Mandolin player Gordon Neidinger

This past weekend we taped a wonderful show at our home base, New England Conservatory’s Jordan Hall in Boston. We featured five fantastic teenage musicians who were warmly welcomed by the hometown crowd.

First up was 17-year-old mandolin player Gordon Neidinger who performed an energetic piece called “Doina and Variations on the E-flat Sirba” written by his teacher Charley Rappaport. He also told the story of how his love of music was literally knocked into him by a falling tree. You’ll have to listen to the show to hear more about that one!

Next up was talented violinist Carson Marshall, 18, who performed from the Violin Sonata No.3 by Frederick Delius and spoke about how rock climbing emotionally centers him. He was joined onstage by the next performer, 16-year-old violist Alexia DelGiudice, and the two teenagers discussed learning disabilities, a challenge they share. Following this, Alexia performed Ernest Bloch’s Rhapsodie from Suite Hébraïque with an incredible amount of musical expression.

Following this, 16-year-old flutist Anthony Trionfo took to the stage to play Paul Taffanel’s Andante Pastoral et Scherzettino. He then entertained the audience by describing– with visual accompaniment– his colorful clothing choices for various occasions. Below, see Anthony’s dressy casual look, school dance look, and sporty look!

Closing the show was 15-year-old pianist Angie Zhang, who masterfully performed Basso Ostinato by Rodion Shchedrin –a powerful end to the show. Make sure to tune in to this program when it hits your local station the week of February 20^th.

 

Photo courtesy of Chicago Sinfonietta

Jeremy has also performed at the Symphony Center in Chicago on the Steinway Peace Piano as part of a benefit for UNICEF. In 2010 he won the National Association of Negro Musicians, Inc. Piano Competition.

Jeremy has been busy traveling the world, performing at the Royal Concertgebouw in Amsterdam and at the Rudolfinum in Prague. He even performed with Yo-Yo Ma last February to honor Dr. Paul Freeman of the Chicago Sinfonietta!

We hope Jeremy’s continuing studies at Juilliard go well and that he continues to stun audiences around the world!

Johannes Gray, “the mellow yellow cello fellow”

Kicking off the fun was local pianist, 17-year-old Marissa Uchimura, who performed Prokofiev’s Sonata No.3 in A minor Op.28 and spoke with Chris about her passion for arts advocacy.

Next up was tuba player Ben Darneille, 17, a student at Interlochen School for the Arts, who talked about one of his biggest inspirations, Carol Jantsch, who was on our show almost ten years ago and now is Principal Tubist with the Philadelphia Orchestra. Ben played two movements from Suite for Tuba by Gordon Jacob.

Following Ben was 14-year-old cellist Johannes Gray, known to friends as “the mellow yellow cello fellow” for his trademark yellow clothing (he has worn yellow every single day of his life since he was a toddler)! He played “Capriccio” by Lukas Foss and spoke about finding creative inspiration from birds.

Next up was the percussion duo of 16-year-old Eric Goldberg and 17-year-old Shuya Gong, both members of the Percussion Scholarship Group in Chicago, Illinois. They performed “Udacrep Akubrad” by Avner Dorman. It was fascinating to watch them make their way around two marimbas and a variety of other percussion instruments. We’ll have a video of their performance online when the show airs the week of February 6.

Closing the show was 15-year-old Jackie Tso from Loveland, Ohio, who performed what she described as “the most fun piece ever” – Wieniawski’s Polonaise Brillante No.1 in D major, Op.4. A joyful way to end the show!

The Boston Children's Chorus

I wanted to tell you about a special show we taped recently at the Bethel African Methodist Episcopal Church in Boston to celebrate the legacy of Martin Luther King, Jr. It was a wonderfully moving show, filled with exceptional performances and stories. It featured the superb Boston Children’s Chorus under the direction of Anthony Trecek-King, whose energy was contagious. The chorus sang several pieces, including “Allelulia” by Randall Thomspon, and the spirituals “My Soul’s Been Anchored In The Lord” and “In His Care-O.”

Also featured, 17-year-old bassoonist Alexandra Nelson played from Sonatine for Bassoon and Piano by Alexandre Tansman and shared with the audience some of her life story, which closely parallels the early musical years of Coretta Scott King.

To top it all off, a string quartet of From the Top alumni performed music by the American composer George Walker and shared how they are using music as a mechanism for community building and social change. This promises to be a wonderful broadcast, so make sure to tune in when it airs over the weekend of Martin Luther King Day!

Until then, don’t miss this fantastic video scrapbook of the day’s events made by the performers themselves (with a little help from my talented colleague Anne Gregory)!

Jehshua Karunakaran, violin, age 17
Danse Espagnole from “La Vide Breve”
By: Manuel de Falla

Danse Espagnole is taken from Falla’s  2-act opera: La Vida Breve, or “The Short Life”.  It is a dramatic tragedy involving a Gypsy girl, Salud, who falls in love with another man, Paco, who is already engaged to another woman.  When the Gypsy discovers this, she confronts Paco, who, in front of many people, denies knowing her.  Brokenhearted, Salud drops dead at his feet.  How much more drama is needed?!

There are 2 interludes in this opera: Interlude, and Danse Espagnole.  Fritz Kreisler recognized the potential of the Danse as a violin virtuoso piece and transcribed it for violin.  As with most Spanish music, the Danse is packed with melodrama, panache, flair, and flashes of color.  When I first started learning this piece, my teacher recommended that I watch several Flamenco dances to get a sense of what this kind of Spanish dance represents.  As I perform this piece, I think of two Flamenco dancers interacting with each other.  Keeping the Flamenco image/movie playing in my head helps me express the vibrant Spanish character of Danse Espagnole.

This piece is more stylistically challenging than technically demanding. To ensure that this piece is performed effectively, it’s important to consider all the colorful rhythms, twists, and turns that make this piece so Spanish.

Post Show Reflection:  Performing on this show was more exciting than what I had anticipated.  I think we had a really great selection of performers for this show, and I really enjoyed the teamwork.  Also, playing at the National Gallery of Art was special, and I really appreciate all the planning that was put into the production of this show.   The Arts Leadership Workshops were also very insightful.  Thumbs up to the From The Top staff!!

Music expresses that which cannot be said, and on which it is impossible to be silent.

Noah Lee, cello, age 11
Hungarian Rhapsody, Op. 68
By: David Popper

The Hungarian Rhapsody has many colors. It is a very emotional piece. When I begin the piece, a blast of emotions hit me. I either become sad or angry or happy, and so forth. Once I capture the feeling, I think of a moment in my life and express it in my music by playing what’s in my heart. In this piece there are many dynamic and tempo changes that make it fun to play! Hungarian Rhapsody is Gypsy music. My favorite part is the fast part because I can picture the Gypsies singing and dancing and having a good time. I don’t have a least favorite part.

There are many technical spots in this piece that I worked on, but musically it came naturally to me. When I play this piece, I want the audience to be entertained.

Post Show Reflection: My favorite memories are the “Swag” performers, the FTT Staff, the CIA SUV (the FTT mini van that shuttled us to and from the hotel), and my new friends. The performance itself was so bright and intense

Music can inspire and promote change.

The Clevand Piano Trio (Annie Fullard, Coach)
Primavera Porteña from ”The 4 Seasons of Buenos Aires”
By: Astor Piazzolla

Haruno Sato, violin, age 16

I really enjoy playing this piece, because I can do whatever I want with it. Obviously not entirely, but if you listen to different recordings, people have very different ways of playing it, and I just like to have some fun with it. My way of having fun is playing around with slides and glissandos. Also, our coach was joking around and told us to imagine ourselves playing at a bar. I kept that image actually, just chillin and playing some sexy Piazzolla at a bar.

For me, this is the first piece that I’ve played that isn’t a straight classical piece. It’s hard to keep a relaxed chill feeling while playing it, since usually I’m sitting upright in a chair with a metronome, steadily hacking at the Tchaikovsky concerto. It’s a completely different feel, and you really just have to have fun playing this piece. And quite honestly, I think it’s hard to do for a lot of young classical musicians.

Post Show Reflection: I really enjoyed the “CIA SUV” rides with Tom Vignieri and the performers, the first day with all the performers where we started the whole “swag” thing, and playing at the NGA. The concert was really fun because you could actually feel the excited audience, and it was so casual; it felt good.

Music has the power to bring people together. It connects people from all parts of the world.

Hannah Moses, cello, age 16

The Piazzolla is really just a lot of fun to play. Haruno and I first heard the piece last year when we actually performed it as part of a large group ensemble, and we sort of fell in love with it and wanted to play it on our concert with Arianna. It’s a fantastic, fun tango and we all just love having fun with it together. It brings out the fun, sometimes crazy, sides in all three of us, and I love it (shout-out to our fun, crazy, wonderful chamber music coach Annie Fullard!).

It’s a special piece to me because we played it on a benefit concert Haruno and I organized in June. I hope when we play it that it makes our audience feel like dancing as much as it makes us feel like dancing.

Post Show Reflection: My favorite moments were hanging out with Tom Vigneri and the rest of the kids from the “CIA SUV”, and also performing with my friends at the soiree and the taping. The taping was a blast. I loved every second of being on stage. Everyone was so supportive and fun and the energy was fantastic. 

Music can change the world.

Arianna Körting, piano, age 17

This particular trio piece is one of my favorites because it brings out the sassy/spicy side of our group. We have a lot of fun playing the piece together, even when it is written in a minor key! When I play this piece, I can picture beautifully dressed dancers dancing the tango. That is why we decided to wear red dresses!

This is actually the first time I have ever played a tango. The unique thing about this piece is that we are able to make it our own. There are so many different interpretations of the music and we have the ability to transform this piece into a dance party everyone can enjoy!

Post Show Reflection: My favorite memories were getting to know all of these wonderful musicians and playing for such a lively audience on Sunday! I also loved the soiree on Friday. It was great to mingle with the audience afterwards and to share our passions for music. The experience was plain FUN! The vibe was very exciting and I thoroughly enjoyed entertaining the audience! I was not nervous at all; I was much more excited to perform!

Music has the power to make a difference in society because it can take the audience members away from their daily stresses and into a world where sense of time and space are transformed, even if only for a brief moment. People of different cultures are able to communicate through the feelings expressed.

Dong Won Lee, piano, age 17
Prelude No. 8, “Un reflet dans le vent”
By: Olivier Messiaen

Messiaen’s “Un reflet dans le vent” reminds me of two things: Mongolia and Thomas Wilfred’s “lumia compositions”. Although the piece is very French and subdued, it is extremely sweeping (it’s a reflection in the wind, after all). The up and down melody makes me wish that I could hear the Gobi Desert howling at night! Next, I think of Wilfred‘s “lumia compositions” (Op. 161, 1965-66), which he uses constantly transforming beams of light in a wooden cabinet. Connect the Prelude and the “lumia compositions” together, and you experience the cosmos.

I have never played any minimalist pieces. I’m not saying that Messiaen is a minimalist, but he is certainly very repetitive. The Prelude No. 8 is a challenge because I need to enjoy the repetition to make it sound special. Especially important to emphasize are the moments when Messiaen tricks you into thinking that you are entering a completely new strain, when actually he leads you right back to where you started.

Post Show Reflection: My favorite memory was the school visit with the kids at the Center City Public Charter School, the Chester Dale Collection at the National Art Gallery, the word “Swag!,” and the two Tom’s (Voegli and Vignieri). The performance was really relaxing because everything felt so casual. The spirit of music really came alive. The other performers inspired me to connect with the audience-something that I had forgotten.

Music can make you feel, make you jealous (in a good way), and make you forget reality.

Stephen Banks, saxophone, age 18
II. Chanson Pour Ma Mie and V. Lou Cabridan from Tableaux de Provence
By: Paule Maurice

Post Show Reflection: My favorite memories were interacting with the other musicians backstage before the taping, and seeing other musicians play genuinely. The performance was much different than I expected; it was very comfortable.

Music can change one’s state of mind, and give people a means of expression.

The first question everyone asks is “why Colombia?” and the answer is really very simple – we were invited! Many of you may be familiar with El Sistema, the Venezuelan project that employs classical music training of young children to effect societal change (Los Angeles Philharmonic conductor Gustavo Dudamel is its most famous alumnus). In Colombia, Batuta is the name of their national program that is doing much the same thing.

Jerry Slavet and David Balsom with Batuta members

Headed by an extraordinary man, Juan Antonio Cuellar, Batuta involves nearly 50,000 children across Colombia in 284 orchestra centers in over 100 cities and towns. The crown jewel in Batuta is the Colombian Youth Philharmonic (Filarmonica Joven de Colombia or FJC), whose conductor is Matthew (Mateo) Hazelwood, former Director of Orchestras at Interlochen Arts Academy. Both Juan Antonio (who has lived part-time in the US over the last decade) and Mateo (who conducted Interlochen groups on both our radio and TV shows) are very familiar with From the Top and felt that the radio show is an ideal vehicle to showcase the incredible music being made by young people in one of the world’s emerging economies. For our part, at From the Top we’ve been seeking an opportunity to explore the world beyond our borders and to bring the energy of young musicians to our audience.

What did we see and hear on our trip? In addition to warm and engaging hospitality from our hosts, we heard 2 different youth orchestras play with great energy and enthusiasm in cramped rehearsal spaces in neighborhoods that could be described as “neglected.” An Orff group of children ages 6-18 who played and sang so beautifully they brought tears to my eyes.

We traveled 300 miles southwest from Bogota to Cali, where on a Colombian Air Force base (yes, we had to surrender our passports to gain access) we heard a 400 piece “all-state” youth orchestra rehearse for a national television broadcast- an airplane hanger is the only space big enough to hold an orchestra of that size. When a cello and double bass section of 50 kids start spinning their instruments in a kind-of dance, you can’t help but smile.

Something very special is happening with young musicians in Colombia, and we’re excited to be heading there to record radio shows with these great kids and to bring that enthusiasm and awesome music to listeners across the U.S.

If you’d like to learn more about Batuta, Eric Booth recently wrote an essay which is provided after the jump!

Llewellyn Sanchez‐Werner, 15, piano
IV. Fuga: Allegro con spirito from Sonata in E‐flat, Op. 26
By: Samuel Barber

Samuel Barber’s Piano Sonata, Op.26 is considered to be among the greatest works of piano literature in the 20th century. It was composed in 1949, a time of extraordinary exploration and innovation in the arts and, as such, was revolutionary and original. The piece was premiered by Horowitz.

The 4th movement, which is what I performed, is a modern version of a fugue, a form that has evolved tremendously over the centuries (Bach’s WTC, Beethoven’s Op.110, counterpoint in works of Schoenberg and Debussy, and others). It is not as strict as the works I mentioned above; instead, Barber takes the fugue to wild and new places.

The theme of the piece is jazzy and syncopated, adding many accents and ties to an already well‐shaped phrase. This theme develops throughout the work, modulating from key to key, and being heard in triumphant, passionate, beautiful, delicate, and bombastic ways, just to name a few. The listeners will recognize this theme sometimes, but Barber may also use contents of the theme to create new material.

How could I have a favorite part? Fine, from measure 1 to the end. A good performance of the movement evokes many feelings from its audience. I see it as a work of discovery. At the beginning, there is an urgent question — something that needs to be accomplished — and we go through many twists and turns in an attempt to reach our goal. Along the way, we begin to think of our situation from many other viewpoints, and after much exploration, the dramatic end brings a sense of closure.

It was difficult, at first, to successfully bring out the many different voices in Barber’s dialogue, especially when they interrupt each other. It is also extremely important to take care with the quick, dynamic contrasts in the piece, and the many incredible nuances that bring the movement to life. Even though there is so much beautiful and exciting material to showcase, the energy has to be constant during the piece, but not predictable. The breaths and accelerandos have to be in tune with the general direction of the piece.

The movement is complex, virtuosic, emotionally engaging, immensely tricky to work on, and is rich in subtle nuances that really make it an extraordinary work of art. (In other words, it is my favorite type of piece.)

Post Show Reflection: I enjoyed meeting fascinating and creative people who share my passion for the arts. The entire From the Top staff is dedicated and hard‐working, not to mention fun, so I was thrilled to work with them. I relish pressure and love to perform. While I enjoy tremendously the experience of being on stage, I cherish the chance to connect with the audience and with my radio listeners, and take them to places they haven’t been before. If they are inspired in any way by my work, then I feel I am fulfilling my dream.

Music transcends barriers and allows artists the opportunity to go beyond the concert stage and make an impact on a global scale. I encourage any and all to boldly engage in these vital and rewarding humanitarian ideals. Using music and advocacy to make a difference is my passion in life.

Boston Flute Academy Young Artist Quartet
(Judy Grant, Artistic Director)
Lyric Poem
By: George McKay

Elizabeth Sperry, 15 Flute

When I play this piece, I think about a person crying over a last loved one and their grief.

I love this piece because it requires so much communication between the players in our group for us to make it second like it’s together, both technically and emotionally.

Jinji Zhang, 17, flute

I think that Lyric Poem is such a beautiful and sensitive piece of music. I love how each flute part is equally as important, and how we really have to combine all 4 of our sounds in order to make this piece work. Whenever I play this piece, I see many different colors, mostly dark and deep purples and browns.

Although the piece is not technically challenging, it is definitely a challenge to achieve a beautifully blended ensemble sound. We all have to carefully listen and create music together which is a great thing.

Post Show Reflection: I loved the arts leadership conference – it was great because I got know both myself and my cast mates better. Performing in Jordan Hall was magical – I connected on another level with my ensemble members. I am so grateful to have shared such a powerful moment in time with such amazing people.

Music has the power to bring happiness, hope, and confidence to all.

Brendan Dooley, 17, flute

Lyric Poem is a wonderfully sensitive piece of music and if it is approached with the proper delicacy and attention to detail it is truly set apart from much of the flute ensemble repertoire. This is both what I like most and what I like least about it – the piece is deceptively difficult to play well, but also extremely rewarding when done right. Lyric Poem contains many lessons on ensemble playing.

A sense of blend and excellent intonation are both vital to the performance of this piece. Where other music gets its novelty through intricate parts, Lyric Poem depends on impeccable ensemble playing. This is refreshing as well as being singularly difficult for the performer.

Post Show Reflection: The arts leadership orientation was a favorite memory – it was an awesome culmination of the camaraderie we had been developing over the weekend. Performing on Jordan Hall stage was truly a singularly amazing experience. It was an amazing peak for all of our hard work and the hard work of the staff!

Music has the power to unite whole communities that would have otherwise been divided.

Emma Huelskamp, 17, flute

This piece is incredibly understated, yet emotional. The title Lyric Poem perfectly fits due to the flowing, formless style in which the composer wrote the piece. The dense harmonies create a sonic haze that envelopes the listener and draws them into a world of reverie.

The unity of sound that the four members of the ensemble must create is something rarely found in the flute repertoire. It has been a unique experience to work with my peers to achieve this type of sound.

Post Show Reflection: I loved the pizza party on Saturday night; I was so excited to be there and it made the whole experience real. I left even more excited about the show the next day! The performance was one of the most moving moments I have ever experienced. There was literally electricity in the air; the people’s anticipation and my group’s joy and excitement were incredible.

Music has the power to heal, move, inspire, and to change history through the hearts it touches.

Ashley Robillard, 17, soprano 
“The Tulip Tree”
By: Ned Rorem
“Winter” from 6 Elizabethan Songs
By: Dominick Argento

The Tulip Tree by Ned Rorem was one of the first songs I was assigned my freshman year at Walnut Hill. It’s very special to me for that reason. My favorite part is when the boy begins to speak at “‘No, no,’ said he”. That whole section is very eerie and light. It reflects the attitude of that boy, and is so much fun to sing. My least favorite part of the piece, or at least the most difficult part for me, is the melody’s little chromatic parts. The song is very beautiful and is tiptoeing on the tonality line, and tiptoeing on that line is rather difficult, but very fun once you get the hang of it. Winter by Argento is one of the most exhilarating pieces I’ve had the pleasure to sing. I’m utterly obsessed with the Shakespearean text and the way Argento set it. Some of the lines sound iambic (“Then nightly sings that starting owl” and “And milk comes frozen home in pail”, etc.) and it was such a powerful piece. My favorite part of the whole piece is how it begins. Out of nowhere pops out this intense, powerful line that forces you to pay attention. It is incredibly grabbing, because it is almost a shock to hear! It literally comes from nowhere. Plus, it’s nice to have that sense of complete control in your openings. My least favorite part of the piece is how short it is! It certainly doesn’t feel short when you sing or are listening to it, but it is only a few pages long! It’s so powerful though, you barely even notice it’s short before it’s already gone.

The Tulip Tree and Winter are different from other songs that I have sung because, though they are both shorter pieces, they are so captivating. The Tulip Tree creates this eerie atmosphere right from the beginning, and then has an amazingly captivating story to follow. It is really haunting and sticks with you. You’re forced into the story. With Winter, it starts off as a piece that makes people want to listen. The beginning line erupts from nowhere, powerfully and brilliantly. It is a super powerful piece, and darker than the Rorem. The sheer power and force of the piece truly captivates me much the way the eerie atmosphere in Tulip Tree has me completely enamored with the piece.

Post Show Reflection: There was this one moment when we were all practicing and warming up in the green room; music was flowing all around the room in a moment of beautiful chaos. I was overwhelmed by all of the talent pouring out of that room and was completely honored and humbled to acknowledge that I was included in that room. All our hard work was beginning to pay off. Performing in Jordan Hall was amazing. I had performed there before for choir, but never had I never performed there was a soloist. The energy, support, and excitement that the audience was giving off was practically tangible. It was an amazing, inspiring performance that I will never forget.

Music can change the world, improve a community, engage the mind, and enliven your heart.

Jisoo Kim, 17, violin
IV. Allegretto poco mosso from Sonata in A Major for Violin and Piano
By: César Franck

César Franck’s Violin Sonata has four movements, and I personally thought of this piece as a story of a human being’s life. The first movement represents delicate childhood, the second movement portrays the difficult, rebellious years of adolescence, the third movement paints the mature, subdued stage of an adult, and the final movement represents the last stage of life, which summarizes everything from the beginning to the end; almost like a grand finale, which I played for From the Top.

I immediately fell in love with the piece when I heard it performed by a fellow student at the Juilliard School many years ago. Franck’s Violin Sonata is particularly unique to me because it is a piece that my brother, Hyung-Do, and I enjoy performing together. Its beautiful melodic lines, the fierce passages, and the improvisatory, free structure appeals very well to my own musical taste.

Post Show Reflection: My favorite memory from the three days was definitely the actual performance/ interview with Christopher O’Riley. He was great rehearsing with me before the concert, and I liked how we both performed as a very effective duet. During the concert, I really felt the powerful connection between the performers and the audience. From the Top is an experience I know I will never forget. 

Music has the power to connect people of all ages. There is no limit, and music is so influential. It can truly change someone’s life.

Boston Youth Symphony Orchestra (BYSO) Cello Quartet 
(Steve Laven, coach)
A Barnraising
By: Steve Laven 

Leland Ko, 13, Cello

This piece was composed by Andrew Laven’s father, who told us that he composed this when he was out in the Tetons of Wyoming witnessing a construction project. This image helped us imagine what different parts of the piece represent – for example, the beginning starts out as animals scattering at the sound of construction, and sounds of an eagle soaring overhead can be evoked from the music later on. About halfway through, the piece turns into a jazzy hoedown (my favorite part).  I think (and I believe the rest of the quartet can back me up on this) that we’ve come a long way with this piece, ever since we learned it at the beginning of the year. We played it a few times in concert and even though we didn’t touch it the whole summer, it’s finally come together.

The biggest difference with this work compared to other quartets I’ve played is that it’s a cello quartet. Because of that, it is harder to hear the individual instruments. With four cellos, we create one homogeneous sound and really have to listen to who has the melody, which forces us to watch each other more closely. I view it as an exciting challenge that really helps me as a chamber musician, orchestral musician, and soloist.

Post Show Reflection: It was awesome connecting with all these wonderful people and knowing there are people out there who share your passion. The performance was not nerve wrecking at all (surprisingly). It was great interacting with the audience, which took a lot of pressure off us. I feel that this wasn’t a normal concert. It was freer in some ways.

Music can show emotions that we cannot express with words. 

Zlatomir Fung, 12, cello

I really love A Barnraising by Steven Laven! I think it is great because of its consistent groove and beautiful melodies. This piece describes the process of raising a barn at the beginning, it reminds me of small creatures running away as the big digging unfolds; finally the main melody of the piece unfolds to celebrate the process of erecting the barn.

This piece is such that each of us gets to play the melody; no one is really left out from the action. There are hard cello shifts and rhythm complexities. Compared to other pieces, this one has a lot more groove.

Post Show Reflection: A favorite memory I have from these three days was the pizza party, where I got to meet all the people who were going to be on the show. It was also really fun hearing the other people play their pieces because they are all also talented. When I was performing on the stage of Jordan Hall, it was one of the most exciting experiences of my life. The thrill of being on that stage was remarkable. Playing chamber music is so fun and From the Top made it all better.

I think music is a very powerful force. It has the power to inspire people and convey emotions. It is a very great thing to be able to change people’s life through music.

Claire Raizen, 16, cello

A Barnraising is a piece by Steven Laven, arranged for cello quartet, that tells the story of a barn being built. It starts out with the sounds of animals running away from the construction workers, invoked by a challenging harmonic passage. As the piece progresses a rhythmic bass line kicks in, like the sound of a motor running. A Barnraising ends with an upbeat dancing feel as the people in the town celebrate the completion of the barn.

Playing this piece in a cello quartet is very challenging. I have to work hard to make sure my part is heard when it needs to be, because everything around me has the same color as my cello. It was an amazing opportunity to be able to have Steven Laven as our coach, and work with someone who is so intimately familiars with A Barnraising.

Post Show Reflection: My two favorite moments from the three days were meeting everyone at the pizza party and getting to hear everyone play their incredible pieces. The concert was so much fun! The atmosphere was relaxed and supportive. The crowd was enthusiastic and very encouraging.

Music has the power to do anything you want it to do.

Andrew Laven, 16, Cello 

I love A Barnraising, not only because my dad wrote it but for a lot other reasons. It makes me think of being in the Grand Tetons in Wyoming, where my family has gone every summer. My favorite part is “rehearsal C” where a soaring melody (supposed to be an osprey) is played by the 1^st  & 3^rd cellos in octaves, and the 2^nd & 4^thcellos accompany the melody with vigorous eighth and sixteenth notes. Claire and I get to play the sixteenth notes, and once during a rehearsal on that part, I could feel my endpin gradually sliding back into my cello. Before long i was playing close to the ground!

Compared to others this, piece almost has a jazzy feeling to it. When we play it, it’s important to get across that new “non-classical” feeling. Also, it’s important to bring out the important voices. The hardest thing for me is my octave A’s when I start the new section, and the hardest thing for the group is to nail the dynamics.

Post Show Reflection: My favorite memory was the moment we finished our piece and the audience leaped into applause for all the 11 kids who performed – it was amazing to know how much the audience appreciated our music. I felt a huge sense of accomplishment when we all bowed for the crowd. It was an amazing experience to be on that stage performing my dad’s great piece with three other amazing cellists. We all had so much fun playing together and sharing our passion and enthusiasm with the audience.

Music has the power to inspire anyone to do something they love, and it also has the power to create many different emotions.

Amy Semes, 16, Violin
I. Allegro Moderato from Violin Concerto No. 1 in F-sharp minor, Op 14
By: Henryk Wienawski

This piece is very technically intimidating. Although there are a few moments of calmness, the majority of the piece is angry and mad.

This piece is in the key of F-Sharp minor which is very unique. Not many composers write in that key. It’s relative major, A-major, is much more popular and used a lot more often. This key makes the technical passages in this piece so much harder.

Post Show Reflection: Being able to hear all the other fabulous performers was inspiring. After the show, we all ate an apple funnel cake, and we did know what was in that thing. =) Performing on the stage was an amazing experience. The Ocean City Pops was amazing and the entire FTT staff was so much fun.

I believe music has the power to make people really happy. I often play at nursing homes and I see people really enlivened when I play for them.

Jacob Hernandez, 18, trumpet
I. Allegro from Concerto for 2 Trumpets in C, RV537
with William Scheible – Trumpet & Ocean City Pops Artistic Director/Conductor
By: Antonio Vivaldi

The Vivaldi Concerto for Two Trumpets is definitely fun to play. If I had to describe it in one word I would describe it as “royal”, especially the 3-quarter note opening arpeggio. It is very stately at times and easy to listen to.

I have played concertos but never before have I played a duet concerto. That is what makes this piece different than anything else I’ve ever played. It will be cool to finally perform a duet with Mr. Schieble in public after playing so many of them during lessons with no audiences.

Post Show Reflection: My favorite memories were performing w/the OC Pops, and chilling with the performers while playing cards. The performance was awesome and amazing! I loved the crowd. It was definitely one of my most memorable performing experiences.

Music has the power to change, motivate, and inspire.

Polaris Quartet with Christopher O’Riley, piano
(Alan Rafferty, Coach)
I. Allegro, ma non tanto from Piano Quintet in A major, Op.81
By: Antonín Dvořák

Jenny Lee, 17, violin

When I listen to this piece, or when I play it, I think of it as a movie. Although there are very many melodic parts, you can also encounter very intense and dramatic parts of the piece. I imagine a woman telling someone about her love life.

This piece is very lyrical. To get on out the melody to the audience, I feel that communicating the music is the most important thing to do. It’s also the hardest thing about this piece. This piece is very unique because everyone has an equally important part.

Post Show Reflection: A memorable moment for me was when My fellow quartet member Josh kidnapped me on the boardwalk and forced me to dance with him while a parade was going on! Horrifying, but super funny. =) From the Top has to be one of the most comforting performances I have ever played in. The audience members were so nice and I felt like I was myself up on stage.

Music has the power to start a new life. It can make you be passionate about anything. It’s powerful.

Billy Fang, 18, violin

Our quartet previously had the honor of performing this piece with an exceptional graduate student pianist from the Universität Mozarteum in Salzburg, Austria, and whenever I hear this piece I remember his incredible ability to make the piano sing. My favorite part is the end of the movement; the climax is so epic and is always really fun to play.

Unlike some other chamber music pieces, each part in the Dvořák quintet is very active. It is very easy to get emotionally involved in this movement, so we always need to keep an eye (or an ear) on the balance.

Post Show Reflection: My favorite memory from the three days was when Josh (forcibly) made Jenny dance with him on the boardwalk. It was absolutely exhilarating to perform with my quartet once again, this time in front of a large, supportive crowd.

Music has the power to bring people together and to discover more about ourselves and about others.

Demi Fang, 15, viola

This piece is so unifying. After a brief, sweet cello solo, all 5 players suddenly break out into an urgent passage of rich harmony with a soaring violin part. I love how the movement ends as richly as it begins, with an added sense of glory. And of course, in between are more mellow themes involving conversations between certain members. The movement could stand alone as a piece itself, it’s so fulfilling and versatile.

This movement in particular is very different than the other movements in the quintet, in that it doesn’t have one overall characteristic/quality/mood to it. This movement is a manifestation of many emotions, sometimes desperate, sometimes sweet, and sometimes bitter. It’s important that these many different moods can carry through the audience when performed.

Post Show Reflection: A memorable experience was walking around on the boardwalk. The performance was much more relaxing and fun than expected. Knowing we had great audio backup allowed us to sit back and enjoy ourselves.

Music can change an audience for the better. It can inspire in so many ways, and bring them so many different emotions.         

Josh Halpern, 17,cello

We learned the Dvorak Quintet for our collaboration with musicians from the Mozarteum in Salzburg, so we didn’t actually get to practice it with our pianist (Johannes Wilhelm) until the day before we performed it for the first time. It was a GREAT collaboration – he’s a fabulous pianist and really fun to work with. So, every time we play the piece I think of Salzburg and our trip there to perform. While I play, I try not to let my mind wander to the long, hilly beautiful walk Johannes took us on through Salzburg on the last day of our visit. The other movement of this piece tends to have just one idea but this movement that we’re playing, the first movement, has all kinds of ideas and colors and textures so that difficult part is bringing all that out.

Believe it or not, the Dvorak Quintet is the only complete work that the Polaris Quartet has performed. We were only together as an ensemble for about nine months, and our other repertoire that we’ve performed includes movements of some exciting chamber works but not an entire piece. It’s nice to play an entire piece… each movement give us perspective on the other movements, and we’re able to get the full picture.

Kevin Sun, 18, piano,
I. Overture from Overture in the French Style, BWV 831
By: Johann Sebastian Bach

The overture is a highly structured piece, with two slow alla breve sections framing faster scurrying passages. Yet within the structure, there is startling freedom, particularly in the beginning and ending’s melodies and harmonies. This is, after all, Bach’s attempt at the French style, and as the rhythms become dotted and the melodies ornate, his music evokes images of Louis XIV, the Sun King of France. We see the king quite clearly, as he walks stately in the Palace of Versailles.

Austin Huntington, 17, cello
I. Andante – Allegro vivace from Sonata No. 4 in C major, Op. 102
By Ludwig Van Beethoven

This Beethoven sonata is different than the rest, and that is one of the reasons why I am so fond of it. It is divided up into two relatively short movements that, when performed together, makes the sonata a total of 15-20 minutes in length. The first movement (what I played on the show) is the more proud, serious, and operatic movement. It starts off with a singing “canyon” shape (starts on C descends then ascends like canyon). There is a brief introduction that leads into the main part of the sonata; I think of this section as the most opera-like.

The beginning could be compared to a simpler aria, whereas the main sections are a typical dramatic and singing dialogue between the piano and cello that reminds we of opera (I try to imagine singing like Domingo here). I would say this operatic element is the hardest to nail, since there are so many things that could go wrong, and when they do the performance sounds merely average. Also, the beginning is an incredibly awkward start.

Post Show Reflection: My favorite memory was our first rehearsals of the Beethoven Sonata with Mr. O’Riley. It was amazing playing with him for the first time and hearing his guidance. I actually learned a lot about the piece that I had never thought of before. The performance was really fun, especially going from talking to performing. It was more stressful to talk, since it was not what I am used to. So when it was time to perform, I was allowed to express myself.

Music can change lives

Lensic Performing Arts Center

Greetings from high in the sky somewhere over the U.S. I’m flying back right now from beautiful Santa Fe, New Mexico, where we taped a show at the Lensic Performing Arts Center – and what a show it was! It was one the liveliest tapings I can recall.

Kicking it off was 16-year-old pianist Hugo Kitano who performed the finale from Chopin’s Sonata No. 3 and then further wowed the crowed by demonstrating his amazing parkour skills. He ran down the aisles of the theater, jumped onto the stage and then over an obstacle course of piano benches and up a set of stairs!

Next up was a local classical guitarist, 14-year-old Audra Vigil, who played a gorgeous piece called “Saudade No. 3” by Roland Dyens.

Following her wonderful performance was 17-year-old mezzo-soprano Micäela Aldridge who sang from Handel’s Giulio Cesare as well as part of an aria from Elmer Gantry, an opera that was written by her father, Robert Aldridge. One of the show’s most touching moments was when Christopher O’Riley asked Micäela’s dad what it was like to hear his daughter sing his piece, and her dad was so overwhelmed with pride he was in tears.

Next up was cellist Russell Houston, 17, who played the flirtatious Requiebros by Gaspar Cassadó and provided some of the show’s most comical moments by participating in a quiz about his self-described lack of common sense.

The show ended on a gorgeous note when violinist Amelia Sie, 15, took to the stage to play a dreamy piece called “Lotus Land” by Cyril Scott.

Enjoy this flipcam montage from our dress rehearsal. And as a special treat, I also caught Hugo doing his parkour demonstration during the show! Don’t forget to tune in when this show airs the week of December 26, 2011.

On a related note, Classical MPR’s Artist-in-Residence for 2011-12 is a three-time From the Top alum! 17-year-old violinist Chad Hoopes appeared on Show 171 in Cleveland, OH and Show 189 in Cincinnati, OH, and on Season 2 of PBS’ From the Top at Carnegie Hall a few years ago. As part of the Artist-In-Residence program, Chad will participate in educational activities at Minnesota schools and give concert performances in towns throughout the state. Click here to see a recent video of him performing Ravel’s “Tzigane” at the MacPhail Center for Music in St. Paul.

Chad Hoopes at age 14