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Fine and On June 18, a gala tet—maybe it has a more mellow sound [than colleagues are. There’s a lot of imitation the quartet is in residence. The quartet cians have the satisfaction of connecting concert in Milwaukee others performing these days],” says Boico. “We going on. If one person’s playing in a cer- acted as guest faculty at the Yale Summer with informed, passionate audiences. “This Mellow celebrated the sixtieth don’t like aggressive playing or aggression in tain way, to play well, you really have to School of Music at Norfolk, Connecticut, is an acquired taste,” says Laufer. “People birthday of the Fine emotion. Sometimes you have to have it, like in blend. There’s still plenty of room for indi- and the International Music Academy of are not coming in their young years; you Arts Quartet. The Shostakovich or Bartók, but honestly speaking, viduality: We don’t all play the same way, Montpellier, and served on the jury of the come after you’ve heard all kinds of music, anniversary is an auspi- the basis of our exploring of music is the sound. even today. But in general, we’re all sensi- Bordeaux International and you become an aficionado. When you cious milestone, but it comes with a caveat: Maybe we have more charm—like an old wine, tive and attuned to each other.” Competition. go to a symphony concert, a Tchaikovsky Today’s FAQ is, of course, a significantly differ- or a good cheese.” “If we are fighting for some musical rea- ent group from the one that was formed in The four FAQ musicians come from very dif- son—we are good friends—we are trying The FAQ in 2005 1946, both in its personnel and in its music- ferent backgrounds: Evans trained in the U.S. to find some compromise,” says making. The predecessor group gained world- and London, Boico and Gandelsman in Russia, Gandelsman. “The most important thing wide recognition from the ’50s through the ’70s and Laufer in Romania and Israel. But in indi- is to find a way to put your personality with performances and recordings that were vidual conversation, it’s remarkable how united together with your colleagues.” considered among the finest from that genera- a front they present when describing their per- The quartet has in recent seasons played tion of chamber musicians. formance style and aesthetic aims. Take the works by Greg Sandow, , and “There really is no continuum when it comes matter of preserving a singing line: Boico, who Evans himself. It also makes something of to performance or musical practice,” says Ralph says he’s never happier than at the opera, likens a specialty of unusual corners of 20th-cen- Evans, the current first violinist. “I’d like to say the quartet to “a choir with four voices.” And tury literature; recent recording projects ‘yes, we’re a continuation of the Fine Arts Gandelsman says the FAQ’s identity springs have included works by Dohnanyi, Quartet tradition,’ and indeed, I’m familiar from “the singing of the instruments”—with an Antheil, and . This with the [old] recordings. However, musicians old-school approach that hearkens back to the year, for the Shostakovich centenary, the are all unique. We’re excellent in different ways, singers, as much as the instrumentalists, of the quartet is performing all of the Russian with different ways of expressing music.” past. composer’s string quartets. But the heart The FAQ’s longest-standing current member, This concordance of opinion suggests that of the FAQ’s repertory remains the classics cellist Wolfgang Lauper, did in fact overlap for part of the longevity of the FAQ in its current of the classical and Romantic eras: Mozart, two and a half years with first violinist Leonard incarnation results, not just from a shared aes- Haydn, Beethoven, Mendelssohn, and Sorkin, one of the quartet’s founders. But in its thetic, but from the musicians’ ability to work Brahms. current embodiment, consisting of Evans, toward a common goal. “We are four very As Ralph Evans sees it, the concentration Lauper, second violinist Efim Boico, and violist strong personalities, very different in some on traditional repertoire stems from the Yuri Gandelsman, the group is resolutely its ways,” says Laufer. “There is some tough going FAQ’s focus on beautiful tone. “The The crowded schedule is obviously a symphony will end with a big fortissimo, own organism, with its own distinct approach in rehearsing, since everybody has strong views. strength of our quartet is that we can offer good thing professionally—and it also and it’s an assured success. But the to the string quartet repertoire. If there’s a para- But if there’s something to define this group, a more beautiful performance, perhaps, keeps the musicians on an even keel, musi- Shostakovich Third Quartet ends on a soft dox here, it may be that the current FAQ might ultimately, it’s a unity of sound which distin- than some other quartets,” he says. “I con- cally and psychologically. “We all have our note—unless you have been convincing in glibly be deemed more “old-fashioned” than its guishes us from others.” fess I’m happy with the balance. Others bad days, when we’re very upset,” says the piece, you’ve missed your audience. forebears. “You could call the quartet from the Despite the occasional need to negotiate may offer a better command of rhythm in Evans. “But in our case, we have a little These are four people—in some way, the ’50s more ‘modern,’” says Evans. “They were musical matters in rehearsal, that unity of complex modern music situations than we advantage. When a quartet is busy, when means of expression may seem limited, but more straightforward in their approach to tone approach, as often as not, remains unspoken. do. We can play the music where we things are going well career-wise, there’s this is extremely intimate music and very and phrasing.” “We are playing for 24 years together,” says shine.” less time for bickering. You have to get the personal.” A critic once referred to the present quartet’s Boico. “We are not talking about sound; it’s The FAQ is a busy ensemble. In the last music learned, get on the road, and be In Boico’s words: “The public of cham- “European” sound—a categorization that the already in our blood and our bodies.” year alone, it played more than sixty con- ready for the next situation. You can’t ber music is really special people.” For sixty musicians themselves find somewhat specious “You grow together and make subtle com- certs, both across America and in Europe, afford to let it stew.” years, special people have sustained the but that nonetheless suggests the group’s con- promises along the way,” says Evans. “You real- and close to home at the Milwaukee cam- The touring schedule might be strenu- Fine Arts Quartet in all of its various incar- scious emphasis on beauty of tone. “Our quar- ize what the strengths and weaknesses of your pus of the University of Wisconsin, where ous, but throughout their travels, the musi- nations. (www.fineartsquartet.org)

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The New England Conservatory of Music has Peak long offered outstanding resources to young Performance people studying chamber music. The faculty includes the likes of Kim Kashkashian, James Buswell, Russell Sherman, and the Borromeo Quartet. The school’s professional string quar- tet and piano trio training programs have recently helped launch the careers of the Parker and Jupiter quartets. But when Lucy Stoltzman took over the school’s strings and chamber music department in 2002, she still insisted on one pedagogical improvement: She made the school increase the opportunities for undergraduates in the chamber music pro- gram to perform. “You don’t even begin to learn a piece until you’ve performed The name doesn’t tell the whole story. Yes, the New York it,” says Stoltzman. “You do all the work and practice. Then you perform it and Symphonic Youth Symphony brings together young musicians from the it comes alive. That’s when you understand ‘Now I know how to proceed.’” Approach tri-state area in an orchestra that plays an annual series in All the students in Stoltzman’s department are required to take part in at least Carnegie Hall. But the organization also administers work- three performances a semester. If they haven’t formed a chamber group on their shops in conducting and composition, a jazz band, and com- own at the beginning of the school year, they’re assigned in the first week and missioning programs for young composers and artists. Not to work together for a month before their first performance class in October—a mention a bustling chamber music program, which this past trial by fire where their peers deliver insights that teachers might keep to them- year encompassed 56 people, age 12–22, in 18 groups. selves. Another performance class follows in November, then recitals at the end “It’s an exciting program—I wish it had been around when I was younger!” says violin- of the semester. ist Lisa Tipton, the chamber music program’s director. “I see it as a summer chamber music At the end of October, ensembles compete to perform in NEC’s outreach festival held throughout the year, where you can delve in and look deep into the music.” program; the winners go out to Boston-area schools, retirement homes, hospi- The participants include young players already committed to chamber music, along with tals, and even homeless shelters. Under the direction of Tanya Maggi, the Lucy Stoltzman those who just want to give it a try. In some cases, students join as a group; for others, students are rigorously prepared for the task. “Just sending them out into the coaching at NEC NYYS acts as matchmaker. Some of the older musicians attend the Manhattan School of community without guidance isn’t helpful,” says Stoltzman. “Tanya works with Music, Mannes, Juilliard, and other New York conservatories, and use the program as a way them on how to get up and communi- to work with friends and colleagues outside of school. All the students play in perform- cate with people. If you’re talking to the ances for each other, and some are asked to participate in public performances, including elderly, it’s different from performing for a year-end concert at Carnegie’s Weill Recital Hall. eight-year-olds.” The young players get coaching sessions with established musicians; this year’s coaches In all their performance activities, the included members of the Shanghai and Lark Quartets, Quintet of the Americas, and students learn to address issues that Speculum Musicae, among others. One group is chosen to be coached by a distinguished might not arise in the ivory-tower isola- mentor, who works with them on a particular movement; this year, Nicholas Tzavaras of tion of the classroom. “We are perform- the Shanghai Quartet led a group of students through the Schubert two-cello Quintet. The ers—we can’t expect to sit in practice emphasis throughout is on giving the students an incisive understanding of the music, and rooms and figure out what we’re doing,” making it meaningful. “Not that we aren’t into having them learn lots of repertoire, but says Stoltzman. “You need to learn how we’re interested in getting them to think past just learning the notes and playing together,” to relate to an audience—whether it’s says Tipton. “We’re trying to get them to realize that they have to make a performance talking to them, taking your bows, or something that means something to them—not just what a teacher or coach tells them to simply learning not to make faces when do, but something personal and expressive.” you’ve made a mistake. NYYS’s coaches and mentors also stress performance skills that aren’t strictly speaking “I learn from my colleagues all the musical—such as concert demeanor and speaking to the audience. And they aim to devel- time, and I learn from my students,” op human skills as well: the teamwork needed to perform chamber music. “When you play says Stoltzman. “I hope they learn from for top people, you’re put through the wringer,” says Tipton. “The kids take that informa- each other.” (www.newenglandconser- tion, run with it and grow, and deal with each other as human beings to find a statement. vatory.edu) I find them quite extraordinary.” (www.nyyouthsymphony.org)

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“We’re trying to get cham- program. Participating students may have some musical announced in its mission statement) “to foster the Selfless ber music to as many folks background, but generally of the most rudimentary kind, appreciation of chamber music.” This translates not as possible,” says Lisa and their instruments are often in terrible condition. only into school outreach, but a whole range of efforts in Seattle Schachter, education and The sessions combine music appreciation with actual geared toward broadening chamber music’s exposure. outreach manager for the instruction. The musicians play for the students to SCMS stages family concerts, featuring free hot dogs Seattle Chamber Music acclimate them to the idea of chamber music, and at and lemonade beforehand. It gives free pre-concert Society. The organization times invite the students to sit next to them for a close recitals at Lakeside School, and it relays the mains con- this summer celebrates 25 years of performances at observation of how professional musicians work. They certs themselves on loudspeakers to the lawn outside, Seattle’s Lakeside School. SCMS’s outreach initiatives offer suggestions on matters like using vibrato and gathering a casual summer crowd that gets to hear the are of more recent vintage—they started ten years ago holding a bow, but more importantly, they give the stu- concert for free. —but no less integral to the organization’s identity. dents a sense of how satisfying it can be to make cham- “What we get out of this is longevity of chamber At the core of these outreach efforts is a program ber music. music and in our area,” says Connie that sends chamber music into area public schools. “The majority of the students have never been up Cooper, the organization’s executive director. “It sounds SCMS assembles a string quartet from Seattle’s pool of close and personal with professional musicians before,” altruistic—and it is.” (www.seattlechambermusic.org) professional musicians, which visits seven local says Schachter. “They see that you can communicate schools—four in inner-city Seattle, and three more without words, and work in a democratic process to from the suburban Eastside area—three times each make beautiful things happen.” over the course of two weeks. The program deliberate- SCMS’s school program isn’t specifically aimed at ly focuses on schools that do not have a strong music creating new audiences for its concert series, but (as

James Undercofler, dean of the New York-based artist manager Janice Joe Illick, music director and principal The Ariel Quartet (Gershon Gerchikov, Eastman School of Music at the Mayer has closed Janice Mayer & conductor of the Fort Worth Opera, has Alexandra Kazovsky, violin; Sergey University of Rochester, was appointed pres- Associates to become associate director been appointed artistic director of Tarashchansky, viola; Amit Even-Tov, ident of the Philadelphia Orchestra, effective of Classical Action, the not-for-profit Voices of Change, the new music cello) took the 2006 Grand Prize at the August 1. organization that raises funds for AIDS- ensemble-in-residence at Southern Fischoff National Chamber Music related services nationally. Methodist University. Illick, a pianist, Competition. Formed in Israel in The father-and-son team of Robert Mann succeeds Shields-Collins (“Buddy”) 1998, the quartet has been studying at and Nicholas Mann have been appointed to The Attacca Quartet (Amy Schroeder Bray. New England Conservatory, where the Manhattan School of Music’s string and Keiko Tokunaga, violins; Gillian they have been coached by Kim faculty to teach violin and coach chamber Gallagher, viola; and Andrew Yee, cello) Ellen Hayward, managing director of Kashkashian, Paul Katz, and music. coached by Joel Smirnoff at the Present Music in Milwaukee, has Martha Strongin Katz. Juilliard School of Music, won the resigned her position to return to the The Takács Quartet’s recording of top prize at the Coleman Chamber for-profit business sector. Beethoven’s late quartets for Decca/Universal Ensemble Competition. The other was named Disc of the Year at the first-ever two prizewinners were the Fireborne The achievements of composer BBC Music Magazine Awards ceremony. The Trio, coached by Julian Martin and also Margaret Brouwer were recognized recording—which also included Op. 95 and from Juilliard, and the Cascades Brass with an American Academy of Arts and the Grosse Fuge—was the third and final disc Quintet of the University of British Letters’ music award. SEGUES in the Beethoven series. Columbia, coached by Martin Berinbaum.

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The nation’s music schools stimulated by that,” says Bonnie Hampton, who Life offer their students a range of headed the chamber music department when the opportunities to get involved major was first instituted, in 1985. “On Thursday Lessons in chamber music-making. evenings the halls are buzzing with people rehearsing But The San Francisco like crazy.” Conservatory of Music is one In its “Chamber Music Masters” program, SFCM of the very few that offers a welcomes celebrities like Robert Mann, Menahem chamber music master’s degree. Pressler, Gilbert Kalish, Joel Krosnick, Martha Katz, It’s a program that makes and Leon Fleisher for one-week residencies. The vis- severe demands on its students. On top of the time iting musician will give master classes, engage in they spend individually preparing their work, the rehearsals, and at the end of the week, perform in students are required each week to rehearse together recitals with students and members of the faculty. It’s twice and spend a two-hour coaching session with a program that’s near to the heart of the depart- their faculty advisor. Every Thursday afternoon, all ment’s chairperson, violinist Mark Sokol, who as a the chamber music majors gather for a master class, Seattle teenager, fell in love with chamber music at a in which a faculty member who does not serve as a concert by the Hungarian Quartet, and who thinks chamber ensemble coach will listen to four different that an awareness of past generations of great per- groups and offer critiques. “The students are so formers is an essential part of a complete musical education. “I’m shocked when I talk to a pianist, and he hasn’t heard of Willy Kapell, or a violinist who hasn’t heard of Heifetz,” Sokol says. “These people gave us something to aspire to. Trying to be part of the connective tissue is important.” In its intensity, Sokol feels, SFCM’s chamber music curriculum gives students a good preparation for the stringent demands of being a professional musician. “The goal is for students to be able to stand on their two feet when they get out of the place,” says Sokol. “They should be well put-togeth- er, as many-faceted as possible—not just able to play a violin or viola or piano better, but more deeply concerned about what the music is made of. It isn’t a question of a skill; it’s a question of a life.” (www.sfcm.edu)

Don Alias, percussionist Helen Armstrong, violinist, Armstrong Chamber Concerts Sarah Caldwell, opera director and conductor Kay Finegan, big band singer, arranger; caterer William Gottlieb, jazz photographer John Hicks, pianist, John Hicks/Elise Wood Ensemble Helen Hobbs Jordan, music teacher Narvin Kimball, founding member, Preservation Hall Jazz Band Jacqueline (“Jackie”) Melnick, co-founder and administrative director, MusicordaChamber Music Institute and Festival

In Memoriam Alfredo Silipigni, conductor; founder, New Jersey State Opera

16 august 2006