerson Hall stage sitting next to my teacher (who inspires me more than anyone) and feeling the realization of what I was doing was really powerful. The performance was the scariest, most special and humbling feeling ever. I love that stage, and everything it stands for in a musician’s life!

Music has the power to fill anything you do with passion by allowing you to give your all.

Annie Lehman, 18, harp

A sort of chordal texture starts the piece and quickly builds to (my favorite part) the big ending, which is so exhilarating to play and literally feel because you’re surrounded by the music when you are sitting in an orchestra.

Blending the sound with both the principle harpist and the rest of the orchestra is the most difficult part of learning this piece. Playing with a professional harpist adds a new dimension to playing in an orchestra, and provides a great learning experience.

Post-Show Reflection: My favorite moments were performing on the stage, being interviews by Christopher O’Riley, and seeing the behind-the-scenes of the show backstage. The show itself was AMAZING! I thought I would be nervous but I felt so comfortable talking and performing, and actually had tons of fun!

Music has the power to change everything – it can help others by allowing them bring across ideas that can’t be said with words, and can give you a knowledge of other cultures.

My favorite part of the Zigeunerweisen is the fast, dancing section. I don’t really have a least favorite part of the piece. When 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 that 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 piece 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 with 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 two 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 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!

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. 

Simone Porter, violin, 15
III. Allegro Animato from Violin Sonata No. 3 in C minor, Op.45
By: Edvard Grieg

I had the great privilege to perform the 3rd and final movement from Grieg’s 3rd sonata in c minor for violin and piano with Christopher O’Riley on From The Top in May. This sonata is certainly a favorite of mine. The third movement alone incorporates passionate melodies, elements of Norwegian folk music, overarching long lines, and excellent dialogue between the violin and the piano! I think the 3rd movement very operatic; it alternates between Nordic themes that feature exchanges between the violin and piano, which I consider flirtatious conversation amongst my opera characters, and passionate melodies which I imagine to be arias, declarations of love. Grieg employs many syncopated rhythms throughout the 3rd movement, which makes the music agitated and anxious at times, but in the end, the music takes a sweeping turn into C Major, and ends in celebration.

This sonata is all about human communication: most obvious is the interaction between the violinist and pianist performing, but I think that the connection between the performers and audience is just as essential. While I was in Portland with From the Top, we talked alot about music’s power and influence. I brought up the idea that music is a universal language that doesn’t acknowledge any prejudice, and invites everybody to join the conversation. I hope that with this performance, I successfully invited and engaged the audience in a lively discourse.

Post Show Reflection: Rather than a specific experience, my favorite memory is the way friendships developed between the performers over 3 days. We entered (mostly) strangers and left with new friends who will keep in touch and meet up when our paths inevitably cross in the future. Performing for a live audience and imagining how that performance will reach so many more was so wonderful! I loved collaborating with the brilliant Christopher O’Riley, all the people at FTT, and being with the fantastic and supportive Portland audience!!

Music can establish connections and dissolve boundaries in a world that can be so divisive. Music is the universal language and we invite everyone to join the conversation; art doesn’t recognize any prejudice. From the Top encourages a discussion in which everyone is accepted and welcomed, regardless of race, gender, age, sexuality, opinions, etc. Musical education brings peace and hope and light to society; the educators and educated benefit from the experience.

Ruta Kuzmickas, piano, 16
Waltz in A-flat Major, Op. 34 No. 1
By: Frederic Chopin

In my opinion, this piece is very optimistic, energetic, and indeed very “grand,” as the name suggest. Overall, it’s just plain fun to perform. Aside from the optimistic characters in the piece, there’s also a melancholic cry towards the middle, although it is very short-lived. After that briefly dramatic moment the happy “character” returns with its original flamboyant thematic elements.

This piece is both musically and technically demanding. What I love about it is that there are so many different themes, yet they repeat so many times, making it fun to play around with ways to change every repetition and make each one unique. That alone was one of the most difficult things to get across, although in some ways Chopin has given the pianist a lot of space for creative thinking and interpreting.

Post Show Reflection: A favorite memory from the past three days was getting to see the other’s performances during the recorded rehearsal. It was interesting to see a variety of personalities, interpretations, and ideas. It was such an honor to be on the show. Performing on stage felt fantastic. So much work went in to preparing for the performance, so I knew I could relax and just let it happened. My main goal was to portray the spirit of the piece from my point of view, and I’m hoping it came across well.

I believe music has the power to heal, bring happiness and most importantly, connect people and bring them together. Music inspires, empowers, creates, and relates. Music is for everyone, regardless of race, gender, age, or identity.

The Aries Trio
II. Scherzo: Allegro from the Horn Trio in E-Flat Major, Op.40
By: Johannes Brahms

Jisoo Kim, violin, 18

The Brahms Horn Trio is special because this piece is for an unusual combination of instruments – piano, violin, and horn. One would think that the issue of balance might create problems, but it is incredible in how Brahms weaves these different instruments together to make beautiful music.

I have actually never worked with another brass instrument before (in terms of chamber music), so this experience was quite unique. I was always used to playing with either string instruments or the piano, so I had to adjust to a whole new setting. 

Post Show Reflections: My favorite memory from the last three days was the live performance and interview. The audience was wonderful, and I had an unforgettable experience with trio in Portland, Oregon. I grew closer with my trio and met so many inspiring people. I am so lucky to have experienced this FTT performance. We gave a great performance ,and the interview process with Christopher O’Riley was fun as well. From the Top provides such an incredible moment for performers everywhere, and I am thankful to have come to Portland and experience it again!

Music has the power to bring people together. It is inspiring and truly makes a difference in so many people’s lives.

Roy Femenella, horn, 18

Brahms wrote his Horn Trio after the passing of his mother, and so one of the primary emotional themes of this piece is grief. Because of this, the trio begins with a slow movement, and is one of very few works of this scale to do so.  The second movement, which we play on the show, exudes a tremendous feeling of renewal and possibility after the initial, sad first movement.

The second movement is very striking due to its different forms of contrast: emotionally, rhythmically, dynamically, etc.  Because of this, this music is very challenging, both individually, and as an ensemble.

Post Show Reflections: Playing on the show was definitely a favorite moment for me.  The radio aspect presented a different environment from other performances, and was very exciting

T.J. Tario, piano, 18

The story or image that the Brahms Horn Trio evokes for me is of a hunting scene on horseback/ My favorite part in the Scherzo is when I am starting the piece because I feel as though I set up that element of surprise when the horn and violin come in. Another favorite part of mine is in the middle section of the Scherzo when I’m alternating with the violin. It’s just a wonderful energetic conversation!

What I feel is unique about the piece of music is how Brahms took 3 individualistic instruments and innovatively meshed their sounds together. It would have been, I bet, revolutionary at the time, and I feel it sort of is still in today’s contemporary music standards. I’ve only performed in Piano Trio with violin and cello, so performing with a brass instrument is fairly new.

Post Show Reflections: A favorite memory was prior to the taping, we were all just chilling backstage in the green room and talking about everything basically under the sun: all our mutual friends, future goals, schools, and music festivals. The performance was so exhilarating because I haven’t really performed on that big of a venue since I lived in Hawaii. The Newmark Theatre was just such a wonderful hall and the audience seemed to have responded well to the performance. I also found it exciting as well because I get to start out the Brahms Horn Trio movement and there’s no pressure, but overall I had so much fun playing it with my chamber group!

Music has the power to empower, inspire, and bring joy to others. It also has ability to connect people!

Noah McKee, marimba, 17
Tambourin Chinois
By: Fritz Kreisler
(Arr. George Hamilton Green)

Post Show Reflections: My favorite memory was the first rehearsal and meeting everyone. The performance itself was very intimidating it was the largest crowd I had ever played a solo for.

I believe music has the power to express emotions that otherwise could not be expressed through words.

Gemini Shortcake Duo
Fantasy on George Gershwins’s Porgy & Bess for Two Pianos
By: Percy Grainger 

Alison Chang, piano, 17 

The first time I performed “Porgy and Bess” was as part of a TEDx talk at my school on how anyone can fall in love with classical music and how two piano ensembles are a great way to bring orchestral works to all sorts of audiences. When I play these songs, I think about the characters that are singing (the brave Porgy and the beautiful Bess) and try to capture the style of different instruments- lyrical violins and shimmering flutes.

“Porgy and Bess” is much jazzier than most of the pieces we play. I’ve learned to relax both physically and rhythmically to fully convey the jaunty tone of “Oh I Got Plenty O’ Nuttin” and the jubilant declaration of “O Lawd, I’m On My Way.” Serina and I even watched the opera so that we could better understand the attitudes of the individual people and the community as a whole.

Post Show Reflections: My favorite memories were getting to know the other performers, watching rehearsals (both interviews and music), and hanging out backstage. The performance was a lot of fun- I was less nervous than I’d expected, and the audience was so warm and receptive (even though I couldn’t actually see them!). Thanks to the taped dress rehearsal, I didn’t need to worry about perfection and could just enjoy the music.

Music can bring people together and help them communicate to overcome differences. It can heal pain (physical and psychological) and make people happier.

Serina Chang, piano, 14

“Porgy and Bess” and I have come a long way. It’s definitely an unusual piece for me, especially considering my mostly classical repertoire. As a result, there were parts of it I had trouble understanding. For example, there is sudden mood and melody switch in the middle of “Oh I got Plenty O’ Nuttin” labeled cantabile which used to baffle me because it seemed out of the blue. It wasn’t until last week when I watched the scene in YouTube that it started to make sense. In Porgy’s voice it sounded natural as he explained optimistically that he is just happy to be alive. I saw his smiling face when I played this section again, and found the unique transition enjoyable and I smiled along with Porgy.

I find that the most unique but also hardest part of playing “Porgy and Bess” is accurately capturing the essence of the complex opera with only two keyboards and five minutes. Without words or images, Alison and I are given the task to paint the scene of Catfish Row [the African American neighborhood in which the opera takes place], communicate changes in plot, and express the personalities and emotions in this fast-paced version from the jaunty I get “I got Plenty O’ Nuttin”  to the good yet somber “Lord, I am On My Way”. But these challenges are what make the piece so rewarding to play. Creating the characters and their world is literally at our fingertips.

Post Show Reflections: The entire three days were amazing! Honestly I don’t have a favorite memory but there were a couple of things that stood out. The closeness and light bantering of the staff was something I really liked and in some ways, they made me too feel like part of the FTT community immediately as they broke the ice with their jokes. The other performers were of course very talented, but also I was delighted with how comfortable it was backstage to talk to them. The performance was great and exciting! I really enjoyed the reception because I could individually connect with the audience members and see the stage through their eyes.

The performance was just so, so much fun. I love performing – I actually began piano for the sake of performing, but the From the Top show went so far beyond a performance. There was the obvious change from typical performances – there was an interview and, as a result, the atmosphere was completely different for both the performer and audience. I felt much closer to the audience and when I sat down on the bench to play, I felt like I was simply sharing a funny story with a friend.

Music has incredible power: it can excite, calm, unite, rally, and really do anything to any group of people. History has countless examples of arousing national anthems chanted as soldiers march into wars or as rebels risk their lives. It has the power to incite spirit and this spirit can be transformed into action. The reason the spirit is so strong is that when people sing together or even just feel the same beat, they are literally “in sync” and thus feel like a unit.

Jerry Feng, piano, 17
Etude Op.10, No.12 in C minor, “Revolutionary”
By: Frederic Chopin

I just really think this is a great piece. I first began learning it four years ago and I seem to always bring it back from the dead for various performances. Personally, playing the etude evokes memories of my own “hardships.” I know my “problems” are not nearly as serious as the Russian occupation of Poland, but I think it was Chopin’s goal to elicit this kind of bitter and desperate feeling.

I feel like the most unique aspect about this piece is the incredible amount of raw emotion placed into the short 2 1/2 minutes. That being said, I believe the most inspirational (and hardest) part to accomplish is really making the audience feel and understand Chopin’s outrage and sadness.

Post Show Reflection: My favorite memory was hanging in the dressing room before the performance. Performing on that stage was absolutely breathtaking, fantastically amazing, and unforgettable. But I really wish I got to spend more time with the other incredibly talented musicians there.

Music will bring people together.

John Burton, trumpet, 17
Fantasie in E-flat
By: Joseph Edouard Barat

This is such an interesting piece. It has an ominous fanfare that kicks off the piece and recurs throughout. Then it goes into a very lyrical melody that is voiced in different styles. For me, I don’t have a particular story in mind when I play this piece, but I do have certain moods I try to recreate as themes to come and go. It has dramatic, fluid, playful, and even jazz-influenced sections. The whole piece is very French. Overall, it is really neat to listen to!

This piece has a lot of character and it is really important to portray that. I am not worried about any technical sections, but being a brass player can easily prove otherwise! You never know how your chops will feel on a certain day! You could feel great one day and terrible the next. That is also another motivation to practice – nothing is ever perfect.

Post Show Reflection: It was fun hanging out with everyone in one of the dressing rooms before and during the show, and to play on the stage and see how “From the Top” does everything.

Music can bring happiness.

The Camerton String Quartet
 II. Allegro furioso from the String Quartet No. 10, Op.118
 By: Dmitri Shostakovich

Rebekah Heckler, violin, 16

This piece is incredibly exciting. Every time we play it, I get a huge adrenaline rush. The piece is very powerful and builds suspense with reoccurring patterns. While a longer melody is being played, there are eight notes and sixteenth notes being played by other members of the quartet. It keeps things very suspenseful and on-edge throughout the piece. It’s a very dark piece, which sounds a lot like war.

With every new piece comes a new challenge. The most exciting aspect of the Shostakovich is the character we try to convey. There are many little details ranging from how we play an accent to the overall balance. With the Shostakovich, it is very hard to not to let my adrenaline get going too much to where I rush fast passages. There are some very difficult octaves toward the end of the piece – it’s an incredibly fun challenge.

Post Show Reflection: There are so many fantastic memories. I loved hanging out with the other performers backstage, getting interviewed on a radio show for the first time, and the rush of performing with my quartet onstage for such an awesome live audience. It was so exciting to perform onstage! The audience was so energetic. I felt that my performance was hugely inspired by all the energy in the hall.

Music changes lives. It gives people an outlet to explore and convey their emotions. Music has the power to inspire, connect, and transform lives.

Julia (Geeo) Son, violin, 15

This music is a very energetic, hard piece to play. When I start this piece, I put myself to be more energetic and powerful. My favorite part is when we play the 10 to 20 measures of the ending. The ending builds an immense power and takes a lot of energy to express the sound to the audiences. My least favorite part is of course the high notes that are very hard to play (shifting to high position). When I play this piece. I think about anger; a climax of a story. Before we played this piece at MYA, I got so nervous and was trembling the whole time!

This piece is special for me because I have never played a chamber music piece by Shostakovich. I love the music’s energy and expression compared to other pieces. I think the most important thing is matching our sounds with each other instead of playing the piece as loud as we can. It is really hard to maintain the energy playing loud and listen to each other all at the same time. This piece is one of my favorites because I personally love music with a lot of energy and anger (expression).

Post Show Reflection: My favorite memories were performing on a stage for hundreds, meeting new people that share the same passion towards music, and meeting the staff and recording our performances. I was nervous but very excited on that stage. It was a great experience to perform in such a beautiful hall and share our music with the audience. It is a memory I will never forget.

Music has the power to do anything. It makes you a better person, and allows you to be yourself. It also helps people to gain leadership qualities like encouraging others and persevering on your goals towards things that don’t have to involve music.

Sean Byrne, viola, 17

This piece has a violent energy through and through. It’s easy enough to get that concept, but how can this be conveyed? Our task as an ensemble has been to experiment with how we can convey these ideas in our heads through the instruments in our hands.

Energy must be continually spent to perform this piece. It’s hard to keep pushing forward sometimes, but to drag or hold back in excess would ruin the continuity of the piece. Also important to the energy is our volume, which we must balance with tone quality (another issue which has required experimentation).

Post Show Reflection: My favorite memory was being in the dressing room before the performance. The energy and anxiety of waiting was all fun! After months of work went into preparation for this performance, watching it come to fruition was so fulfilling.

Music can express, influence, entertain, and inspire.

Nomin Zolzaya, cello, 18

The piece itself is very powerful, heavy, and pressured. Sometimes it’s very hard to focus on and be in the right character because usually we laugh a lot when we start this piece. One of the hardest things is that keeping the tempo steady and holding the energy in a bubble.

Post Show Reflection: I had a lot of fun during the three days, because everybody was so funny, and charming (especially the pizza party!) That was one of the best performances we’ve ever played. We felt the most warmth and a really powerful energy from the audience.

Music is the only language that doesn’t need to be translated to others in the world.

Thomas West, bass-baritone, 16
“Grosser Herr” from Christmas Oratorio, BWV 248
By: J.S. Bach

I love this aria by Bach because of its message. I feel that as a musician, it is my job to translate the text for my audience in the style that the composer would have wanted. It was extremely important for me to do it for this particular piece of music because of it being in German. However, the style of Bach has no language boundaries and one really hears that in this piece. It begins with words that translate as: “Great Lord, O Mighty King, Dearest Savior, O how little you regard earthly splendor.” Right off the bat, Bach translates this text for his audience through the opening accompaniment. The piano sounds like a multitude of trumpets coming together to recognize the awesomeness of God. Then, the Bass solo enters and once again, Bach paints a picture of God’s power through song.

The B section of the piece is entirely different. In English the text reads: “He who maintains the whole world and created its glory and adornment must sleep in a hard crib.” Bach translates this by creating a mysterious kind of feel in the melodic line. It is softer and gentler, but also has a sense of question about it. I believe Bach wanted his audience to ponder why the God of all creation would humble himself to such a lowly position on earth.

Bach then finishes the piece by repeating the A section, reminding the audience once again of the majesty of God. My job then becomes to show both that power and mystery to my audience. When I sing this piece, I’m thinking about the awesomeness and might of God and what a blessing God has been in my life.

Post Show Reflection: I loved being able to perform in front of my friends and family, and seeing all of them afterwards. Taking the final bow with all of the performers in my hometown was special. At first, stepping on stage was a bit nerve-wracking, but after I started singing everything changed. My thoughts became focused on presenting my piece for the glory of God and giving it the energy and excellence it deserved. All of those countless hours of practice culminated in one very special moment. After I finished, getting such a warm reception was truly appreciated.

Music can change lives. It is an art form that teaches the importance of beauty. Every piece of music has a message to give, and I think presenting that message through music is the best way to teach another person about something that you as a musician hold dear.

Alina Kobialka, violin, 15
Carmen Fantasie
By: Franz Waxman

I think about the tragic tale between Carmen and Don Jose (I really recommend the opera Carmen if you haven’t seen it!), and how much sadness and anguish there is. My favorite part would have to be the last few sections, where the excitement and momentum build up until the last two bars and it finally finishes. The piece always reminds me of a flaming red (or a flame), because I find the piece to be extremely fiery and emotional.

This piece probably has the most variations on a theme out of everything I have played. Waxman makes so many variations out of one of two themes (it’s pretty awesome!). This piece is technically challenging but not impossible, and it is so fun to play!

Post Show Reflection: My favorite memory was backstage with all the performers – we were all joking around and getting to know each other. By the end, it was like we had known each other for a long time, not just for two days. The performance was so exciting! I have never done anything like that before, and it was so different from a live performance. It was so much fun and if I get a chance to do it again I totally would!

Music has the power to touch people’s hearts, and allows a person express oneself. It can bring people together, and can be a language all by itself.

John Lee, cello, 17
Dance of the Green Devil
By: Gaspar Cassado

I knew what a devil was, and I knew what a red devil was, but a green devil? Not so much. After scouring through pages about green devil tattoos, green devil designs and the boss in the MegaMan game series, I gave up my search
and decided that the green-ness described the devil’s playfulness and quirky nature. But I was not satisfied, so I headed back to Google and finally hit the jackpot: the devil wears green, just as hunter wear camouflage, to hide among men and capture their souls. Indeed, Cassado captures this wily nature of the green devil: quick, tricky, and hard to find on Google.

For me, the most difficult task was also the most enjoyable one: delivering a portrayal of the green devil. From the tip-toeing of the bow to the blood-boiling runs to the shockingly celestial glissandos, the piece itself provides a framework of the devil. However, the artist has the job of coloring that framework green and filling the piece with the emotion of the devil itself.

Post Show Reflection: My favorite memory was definitely the interview with Chris on stage – I’ve never felt so refreshed and excited to speak to an audience. The performance was a wonderful experience for me, both as a musician and a person. Being onstage was so exciting and I would do almost anything to relive that moment.

I believe that music has the ability to reach into the hearts and minds of people as human and create another world in which we can flourish and there.

Avery Gagliano, piano, 10
“The Cat and the Mouse”
By: Aaron Copland

I think Aaron Copland’s “The Cat and the Mouse” is very energetic, fun, and exciting. When I play this piece, I tell the story of “The Cat and the Mouse” and picture in my mind an exaggerated cartoon. The music makes me think about the cartoon Tom and Jerry: I see images of cats pouncing, mice skittering, and everybody going around and around. The story behind this piece of music is about a cat and a mouse that always fight: from dawn to dusk they bicker until one day, the cat retires for the day and lounges around admiring himself, feeling all confident and superior. All of a sudden, the mouse takes advantage of the moment thinking that he might be able to get a snack or do something exciting. Then, the cat follows and begins to chase the mouse again. In the end, the cat and the mouse move on to live new lives in separate places, but there is still a little bit of their energy and excitement left in the old house they used to live in, which is represented by a little tinkering in the last few notes.

Since the music of “The Cat and the Mouse” is so wild and creative, I can experiment a lot with it. It is full of false harmonies (meaning harmonies that don’t really sound harmonic), and many other interesting things you can observe in the music. For example, there is sometimes a moment when everything begins to speed up and then all of a sudden, it slows down again and hushes up. Things like this make me love “The Cat and the Mouse” and I think it is a great piece to play.

I also find “The Cat and Mouse” extremely catchy. I am attracted to it partially because it reflects my own character. I usually find all pieces easy to communicate with but this piece caught my attention immediately. For me, the most important thing to do in order to play well is to tell a story through the music, and to bring out all the juice inside of it. Other pieces I have played besides “The Cat and the Mouse” take a longer time for me to find and unravel their stories. This piece has a story that comes naturally and quickly. It isn’t very melodic and singable, unlike most pieces that are composed for dance, singing, etc. Instead, “The Cat and the Mouse” is straightforward, telling the story right away; this is why it is so special and unique to me.

Post Show Reflection:

Over-all, I had an amazing experience participating on From The Top. My favorite moments were the pizza party on Friday (it was awesome!) and being on the show. The actual performance was simply amazing! I felt comfortable and quite relaxed. Before going onstage, I was nervous, but when I walked onto the stage to perform, I felt mentally prepared in a way I’ve never felt before. Everything was so enjoyable.  

I believe that music has the power to do anything. It changes so many people’s lives and is completely unpredictable. I believe that depending on the situations, music is capable of doing so many different and wonderful things. One other thing that I cannot forget about music is that besides changing my life, it has brought to me new joy and inspiration that has made my life more valuable. This is why I am thankful and grateful for the gift of music.

Margaux Filet, flute, 18
Cantabile
By: George Enescu

The Cantabile is serene and graceful.  When I listen to this piece, I think of a person walking through a garden in the springtime, marveling at the gorgeous array of flowers and taking in the beautiful scenery. The person at this point in time doesn’t have a care in the world.

I remember one night after coming home late from an orchestra rehearsal, my mother told me that she found a really great YouTube video of Ron Paul playing the Cantabile by Georges Enescu. I thought that was kind of strange and intriguing that a presidential candidate played the flute. When I looked at her inquisitively, she was puzzled and asked what was so odd about Ron Paul playing the flute. After a minute or so I asked if she meant Rampal, as in Jean-Pierre Rampal.  It turns out that the YouTube video was of Jean-Pierre Rampal playing Cantabile. We both had a good laugh when we realized the error in communication. Just out of curiosity, we checked online to see Ron Paul plays an instrument: it doesn’t appear that the flute or any other instruments are fundamental to the success of his campaign strategy.

The most difficult aspect of this piece is making the phrase lines long, smooth and graceful. It is very easy to accent the unimportant notes.  I find that singing my part has really helped me understand musically how to convey the beauty of the piece to my audience. Sometimes I even sing and play the flute at the same time; I find that helps focus my sound.

Post Show Reflection: The outreach at the high schools was a favorite memory for me! I enjoyed talking to the students about music and sharing several pieces with them. They seemed to be really engaged with the entire presentation. The show was definitely the highlight out of the three-day experience. I was definitely a little nervous but mostly excited to perform for everyone and to share my story. Mr. O’ Riley made me feel more at ease with his enthusiastic personality. It was quite an experience to walk out on stage with all of the recording equipment and to see a full house. I enjoyed every moment of the show and I will cherish this phenomenal performance opportunity forever!

This show reinforced the idea that music can help others feel better about themselves and the world around them. Music makes us aware of what is important in life and helps makes us better citizens.  I believe Plato, aptly describes the power of music when he says, “Music gives a soul to the universe, wings to the mind, flight to the imagination and life to everything.”

Quartet Al Dente
I. Allegro Rustico from String Quartet No.2, op. 26
By: Alberto Ginastera

Ade Williams, violin, 14

I love the Ginastera! I love how it’s so intense. To me it sounds sort of like a rock song combined with a really uncertain, anticipating melody. I think the story of this piece is a horror movie because the chords are chaotic and remind me of Shostakovich.

This is the first modern string quartet I’ve ever played! The first time I heard this piece was last year on tour with the Sphinx Virtuosi, and I immediately wanted to play it. The hardest part of this piece is playing together. Usually we’re divided two and two with rhythm, with one group being just one eighth note off from the other; so if you find yourself together with other group, then it’s very likely to fall apart.

Post Show Reflection: I loved performing in front of the live audience and having to take three bows because they liked it so much! It was an amazing feeling! I’ve never performed in front of a live audience and get recorded at the same time. I loved it. It was also the first time performing the Ginastera!

I believe music has the power to make you happy, sad, in love, angry, etc. I believe that it can heal you emotionally and physically.

Claire Bourg, violin, 17

This piece is extremely intense right off the bat. The rhythm is very catchy and small changes that occur every once and a while can throw everyone off sometimes! When I am playing it, I sometimes feel like I am hurting my violin, because it is so loud and powerful! Because everything moves so quickly, I think about being in a car that is going so fast the images outside the windows are a blur!

This is such a unique and rustic piece. It is relentless and requires such teamwork to play, because the four of us are in unison a lot. While there is a clear theme, I am used to playing pieces with some sort of melodic theme, but this piece is just crazy! There is one rhythmic section where the violins’ are opposite along with viola and cello, and it is nearly impossible to nail! We had to practice four measures like 600 times!

Post Show Reflection: Performing on the show was my favorite memory, in front of a live audience. It was so much fun just playing music and having such a responsive audience that got into it! Surprisingly, my nerves went away on stage and it was just all about playing music and having a great time. At times, it was nice to look out into the audience and see people really having a good experience listening.

I believe music has the power to bring the entire world together. It is such a strong thing that brings all different types of people together.

Caitlin Adamson, viola, 16

I love the intensity in this music. Even though the piece keeps you on your toes the entire time, it has unparalleled intensity that is unlike any lyrical melodies. In order to create the intense feeling that Ginastera conveys, he uses pairings of instruments and plays them off of one another resulting in a very complex musical experience.

This piece has a more rhythmic feel similar Smetana. While there are slower more lyrical passages, most of the piece is percussive and groove. It is almost impossible to count in the Ginastera because it just makes it more complicated. You really have to get the feeling for it.

Post Show Reflection: The performance was definitely the favorite memory for me; hearing the audience laugh at what we said was so rewarding. I felt like what we said really connected to them. Performing on that stage was incredibly comfortable. The audience was so alive and we fed off of their fantastic energy.

Music has the power to change people. It can help make the world a better place to just be you. Music is all about free expression and putting yourself out there in your most natural form.

Tara Safavi, cello, 16

This piece in very rustic and quite different than anything I’ve ever played before. There’s nothing elegant or polished about it, but that’s what makes it fun to play. It’s “fast-stomping” music – when I listen to it or play it, I image Argentinean cowboys (Gauchos) riding their horses across the plains of South America. The moods in this piece alternate between violent and calm, which to me evokes a storm with brief interludes of quiet between thunderclaps.

This piece is especially difficult rhythmically because we all have to stay together as a quartet, and yet play different rhythmic figures correctly. For example, in one section I am counting in groups of 4 while the others are counting in groups of three, and we have to simultaneously pay attention to our group mates but not play the same rhythm as each other. It can get really confusing, but when it all fits together it’s really rewarding!

Post Show Reflection: Playing on stage in the live recording was definitely the highlight of my weekend. The audience was great and I was incredibly proud of the group for all of our hard work. The interview with Christopher O’Riley was a lot of fun too because we got to describe the Ginastera as “relentless rock music”. Knowing that we made other people happy makes me happy. The audience gave us such great energy, and we completely reacted off of that energy. We gave it our all and really enjoyed every second of it. I don’t think any of us were nervous – we were having way too much fun. By the time the piece was over, I think we were all physically exhausted. We also lost quite a few bow hairs in the process!

Music has the power to alter one’s perception of the world. When you are first introduced to music, you are introduced to a whole different way of life. Music is a really powerful form of expression; it is often said that music takes over where words fail. That is how I can view music’s power.

Jieming Tang, violin, 14
Melodie, Op 42, No. 3
By: Peter IIyich Tchaikovsky

Tchaikovsky’s Melodie is one of my most favorite pieces. It sings of sweet remembrance. This piece comprises of three sections. My favorite parts are the first and third sections which feature the beautiful violin melodies stretching out in dreaminess. The third section is more passionate and diverse with a sentimental conclusion. I enjoy playing it very much. Every time I play this touching piece, I can feel a warm current flowing through my whole body.

This is a short piece of music, but it contains so many dramatic points which offer a great deal of room for the performer’s own creative interpretation and expression. I think this is what makes this piece very special. It is full of diversity and smoothness throughout the whole piece which make playing it a very natural enjoyment. I think smoothness is the most important and the hardest thing for me to go for.

Post Show Reflection: The actual concert was fun and exciting. I kept reminding myself to present my best music to the audience when I was on the stage, but I still was a little nervous. A favorite moment for me was when we partied after the show.

Music can purify people’s souls.

Nick Tisherman, oboe, 17
I. Allegro from Sonata in F major, KV 370
By: Wolfgang Amadeus Mozart

I like to think very happy, joyful, bubbly thoughts when I play this piece. I always keep in mind that Mozart wrote the oboe quartet as a show-off piece for a friend, so I think that it needs to be flashy as well. My favorite part is a section in which the music sounds like two voices arguing. I’ve played this for an audience of children at the Blythedale Children’s Hospital near where I live. I think the piece really lifted their spirits. When I played the Mozart for Frank Rosemein at CIM, he said my interpretation needed more “sparkle”, and should be more “effervescent.” On the flight home from Cleveland I ordered a Sprite and decided that my complimentary beverage represented the character I should shoot for.

This piece is really cool because in the third movement, the oboe rebels and goes into a 4/4 feel while the strings stay in 6/8. It creates a really cool effect. I feel that I most get across my personality when I play the oboe quartet. It is such an exciting piece, and it has so much character in it. I finally unlocked the hardest part of playing Mozart after I stopped thinking of the quartet as a super-light, bubbly showpiece, and pretended I was singing an aria instead. Once I gave the piece this mentality, all the lines and melodies fell into place and Mozart in general felt easier to play.

Post Show Reflections: I enjoyed bonding with my fellow performers and especially liked talking with audience members and hearing their reactions. The performance was completely exhilarating. The audience was warm and receptive, and playing with Chris O’Riley was amazing. I felt like a star, and I signed my first autograph!

Music connects in a way that no other medium, art form, or any sort of rhetorical device can. It speaks to everyone. It can evoke emotion in anyone. We can use music to touch life and reach out to make a change that we could not make without music.

Midnight Duo 
III. Finale (Allegro vivacissimo) from Violin Concerto in D major, Op.35
By: Peter Illyich Tchaikovsky 

Aubree Oliverson, violin, 13

The 3^rd movement is my favorite. It starts off with a BANG and it makes me smile! After the beginning fast part, it slows down a little and the music reminds me of Russian men dancing. My favorite part of the movement is the ending because it’s super exciting! =)

I know that Tchaikovsky went through some really difficult times in his life and I think that helped him put a whole lot of meaning into this beautiful concerto. The deep meaning is one thing that sets it apart from other violin works – this piece gets me every time I hear it.

Post Show Reflections: My favorite memory was the pizza party! Because there were really good cookies! The performance was soooo fun! I wanted to do it again! I wasn’t nervous at all.

I believe music can change people for the better. Music can change the way people think about the world.

Anastasia Magamedova, piano, 14

My favorite part of the piece is the coda. I like how it’s fast in the violin part and the piano part has big chords. I also like the violin solo because the melody is very pretty. While playing this piece in my head I can see a Russian Autumn fair and a dancing bear. I can connect with this piece easily because I am familiar with Russian traditions and their music. It’s very interesting how Aubree and I look at each other at the same time.

This piece is unique in a way that it can switch from a very exciting part to a very slow part. This piece is not technically hard; the hard thing is to be together with the violinist and catch her at the right time. This piece is very exciting although it has very melodic parts.

Post Show Reflections: The Arts Leadership orientation that took place the morning after the show was probably my favorite memory. For the performance, the hall was great and I also really like the piano.

People can communicate through music.

Hannah Urias, soprano, 18
“Quando m’en vo” from La Boheme
By: Giacomo Puccini

I love this piece; it’s an incredibly fun piece of music that I get to pretend to be sexy in, which I never do in real life! Once, I was singing this piece for a fundraiser in which I sang from an aisle that wentdown the middle of the audience (it was a small venue). I went up to a man on the edge of the row and ran my hand down his arm and he didn’t react at all! I mean the man didn’t blink or flinch or anything. It was hilarious and slightly awkward.

It is the most legato piece I have. Most of my repertoire is fast and melismatic, and even the other legato pieces I do have don’t compare to the flow of Puccini lines. Other than the attitude of the song, the flow of it is probably the most important to think about. The hardest thing for me is remembering to take my time with the piece and really milk some of the lines, instead of charging through it like I do with other songs.

Post-Show Reflections: My favorite moments from the three days were watching The Artist Thursday night after the show with some of the other cast members, the real performance (byreal I mean “live”), and getting to hear everybody else! The performance was great! I loved the stage and the hall was really great to sing in.

I believe music has the power to change people, mainly in a positive way. It has the power to tell a story and communicate with people what would be difficult to communicate otherwise.

Meshugene Quartet 
V. Allegro from the String Quartet No.9 in E-flat, Op.117
By: Dmitri Shostakovich

Rachel Stenzel, violin, 15

I think this piece fits us well as a quartet, since we tend to be pretty “crazy” (hence the name “Meshugene”). All four of us have very different personalities, but we’re able to “let it all out” in a sense when we play this Shostakovich quartet.  Most people think that we wouldn’t be able to work well together as a group because we all have such different personalities and come from such different backgrounds and lifestyles, but I think our diversity has actually enabled us to bring a lot more to the music that we could have otherwise.  Not to mention, it makes rehearsals quite entertaining!

This piece is very difficult both individually and as an ensemble, and I think the key to a good performance is making it sound relatively easy to the audience so that they can just be blown away by the sheer energy and excitement of it. At the same time, it is exhausting to play, and at the end of every rehearsal and performance I feel completely emotionally and physically drained.

Post-Show Reflections: I thought that the whole performance/interview part would be intimidating (it is NPR!) but being a part of such an incredible show was just an awesome and super fun experience in every way. I loved performing and getting to meet other people who share a common interest in music. It made me realize that I’ve “made it this far,” but also how much farther I still have to go.

Music has the power to reach and touch people in a way more powerful than words. It can change and transform lives and give people the motivation and inspiration to live differently.

Lisa Chertok, violin, 18

This piece reminds me of Crime and Punishment, and the character  Raskolinikov’s inner struggle with a murder he committed as well as the other miserable characters he comes across, as he himself becomes less and less mentally stable. My favorite part is the conversation between the viola and second violin (after the cello solo) where it evokes, for me, the image of a murderer cloaked in black, treading a narrow cobblestone street at midnight with chilling fog swirling around his legs. One of the funniest moments was when our cellist broke 24 bow hairs during a performance; we counted.

It definitely makes me feel like I’m getting tendonitis. It is so intense for 9 minutes straight! It’s actually similar in character and intensity to the other pieces we’ve explored, such as Bartok and Grieg.

Post-Show Reflections: My favorite memory was sitting in the audience before dress rehearsal, seeing the crew setting up the stage, and the “On the Air” sign lighting up; thinking, “Wow, we really got this far!” and feeling so appreciative of everyone that got us here. Knowing that we’re reaching so many people was both nerve-wracking and exhilarating. I felt really accomplished and excited about sharing the music we worked so hard on, especially since Shosty 9 is not a well-known piece.

Music has the power to make people exuberant and melancholy, to inspire people to do beautiful things, to change the way we think and feel. Music is such an incredible force that can be used to enlighten people and lift them up, empower them and infuse them with hope. In my opinion, music is one of the most powerful thing that God has given to the human race.

Ariel Chapman, viola, 18

Whatever specific thoughts or images I may have about this piece are generally only articulated in rehearsals. Otherwise I just perform the piece with the understanding that it has gravity. I remember one competition we actually ended up winning where, by the end of our performance, Christopher’s bow wrapping has almost completely unraveled and he was missing several bow hairs. He of course proceeded to beat this record by breaking 24 bows in one performance just the other week.

For our group, I think one of the hardest things to achieve is good sound balance. It may appear to a sort of one-dimensional, fast and furious piece; but should be treated as though (or at least rehearsed as though) it were something round and colorful. Once all members of the quartet appreciate it “musically”, you can add the “teeth” and blood and guts that the movement requires. I also believe a historical perspective is necessary.

Post-Show Reflections: I particularly enjoyed the interview portion of the show for which we played, like the game “Music You Have to be Angry to Perform.” Performing on stage during the dress rehearsal was more nerve-wracking than the actual final performance. The live audience gave me ammunition, like I was giving them a part of myself, and hoping there would be a good reception.

I believe music has the power to bind people from back, cultures, and various points of view that may seem disparate.

Christopher Gao, cello, 15

I think this piece by far has been the hardest our quartet has tackled. At the same time, it’s also one of the most fun. Shostakovich is great in bringing out the violent side of musicians; when we perform, the audience sees a side of us they never expected. I think this especially applies to me. My friends (being mostly non-musical) see me as a socially awkward guy. So when I play this piece, I feel like it’s my way of saying “guess again!” to them. And it’s always fun to break A LOT of hairs.

Our quartet has played very vulgar and violent pieces so far; this piece is the most violent and most vulgar. In this piece especially, communication is imperative. It’s easy to bury yourself in the sheet music amidst all the chaos; but once we start playing as a group, then the music really comes alive.

Post-Show Reflections: My favorite memories were watching The Artist after the show, and finishing Shosty with a bang…oh the radio! The performance was amazing! It was great performing a violent piece on stage, especially coming to the end of Shosty where there was the whole head-banging going on.

Music is an extension of our emotions – our emotions dictate how we live our lives, and how we live our lives changes the world; music can change the world.

Trenton Chang, piano, 14
III. Anime from Sonatine
By: Maurice Ravel

I think this piece is a very exciting piece, with lots of ups and downs. When playing, I tend to think of something sneaky running around, surprising you but you never find out what it is. Because of this, musically, I really enjoy every part of the piece. However, there is also the technical aspect of the piece, especially a certain part that requires soft, fast, and clear playing with voicing too. I still find this piece very fun to play.

This piece is unique in that extreme dynamic control is intensely necessary, more so than any of my other pieces. To be honest, when I play, I just want to not miss that very fast important last note; I don’t worry about other difficulties. The piece as a whole is very demanding; as a result, everything is hard to get. The very special thing was that it was written during the Impressionistic time period, resulting in its vivid and colorful sound. Everything is so dynamic; the piece is never the same, always changing.

Post-Show Reflections: My favorite memory was getting to talk to and know my fellow performers. It was exciting to perform on stage. I found it was more relaxed than other performances I’d had so far.

Music has the power to change lives, motivate people, share enjoyment and passion, and even empower people, among many other possibilities.