Please accept these belated Happy New Year greetings! It has been quite some time since I've written, so what better way to start with an update on my activities of the early months of the 2011/2012 season. I have to very humbly and with some embarassment that one of the reasons, probably subconscious, that I have not written - particularly about one particular event - was because I could not find the article from which a quote came.
Today, I found it...an interview with Kyung-Wha Chung. In this article, Ms. Chung reflects on the London debut which launched her international career. "It was very successful," she says, "though at first everything seemed to be against me: I had stepped in at the last moment, and there was so much confusion that I hardly had any rehearsal, but as a result the musicians were all the more concentrated at the performance. The communication with the audience was very strong, so the event was a wonderful experience. The concert was a benefit and not supposed to be reviewed, but the critic with the Financial Times wrote one of the best reviews I have ever received in my life."
Flash to the beginning of the 2011/2012 season - in August I received an email from Annelisa Guries, personnel manager of Washington DC's Great Noise Ensemble. I had been contacted by Annelisa before, but at that time I was not available. This time, however, I was - and it just so happened that their core violinist (who has become a very good friend over the past few months) was not able to play...so of course, I said yes. The program, titled "Lullaby, Eulogy, Homage", was substantial: Stephen Hartke's Beyond Words, the world premiere of Hannah Lash's Hush and, in celebration of his 75th birthday, Steve Reich's Music for 18 Musicians.
SO....I said yes...
More soon,
Sam
February 5, 2012
Afterthoughts - July 11, 2011
How strange, to write about an experience that has been lived. Nevertheless, I chose to wait because I wanted to truly enjoy my time over the past few weeks, and because much of the trip was overwhelming in the best of ways - there was much to take in, much to process.
The month of June was filled with so many moments that clearly reminded me that yes, we are all a part of something much larger than we can imagine, and that we are all connected in ways that we cannot fathom. Imagine, getting on a bus to New York from Baltimore and meeting the sister of a woman with whom you've corresponded for months but only met in the very recent past, only to step out of that "loop" and continue a journey. This was Saturday, June 25 - on that day I had the great unexpected pleasure of meeting Tonia Gorham, who is related to photographer Aisha Butler of Baltimore's Jazzy Photos and the Butler Magazine. It was a joy to meet her and to talk about all things related to fashion, modeling, photography, and her son....
...and then, after arriving at the Port Authority Bus Terminal, we went our separate ways.
"Only when the personality begins to walk the path that its soul has chosen will it satisfy its hunger". Perhaps my "new path" does indeed include this route: during the month of May I took the same train into Queens for rehearsals with Mei Rui. Of course, in some way it makes sense as this was the 'end of the line', and my first time going to JFK - and flying across the ocean.
The flight was a smooth one - Iberia does a fantastic job of taking care of passengers on international flights. I did my best to contain my excitement, but as we know, doing so can be difficult when one is in the midst of any life-changing experience. How much better it is to maintain that childlike sense of wonder and amazement...especially upon waking and seeing the western coast of Europe.
It took a very long time to get to the point of "actualizing" the desire to spend time in Europe, and while I can share with you that I started crying immediately upon looking out the window, I feel that those words cannot aptly describe that moment in time. Victory, in so many ways...one that is owed to all of you.
Stay tuned...
The month of June was filled with so many moments that clearly reminded me that yes, we are all a part of something much larger than we can imagine, and that we are all connected in ways that we cannot fathom. Imagine, getting on a bus to New York from Baltimore and meeting the sister of a woman with whom you've corresponded for months but only met in the very recent past, only to step out of that "loop" and continue a journey. This was Saturday, June 25 - on that day I had the great unexpected pleasure of meeting Tonia Gorham, who is related to photographer Aisha Butler of Baltimore's Jazzy Photos and the Butler Magazine. It was a joy to meet her and to talk about all things related to fashion, modeling, photography, and her son....
...and then, after arriving at the Port Authority Bus Terminal, we went our separate ways.
"Only when the personality begins to walk the path that its soul has chosen will it satisfy its hunger". Perhaps my "new path" does indeed include this route: during the month of May I took the same train into Queens for rehearsals with Mei Rui. Of course, in some way it makes sense as this was the 'end of the line', and my first time going to JFK - and flying across the ocean.
The flight was a smooth one - Iberia does a fantastic job of taking care of passengers on international flights. I did my best to contain my excitement, but as we know, doing so can be difficult when one is in the midst of any life-changing experience. How much better it is to maintain that childlike sense of wonder and amazement...especially upon waking and seeing the western coast of Europe.
It took a very long time to get to the point of "actualizing" the desire to spend time in Europe, and while I can share with you that I started crying immediately upon looking out the window, I feel that those words cannot aptly describe that moment in time. Victory, in so many ways...one that is owed to all of you.
Stay tuned...
February 1, 2012
Competition Day - June 28, 2011
All rounds of the Padova International Music Competition were held at the Temple and Museum of Internment, a facility dedicated to the study and dissemination of facts surrounding the themes of Fascism, Nazism, racism, and the Second World War. Before entering the facility, one walks through what is called The Alley of the Unknown Prisoner, which is a series of memorial stones engraved with the names of those who perished in German concentration camps both before and during the Second World War.
This very solemn site was filled with very focused yet frenetic energy on this day as the morning and early afternoon consisted of the string preliminaries for the "Soloist with orchestra" round as well as individual rehearsals for the other divisions of the competition. While walking to my appointed warmup space I found myself remembering graduate school as the air was filled with fragments of Bach, Ysaye and Gaspar Cassado.
Throughout the day there were moments of connection among the contestants: while walking to play my preliminary round I was humorously referred to as "Brother!" by another contestant. I had the opportunity to meet this young man immediately before the announcement of the semifinalists and was again reminded of how we are all connected: in addition to having a great sense of personal style (we were dressed identically), violinist and contestant Pawel Blaszkowski (member of the Orquesta Sinfonica de Yucatan and the Quo Vadis Quartet) is a friend of conductor Tomasz Golka (a former Shepherd School classmate of mine and yes, a very good friend!).
Conversations that day - all at the conclusion of the preliminary round, of course - also included a very enlightening and affirming talk with a young Italian cellist who had given a spectacular performance of Gaspar Cassado's Suite for Solo Cello during the preliminary round. After sharing his familiarity with the Harlem Quartet, he offered much encouragement as he noted that it is still uncommon to see and hear African-American string players in Europe...
Upon leaving, after promises to keep in touch, I found myself thinking about the immediate experience: no, I had not advanced to the semifinal round. However, after having had the desire to make this trip and participate in one of these events for so long, my victory was of a different sort - a victory in ways even more meaningful....to quote dear friend Michelle Trovato, "You've already won, because you're THERE." A great perspective to have and to maintain as I boarded the bus, reminded that I was standing on the shoulders of many who have gone before and all who have shown support through the many years.
Part Four coming soon,
Sam
This very solemn site was filled with very focused yet frenetic energy on this day as the morning and early afternoon consisted of the string preliminaries for the "Soloist with orchestra" round as well as individual rehearsals for the other divisions of the competition. While walking to my appointed warmup space I found myself remembering graduate school as the air was filled with fragments of Bach, Ysaye and Gaspar Cassado.
Throughout the day there were moments of connection among the contestants: while walking to play my preliminary round I was humorously referred to as "Brother!" by another contestant. I had the opportunity to meet this young man immediately before the announcement of the semifinalists and was again reminded of how we are all connected: in addition to having a great sense of personal style (we were dressed identically), violinist and contestant Pawel Blaszkowski (member of the Orquesta Sinfonica de Yucatan and the Quo Vadis Quartet) is a friend of conductor Tomasz Golka (a former Shepherd School classmate of mine and yes, a very good friend!).
Conversations that day - all at the conclusion of the preliminary round, of course - also included a very enlightening and affirming talk with a young Italian cellist who had given a spectacular performance of Gaspar Cassado's Suite for Solo Cello during the preliminary round. After sharing his familiarity with the Harlem Quartet, he offered much encouragement as he noted that it is still uncommon to see and hear African-American string players in Europe...
Upon leaving, after promises to keep in touch, I found myself thinking about the immediate experience: no, I had not advanced to the semifinal round. However, after having had the desire to make this trip and participate in one of these events for so long, my victory was of a different sort - a victory in ways even more meaningful....to quote dear friend Michelle Trovato, "You've already won, because you're THERE." A great perspective to have and to maintain as I boarded the bus, reminded that I was standing on the shoulders of many who have gone before and all who have shown support through the many years.
Part Four coming soon,
Sam
Quartiere Forcellini - June 27, 2011
"Quartiere Forcellini!" was the cry made by about five Italians that were kind enough to show me the direction in which I needed to go on this Monday morning....yes, I got lost.
My getting lost should come as no surprise to you, as I was in a new country and at the time - very early morning (5:30am) - I was still in the place of processing the fact that I had flown across the ocean while simultaneously focused on the tasks both at hand and before me. Then again, the absentminded violinist should always remember to check his directions!
Padova (Padua), Italy is a fantastic and beautiful town, located in the Venetian region of Italy. It was truly amazing upon arriving to see just how well-connected the city is via public transportation: in addition to trains and buses to Venice Marco Polo Airport, the city is crossed daily by a working bus system AND a light rail system that takes people throughout the city center.
On this morning, after breakfast and many little cappuccinos (thanks to the machine), I was focused on the task at hand: practicing. The Padova Competition, which consists of many divisions, started on June 27 and I was slated to play on June 28 during the preliminary round for the "Soloist with Orchestra" division. Luckily, Casa di Colori (the hostel in which I stayed) sold bus tickets, so I was able to say "due billetti" and immediately get what I needed. The first bus took me to the train station, where everything intersects. Following that journey, I walked across the street to the platform for #6 which, according to the instructions given by the compettion officials, would take me to Teatro Internato Ignoto.
Yes, these machines are everywhere - and the coffee comes with little stirrers?!
As I write this, I find myself laughing - why is it that I, the one who makes sure that everything is purposeful and deliberate, forgot to consult either a map or a person before making the day's journey? Shortly after boarding the bus, I found myself with the feeling that I might be going in the wrong direction while simultaneously enjoying what could only be described as an excursion that lasted until the bus arrived at a shaded square in a residential section of the city.
So, I left the bus - many thanks to the Nigerian man who advised me to go into the small grocery store. Upon entering the grocery store and having the opportunity to speak with someone, I found that very few people spoke English...
"Can you tell me how to get to Teatro Internato Ignoto?"
"Quartiere Forcellini!" The next finve minutes consisted of all of the customers communicating in Italian, finding pen and paper, and writing these instructions down for me.
Again my thanks to the bus driver - as I boarded the bus, the bus driver said "The last stop on this route is Quartiere Forcellini." Perhaps I had the desire to see the city in its entirety and live the saying that the best way to see a city is to get lost?
Approximately two hours later, we arrived in Quartiere Forcellini - the bus stop was literally right in front of the competition site...
Teatro Internato Ignoto, Padova, italy
After arriving - a bit of a search for practice rooms and one of the most productive practice sessions ever experienced. Somehow, despite having been lost and being in both a new nation and city, I found it within myself to practice for five hours.
Meanwhile, there WAS a competition round going on - and it was truly interesting to experience all of the emotional energy of the contestants. At one point, a very nice and harried young man from Paris asked to share my practice room (the only room I found was a large classroom in the basement), and I said yes....after all, we're all experiencing the same feelings, right? There was also a VERY nice young American saxophonist who, upon flying in THAT day, needed to find a space to review a Piazzolla work....
...so I practiced, and then went back to Casa di Colori...
Stay tuned,
Sam
My getting lost should come as no surprise to you, as I was in a new country and at the time - very early morning (5:30am) - I was still in the place of processing the fact that I had flown across the ocean while simultaneously focused on the tasks both at hand and before me. Then again, the absentminded violinist should always remember to check his directions!
Padova (Padua), Italy is a fantastic and beautiful town, located in the Venetian region of Italy. It was truly amazing upon arriving to see just how well-connected the city is via public transportation: in addition to trains and buses to Venice Marco Polo Airport, the city is crossed daily by a working bus system AND a light rail system that takes people throughout the city center.
On this morning, after breakfast and many little cappuccinos (thanks to the machine), I was focused on the task at hand: practicing. The Padova Competition, which consists of many divisions, started on June 27 and I was slated to play on June 28 during the preliminary round for the "Soloist with Orchestra" division. Luckily, Casa di Colori (the hostel in which I stayed) sold bus tickets, so I was able to say "due billetti" and immediately get what I needed. The first bus took me to the train station, where everything intersects. Following that journey, I walked across the street to the platform for #6 which, according to the instructions given by the compettion officials, would take me to Teatro Internato Ignoto.
Yes, these machines are everywhere - and the coffee comes with little stirrers?!
As I write this, I find myself laughing - why is it that I, the one who makes sure that everything is purposeful and deliberate, forgot to consult either a map or a person before making the day's journey? Shortly after boarding the bus, I found myself with the feeling that I might be going in the wrong direction while simultaneously enjoying what could only be described as an excursion that lasted until the bus arrived at a shaded square in a residential section of the city.
So, I left the bus - many thanks to the Nigerian man who advised me to go into the small grocery store. Upon entering the grocery store and having the opportunity to speak with someone, I found that very few people spoke English...
"Can you tell me how to get to Teatro Internato Ignoto?"
"Quartiere Forcellini!" The next finve minutes consisted of all of the customers communicating in Italian, finding pen and paper, and writing these instructions down for me.
Again my thanks to the bus driver - as I boarded the bus, the bus driver said "The last stop on this route is Quartiere Forcellini." Perhaps I had the desire to see the city in its entirety and live the saying that the best way to see a city is to get lost?
Approximately two hours later, we arrived in Quartiere Forcellini - the bus stop was literally right in front of the competition site...
Teatro Internato Ignoto, Padova, italy
After arriving - a bit of a search for practice rooms and one of the most productive practice sessions ever experienced. Somehow, despite having been lost and being in both a new nation and city, I found it within myself to practice for five hours.
Meanwhile, there WAS a competition round going on - and it was truly interesting to experience all of the emotional energy of the contestants. At one point, a very nice and harried young man from Paris asked to share my practice room (the only room I found was a large classroom in the basement), and I said yes....after all, we're all experiencing the same feelings, right? There was also a VERY nice young American saxophonist who, upon flying in THAT day, needed to find a space to review a Piazzolla work....
...so I practiced, and then went back to Casa di Colori...
Stay tuned,
Sam
June 4, 2011
Black arts festival features standout performers
Hello, all - stepping in to report that I was recently interviewed by Jeanne Claire van Ryzin for a preview article chronicling this year's Black Arts Movement (BAM Festival), a two-week festival higlighting established and emerging artists of the African diaspora. It was a pleasure to speak with Ms. van Ryzin and I'm very happy to see that my friends Ashley Wilkerson and Gesel Mason, two of the most compelling performers that I know, were also highlighted!
You can read the full article here.
More soon,
Sam
You can read the full article here.
More soon,
Sam
May 27, 2011
Continuum, Part Three
At 5:15pm this evening I shall meet a new collaborator. Pianist Mei Rui and I are rehearsing for a recital which takes place on June 12, 2011 in Austin, Texas. Mei came highly recommended by a friend from graduate school...
...but that is not why I write. At the moment I'm sitting on the Peter Pan express coach to New York's Port Authority Bus Terminal - we're on our way. My mind has immediately gone to July 2006 when, after making my debut at the New Haven International Festival of Arts and Ideas, I took a Greyhound bus back to Baltimore (although I was living in San Antonio). THEN, I needed to rest: the Arts and Ideas recital took place just nine months after the hurricane and although I HAD been practicing, I was not as clear about much of the "other stuff" of life as I hope I am now.
That trip was nevertheless a great one: it was wonderful to play at that festival and to finally work with my friend Peter Webster, and I had the great fortune of meeting a group of artists who are members of a social justice organization called Alternate ROOTS. After the festival I spent two weeks in New York City with Gilbert Stafford, whom I met in Miami in 1999.
Much has changed since that summer: one difference that immediately comes to mind is Gilbert's absence (he left this life in January 2010). Baltimore, once a place to which I ran for less than optimum reasons, is now my home, and in a few weeks Alternate ROOTS will be celebrating its thirty-fifth anniversary in West Baltimore in conjunction with a huge multidisciplinary arts festival and the National Learning Exchange (and I'll actually BE HOME for once - HOORAY!).
Of course, to many this may seem to be just the stuff of life - why is all of this so significant right now? Well, I bought a music stand on Tuesday afternoon....
....and while leaving Ted's Music with the new music stand it came to me that the last time that I visited Ted's was March 2006 - a little over six months after leaving New Orleans - and at that time I barely had enough money to buy a metronome...
...and here we are...
More soon,
Samuel Thompson
...but that is not why I write. At the moment I'm sitting on the Peter Pan express coach to New York's Port Authority Bus Terminal - we're on our way. My mind has immediately gone to July 2006 when, after making my debut at the New Haven International Festival of Arts and Ideas, I took a Greyhound bus back to Baltimore (although I was living in San Antonio). THEN, I needed to rest: the Arts and Ideas recital took place just nine months after the hurricane and although I HAD been practicing, I was not as clear about much of the "other stuff" of life as I hope I am now.
That trip was nevertheless a great one: it was wonderful to play at that festival and to finally work with my friend Peter Webster, and I had the great fortune of meeting a group of artists who are members of a social justice organization called Alternate ROOTS. After the festival I spent two weeks in New York City with Gilbert Stafford, whom I met in Miami in 1999.
Much has changed since that summer: one difference that immediately comes to mind is Gilbert's absence (he left this life in January 2010). Baltimore, once a place to which I ran for less than optimum reasons, is now my home, and in a few weeks Alternate ROOTS will be celebrating its thirty-fifth anniversary in West Baltimore in conjunction with a huge multidisciplinary arts festival and the National Learning Exchange (and I'll actually BE HOME for once - HOORAY!).
Of course, to many this may seem to be just the stuff of life - why is all of this so significant right now? Well, I bought a music stand on Tuesday afternoon....
....and while leaving Ted's Music with the new music stand it came to me that the last time that I visited Ted's was March 2006 - a little over six months after leaving New Orleans - and at that time I barely had enough money to buy a metronome...
...and here we are...
More soon,
Samuel Thompson
May 23, 2011
Catching Up With...EVERYONE!!
Wow....what a year. The 2010/2011 concert season is rapidly coming to an end, and all of our thoughts are turning to summer adventures and plans. This has to have been one of the busiest seasons that I have ever had, one for which I am truly grateful, and as I sit I find myself anxious to share some of the events that were highlights for me as well as those of the friends and colleagues about whom I've written over the past few years.
To have heard SO many great violinists and musicians in one season - granted, this was parceled out over FOUR orchestras (?!) - beginning with Harrisburg Symphony Orchestra concertmaster Odin Rathnam, who I heard twice, playing the Korngold Concerto in January, followed by the Brahms Violin Concerto less than two weeks ago. Odin is undoubtedly a musician's musician and (if I may quote HIM) one of the true torchbearers of the craft of violin playing and musicmaking. It was also a great pleasure to hear Dylana Jenson for the second time - should you have an opportunity to hear either Dylana or Odin, DO SO! There was also Midori, the young in years yet seasoned performer Alexandra Switala and Roanoke Symphony concertmaster Akemi Takayama in a brilliant performance of Astor Piazzolla's Four Seasons of Buenos Aires.
One violinist that I unfortunately did not get to hear was my very good friend Sarah Shellman, principal second violinist of the Florida Orchestra, who performed Thomas Ades' ferocious Concentric Paths in March of this year.
Many of my friends who live on the western coast of Florida have been making strides: the duo NONA (Nadine Trudel, cello and Gil Katz, bass), colleagues and friends from the Utah Festival Opera, had a banner year: in addition to performing as soloists in the premier of Katz' "TRIBAL" with the San Jose Chamber Orchestra, they have recently released their debut album and are currently touring the northeastern United States.
As we honor our colleagues, we must also take special care to honor those who have gone before, who in many ways shaped us and opened our doors, minds, and hearts: our teachers. In February of this year, Kenneth Goldsmith of Rice University's Shepherd School of Music was named Texas ASTA Teacher of the Year, and Jorja Fleezanis, Henry A. Upper Chair in Orchestral Studies at Indiana University's Jacobs School of Music, recently received an honorary Doctor of Music degree from the New England Conservatory of Music.
All of us associated with the Shepherd School of Music - and numerous others worldwide - have since December 2010 been paying our respects in various ways to Sergiu Luca, a giant of the violin and musicmaking who had a profound influence both on the thousands of violinists who were fortunate to study with him (including my very dear friend Zhang Zhang, president and founder of Zhang.O.Musiq), countless others who were exposed to his musicmaking and the many people who were honored to share the stage with him. It is difficult for me to find words with which to speak of Mr. Luca: I remember him vividly from my three years at Rice and especially remember his electrifying performances of Bach, Mozart and Bartok, the unfailing devotion to his students (and the reciprocation of that devotion by his class), his genuine kindness and interest in those who glimmered with musical curiosity, and the great reverence with which he was viewed by his peers. While I was not a member of his class, I do feel honored to have had three years during which I could watch him and learn both from him and the work done by his students.
While remembering those lost, it is important here to speak of the terrible natural disasters that have gripped our planet this year, specifically that in Japan. As with Hurricane Katrina and the Haitian earthquake, the outpouring of support to our fellow men has been deeply inspiring. Violist Robin Fay Massie, associate principal violist of the Delaware Symphony, founded the non-profit collective Musicians of Mercy in response to the disaster in Haiti, and to this date the organization has held successful benefit concerts for organizations providing relief to the nation of Haiti, Youth Frontiers, the Gay Lesbian Straight Educators Network (GLSEN), and will present a concert this Wednesday, May 25, 2011, from which the proceeds will benefit World Vision's earthquake relief fund.
Thank you all so much for your interest, both in my writing and in the activities of my friends and colleagues. It is always a joy to share, and I do look forward to writing more - very soon...
Until then,
Sam
To have heard SO many great violinists and musicians in one season - granted, this was parceled out over FOUR orchestras (?!) - beginning with Harrisburg Symphony Orchestra concertmaster Odin Rathnam, who I heard twice, playing the Korngold Concerto in January, followed by the Brahms Violin Concerto less than two weeks ago. Odin is undoubtedly a musician's musician and (if I may quote HIM) one of the true torchbearers of the craft of violin playing and musicmaking. It was also a great pleasure to hear Dylana Jenson for the second time - should you have an opportunity to hear either Dylana or Odin, DO SO! There was also Midori, the young in years yet seasoned performer Alexandra Switala and Roanoke Symphony concertmaster Akemi Takayama in a brilliant performance of Astor Piazzolla's Four Seasons of Buenos Aires.
One violinist that I unfortunately did not get to hear was my very good friend Sarah Shellman, principal second violinist of the Florida Orchestra, who performed Thomas Ades' ferocious Concentric Paths in March of this year.
Many of my friends who live on the western coast of Florida have been making strides: the duo NONA (Nadine Trudel, cello and Gil Katz, bass), colleagues and friends from the Utah Festival Opera, had a banner year: in addition to performing as soloists in the premier of Katz' "TRIBAL" with the San Jose Chamber Orchestra, they have recently released their debut album and are currently touring the northeastern United States.
As we honor our colleagues, we must also take special care to honor those who have gone before, who in many ways shaped us and opened our doors, minds, and hearts: our teachers. In February of this year, Kenneth Goldsmith of Rice University's Shepherd School of Music was named Texas ASTA Teacher of the Year, and Jorja Fleezanis, Henry A. Upper Chair in Orchestral Studies at Indiana University's Jacobs School of Music, recently received an honorary Doctor of Music degree from the New England Conservatory of Music.
All of us associated with the Shepherd School of Music - and numerous others worldwide - have since December 2010 been paying our respects in various ways to Sergiu Luca, a giant of the violin and musicmaking who had a profound influence both on the thousands of violinists who were fortunate to study with him (including my very dear friend Zhang Zhang, president and founder of Zhang.O.Musiq), countless others who were exposed to his musicmaking and the many people who were honored to share the stage with him. It is difficult for me to find words with which to speak of Mr. Luca: I remember him vividly from my three years at Rice and especially remember his electrifying performances of Bach, Mozart and Bartok, the unfailing devotion to his students (and the reciprocation of that devotion by his class), his genuine kindness and interest in those who glimmered with musical curiosity, and the great reverence with which he was viewed by his peers. While I was not a member of his class, I do feel honored to have had three years during which I could watch him and learn both from him and the work done by his students.
While remembering those lost, it is important here to speak of the terrible natural disasters that have gripped our planet this year, specifically that in Japan. As with Hurricane Katrina and the Haitian earthquake, the outpouring of support to our fellow men has been deeply inspiring. Violist Robin Fay Massie, associate principal violist of the Delaware Symphony, founded the non-profit collective Musicians of Mercy in response to the disaster in Haiti, and to this date the organization has held successful benefit concerts for organizations providing relief to the nation of Haiti, Youth Frontiers, the Gay Lesbian Straight Educators Network (GLSEN), and will present a concert this Wednesday, May 25, 2011, from which the proceeds will benefit World Vision's earthquake relief fund.
Thank you all so much for your interest, both in my writing and in the activities of my friends and colleagues. It is always a joy to share, and I do look forward to writing more - very soon...
Until then,
Sam
May 3, 2011
"All These Years I've Known You...and Every Day I Find Something New"...
Of course, I should be asleep right now - however, I just finished practicing. The last work on the stand this evening was the Fuga of the Sonata in A Minor for Unaccompanied Violin, BWV 1003, of Bach. How many times have I played this? The first was during graduate school: I think I worked on the entire sonata for two semesters before performing it on my first recital (and, of course, I did a harmonic analysis of the whole thing, much to my teacher's surprise). The second was in 2006 at the New Haven International Festival of Arts and Ideas - which makes this the third.
While there is something really satisfying about learning and performing "new" repertoire - it actually feels as if one is moving forward, adding works to the list - there is something even more gratifying about looking at a familiar work with new eyes and sensibilities. These works will always be "bigger than us"; therefore the challenge is one with ourselves, to remember the lessons, recordings, live performances and individual research that have contributed to the moment at which we start anew.
THIS time? Well, in addition to what may seem to be an almost obsessive preoccupation with my bow arm due to having purchased a new bow AND continued recovery from some shoulder issues, I have my notes from the 2009 Tafelmusik Baroque Summer Institute at hand. Granted, I am not performing this sonata on a baroque violin (although I DO plan to purchase a baroque bow someday), after having spent those two intense weeks with probably the greatest proponents of "historical performance" in North America AND having spent three years at the Shepherd School with Kenneth Goldsmith (and, albeit indirectly, Sergiu Luca) I cannot imagine approaching this work in any other fashion.
This is not to say that there is not a lot of evaluating and examination of choices and motivations going on. THAT is of course one of the joys of being a musician and a violinist. I have, in previous essays about works of unaccompanied violin, referenced Paul Griffiths; at this moment, however, I must reference violinist Odin Rathnam:
"Music and its needs are like a refining fire, constantly challenging us to re-evaluate our choices, our approach, our tools. It is music that humbles me, day after day, year after year... But confidence in one's abilities to do music justice is just as important as humility towards music."
(I would of course link to the entire entry, but have to ask permission first, ya know...)
And that's all - for now. There are essays and notes to write and details to wrap up, more concerts coming up in the next few weeks than I think I have ever had scheduled in my life - about which I'm ridiculously grateful - and there's the Insanity program....more on that later indeed....
Good night,
Sam
While there is something really satisfying about learning and performing "new" repertoire - it actually feels as if one is moving forward, adding works to the list - there is something even more gratifying about looking at a familiar work with new eyes and sensibilities. These works will always be "bigger than us"; therefore the challenge is one with ourselves, to remember the lessons, recordings, live performances and individual research that have contributed to the moment at which we start anew.
THIS time? Well, in addition to what may seem to be an almost obsessive preoccupation with my bow arm due to having purchased a new bow AND continued recovery from some shoulder issues, I have my notes from the 2009 Tafelmusik Baroque Summer Institute at hand. Granted, I am not performing this sonata on a baroque violin (although I DO plan to purchase a baroque bow someday), after having spent those two intense weeks with probably the greatest proponents of "historical performance" in North America AND having spent three years at the Shepherd School with Kenneth Goldsmith (and, albeit indirectly, Sergiu Luca) I cannot imagine approaching this work in any other fashion.
This is not to say that there is not a lot of evaluating and examination of choices and motivations going on. THAT is of course one of the joys of being a musician and a violinist. I have, in previous essays about works of unaccompanied violin, referenced Paul Griffiths; at this moment, however, I must reference violinist Odin Rathnam:
"Music and its needs are like a refining fire, constantly challenging us to re-evaluate our choices, our approach, our tools. It is music that humbles me, day after day, year after year... But confidence in one's abilities to do music justice is just as important as humility towards music."
(I would of course link to the entire entry, but have to ask permission first, ya know...)
And that's all - for now. There are essays and notes to write and details to wrap up, more concerts coming up in the next few weeks than I think I have ever had scheduled in my life - about which I'm ridiculously grateful - and there's the Insanity program....more on that later indeed....
Good night,
Sam
April 25, 2011
Knoxville String Quartet in Concert - TONIGHT!!
Dear all,
Three of my Knoxville Symphony colleagues are being joined by the principal cellist of the Louisville Orchestra tonight in a chamber music concert featuring three masterworks of the string quartet repertoire!
The Knoxville String Quartet is performing tonight in Duke Hall at Lincoln Memorial University. This concert, which begins at 7:30pm, features Mozart's Divertimento No. 3, K. 138, Ludwig van Beethoven's
String Quartet Op. 59, No. 3 in C Major ("Razumovsky") and
Antonin Dvorak's Quartet Op. 96, the "American".
The Knoxville String Quartet consists of Sean Claire and Lee Sheehan, violin; Hillary Herndon, viola and Peter McCaffrey, 'cello. Sean Claire is currently Acting Co-Associate Concertmaster of the Knoxville Symphony and concertmaster of the Symphony of the Mountains, and Lee Sheehan is completing her first season as a member of the Knoxville Symphony violin section. Violist Hillary Herndon is both a member of the Knoxville Symphony and Professor of Viola at the University of Tennessee, and cellist Peter McCaffrey is currently serving as Acting Principal Cellist of the Louisville Orchestra.
Lincoln Memorial University is located at 6965 Cumberland Gap Parkway, Harrogate, Tennessee. This concert is both free and open to the public.
Three of my Knoxville Symphony colleagues are being joined by the principal cellist of the Louisville Orchestra tonight in a chamber music concert featuring three masterworks of the string quartet repertoire!
The Knoxville String Quartet is performing tonight in Duke Hall at Lincoln Memorial University. This concert, which begins at 7:30pm, features Mozart's Divertimento No. 3, K. 138, Ludwig van Beethoven's
String Quartet Op. 59, No. 3 in C Major ("Razumovsky") and
Antonin Dvorak's Quartet Op. 96, the "American".
The Knoxville String Quartet consists of Sean Claire and Lee Sheehan, violin; Hillary Herndon, viola and Peter McCaffrey, 'cello. Sean Claire is currently Acting Co-Associate Concertmaster of the Knoxville Symphony and concertmaster of the Symphony of the Mountains, and Lee Sheehan is completing her first season as a member of the Knoxville Symphony violin section. Violist Hillary Herndon is both a member of the Knoxville Symphony and Professor of Viola at the University of Tennessee, and cellist Peter McCaffrey is currently serving as Acting Principal Cellist of the Louisville Orchestra.
Lincoln Memorial University is located at 6965 Cumberland Gap Parkway, Harrogate, Tennessee. This concert is both free and open to the public.
April 19, 2011
Friends, Colleagues and Choral Works
It is always great to come home, and it seems that as I get older I am truly enjoying the comfort and security of my dwelling place. Of course this is not to say that time "on the road" is not enjoyable: both traveling for work and spending time in one's "resting place" can be equally fulfilling. While I do have a few things coming up in the next few weeks my intention, for the purpose of preparing well both mentally and violinistically, is to stay as close to home (if not to sequester myself) as possible. "The violinist, in order to be a virtuoso, must also be a recluse".
Last week was a truly special week in many ways both for Lucas Richman, music director of the Knoxville Symphony, and James Fellenbaum, a dear friend who is both the resident conductor of the Knoxville Symphony and director of orchestras at the University of Tennessee-Knoxville. Over the course of four days both of them conducted works for the first time: Maestro Richman led the Knoxville Symphony and the Knoxville Choral Society in two performances of Beethoven's Ninth Symphony - his first time conducting the work in concert - and James (I refer to him with his first name because I have known him for eleven years) led the University of Tennessee Symphony Orchestra and combined choirs from the school's vocal department in one of the most exciting performances of Carl Orff's Carmina Burana that I have ever had the pleasure of playing - and this was also James' first concert performance of that work.
In short: soloists were outstanding in both works, both orchestras rose beautifully to the challenge, and audience reactions were enthusiastic on all three days.
Personally: while standing onstage (as orchestras do) during the bows, I found myself incredibly proud of both men as well as thinking about moments in life during which we all seem to be accomplishing some task that was a part of the cosmic plan. Curiosity led me to another old friend, a ridiculously dog-eared copy of Gary Zukav's book The Seat of The Soul.
While many have praised Mr. Zukav for his poetic and thoughtful writing, others have been somewhat skeptical of his metaphysical view of life and this thing called karma. Regardless, when I think of the last weekend and the congratulatory applause given to conductors, orchestras and soloists, I find myself in agreement with this passage:
"Before it incarnates, each soul agrees to perform certain tasks upon the Earth. It enters into a sacred agreement with the Universe to accomplish specific goals. That is why when a soul succeeds in accomplishing its goal, in fulfilling what it has agreed to do, there is a richness and a specialness to the lifetime of that personality that is recognized and honored by its fellow souls, both physical and nonphysical."
So....congratulations to everyone involved in those spectacular nights of musicmaking, and a special congratulations to Maestros Richman and Fellenbaum for fulfilling their "duty on the planet".
Last week was a truly special week in many ways both for Lucas Richman, music director of the Knoxville Symphony, and James Fellenbaum, a dear friend who is both the resident conductor of the Knoxville Symphony and director of orchestras at the University of Tennessee-Knoxville. Over the course of four days both of them conducted works for the first time: Maestro Richman led the Knoxville Symphony and the Knoxville Choral Society in two performances of Beethoven's Ninth Symphony - his first time conducting the work in concert - and James (I refer to him with his first name because I have known him for eleven years) led the University of Tennessee Symphony Orchestra and combined choirs from the school's vocal department in one of the most exciting performances of Carl Orff's Carmina Burana that I have ever had the pleasure of playing - and this was also James' first concert performance of that work.
In short: soloists were outstanding in both works, both orchestras rose beautifully to the challenge, and audience reactions were enthusiastic on all three days.
Personally: while standing onstage (as orchestras do) during the bows, I found myself incredibly proud of both men as well as thinking about moments in life during which we all seem to be accomplishing some task that was a part of the cosmic plan. Curiosity led me to another old friend, a ridiculously dog-eared copy of Gary Zukav's book The Seat of The Soul.
While many have praised Mr. Zukav for his poetic and thoughtful writing, others have been somewhat skeptical of his metaphysical view of life and this thing called karma. Regardless, when I think of the last weekend and the congratulatory applause given to conductors, orchestras and soloists, I find myself in agreement with this passage:
"Before it incarnates, each soul agrees to perform certain tasks upon the Earth. It enters into a sacred agreement with the Universe to accomplish specific goals. That is why when a soul succeeds in accomplishing its goal, in fulfilling what it has agreed to do, there is a richness and a specialness to the lifetime of that personality that is recognized and honored by its fellow souls, both physical and nonphysical."
So....congratulations to everyone involved in those spectacular nights of musicmaking, and a special congratulations to Maestros Richman and Fellenbaum for fulfilling their "duty on the planet".
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