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Shira Kammen Will Coach January 10

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Shira Kammen Will Coach January 10 Volume 17, No. 5 Shira Kammen will coach JanL[ary 2004 January 10 We are happy to armounce that the panmu- years, and performs now with several new sical Shira Kammen, an internationaLly groups : a medieval ensemble, Fortune's acclaimed performer and past coach for the Wheel; a new music group, Ephemeros; an Pacifica chapter, will coach us once more eclectic ethnic band, PaLnacea; and Trouz at our January 10 play day. The interview Bras, a band devoted to the dance music of excerpts below reveal why this play day Celtic Brittany. will be a lot of fun. Excerpts from an inter- Over the years Shira has sung and played the piano, violin, cello, viola, viola da view by Liz Dobbs in Ear/y gamba, vielLe, medieval harp, rebec, and other instruments too numerous to Llst. Music America, ZOOS Shira Kammen was born A member for many years in 1961 and grew up in the of Ensembles Alcatraz Bay Area, the daughter of and Project Ars Nova, and a professional violinist Medieval Strings, she has and a singer who is also a also worked with Sequen- scientist. After receiving tia, Hcsperion XX, the her music degree from UC Boston Camerata, and the Berkeley, Shira studied King's Noyse, and is the vieLle with Margriet Tin- founder of Class V Music, demans, Shin' s greatest an ensemble dedicated to musical influence. perfomance on river raft- ing trips. Sh]ra's tiny Albany cot- tage is stuffed with music, She has performed and Shira Kamrnen at Port Towrlsend instruments, music stands, taught in the United Early Music Workshop, July 2003. and photos. ming my States, Canada, Europe, Photo ky Willian. Stickrty. visit, she played an experi- Israel, Morocco and Ja- mental violin she calls a pan, and onthe colorado and Rogue riv- viohi d'amore, which she commissioned eTs. Shira happily coJJaborated with the late singer/storyteller John Fleagle for 15 (Comimied on page 2) PACIFICA PLAY DAY SCHEDULE, 2003-2004 Newcomers and rank beginners are welcome. fe']dp:yz#gsLexfithc¥ur?h?#:rf# If you're coming for the first tine, please Boulevard, Oanand. phone ahead: (510) 531-1471. The chureh is just west of the Park Boule- vard exit off Highway 13. We meet at 9: 15 COACH a.in. for the coached session. §L:eE¥,acom::can#fanvldL]an¥smu:spf];L¥f Jam. 10 Shira K-en Feb. 14 John Domenburg your own you'd like to play. NI.6 Pat 0' Scaunell Potluck lunches have been working well April 10 Rebekah Ahendi this year. Please either bring a sack lunch April 23-25 Yayoi lsancson and for yourself or a dish or drink to share. The church kitchen has a microwave we can use. North/South Julie Jeflky Viol Meet, Consorts are fomed based on the informa- Fresno foofayfutgLngyi5d3eL?]!#O¥e#ri]Ty:I:phfe May8 David Morris to [email protected]. June 12 George Houle Kammen/co„t,.„u®d (Contnd from Fnge I) lJiz:. Wky do you hold your vielle low on your chest? Shira: There are different ways to hold the viel]e. The posi- from instrument builder Jim Wimmer. Beneath the standard tion will depend on the size and shape of the instrument, and four strings of the violin is another set of revefoeration strings, the background of the perfomer. Margriet Tindemans usually As Shit.a drew her bow across the violin d'amore's playing holds hers gamba-style, but being incredil)ly versatile, will also strings, the reverberation strings tock xp the sound and sang the tim it and play it violin-style as well. I play the vielle most notes back in an after-shading. Mozart has described the sound often in a very relaxed violin style, It is easier to hear my own of the viola d'anore as sweet. The experimental violin's voice sound with the instnment a bit farther from my ear. There is has that sweetness with a sad, lovelorn inflection. always surface noise, the sound of the hair on the strings, or the Shira put the violin d'amore aside and tock a vielle from its fingers moving on the fingerboard, that an audience does not case. Rather than tueking the instrument under her chin, she hear but that can distract the musician. rests it lower, just below the collarbone. (Conri"ed on page 3) VIOLA DA GArmA soclETy-pAclFlcA GAMBANEWS GAMBA NEWS is published 10 times a year by the Pacifica chapter of the Viola da Gamba Society. It vacations in July and August. PACIFICA CIIAPTER BOARD President Julie Jefhey [email protected]) Classiried ads: Short classified advertisements in Gamba Vice President Ellen Farwell ([email protected]) Ivews are free to VdGS-Pacifica members, For non- members, ads are $5 per issue. Please mail your check to Secretary Marilyn Becker ([email protected]) Lyle York (address above), made out to VdGS-Pacifica. Treasurer Helen TyrrelJ [email protected]) BOARD MEroERs AT LARGE Wet) site: Our VdGS-Pacifica chapter web site, www.pacificaviols.org, is maintained and regularly updated John Mark Rental coord. ([email protected]) by Helen Tyrrell. It contains the Viol Player's Calendar, I.ee MCRae VdGSA chapter rep. [email protected]) along with a list of local teachers, sources for music, supplies, Mary Elliott Coaching liaison (marell©acbelL,net) inexpensive viols, repairs, and travel tips. The VdGSA Lyle York Newsletter editor [email protected]) (national) Web site is: www.vdgsa.org. John Dornenburg [email protected]) Rent a viol: Pacifica has trebles, tenors and basses to rent. Alvin Roper (925426J)829) Donations of viols and bows to our rental program are ex- Elisabetl] Reed ([email protected]) tremely welcome-we' u accept them in any condition. ColiD shipman ([email protected]) Rental fees range from $10 to $25 per month. In charge of rentals is John Mark, at 10 HolyTood Manor, Oakland, CA Rol)in Easterbrook ([email protected]) 94611 ; (510) 531-1471, [email protected] The VdGSA, Pacifica's parent organization, also rents viols. For VdGSA members, rates are $250 per year for trebles and Contributions welcome: Send concert listings and reviews, tenors, $300 for basses, and $750 for a complete consort. For opinions, workshop experiences, CD reviews, drawings, or pho- more infomation, contact Stephen Morris, 2615 Tanglewood tos to Lyle York, Editor, 1932 Thousand Oaks Boulevard, Road, Decatur, GA 30033-2729; (404) 325-2709; Berkeley, CA 94707, or via email: [email protected]. smmoTris@mindspring,com Phone (510) 559-9273. The VdGSA has instinted a Rent-to-Own program. If inter- Associate editors: Ellen Farwell and Mary ELliott. Designer: ested, contact John Mark, address above. Helen TyTTel]. Kammen/conti.nued (Contindfrom Fnge 2) between perfomer and audience. hiwz:. What is the most challenging and diffiioult type of rn:usie I;or you lo play, and Tj:.z::. You specialize in early music and Lj\z;:. What is your earliest music mem- wky? How do yo:u overcome some Of the ory.? folk/ethnic in:usic. What do you like about difficulties? these forms? Shira: Probably listening to chamber Shira: Music is challenging in so many Shira: Of course those tens cover a lot music on the record player with my folks. -many hundreds of years of music and different ways. The music I am most My mom is a professional violinist and technically removed from would be styles as varied as North Indian ragas to my dad sang in choruses, so there was something Like the Mendelssohn Violin Irish stay-dancing music. The musical music around all the time. I remember Concerto. That would take a lot of re- language of the medieval style is some- the Schumam piano quintet made a big foousing and exercise! But playing a thing I find very poignant. h tens of impression on me. It was so heartfelt and contrardance tune 20 tines really fast is nuts and bolts. it is a play of consonance dramatic, and happy and sad all at once. difficult in a very different way - it re- and dissonance, always a tension and a Liz What made you choose music as a resolution. All music is that to some ex- quires a different kind of stamina, and a complete commitment to rhythm, and a career? tent, but with medieval and other modal completely relaxed, unstressed technique. music, it happens in a remarkably clear, Shira: I think of music as one of the ele- Or playing an esoteric troubadour song, and almost physical way. ments, or one of the senses. Thouch I starting with no musical notes at all, with dour think I ever really chose music- I think of medieval music as extremely a poem that is heady and contextually that is, I didnt sot out to make something local. I inagine a world where, in order hard to understand- that poses great happen. I dour think of myself as par- to communicate with the closest ensem- difficulty, but more one of making deci- ticularly ambitious; I was just doing what ble, you couldnt phone, froL email, or sions and composing a part. I think play- I enjoyed and was lucky enough to get talk in any quick way. You would tailor- ing jazz would be very challenging. work doing it. As I like to say, it sure make the music work for what you have Overcoming the difficulties -I'm not beats working for a living! at hand. It is not prescribed music, like sure if one ever does -but the more you classical music is - the page in classical inmerse yourself in a style the more of it Tjra::.
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