Classical to Cajun & Everything in Between

AMIT PELED HONORS CASALS SPECIAL FOCUS: COLLEGE CYNTHIA PHELPS’ ‘MONSTER’ WITH NEW RECORDING & CONSERVATORY GASPARO DA SALÒ

Are Two Concertmasters Better than One? Master Composer Joan Tower’s Energetic Ascent Inside Mahler’s Orchestral Homage to Nature Lucia Micarelli Classical to Cajun & Everything in Between

September 2018 No. 281 StringsMagazine.com A major second.

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46 FEATURES 16 Finding Her Path The eclectic musical world of Lucia Micarelli By Greg Cahill 22 Two Leaders Better than One? In many ensembles, the concertmaster role is shared between two (or more) violinists By Brian Wise 26 New England Conservatory of Music’s Contemporary Improvisation Program Fanfare for an Uncommon Woman Composer Joan Tower at 80 SPECIAL FOCUS By Thomas May College & Conservatory 22

34 Real-World Experience Shanghai Orchestra Academy taps international principal players in cutting-edge curriculum By Cristina Schreil 38 All That Jazz Violinist Scott Tixier on studying jazz music on a conservatory track By David Templeton 42 Get Comfortable Eastman cello professor Steven Doane on the lessons Benjamin Bowman his incoming students most often need to learn By Sarah Freiberg 46 A Glimpse into the Future SEPTEMBER Traditional conservatories offer 2018 specialized tracks for the 21st- VOLUME XXXIII, NUMBER 2, ISSUE 281 century performer COVER: LUCIA MICARELLI

NEC—ANDREWHURLBUT/NEC; BOWMAN—ELIZABETH BOWMAN By Cristina Schreil PHOTO: SOLAIMAN FAZEL

StringsMagazine.com 5 DEPARTMENTS

10 Editor’s Note

12 News & Notes BBC announces 2018 Next Generation Artists; plus Milestones; 5 Minutes with ETHEL cellist Dorothy Lawson, and more 74 Shop Talk BRAZIL’S FINEST Bow maker John Greenwood  on the artistic process PERNAMBUCO BOWS of completing a bow 68 The World’s Most Exquisite Handcrafted Bows WORK BENCH 57 What’s in the Case? Violist Cynthia Phelps reflects PLAY on the depth and warmth of her Gasparo da Salò 63 On My Music Stand 59 Cellist Barbara Bogatin New Products on the qualities found Thomastik-Infeld launches within Mahler’s Third Alphayue strings for viola Symphony and cello 64 My Studio Solutions can be found by taking a broader view

REVIEWS 66 For the Record European Tonewood & Cellist Amit Peled on finding Mongolian Horse Hair his voice with Casals’ cello and Available! an atypical recording process 68 L’Archet Brasil Onstage USA - West Palm Beach Violinist Tessa Lark delivers 561-790-4191 Corigliano’s ‘Red Violin: Suite’ — with gusto Europe - Portugal 351-232 095 211 70 On Record Hawktail’s debut recording WWW.LARCHETBRASIL.COM 57 weaves homespun progressions

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CONTENT DEVELOPMENT Editor Megan Westberg Managing Editor Stephanie Powell Associate Editor Anna Pulley Copy Editor Ariel Adams Production Manager Hugh O’Connor Contributing Editors Cristina Schreil, James N. McKean, Darol Anger, Sarah Freiberg, Inge Kjemtrup, Louise Lee, Laurence Vittes, Brian Wise, Thomas May, Patrick Sullivan, Emily Wright

Creative Services Creative Director Joey Lusterman Production Designer Olivia Wise

SALES & MARKETING Chief Revenue Officer Lyzy Lusterman Sales Director Cindi Olwell Sales Managers Ref Sanchez, Amy-Lynn Fischer Violinist Dixie Ortiz Marketing Services Manager Tanya Gonzalez Sales Associate Vanessa Averbeck Product Marketing Manager Kelsey Holt ach September issue, I have this issue’s special focus on the college and Subscription Marketing Manager Lauren Boyd Single Copy Sales Consultant Tom Ferruggia the pleasure of announcing the conservatory experience, we profile a mas- winner of Strings’ Edith Eisler ter’s program giving students real-world Scholarship Award. This year’s orchestral experience, discuss curriculum recipient, violinist Dixie Ortiz, is a designed to help the 21st-century player suc- music-educationE major at the University of ceed, spotlight programs that focus on North Carolina at Greensboro. Ortiz has improvisatory playing styles, and talk with quite a lot of teaching experience already, pedagogue Steven Doane about how he and has made it her mission to deliver high- encourages students to physically connect quality string education to underserved com- with the cello in a healthy way. Stringletter.com munities in both her Florida home and in the I hope you enjoy these stories and the Greensboro area. Her goal, she says, is to pro- many others in this issue, including features Publisher and Editorial Director David A. Lusterman mote diversity in string music and give stu- about the eclectic musical choices of violinist FINANCE & OPERATIONS dents the tools they need to become leaders Lucia Micarelli, the benefits of an ensemble’s Chief Operations Officer Anita Evans with the confidence to pursue their passions decision to employ two (or more) concert- Accounting Associate Raymund Baldoza in life. Her enthusiasm for teaching and ded- masters, and the power of American master Bookkeeper Geneva Thompson ication to the idea that music can change composer Joan Tower’s music; an inside look lives honor the scholarship’s namesake, vio- at Mahler’s Symphony No. 3 by San Francisco General Inquiries [email protected] Customer Service [email protected] linist and educator Edith Eisler, whose wis- Symphony cellist Barbara Bogatin; a peek Advertising Inquiries [email protected] dom, kindness, and passion for music and into New York Philharmonic violist Cynthia Send e-mail to individuals in this format: string playing touched so many. Congratula- Phelps’ case; and a discussion about inspiring [email protected] tions to Ortiz, and we wish her all the best in confidence in one’s students by Scott Flavin, her musical journey. lecturer in violin performance and chamber Front Desk (510) 215-0010 Customer Service (800) 827-6837 For any string player who began his or her music and resident conductor for the Henry General Fax (510) 231-5824 journey at a young age (sometimes at age Mancini Institute at University of Miami’s Secure Fax (510) 231-8964 three or four), the years spent at a college or Frost School of Music. conservatory are best used to distill all of As always, I’d love to hear what you think! Mail & Shipping 501 Canal Boulevard, Suite J, Richmond, CA 94804 that experience into a vision of the future. In —Megan Westberg Printed in USA

CORRECTIONS & CLARIFICATIONS: In a news story in the August 2018 issue, Strings identified a piece performed at the royal wedding as Fauré’s Sicilienne. The piece was actually composed by Maria Theresia von Paradis. ACMP, mentioned in the article “How to Start an Adult Chamber-Music Ensemble,” no longer stands for Amateur Chamber Music Players, but rather Associated Chamber Music Players.

TO SUBSCRIBE to Strings magazine, call (800) 827-6837 or visit us online at StringsMagazine.com. As TO ADVERTISE in Strings, Strings Notes, and on StringsMagazine.com and connect with more than a subscriber, you enjoy the convenience of home delivery and you never miss an issue. You can take care 200,000 string players, teachers, and members of the trade, please contact sales director Amy-Lynn of all your subscription needs at our online Subscriber Services page (StringsMagazine.com/subscriber- Fischer at (510) 215-0016 or [email protected]. services): pay your bill, renew, give a gift, change your address, and get answers to any questions you may have about your subscription. A single issue costs $7.99; an individual subscription is $40.00 per DISTRIBUTION Music retailers please go to Stringletter.com/Retailers. year; institutional subscriptions are also available. International subscribers must order airmail delivery. articles are indexed in The Music Index and The Music Article Guide. Except as noted, all con- Add $15 per year for Canada/Pan Am, $30 elsewhere, payable in US funds on a US bank, or by Visa, Strings tents © 2018 String Letter Publishing, Inc., David A. Lusterman, Publisher. No part of the contents may MasterCard, or American Express. be reproduced, in print or electronically, without prior written permission.

10 September 2018 / Strings Manhattan School of Music MSMNYC.EDU

OFFICE OF ADMISSIONS AND FINANCIAL AID it all happens here MANHATTAN SCHOOL OF MUSIC 130 CLAREMONT AVENUE, NEW YORK, NY 10027 917 493 4436 | [email protected] NEWS & NOTES

Cellist Anastasia Kobekina Aris Quartet

live concerts, but also through media. We are able to give our music to many people in the already making our first recording with the whole country and beyond.” NEXT WAVE BBC radio this year, and wonderful music fes- The group will also be performing live con- Cellist Anastasia Kobekina tivals and concert halls are waiting for us. We cets and working with composers on newly and the Aris Quartet are very excited about the chance to present commissed works. For the remainder of sum- announced as BBC Next ourselves to the British audience.” mer, the Aris’ schedule is packed on the festi- The quartet—made up of violinists Anna val circuit throughout Europe, and will kick Generation Artists Katharina Wildermuth and Noémi Zipperling, off fall with the September 7 release of their Lukas By Stephanie Powell violist Caspar Vinzens, and cellist upcoming album of Shostakovich and Schu- Sieber—formed in 2009. This is not the first bert string quartets. noteworthy milestone for the group: In 2012 As for Kobekina, the Russian cellist has the quartet won the International Johannes studied with Frans Helmerson at the Kron- he BBC has announced its newest lineup Brahms Competition in Austria, and in 2016 berg Academy since 2012. She placed first at of Next Generation Artists. Among the won the International Joseph Joachim the Tonali Competition in Hamburg in 2015, T musicians selected are Russian cellist Chamber-Music Competition in Germany. and performs on a 1740 G.B. Guadagnini Anastasia Kobekina and the Aris Quartet. Quartet members Vinzens and Zipperling cello, which she received on a three-year loan NGA offers its members two years of oppor- note that the group’s debut at Wigmore Hall as part of the prize. In 2016 she won the solo- tunities to perform live and in the studio, is a milestone they are looking forward to, ist prize at the Festspiele Mecklenburg- and to collaborate with BBC orchestras and among the many opportunities that await. Vorpommern and second prize at the George other NGAs. “Now that we are allowed to dream,” Vin- Enescu Competition. “We are very much looking forward to zens says with a laugh, “we think about play- The NGA string players join a group of all of the different experiences we are going ing at the BBC proms or for her Majesty, the esteemed previous winners that include the to gain within the upcoming two years,” Queen. Ebène and Danish string quartets, Lisa Caspar Vinzens, violist of the Aris Quartet “In all seriousness, depending on our sche- Batiashvili, Tai Murray, Ilya Gringolts, says. “The program offers fantastic opportu- dule, we will do as much radio recording as Antoine Tamestit, Alina Ibragimova, and

nities to reach a wide audience not only in possible. We love radio productions—we’re Sheku Kanneh-Mason. KOBEKINA—EVGENYEVTYUKHOV; ARIS—SIMONA BEDNAREK

12 September 2018 / Strings KOBEKINA—EVGENY EVTYUKHOV; ARIS—SIMONA BEDNAREK and Morten Lauridsen. Philip Glass, Maurice Ravel, JohnCorigliano, Jakub Ciupiń ski, her most personalalbumfeaturing works by Arvo Pärt, Best-selling violinist AnneAkiko Meyers' Mirror in Mirror is MIRROR IN ANNE AKIKOMEYERS – SanDiegoUnion-Tribune access to every kindofexpressive color." "Meyers isamusicalwizard, withastonishing a vierecords.com Distributed in the USby Naxosof America, Inc.,1810 Columbia Avenue, Suite28, Franklin, TN 37064, Tel:615.771.939 anneakikomeyers.com NEWS & NOTES

hen ETHEL formed in the ’90s, they knew they were tapping into some- W thing big. Two separate projects brought together the original members, who then decided to establish ETHEL as a full- time quartet. In the two decades since, the New York City–based, new-music-focused string quartet has become known for melding myriad genres and influences, and for launching socially engaging multimedia projects. ETHEL’s 20th-anniversary season opens this fall. In November, they’re bringing their latest multimedia project, Circus: Wandering City, to the Brooklyn Academy of Music’s Next Wave Festival. “It was a unique, wonderful, powerful opportunity to open a new musical enter- prise,” says cellist Dorothy Lawson. The land- mark season has prompted Lawson—along with violist Ralph Farris and violinists Kip Jones and Corin Lee—to reflect on how it all began. “I sometimes call it a moment of a tidal shift,” Lawson says of ETHEL’s formation. “In fact, people had been cultivating [this style of music] already for maybe 30 years . . . it was strong enough and ready enough that when the market became just unsettled enough to be willing to give it a chance, we were there to spring into action.” Lawson reflects on how the contemporary- music landscape has changed since ETHEL’s inception. She also touches on why music is a “perfect vehicle” for human connection. 5 MINUTES WITH…ETHEL —Cristina Schreil Since 1998, many artists have embraced what once made ETHEL unique—melding different

CELLIST DOROTHY LAWSON genres, being adventurous with styles and MATTHEWMURPHY

CELLIST SEBASTIAN RECORD SET FOR G.B. FRITSCH PLACES FIRST AT GUADAGNINI VIOLIN AT TONALI COMPETITION AUCTION The annual Tonali Competition, At a Tarisio auction in late June, which alternates between violin, the c. 1773–75 “ex-Sinzheimer” cello, and piano, announced its first G.B. Guadagnini violin sold for place winner: 21-year-old cellist $2.1 million, setting an auction Sebastian Fritsch. During the finals, record for that maker. In 2016, the which took place at Hamburg’s c. 1743 “Havemeyer” cello set the Elbphilharmonie concert hall, previous record, selling for $1.5 Fritsch performed the Schumann million. The violin is said to be from Concerto. He will be taking home Guadganini’s Turin period, and $10,000, in addition to a $3,000 it’s the first time the instrument has audience-favorite prize. hit the market in almost 60 years.

14 September 2018 / Strings technology, social engagement, etc. What has Native American Composer Apprenticeship we were doing as a tribute to that museum it been like to see new music evolve? Project run by the Grand Canyon Music Festi- became historically significant. It’s going to be I have felt for years this was inevitable—that val. And we realized that people from those interesting and exciting to perform it at the this was a matter of human adaptation to the indigenous traditions didn’t regard them- Brooklyn Academy of Music. That’s the fourth necessary conditions. I’m delighted with it. selves as separate from nature. They cooper- time we’ll have performed [there]. Actually, I am the oldest ETHEL, I have always ated. They honored nature. They regarded The first time was a show we had designed been the oldest ETHEL, and I am lucky to have themselves as servants of nature. That world called TruckStop, which was more of a quest found my journey following this path because had sustained the intelligent awareness of across America to bring the classical music, I was much more classically centered for a good this larger environmental integrity and if we fun, quirky New York skillset into communi- long time before ETHEL began. But, it’s so could be agents of bringing some of that wis- cation with these very masterful musicians exciting, refreshing, and so much more appro- dom back to our world—where we had become from all across the country [who have] unique priate for a world where people are more and more distanced, more estranged from nature, languages of their own. We brought together more pressed together and need to find ways less respectful of it—if we could be agents of a slack key guitar player from Hawaii, Native of communicating across ideologies and with- communication, that would be a valid and American flute player Robert Mirabal, a bril- out animosities. With tolerance and curiosity very valuable process as musicians. And so, liant, kind of wonderfully bizarre singer- about each other. Music is an ideal vehicle. It’s we started looking for ways to manifest that. accordion player from San Antonio who is maybe the most perfect human vehicle for part of the conjunto tradition there, and a doing that. Being agents of that is thrilling to This seems to link to ETHEL’s multimedia banjo master from Kentucky from the blue- me. It’s become a wonderful mission as well as concert presentation “Documerica.” Can grass tradition. All of these people were stars a professional capacity. you speak about that? of their worlds but had never dreamed that When the Environmental Protection Agency they would be contacted by a new-music Can you speak about how some projects over announced that they were digitizing their col- string quartet in New York City and invited to the years have reflected this philosophy? lection, which is something like 20,000 build music together—let alone that they It was our original character to offer our- images taken by professional photographers would be challenged to meet each other and selves as advocates for many different voices. in the early to mid ’70s, we thought, “Wow, work across all of these borders, all of these Most certainly classically trained musicians this would be a great thing to celebrate. This genre distinctions. Each one was absolutely are trained to do that anyway, to become the would be a great thing to tap into and see if we thrilled to try. It’s a universal thirst, a univer- voice of the composer. But, it was really at can find points of contact.” We generated this sal curiosity about how to reach out, how to the TED conference in 2006, the first time program with four guest composers, but we become part of a larger world, how to be both that we performed at TED, where we were wrote about half of the music ourselves, and heard and useful in those settings. exposed most significantly to Al Gore’s Incon- explored that archive. Non-judgmentally. We venient Truth presentation. It sort of snapped were just looking for inspiration in the images What has been the most surprising or for us: “Well, in a world where there’s this ris- and we expected the audience to come and gratifying to you about these many different ing emergency, what do we do? What can find their own points of connection with the people coming together? musicians do to contribute to a healing, a images. There is not a direct story. It’s just a Well, I think we anticipated this, but the big- resource of saving grace?” respectful exploration of the archive. We love gest thrill for me has been what I’ve learned. The year before, we had begun working performing that show. It’s very mesmerizing. The way it becomes an immersive bio-feedback

MATTHEWMURPHY among Native Americans as part of the Every audience member experiences it system, where you can’t stay untouched by the uniquely based on his or her own experiences. You’re not just framing something life and experience. and [it] runs all by itself. You’re actually immersed in it and in the wash. It’s changing MILESTONES Violinist Zach DePue, also a former How does Circus: Wandering you as you participate. And all of us, all of member of trio Time for Three, has City also explore images and ETHEL, I think all of the people who have par- resigned as concertmaster from history? ticipated, have found themselves opened and the Indianapolis Symphony. He It’s based on the visual collections enlarged and actually changed for the more was appointed in 2017 at the age of the Ringling Museum in Sara- optimistic. It is just an enormous pleasure and of 27. sota, Florida, where the material privilege, really, to see people who love their After 20 years as concertmaster is all about the actual Ringling families and their lives and actually the whole of the Cincinnati Symphony Or- Bros. and Barnum & Bailey Cir- human adventure as much as you do and are chestra, Timothy Lees will be step- cus. The Ringling parent circus willing to give and give and give of themselves ping down. Lees has been suffering closed earlier this year in a star- in service of better understanding and greater from nerve damage since 2016, tling move nobody saw coming; health. The moments that we’ve shared with and while he relinquishes the chair in fact, the Ringling Museum each other, where people have just shown up in at the end of this season, he will itself was shocked when that hap- their best light to the benefit of all, is just such Zach DePue remain a part of the orchestra. pened. Suddenly this show that a life gift. A treasure to take forward. n

StringsMagazine.com 15 FINDING HER PATH The eclectic musical world of Lucia Micarelli

By Greg Cahill SOLAIMAN FAZEL SOLAIMAN

16 September 2018 / Strings StringsMagazine.com 17 sk Lucia Micarelli about her knack for As time has passed, I’ve eclectic programming and the soft-spoken, realized that Treme really classically trained blew open my musical world. violinist offers a char- acteristicallyA modest response. “I don’t think it’s a big deal anymore, because so many people are playing around with all these different styles,” she says, during a phone call from In 2009, she appeared on Botti’s popular song that you liked the best?’ And they’ll say, her Los Angeles home. “Even people who are PBS-TV special Chris Botti in Boston—the ‘I like the Ravel duo.’ It’s like, wow! It’s amaz- well-established in classical careers are video excerpt of her star-turn solo on plain- ing. And I think it helps that it’s not pre- exploring other types of music. The younger tive Botti ballad “Emmanuel” has netted sented in this sort of pretentious fashion. generation of soloists is much more open and more than 7.6 million views on YouTube. “It makes it more interesting to the audi- interested in other genres, even more so than Landing a starring role in 2010 as a New ence.” ten years ago. That’s exciting to me.” Orleans street musician on the hit HBO Strings caught up with Micarelli earlier That’s all true, but few other musicians can series Treme proved fortuitous in unexpected this summer to discuss her new album, her lay claim to being an ambassador of eclecti- ways. Initially, Micarelli’s management had eclectic musical taste, and her desire to use cism with a global media platform. received a call from a New York casting direc- the universal language of music to connect Earlier this year, PBS-TV debuted An Eve- tor looking for a violinist to fill the part. with a diverse audience. ning with Lucia Micarelli, a 60-minute show- Micarelli had no acting experience (creator case that found the 35-year-old violinist David Simon often uses amateurs to add You acknowledge Treme on the new album. performing everything from a triple-fiddle authenticity to his projects), but the violinist How did your experience on the show affect Irish jig and Ravel’s rhapsodic Tzigane to began considering the offer after watching a you personally and professionally? Gershwin’s “Someone to Watch Over Me” and video interview with Simon (whom Esquire I’ve been thinking about that lately. I didn’t Led Zeppelin’s rock powerhouse “Kashmir.” has dubbed “the greatest man in television expect that experience to be so musically Jazz, folk, Cajun, classical, rock—it’s all part writing”) and being impressed by his challenging. I just thought, ‘OK, I’m gonna try of Micarelli’s musical world. The music from intelligence and serious nature. Then, on the to act and that will be a lot to do.’ But as time that broadcast will be released in October on a Fourth of July, Micarelli tripped and landed has passed I’ve realized that Treme really blew 16-track live album. And in her first nation- on a wine glass, severing several nerves in open my musical world. It exposed me to a lot wide solo concert tour, the violinist is set to her left hand and leaving her worried that of styles that I didn’t know about previously. perform 24 dates, beginning in July. she would never again be able to play profes- But also there’s an amazing musical commu- It’s already been a long road. Micarelli, sionally. (She still has only partial feeling in nity in New Orleans and the musicians have who is half Italian and half Korean, was born three fingers.) this amazing spirit that’s expressed through in Queens, New York, and began playing vio- She went into physical therapy and decided their music. That really influenced howI feel lin at age three. She studied at the Juilliard to pursue Simon’s offer. about music because there’s an attitude in School’s pre-college division with legendary Her experience during four seasons on the New Orleans about music just being so violin teacher Dorothy DeLay and then at the show helped to expand Micarelli’s musical enmeshed in people’s lives. When the family Manhattan School of Music for a year with horizons and is reflected on the new album, gets together, they fix meals together and Pinchas Zukerman. which includes a rendition of Treme co-star while food is cooking they’re playing music. But she left school before graduating. Steve Earle’s ballad “This City.” Yet, she When there’s a funeral, they gather in a “I felt like I needed to figure out how to remains committed to classical music and is second-line to play music to honor the dead. apply all the technique and skills I learned in excited about introducing it to the uniniti- It’s a part of everything. a real way,” she told Strings in 2010. “School ated. “I’m aware that the majority of my audi- That’s really different from the musical felt a bit myopic.” ence isn’t your typical classical listener, so I world that I came from, in which you practice She soon built a reputation as a go-to rock feel more motivated to bring classical music in private and work hard to get something and jazz violinist, touring with the popu- to them,” she says. “I present it in its natural down perfectly and then you perform it. lar progressive-rock band the Trans-Siberian state alongside jazz and other styles. There’s a preciousness about that approach to Orchestra, pop singer Josh Groban, classic- “One of the things that’s so exciting to me music—growing up in a conservatory envi- rock artists Jethro Tull, and pop-jazz trum- is that consistently what audiences are most ronment can make you feel that the music is peter Chris Botti, among others. She also drawn to are the classical elements of the all about performance. It’s a recital. Obvi- released two major-label solo albums: 2004’s show. Even little kids. After the show, I’ve ously, that part of my brain isn’t going to Music from a Farther Room and 2006’s Inter- had people come up to me with their seven change entirely, since that’s how I grew up. lude, both of which combine pop, tango, jazz, year old and I’ll ask the child, ‘Did you like But seeing musicians incorporate music into and classical selections. it?’ And they’ll say, ‘Yes.’ I’ll ask, ‘Was there a their everyday lives and seeing them use it to

18 September 2018 / Strings connect with people socially makes you real- that I would think only about the music that to what I’m playing. It doesn’t feel like I’m ize that there’s so much more to it—music I really love. As a result I came up with this switching genres at all, it’s more like telling a can be about joy, it can be about celebration, crazy, seemingly incohesive list of jazz and lot of different stories. So, in performance I it can be about history. classical and Cajun and folk and rock. It was don’t think about those challenges. And Treme shifted my perspective, so I all over the place and I just went for it. A little Technically, I’m more aware of it when I’m have more intention now with the music bit eclectic. [Laughs.] practicing. For example, when I practice classi- I play. I now have a different understanding But these songs all have meaning for me— cal music, I do more technical work: string about what music means to people. I’m more you end up taking a journey through my crossing exercises, flow work, and stuff with focused on connection, on sharing, on feel- musical life. It makes me feel that I am con- the metronome. It’s more about cleaning things ing that we’ve come together to share this necting with the audience—it’s more inti- up so they’re more precise. And when I practice moment. Now I feel that performances are a mate than anything I’ve done in the past. jazz or folk, I just focus on slightly different communal experience in which we’ve come things. I’ll spend a lot of time just getting slides together to create a beautiful evening. There’s As a player, what are the technical to sound the way I want them to or fussing over more joy that way—it’s more fulfilling. challenges of shifting from classical what kind of turn I want to do—is it a turn to Cajun to rock and so on? above the note or a turn below the note? Or do Did that perspective inform the First of all, I have so many challenges to begin I do a little weird stop-bow thing someplace? programming for the PBS special with [laughs]—the instrument is a challenge, But in performance, it doesn’t feel like I’m and the new live album? the music is a challenge. I was worried ini- shifting genres. The bigger challenge is shifting When I first sat down to program a solo con- tially that it might be difficult to switch back from playing my instrument to singing. That’s cert, I knew that I didn’t want any filler. I and forth. But I didn’t program the show the only time I feel aware of a challenge. wanted to play the music that I really, really thinking that I wanted to showcase a lot of love and that I feel super connected to. So, I styles; I programmed it thinking I wanted to You started singing when you filmedTreme . decided that I was not going to think about play music that I like. So because I’m attached Yeah, and it’s the thing that I’ve done the genres or how we execute things—I decided to the music in a personal way, I look forward least. So there’s a certain apprehension about

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StringsMagazine.com 19 that. I am a very emotional player, but when experience. And a lot of it has been driven by I’m singing I feel really vulnerable. I’ve the people I have met. I’d like to think that I’m I’d like to noticed that I get even more emotional when curious on my own, but if I think about all the think that I sing. I don’t have as much focus or muscle different paths I’ve taken, I can usually link memory—it’s a much more raw experience. them to a person that I’ve met or a world that I I’m curious sort of came into. I sense that you have a lot of curiosity So, when I was 17, I met the cellist David on my about music. Eggar, who was both a classical cellist and a own, but I can’t really pinpoint it. I didn’t listen to any- pianist who could improvise and play jazz. I thing except classical music until I was 17. was just blown away. I knew that I wanted to if I think Then I started listening to Miles [Davis] and learn to improvise. I wanted to be able to do John [Coltrane] and Led Zeppelin, all in the what he was doing. While touring with Josh about all same few weeks. It was a real interesting Groban, I met [jazz trumpeter] Chris Botti the different paths I’ve taken I can usually link them to a person that Visit Bobelock.com I’ve met or to see the complete line of Bobelock Cases a world that I sort of came into.

and found myself on the road with a ridicu- lously legit jazz band—everybody I was around 24 hours a day was a jazz cat. I was so impressed. They taught me a lot—they told B14002 Student Economy Velvet Violin Case me about their childhoods and how they had experienced music, and they would play their favorite records for me and give me advice. It was the same when I was filming Treme. I would find these musicians and learned that someone else’s perspective is always going to be different from yours. So, to a certain extent I feel comfortable around most any musician—I feel that on a base level we get each other. But it’s incredible how different everybody’s story is and how their paths B16002 Economy Velvet Violin Case are different and how they came to the music and how they think about it. I think I have a curiosity about people and I just happen to be around musicians all the time. They have given me so much. I’ve learned that it’s a good thing to put myself in situations Distributed Exclusively in North America where nobody else has the same background as by Howard Core Company me. That’s how I really grow. Now, I seek out www.bobelock.com situations like that so I can learn from people all the time. I just find people really fascinating.

20 September 2018 / Strings Did Pinchas Zukerman encourage or Tell me about your upcoming national Groban. I tour with Eric Byers, the cellist from discourage your eclectic interests? solo tour. the Calder Quartet. Ben Jacobson, the Calder Well, I was doing that secretly. [Laughs.] I I’m really excited about going on the road and violinist, has played with me a lot as well. don’t recall that I ever brought that [eclectic meeting so many people. Obviously, recording They’re all really close friends and when we side] into class or that we ever really talked is so isolating—you have such a disconnect get together in concert, it’s like family. I about it. But Zukerman has his own program with your audience. But playing live, and with haven’t always had that experience in my pro- at Manhattan School and it required you to a program that isn’t a rigidly structured classi- fessional life and it feels like that New play chamber music. At Juilliard, in pre- cal program, I get to know my audience and to Orleans thing, getting together with my loved college, you could play chamber music but talk to people. That’s been the most gratifying ones and celebrating and sharing. It’s new and you didn’t have to. With Zukerman, you did. part. I also get to play with my friends: My hus- exciting and I still have moments onstage That was huge for me. band, Neel Hammond, plays violin with me, when I look around and think, “This is so cool. My love of ensemble playing really came and Vanessa Freebairn-Smith, one of the cel- I get to play with you guys and I love you from Zukerman. I knew about chamber lists, I’ve known since I played with Josh guys.” I’m really enjoying that right now. n music but hadn’t spent a lot of time with it. He was adamant about playing chamber music. He also felt it was really important for our solo playing. I fell in love with it so hard. STRING I mean, I had done some of it in pre-college and had done a healthy amount of quartet STUDY playing, but I didn’t start to appreciate or understand chamber music until I studied with Zukerman. That was the beginning of . . . well, changing my mind, and I continue to do that. Up until that point, I was

focused on the solo repertoire and preparing OBERLIN

for competitions—you get really focused on OF MUSIC that because solo repertoire is very different than chamber music. Not technically, or anything, but chamber music is all about listening, interacting, and sharing. It’s all about connecting with other people and being reactive to them. That wasn’t a strength of mine—it wasn’t something I had CONSERVATORY practiced. I was pretty much in the practice room working on my concertos. But I loved chamber music so much, I loved collaborat- ing and being part of a group, and having VIOLIN other people’s opinions and ideas feeding my David Bowlin Sibbi Bernhardsson awareness. Marilyn McDonald When I look back, I see that what I am William van der Sloot doing with my solo show has a very strong Milan Vitek chamber-music element—I have essentially a string quartet onstage and I bring a lot of VIOLA DOUBLE BASS classical chamber-music arrangements into Kirsten Docter Scott Dixon the program. I love playing with people; I love Peter Slowik Peter Dominguez small groups like that. Tracy Rowell CELLO Derek Zadinsky Do you still play chamber music for fun? Darrett Adkins I get together with friends on occasion, but I Amir Eldan GUITAR Catharina Meints Stephen Aron don’t have time to attend chamber concerts outside of my own program. I’m always looking for ways to fit in a chamber movement in Oberlin Conservatory of Music my program. I’m trying to fill my show with 39 West College Street, Oberlin, OH 44074

440-775-8413 | www.oberlin.edu/con YEVHEN GULENKO all the things I wish I had time for in my extracurricular time. [Laughs.]

StringsMagazine.com 21 TWO LEADERS BETTER THAN ONE? In many ensembles, the concertmaster role is shared between two (or more) violinists By Brian Wise

Benjamin Bowman (left) and Yannick Nézet-Séguin (right) BOWMAN—ELIZABETH BOWMAN; NÉZET-SÉGUIN—ROSE CALLAHAN/MET OPERA NÉZET-SÉGUIN—ROSE BOWMAN—ELIZABETHBOWMAN;

StringsMagazine.com 23 uring Benjamin Bowman’s trial season (2017–18) as concert- While American master of the Metropolitan Opera, he quickly had to adjust orchestras have a to the fact that he would be Dsharing his role with another concertmaster: top-down leadership David Chan, an 18-year veteran in the ensemble. A role that in most American orchestras would stand as a first among structure, in Germany, the equals—and one rung below the conductor—is split two ways at the Met, like a approach suggests that of sports team with co-captains. “I saw (and felt) the necessity of this two- a parliamentary democracy. leader system immediately,” Bowman said in an email, using the European term for the position. The 38-year-old violinist had served as concertmaster of the American Ballet Theatre Orchestra since 2014, and previously Would more North American orchestras ben- “Here in Berlin, I would always think twice was the associate concertmaster of the Cana- efit from having multiple concertmasters, as about just putting my ideas in a piece that we dian Opera Company Orchestra. it’s practiced in much of Europe, South Amer- play a lot because there will be different peo- “Not only are the hours long and late with ica, and parts of Asia? And does a multiple- ple reading it over the course of different sea- opera (also often followed by early rehears- headed section make for a more flexible, sons,” he said. “I try to stick with more of the als), but so are the physical and mental inspired, and democratic one? way the orchestra has traditionally played it demands on a leader. Sharing the role means “It would be just impossible to be the only and make only changes if necessary.” that we can get some relief—either by shar- leader,” says Vasko Vassilev, who shares the Not everyone senses a need for multiple ing a repertory piece, such as La Bohème, or by concertmaster role at London’s Royal Opera concertmasters. “One reason why it’s uncom- playing as exclusive leader for a specific opera, House with Peter Manning. “We have perfor- mon is that, from a practical perspective, it and taking another completely off as a result.” mances six times a week. The schedule is kill- just doesn’t work that great,” says Drew Music director Yannick Nézet-Séguin ing. There’s no way to do it physically. You’d McManus, a Chicago-based orchestra consul- made what could be one of his most critical be totally dead.” tant who writes the blog Adaptistration. decisions at the Met when, in February, he Opera musicians are not alone in this view. “Orchestra sections need single leaders invited Bowman to lunch and offered him Noah Bendix-Balgley left his job as the con- to develop the sort of tight unity needed to the permanent job. Bowman, a fellow Cana- certmaster of the Pittsburgh Symphony really make a section more than the sum of dian, starts this September, succeeding Orchestra to become one of three full-time its parts. Two leaders of equal (or near equal) Nikki Chooi, who held the post for a one-year concertmasters of the Berlin Philharmonic. status work against that goal.” term. The changing of the guard comes after “We are playing over 30 subscription weeks a Among top European ensembles, the a turbulent year at the Met, which saw music year in Berlin, in addition to pretty substan- Zurich Opera Orchestra lists a whopping six director James Levine fired amid sexual mis- tial touring, and that’s a lot of challenging co-concertmasters on its website. The Leipzig conduct accusations and Nézet-Séguin’s start programs,” he says. “For one person to do Gewandhaus Orchestra indicates three, the date moved up by two years. Bowman will that would be a huge undertaking.” Vienna Philharmonic three, and the London have to bring the enthusiasm of a cheerleader Most of the sections in the 129-member, Symphony Orchestra, Orchestre de Paris, and the discretion of a statesman. self-governed Berlin Philharmonic have mul- and Royal Concertgebouw Orchestra each Wen Qian, a first violinist in the Met tiple first-chair players and Bendix-Balgley have two. In the United States, the Dallas Orchestra, praises Bowman’s “positive says many members perform in chamber Symphony Orchestra stands largely apart, energy” and preparedness in performances. ensembles or as soloists. While American with concertmaster duties divided between “He is a natural leader, and his body move- orchestras have a top-down leadership struc- Nathan Olson and Alexander Kerr. (The Chi- ment is very easy to follow,” she says. “I am ture, in Germany, the approach suggests that cago Symphony Orchestra and Los Angeles also glad that he has a very easygoing person- of a parliamentary democracy, with a greater Philharmonic for many years each had co- ality, warm and sincere.” emphasis on coalition-building and a mix of concertmasters but now a single violinist disparate voices. (The entire orchestra sits in holds the role, supported by associate and t a time when symphony orches- on a personnel audition, not just the section assistant concertmasters.) tras are criticized for their with the vacancy.) Regardless of how many concertmasters rigidities, Bowman’s appoint- Bendix-Balgley recalls how when he populate an ensemble, they occupy a rarefied ment raises questions, both started in Pittsburgh, he immediately re- realm. A concertmaster generally makes at A practical and philosophical: notated the bowings in the core repertoire. least twice union scale—more than any 24 September 2018 / Strings other player (and over $500,000 in a handful obviously both have specific operas we would Telmo Jaconi tells Jones. “But he doesn’t of cities). At the Met, concertmasters are cho- like to lead, but mostly it comes down to how open his mouth.” sen not through screened auditions but by a evenly the schedule will be distributed. The An analogy might exist in professional music director appointment. (Bowman was primary focus seems to be ensuring that nei- basketball. When Michael Jordan was on invited to audition for Nézet-Séguin “based ther leader carries too large or too little of a the ascent in the early 1990s, his coach on the on reputation and résumé,” said a Met load for any period of time.” Chicago Bulls, Phil Jackson, named center spokesman.) And concertmasters are both A similar division of labor occurs in Berlin. Bill Cartwright as co-captain with Jordan. executive and foreman: representing a sec- “With big solos and things like that, we see While Jordan was famously demonstrative tion while conveying the ideas of a conductor. who is free and who wants to do it,” says and congenial, Cartwright was seen as Bendix-Balgley. “With things like Schehera- remote, and someone who earned the players’ ow multiple concertmasters zade and Ein Heldenleben, the big solos come respect more than that of the fans. It wasn’t divide up a season’s program- up often enough that if I’m not playing it this necessarily a happy relationship but a savvy ming is a somewhat opaque year I’ll probably have the chance in a couple one, aimed at uniting all parties. process. When there are two or of seasons. We’re able to share the goods, so Most of all, Bowman sees his co- more leaders, the senior player to speak.” concertmaster as a sympathetic voice in Hmay enjoy first dibs, particularly when a In a 2017 analysis of the concertmaster what could otherwise be an isolating role. plum solo is on the calendar, as when the Met role in Brazil, Timothy David Jones, a violin- “Given the high-stress environment in performed Jules Massenet’s Thaïs in 2008 ist, notes how a two-concertmaster format which we work and the constantly oscillating and David Chan took an onstage bow for his enables the more outspoken violinist to take stream of repertoire and conductors and solo in the “Meditation.” But there are other on a more managerial role, attending admin- singers,” he says, “it’s really a gift to have factors. istrative meetings and board functions. another concertmaster onboard. It’s a col- “David has been doing this for a long time, “There’s one concertmaster sometimes who is league who can fully understand what it’s so I’m really just following his lead on this the one who steers, who commands, and like to sit in the hot seat, and who can shed a complicated process,” Bowman told me. “We there’s one who plays,” Brazilian violinist different light on familiar scenarios.” n

StringsMagazine.com 25 AMERICAN MASTERS SERIES

FANFARE FOR AN uncommon woman NOAHSHELDON

26 September 2018 / Strings FANFARE FOR AN uncommon woman

he path from youthful explorer to Though born in New Rochelle in Westchester respected elder takes many forms. County, just north of New York City, Tower One fascinating variation is illus- left the United States with her family when T trated by the career of Joan Tower. her father, a mining engineer, was assigned She entered the new-music scene, staked her to work in Bolivia. claim to be heard, and developed her signa- She was encouraged to pursue her interest ture style over time, moving from the serial- in the piano while growing up. “The piano is ism of her youth to compositions that defy my instrument, and I took to it like a duck to easy categorization, full of color and energy. water, even though I had to keep changing Tower went on to become the first woman to teachers since we moved around in South receive the coveted Grawemeyer Award in America,” says Tower. “I had never thought of Composition in 1990, and she was the first composing before I was asked to write a piece composer overall to be featured in the Made during college. When I was young, I had been in America project, spearheaded by the playing mostly dead composers—that’s what League of American Orchestras and Meet you do as a pianist.” After studying at Ben- the Composer—and funded by the Ford Motor nington College and then Columbia Univer- Company Fund. Her one-movement orchestral sity as a graduate student, Tower became a piece, titled Made in America, (composed in founding member of the Da Capo Chamber 2004), was performed by 65 orchestras across Players in 1969—a Pierrot ensemble and every state in the US. The Nashville Sympho- prolific commissioner of new music that won ny’s recording of Made in America under Leon- the Naumburg Award in 1973. ard Slatkin received three Grammy Awards. But it took time to develop the confidence A member of the American Academy of Arts needed to establish her identity as a com- and Letters since 1998, Tower now enters her poser. Tower accomplished that in tandem 80s as an eminent member of the pantheon of with her identity as a performer. Serving as contemporary American composers. But a Da Capo’s pianist for 15 years, Tower found youthful sense of vigor and energy remain con- her compositional voice within the practical sistent thumbprints of her musical style. The context of performance, of the give-and-take Grawemeyer committee cited the “tension- of chamber-music discourse. It wasn’t until building momentum” of Silver Ladders, the she was in her 40s that Tower undertook award-winning score that Tower composed in composing for orchestra, but she immedi- 1986 during a residency with the St. Louis ately won acclaim with her first effort, Symphony. Such characteristic energy is par- Sequoia (1981). Her series of fiveFanfares for ticularly present in her writing for strings— the Uncommon Woman, which she began in from her series of six quartets to date, 1986 for the Houston Symphony, has proved including Wild River (her most recent), to such to be extremely popular, attracting perfor- Composer solo pieces as the spectacularly virtuosic Wild mances by more than 500 ensembles around Joan Tower Purple (1998) for viola. the world. The Fifth Fanfare dates from Tower points to lasting impressions from a 1993, but Tower recently returned to the at 80 childhood spent in South America as a source series to add a Sixth Fanfare for Marin Alsop

NOAHSHELDON for the rhythmic vividness of her music. and the Baltimore Symphony in 2016. By Thomas May

StringsMagazine.com 27 ower came of age as a grad student at Gifted Young Musicians, have commissioned 2017. Next up is a new release forthcoming on Columbia when serialism was the around a four-seasons theme. The entire cycle the Solo Luminus label of A.J. Kernis’ Third go-to choice advocated for emerging will be unveiled in 2020. (Of the other three String Quartet, another Jasper commission. T composers. But her interest in the composers, Lera Auerbach has to-date con- “Wild River is the ‘summer’ movement of sound worlds of George Crumb and Olivier firmed her commitment to the project.) our new cycle,” Quintal explains. “We were Messiaen—in memory of whom she wrote the Founding violist Sam Quintal says that he blown away by what a genuine and thought- cello-piano duo Très Lent (Hommage a Messi- and his colleagues, who formed the ensemble ful individual Joan is. Working with her was aen) in 1994—gave her music a new orienta- while at Oberlin, immediately perked up really different from what we’ve found with tion, enhancing her natural sensitivity to color when Joan Tower was suggested as a com- other composers, partly because she per- and rhythmic nuance. Tower has since devel- poser with whom they should consider col- forms a lot and her approach to music is very oped a unique harmonic language sometimes laborating. “She was one of the names practical. Joan is so responsive to what is reminiscent of aspects of Impressionism synonymous with American new music— possible and is more concerned about what (favoring, for example, whole-tone scales). someone we grew up revering. Joan writes a sound comes out than what is written. And For all her success in the orchestral sphere, very appealingly energetic music that pulls she understands the struggles that you go Tower remains especially at home with cham- you right in. I went back and listened to her through as a musician to make it come out. ber music. She has made significant contribu- earlier quartets. They take advantage of the “The fact that she wants the music to be tions to the string literature, above all in her medium in a wonderful way. Great string- alive and mutable in that way gives you a fan- ongoing series of quartets. The most recent of quartet writing has an interplay between the tastic feeling as a performer. It makes you these, Wild River (No. 6), received its premiere voices and a sensibility of democracy and of realize how much the notes on the page come this past June by the Jasper Quartet as part of the four players coming together as a unit.” from a human impulse to create—and we’ve a birthday tribute concert. (Tower’s actual The Jaspers, who take their name from Jas- brought that experience into things like our 80th birthday is September 6.) It’s one of four per National Park in Alberta, Canada, have Beethoven rehearsal.” new quartets—each by a different composer— become savvy commissioners, garnering For her part, Tower beams when describing that the Jaspers, the professional quartet-in- acclaim for their Unbound album of all-new the experience of working with the Jaspers. residence at Temple University’s Center for works by composers of their generation in “Wild River is the second piece in my entire

28 September 2018 / Strings life where I sat there and really liked it as it physicality of this instrument works as com- As for the color association, Tower thinks was—where I felt I got it right at the first pared to the piano. It changed my focus a lot of the viola’s sonority as the color purple. “Its rehearsal.” as to what this instrument is about. Then I deeply resonant and luscious timbre seems to How does Tower’s perspective as a pianist started to write and not worry about the embody all kinds of hues of purple.” Yet she affect her writing for strings? “I don’t study instrument.” “never thought of the viola as being particu- books about string writing. But I’ve been In fact the fiendishly difficult piece, Wild larly wild. So I decided to try and see if I could around so many string players that I know Purple (1998), has become a kind of cult create a piece that had wild energy in it and more than I think I know. When my music favorite among violists. Tower says that vio- meet the challenge of creating a virtuosic started going around in the orchestral world, lists started coming up to her after rehears- piece for solo viola.” I became friends with the phenomenal vio- als to ask for her autograph. According to Tower has also written a pair of solo violin linist Elmar Oliveira, and he asked me for a Neubauer, “Wild Purple caught on because showcases: String Force, commissioned by the violin concerto.” there is a great deal of variety in the piece: a International Violin Competition of India- The successful result, premiered in 1992, lot of drama, a lot of color, and it stretches napolis for the 2010 competition, and Second led to many more encounters with string the boundaries of what is possible. But she String Force (2014), commissioned by violinist players. Violist Paul Neubauer got to know makes sure it is all possible.” Bella Hristova. “In both of these works,” the Tower when working on her clarinet quintet In 2005, Neubauer organized a consortium composer observes, “I tried to show the ‘force’ Turning Points at Lincoln Center’s Chamber to commission the viola concerto Purple Rhap- of a solo violin—both in terms of its capacity Music Festival in 1995 and, for her 60th sody, which he considers “the most Romantic for high and fast energy as well as its deep birthday in 1998, asked her to write a solo of all her viola pieces, a lush work that is also lyrical-melodic capabilities, particularly how piece. The composer recalls: “He said to be used at Juilliard for a viola competition piece.” it can play very softly in the highest register.” virtuosic and yet deeply lyrical, but then I Two more solo viola works have followed: Sim- Tower suggests that her background as a was terrified because as a pianist I didn’t ply Purple (2008) and the recent Purple Rush pianist influences her sense of the musical think I had enough knowledge. I took up the (2016). “Joan writes spectacular music,” he sound even when writing for strings. “I think viola and got to first position non-vibrato, adds. “And she’s extremely down-to-earth— active pianist-composers—particularly and that did help me a lot in terms of how the always the life of the party in a wonderful way.” Stravinsky, Copland, Beethoven, Mozart, and University of Massachusetts | Amherst

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StringsMagazine.com 29 Brahms—possibly tend to project the pitch the Muir String Quartet. Each subsequent Bay—and one of the composer’s own favor- content of a work more strongly because the essay in the medium has been for a different ites; and No. 6 (2018), Wild River, for the Jas- piano they work with is the strongest instru- quartet and occasion: No. 2, In Memory per Quartet, as previously mentioned. ment that can project pitch immediately.” (2002), for the Tokyo Quartet (a reflection on Another recent piece is Wild Run for cello Quintal remarks that when working with her death and loss that also embodies a 9/11 and pianos, a complement to Très Lent that on the string quartet, “Joan talked about some elegy)—Tower has transcribed this for string was premiered over the summer at the Great of her music as originating in a pianistic sensi- orchestra as well; No. 3, Incandescent (2003), Lakes Chamber Music Festival by Paul Wat- bility. Often we think about that: imitating the for the Emersons, co-commissioned by Bard kins and the composer. Tower is also working piano struck-note shape, even when we are College (where Tower has taught since 1972); on a viola quintet for the Boston Chamber playing Beethoven string quartets—that kind No. 4, Angels (2008), for the Miami Quartet Music Society. “And I have four piano trios. I of attack can be a helpful device.” and the Angel Fire Festival in New Mexico; sure have written a lot of string music, come In 1994, Tower wrote her first string quar- No. 5, White Water (2011), for the Daedalus to think of it,” she observes with a slight note tet, titled Night Fields, on a commission from String Quartet and Chamber Music Monterey of bemused surprise. Beethoven has been an enduringly powerful influence. Distinctly uninterested in compos- The Shepherd School of Music at Rice University combines the ing to texts, Tower is committed to the intensity of a conservatory experience with the educational abstract power of music that makes sense on excellence of a renowned private university. The School is now its own terms. “One of my goals in writing any accepting applications for Fall 2019 in Violin, Viola Cello and Double Bass. For more information on all Shepherd piece of music is trying to make it as architec- School programs, please visit music.rice.edu. turally strong as possible. Beethoven is my model for music that is motivated by itself. The Dean, The Shepherd School of Music context is what makes things happen. Robert Yekovich “You could write a beautiful passage, but if it’s not in the right place, it won’t sound beau- String Faculty tiful. It could be contextually out of whack. Violin So the question becomes how to make a piece Paul Kantor go from beginning to end with a narrative Cho-Liang Lin that is motivated strongly.” Kathleen Winkler In terms of form, Tower often favors single- movement spans that trace out unique shapes Viola with each new piece. “Form to me is not a pre- James Dunham Ivo-Jan van der Werff determined thing. It’s an organic process that develops as you compose. Instead of the type Cello that could plan the whole thing out in advance Norman Fischer and then write the piece, I’m like a novelist Desmond Hoebig who starts with a character and listens to that Brinton Averil Smith character to see who this could be and what The Shepherd School of Music of School The Shepherd Double Bass happens when they see another person. I call it Paul Ellison a profile: an idea that has to have a presence Timothy Pitts that is remembered.” Tower is known for her closely collaborative style, for tailoring each work to the personali- ties of the players involved. Yet amid all this We invite members of established variety of performers and occasions, there is an ensembles to submit applications to underlying aesthetic. “What I’ve learned over our Master of Music in String Quartet Studies for Fall 2019. the years is that you have to write the best piece you can, and sometimes that does not involve so much the instrument as the piece of music,” says Tower. “I think different composers have different relationships to the instruments they write for but the music is the higher priority. Ultimately, the music itself is what drives The Shepherd School of Music Rice University, Houston, TX everything for me. You can know a style and a music.rice.edu personality, but you still have to write a piece of music, and that comes first and foremost.” n

30 September 2018 / Strings

Founded at U-M, the Ivalas Quartet - Reuben Kebede, violin; Anita Dumar, violin; Pedro Sanchez, cello; Caleb Georges, viola won 1st Prize at the 2018 Dale and Nancy Briggs Chamber Music Competition. Pictured here with Professor Matt Albert, chair of the Department of Chamber Music. MICHIGAN YOU BELONG HERE

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Phelps’ answer is simple: “That’s why we’re here.” The violist later explains how the post- REAL-WORLD graduate level is where students can really rectify problems. It’s about “always figuring out your limits and how to expand on them, how to meet those challenges, and become a EXPERIENCE more sophisticated, aware musician,” she says. “You’re never in a box.” In offering exam- Shanghai Orchestra Academy taps international ples, Phelps morphs into a diagnostician, principal players in cutting-edge curriculum explaining how to ferret out issues with fingering or bow control. The uniqueness of this By Cristina Schreil education model is not lost on her. “There was no orchestra repertoire class when I went to school,” she adds. “Now, I teach one.” The Shanghai Orchestra Academy (SOA) t’s the second day of spring in Shanghai. She’s coaching and playing alongside two grad- launched in 2014, offering professional train- China’s thriving financial hub pulses uate students from the Shanghai Orchestra ing along with a master’s degree in music cur- with its usual activity: cargo boats zip Academy: violinist Renchao Yu and cellist riculum (from the nearby Shanghai I along the Huangpu River; shoppers clut- Dunbang You. Moving meticulously, they chew Conservatory of Music). There is a heavy ter posh commercial thoroughfares; scooters through the first movement of Beethoven’s emphasis on internships with professional bolt through traffic. String Trio in C minor, Op. 9, No. 3. Not one orchestras. The academy is also a joint effort Down in the Shanghai Symphony Orches- measure goes unchecked or unpolished. between the Shanghai Symphony Orchestra, tra’s basement, however, things are much less The trio pauses as You navigates a tricky the New York Philharmonic, and Germany’s hurried. “I’m not quite hooking up with you on interval on the cello. He searches for the right NDR Elbphilharmonie Orchester. Principals measures 152 to 153,” says Cynthia Phelps, intonation, bowing several times and adjust- comprise the faculty. The rigorous two-year

principal violist of the New York Philharmonic. ing his fingering. “Sorry,” he says sheepishly. program is the brainchild of Chinese maestro ACADEMY ORCHESTRA ZHENGYI/SHANGHAI

34 September 2018 / Strings Long Yu. While SOA is international, its ori- a conductor’s way of thinking to how sections advanced. He recalls his first orchestra job, gins are very much homegrown. It rose from work together. SOA players have performed and its breakneck pace. “This is a very good a booming classical-music movement sweep- with several foreign orchestras, including the way for students to channel how to train, ing China: In the past 20 years, the number of Sydney Symphony Orchestra and Singapore how to read music very quickly, and how to Chinese orchestras jumped from around ten Symphony Orchestra. Doug He, SOA’s execu- join with the musicians,” Li says. “Otherwise, to 72. Naturally, this proliferation demands tive director, underscores that the program they will be lost.” skilled players. Maestro Yu dreamed of an epi- hones musicians to be “team players.” Students Principals from the New York Philhar- center for training the next generation. Stu- perform eight to 12 season concerts a year. monic and NDR visit multiple times a year dents undergo mock auditions and learn how They face professional expectations and penal- for intensive sessions. There are master to draft a resume, create audition recordings, ties, such as being docked for tardiness. “They classes, chamber-music coaching, profes- and communicate with donors and journal- get a lot of knowledge of how to be a professional seminars, repertoire classes, and even ists. Perhaps due to the country’s need of sional musician—what the standard is,” says conducting workshops. Just within smaller highly trained musicians, the SOA’s employ- He, a classically trained bassist. This kind of groups or private lessons, there are myriad ment rate has been 90 to 100 percent. Almost experience is particularly useful to Chinese facets to address. “It’s everything on techni- all alumni play in Chinese organizations. students. He describes classical training in cally what needs to happen: A lot of details While this program arose out of conditions China, which has long venerated Russian vir- about articulation, sound quality, phrasing, specific to China, it begs the question: Is this tuosos, as prioritizing solo performance. Con- shape, general energy and style, color, you the new graduate model? Should it be? servatory students as a result sometimes name it,” says Sheryl Staples, principal asso- There are many orchestra academies world- graduate with gaps. Thus, making students ciate concertmaster of the New York Philhar- wide, with several, like SOA, directly affiliated well-rounded is key. monic. “Probably most, or all, of them have with long-established orchestras. Yet SOA “It’s a big difference from a student orches- never really approached orchestral music at leaders stress the helpfulness of this experi- tra,” says Chen Li, associate principal viola of this level of detail before.” In coaching sev- ence-based master’s degree. The goal is to show the Shanghai Symphony Orchestra. He adds eral SOA violinists on orchestral excerpts, students exactly how an orchestra runs, from that the repertoire is broader and more Staples alternates between relating how a

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StringsMagazine.com 35 “I-Hao has taught and mentored some of the brightest young violinists of the new generation and we look forward to giving our students the opportunity to work with him.” —Janet Sung

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piece might play out in a rehearsal or concert, mandatory English classes, as well as cul- explanation,” Zhang says. “I try to go inside and zeroing in on specific passages. There’s tural learning curves. Students only interact the music.” exhaustive feedback on technique. “We’re in person with most principals four times a Rieber shared it was exciting to delve deep. opening their eyes, I think, to how complex year. Some students have expressed that all “At my time, when I was studying, there was the orchestral music is, even their own indi- of the insights from so many principals is dif- no academy and support like this,” he says. “I vidual part and how it fits into the whole pic- ficult to distill into their own method. had to find it all for myself.” ture of the orchestra,” she adds. Connecting with different principals, how- Amid all the pressure on students to practi- One of her students is 24-year-old Renchao ever, helps double bass student Kaixuan cally shoot out of the gate and into an orches- Yu. He’s long aspired to an orchestral career. Zhang, 24. Zhang has an interesting circum- tra seat after graduation, faculty do remind While he describes first performing with the stance. Before SOA, he interned with the students that they’re just beginning. New York Shanghai Symphony Orchestra as a bit terrify- Shanghai Symphony Orchestra and passed Philharmonic principal cellist Carter Brey sees ing—involving a short solo—he says there’s both his SOA and Shanghai Symphony Orches- their work as part of a long musical tradition. plenty of guidance. “My teachers may tell us tra auditions. He is now a full-time member “A lot of teaching is just fostering a kind of what happens in the whole orchestra, which while attending SOA. “The first rehearsal, I awareness or alertness in these students so sections in this part are most important or how realized that my voice, my sound, is different they can be equipped to teach themselves this we can play with this section,” Yu offers. as a partner in the bass section,” he says. stuff,” he says. During Brey’s first orchestra Learning to listen to sections beyond one’s Dynamics, for one, required deeper scrutiny: job, sitting at the back of the Cleveland Orches- own is a central mission. Shanghai Sym- “For example, what is a forte? Piano?” Focus- tra, he soaked up lessons on phrasing and rep- phony Orchestra concertmaster Li Pei—one ing on sound quality pervades his studies. ertoire. It’s a kid-in-a-candy-store mentality he of Yu’s coaches—says they both dissect new NDR bassist Michael Rieber coached Zhang on hopes to inspire. “We do the best we can to pieces. They listen to recordings. “We’ll look their March trip. They covered the differences apply a combination of instrumental instruc- at the total score and know every section between chamber playing, where each note tion and musical awareness beyond their little [and ask], ‘What are they doing?’” Pei says. should be clearly played with intention, and world of their instrument and its technical Besides the musical rigor, there are other orchestral playing, where a section unites. “I concerns,” he says. “It’s up to them to integrate challenging aspects to SOA. There are try to understand every note without all of that in the real world.” n

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StringsMagazine.com 37 ALL THAT JAZZ Violinist Scott Tixier on studying jazz music on a conservatory track By David Templeton

he’s classically trained.” For decades, those iconic words, “classically trained,” S have stood as a defining “measure of musical accomplishment, a dividing line that succinctly separates players into two camps: those with classical training—those who’ve played classical music with some level of skill—and those without classical training. The unspoken message, of course, is that any form of education that is not classical training is more or less the same thing as having no training at all. An accomplished Celtic fiddler who was apprenticed under another accomplished Celtic fiddler? Untrained. A bluegrass legend who somehow avoided ever learning a Mozart concerto? Untrained. A jazz violinist who knew from the beginning that they wanted only to play improvisational jazz, and pursued that kind of musical education wherever they could get it? Get ready to be labeled untrained. “That whole ‘classically trained’ thing, I heard it all the time as a musician in New York,” says Scott Tixier, 32, the internationally acclaimed jazz violinist from Paris, France. Though Tixier did initially receive classical training at the Conservatoire de Paris, he began studying jazz and improvisation early on, seeking out his education through a series of jazz camps and master classes with some of the greatest living jazz players. At age 19, he

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38 September 2018 / Strings college & conservatory

challenge, being one of the few dedicated jazz in improvisation, who are wanting to learn to post-secondary Fiddle Studies program. Berk- violinists in the area. improvise, and are turning to jazz violinists. lee School of Music in Massachusetts, where “When I first came here, I was kind of lost,” At the same time, I see a lot of jazz players try- violinist David Wallace is chair of the strings he says of that time 13 years ago. “I brought my ing to merge into the classical world, to maybe department, offers students a chance to gain education as a jazz violinist, but I was immedi- play with an orchestra. an education at a high level, regardless of the ately lonely, because I was one of the only ones “And now some universities and conservato- style of music they wish to pursue. playing this music. It was very hard to find ries are beginning to understand that perhaps For the University of Northern Texas, in other jazz violinists, even in jazz clubs.” different violin styles have something impor- Austin, Tixier’s appointment is a positive step Lacking other forms of jazz education on tant to teach each other. Until now, improvisa- forward in a number of ways. the violin, Tixier says he began hanging out tion has not been recognized by musical “We’re excited about Scott Tixier joining with jazz saxophonists and jazz piano players, institutions as being important. But I think our faculty for many reasons,” says John from whom he was able to continue his own that is beginning to change.” Murphy, chair of the division of jazz studies education in a significant, if somewhat uncon- Case in point, Tixier has recently joined the in the UNT College of Music. “He’s a brilliant ventional way. faculty of the University of North Texas, as its improviser and a gifted teacher. Scott’s pres- Through it all, he became acutely aware of first ever professor of Jazz Violin and Alterna- ence will enable us to accept upper strings the limitations and prejudicial assumption put tive Styles. The move is being made, slowly, at a students as jazz studies majors. He will enable on musicians by the classically trained/ number of other esteemed universities around our classical string students to gain experi- untrained label. the country and beyond. Natalie Padilla, who ence with improvisation in a variety of styles. “I think it’s a very big problem, one that is learned Texas-style fiddling from her mother, And he has much to contribute as an instruc- more about attitude and bad thinking,” says the acclaimed bluegrass fiddler Nancy Padilla, tor for all of our jazz studies majors, not only Tixier, who believes that things are shifting a is now an instructor of Fiddle, Folk, and Blue- the string players.” bit, as the definition of “education” itself is now grass at the University of Northern Colorado. Tixier says he plans to incorporate all of the finally beginning to broaden. “The more I At the highly esteemed Carleton University, in lessons he learned earlier on as a young musi- explore the scene,” he says, “the more I see clas- Canada, Denis Lanctôt has been teaching fid- cian in France, where his first jazz teachers sically educated players who have no education dle students through the University’s conveyed the importance of passion and hard

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StringsMagazine.com 39 college & conservatory

work, regardless of which style of music a would get questions from jazz students all over improvisation than violin players do in Amer- young player wanted to learn. the place, so I would make those answers part ica. It’s grounded in Gypsy music and classical “I grew up in Paris,” Tixier says. “When I was of the book.” music from the Romantic era. In America, peo- 12 years old, I started going to an annual jazz For example, he eventually included a chap- ple who are doing improvisation are borrowing camp in the South of France, where I met ter on amplification. “In clubs, it’s very hard for from fiddle music and bluegrass music and Stéphane Grappelli and Jean-Luc Ponty and all musicians to find the right pick-up or to use an country music. What I’m going to bring to the those gypsy-jazz guys. In the program, there amp in the right way,” he says. “When you are program is the French and European influence.” would be master classes with these amazing amplified, you can’t use the same phrasing that As it happens, Tixier admits that as a profes- musicians. And I took a lot of inspiration from you would use if you were not amplified. So the sor of jazz violin, he plans to include a certain what I learned there. At UNT, I’m definitely book will teach that as well.” amount of “classical training” in his curricu- using all of that background I had, learning to With a laugh, Tixier admits the book might lum. “Improvisation is based on a thorough play jazz from these iconic players.” never have been finished were it not for his understanding of music and your instrument,” For Tixier, who’s been teaching privately new gig at UNT. “I realized this was the perfect he says. “For cello students, I encourage them since shortly after he arrived in New York, the opportunity for me to finish this book, finally, to learn the Bach cello suites. Because to be a lack of any established higher-education text and to use it for the students,” he says. The fin- good improviser, you have to be very good at books for jazz violinists is not going to be a ished book, which will include contributions playing, and Bach really opens doors for any problem, as he’s been writing his own book for from Jean-Luc Ponty and others, should be improviser. I think sometimes people come to the last several years. published by January 2019. He plans to use it improvisation with the feeling that it’s all “There are many books about how to play immediately in his work teaching improvisa- about freedom. Which it is, but it is important jazz on other instruments, but I learned when tional skills at UNT. not to forget that you also need some struc- I came to America that there were no books There are, of course, many styles that use ture, and sometimes that can come from about how to play jazz violin. I was very frus- improvisation, not just jazz music, Tixier says. knowing the classical repertoire. trated and disappointed. There was so little for “There is also Indian music, historic Irish music, “Classical music,” Tixier adds, “does have me to learn from, so I started writing my own and many other styles,” he points out. “In good things to teach jazz—just like jazz book. As I began playing more, and recording, I Europe, we have a different relationship with has good things to teach classical music.” n

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Steven Doane at a European String Teachers’ Association master class GET COMFORTABLE

ellist and pedagogue Steven Doane has received prizes for his teaching from both the New England Conser- C vatory and the Eastman School of Music, where he is currently professor of vio- Eastman cello professor loncello. He is known for emphasizing how to play freely, in a highly ergonomic way. When I Steven Doane spoke to him, he was on his way to teach and on the lessons his lecture at the National Summer Cello Institute, presented by cellist and pedagogue Uri Vardi’s incoming students “Your Body Is Your Strad” program, which most often need to learn incorporates Feldenkrais movement principles with “private lessons, master classes, and sem- By Sarah Freiberg inars dedicated to expanding artistic freedom.”

42 September 2018 / Strings Doane has an interesting take on prospec- Doane suggests playing “a piece that show- which is not noticed at all.” Incorporating tive college students and the audition proce- cases your strengths. It’s much better to play natural movement principles into technical dure. In general, he feels that many students something well at the top of your level. And work is key to his teaching. Doane mentioned play repertoire that is just too hard. “When play something in which your musical voice Feldenkrais work, Tai Chi movement con- you are talented in high school, you may can emerge. I’m looking for someone who cepts, and the Alexander technique as “superb spend the last year and a half trying to get has something to say. I want to see some ways to connect to one’s spatial and postural the audition repertoire down. Sometimes it’s instrumental fluency, but that can develop. awareness and skeletal freedom.” a ‘reach’ piece—and it seems too far.” A sense of musical engagement, sense of Doane worries that both student and sound, and sense of fluency are what are or Doane, finding ease of motion is teacher become slaves to the repertoire. “A most important.” central to cello technique. Much of his young player may get tense because the As a young performer, Doane spent a mem- work is based on circles and ellipses. reach piece is really hard. If they come in orable year on a Watson Foundation grant F “If someone plays with a lot of straight with physical tension, but have something to studying with various European teachers, lines, or very angularly, we know we need to say, I enjoy helping them become really com- with a particularly magical time working with work on that.” Toward that end, he produced a fortable.” Jane Cowan in Scotland, who was Steven series of 18 brief videos on cello playing for the If his new students have concentrated on Isserlis’ teacher. “She had an intuitive sense European String Teachers Association and pro- advanced repertoire before they have gotten about physical playing. She used to say, ‘If it’s duced by the Hidersine Company in the UK, the fundamentals down, their skills may be difficult, it’s impossible.’ In other words, no which are all available on YouTube. customized to just a few very difficult pieces. matter how hard the music is, it shouldn’t be In all these brief videos, Doane clearly and Then Doane’s role is to help them fill in the physically hard to play. colorfully shows how to play in a relaxed missing technique. He would much prefer “My goal is to develop a technique that sup- and motion-centric manner. In explaining that students play less difficult pieces well ports and ‘disappears’ into the music mak- string crossings, Doane references the Karate than try to tackle very challenging works ing—the best technique (Jane Cowan termed Kid—going from a lower-string down bow to when they aren’t quite ready for them. this the ‘transcendental technique’) is that a higher-string up bow is a “waxing on” or

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StringsMagazine.com 43 college & conservatory

counterclockwise motion, while starting a Most importantly, Doane wants to nurture year, Doane and his new students compare down bow on a higher string and going to the musician rather than the technician. “In their “wish lists” of what both teacher and a lower-string up bow is a “wax off” or clock- practicing and preparing a work, always student think needs to be addressed in the wise circular motion. As you watch his vid- make the connection between the musical student’s playing, coming to a consensus eos, you will also notice that his body is concept and its technical realization—the before starting to work. Sometimes, Doane always in motion—his torso rotates slightly first must absolutely guide the second or we says, “I need to tell them to slow down.” to the right on a down bow, and back to the are putting the cart before the horse.” Doane He works to instill this mantra in his stu- left on an up bow. It is a dynamic way to play. encourages lots of singing in his lessons, as dents: “Don’t play faster than you can hear. Whether performing, practicing, or warm- he says, “The best cello lesson is to sing your Don’t play faster than you can feel.” He hopes ing up, Doane stresses comfort in playing. “The phrase with complete musical intention, and that over the course of four years, his students best warm-up exercises should incorporate a then try to realize that shape instrumen- will find comfort, security in “mapping the fin- strong kinesthetic sense—comfort is a first tally.” He believes that bow distribution must gerboard,” and fluency through regular scale priority, and freedom and fluency will follow. mirror one’s use of the breath in singing. “If and arpeggio work, selected études, and pro- This applies to both bowing and left-hand you can model the musical shape by singing, gressive repertoire challenges, and will be fluency—I sometimes refer to the left-arm you can do so with the bow.” ready to go out on their own. As he says, he motion in shifting as the ‘left bow arm’ as Doane says that artistry can only result plans for the “built-in teacher-obsolescence the motions are similar to bowing, but on a dif- “when the musical goal is paramount, and is principle.” By then, his students should be feel- ferent axis.” Doane feels that a beautiful sound supported by a fine technical craft.” ing physically comfortable and confident as created by “a satisfying and comfortable For Doane, it is important to nurture the players, having found their own musical voices. motion is a magical piece of our ‘cello puzzle.’ individual voice of a student, and to help that His goal is to develop musical comprehension, An emphasis on sound sensations frees us voice emerge. Prospective students should stylistic awareness, and constantly raise his physically; we can then do our job of constantly “play music that really engages you, and students’ level of “listening both instrumen- listening and monitoring the quality of the shows what you care about and can make a tally and through active use of musical imagi- sound and the musical results.” statement with.” At the beginning of the nation.” Great ideas for all musicians. n

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ften, conservatories are associated with philosophies from years past: intensive artistic training that’s O anchored in years of tradition. This hardly means that conservatory programs aren’t looking to the future. For Eden MacAdam-Somer, a department co-chair at the New England Conservatory of Music, adaptability amid today’s eclectic musical landscape is a vital trait for a modern-day musician. “In the 20th century, as a people we became very focused on spe- cialization. For a while that was working and serving us really well, especially for the recording industry,” she says. As time has passed, however, “versatility and individual- ity, combined with a really strong grounding in fundamental skills” have become new ide- als. Broad training is also vital for young musicians who need to tackle whatever gig comes their way. “In addition to being so much more rewarding, I think it’s also important for the purpose of surviving as a contemporary musician,” MacAdam-Somer says. Plenty of programs are geared toward preparing students to be innovative 21st-century performers—offering hands-on training that helps students sink deep into their Traditional craft, while providing them with conservatories an arsenal of different skills. We take a look at a few tracks offer specialized that do so: Peabody Institute’s tracks for the chamber-music program, NEC’s 21st-century contemporary improvisation performer program, and the San Francisco Conservatory of Music’s new con-

By Cristina Schreil certmaster track. NEC—ANDREWHURLBUT/NEC

46 September 2018 / Strings New England Conservatory of Music’s Contemporary Improvisation Program

StringsMagazine.com 47 college & conservatory

Peabody Chamber-Music Program SFCM CENTENNIAL The chamber-music program at Peabody, in place since the institute’s founding in 1857, is The San Francisco Conservatory a key example of balancing both old and new. of Music, which celebrated its For one, the degree of musical languages that centennial during the 2017–18 a student encounters is different from season, welcomed more than just its decades past. “The number of styles that a real new concertmaster track this year. musician needs to be fluent in has exploded,” The conservatory also announced the says cellist Michael Kannen, the program’s arrival of a few other programs for director for 16 years. On top of Baroque and the modern musician. Romantic, there’s a panoply of classical sub- “This season sees the launch of genres that evolved in the 20th century in our new Roots, Jazz, and American particular—not to mention jazz, rock, and Music program, a partnership with world music. “A working musician’s going to our neighbors at SFJAZZ that brings encounter all of those,” he adds. The chamber- the SFJAZZ Collective to SFCM to music program, therefore, aims to bring stu- work with the program’s inaugural dents in contact with these many forms class,” Kate Sheehan, SFCM provost while offering options to go deeper. Students and dean, says. "We will also launch can branch into an “authentic exploration,” our innovative new professional as Kannen says. He directs this program with development curriculum, which equips this in mind. Students should feel supported our students with skills they need to in whatever intrigues them. be musicians in the 21st century. Our For example: Several years ago, Kannen academic year will incorporate our heard that one of the program’s chamber centennial celebration with courses ensembles—a piano trio—was arranging that examine the history of music Led Zeppelin’s “Stairway to Heaven.” He was in San Francisco, literature over the fascinated. “I coached them on it just like I course of the past 100 years, and coach them on Beethoven or Mozart,” he much more." says, adding that he connected it to a classical The conservatory celebrated piece. In concert, the trio began with a Bach yearlong with guests and artists-in- Prelude before morphing into this unique residence, including cellist Steven rock arrangement. At Peabody, where perfor- Isserlis, the Takács Quartet, Pamela mance is central to this chamber-music pro- Frank, the Kronos Quartet, and more. gram in particular, creative programming is SFCM, founded in 1917, is the oldest often a vehicle for this investigative spirit. In institution of its kind on the West another concert, several ensembles—renais- Coast. The conservatory finished sance, jazz, and computer music—impro- off 2017 celebrations with a lineup vised variations on Death and the Maiden. of concerts at Carnegie Hall, which They created their own variations before included SFCM’s quartet-in-residence, everyone performed together. “Those con- the Telegraph Quartet, performing certs are emblematic of what I think the 21st- its Naumburg Competition-winning century musician should be like and how I, at program and giving the world least in my little part of the world, am trying premiere of Robert Sirota’s Third to promote that,” Kannen says. String Quartet. The structure of the chamber program itself reflects professional post-conservatory life. For one thing, students must form their own ensembles upon signing up, taking initiative to seek out or form a group. (If students don’t know anyone, Kannen helps match players.) Unlike some chamber-music programs, Pea- body faculty encourages students to follow their interests and choose their own repertoire. There’s more to this, however: It forces students to listen to a trove of repertoire to decide. This

48 September 2018 / Strings PEABODY—RICHARD ANDERSON; NEC—ANDREW HURLBUT/NEC; SFCM—CARLIN MA Program Music Chamber- Peabody Track Concertmaster of Music’s Conservatory San Francisco college & conservatory

process also exposes them to negotiating with fragmented as a violinist, having a foundation I could walk in one another—a crucial skill in chamber music. in both classical and Appalachian fiddle. At and say, “Wow, Kannen reminds students that professional NEC, she found her tribe. “I could walk in and gigs often require repertoire a musician might say, ‘Wow, these are the people I’ve been look- these are the not enjoy. “You’re trying to breed flexibility,” he ing for—they get what I do. They may never people I’ve been says. have heard it before, but they totally get it.” The department, supplementing the conser- looking for—they New England Conservatory of Music’s vatory’s traditional classical-music course pro- get what I do.” Contemporary Improvisation Program gram, was established by NEC founder NEC’s contemporary improvisation program Gunther Schuller. Schuller was a pillar of the They may never also supports students seeking ways to cre- jazz-and-classical-fusing Third Stream Move- atively adapt all of their passions. “The CI ment. It’s a small program of 52 students, com- have heard it department is all about addressing the pared to the overall student body of around before, but they unique needs of musicians who are seeking 800. Students walk away being able to read to move beyond traditional boundaries,” says music well and—naturally—pick up things by totally get it. MacAdam-Somer. It’s not a genre-based ear. There’s a strong emphasis on ear training, department; students with backgrounds in oral training, and vocalization. “In our ear- —Eden MacAdam-Somer rock, classical, jazz, folk, and beyond rub shoul- training classes students come in and they are ders while digging deep into the musical tech- working with repertoire right away. They niques underpinning improvisation. “They all are listening to a piece of music by, say, Miles tend to be folks where it’s hard to say, ‘I’m just a Davis and they are analyzing the chords,” bluegrass musician or I’m just a classical violin- MacAdam-Somer says. “They’re figuring out ist.’ They are people who have a lot of interests,” how to hear what the harmonies are, they’re she says. MacAdam-Somer herself once felt transcribing those chords, they’re learning his

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50 September 2018 / Strings solo by ear, and they’re singing the solo back by a certain subject or a risk-free chance to realize skillset [they are] using.” Concertmaster stu- ear.” their own dream productions, such as operas or dents serve as principal players in SFCM’s After graduating, the idea is that students concert series. “We’re not training students to large ensembles. They also tap into the day- can adapt to anything and, therefore, say yes do one particular thing; we’re training them to-day life of a 21st-century working musi- to any gig. They’re well-equipped for the to do a range of things and inspire them to do cian: They observe rehearsals, perform beside 21st-century landscape. MacAdam-Somer what they want to do as an individual,” says professional orchestra players, study orches- also emphasizes that the CI program breeds Kate Sheeran, provost and dean. Via intercon- tral repertoire in private lessons, and receive a positive, collaborative atmosphere that nected courses, there’s a conscious balance career-specific coaching from their concert- penetrates the rest of the student body. Stu- between practical approaches and pedagogical master mentors. dents compete more with themselves than methods, she says. “They’re seeing everything in real time and with each other, and there’s plenty of cross- One example of a deeper, more specific then getting to talk to their teacher about it,” department cooperation. plunge that previews real-world experience is Sheeran says. The program also encourages SFCM’s recently formed concertmaster track, them to be interesting thinkers. For instance, SFCM’s Concertmaster Track within the violin major for graduate students. they learn how to problem-solve the best There’s also a choose-your-own-adventure spirit It’s a small program: There’s only three stu- ways to lead a section and exude leadership, at the San Francisco Conservatory of Music, dents in its first year, with three more coming in the music world and beyond. Their studies where several unique programs supplement train. The program is the brainchild of San Fran- culminate with a mock audition simulating a ditional classical training. Several courses pro- cisco Symphony concertmaster Alexander real-world experience. “They can apply what vide a critical thinking–based approach to Barantschik, who is a faculty member along they’ve learned in leadership both on and off music making. There’s a new professional- with San Francisco Ballet Orchestra concert- the stage,” adds Sheeran. “Whether it’s a development program comprising courses in master Cordula Merks and San Francisco brand-new piece by a composer or a new health and wellness, technology, community Opera concertmaster Kay Stern. The idea, chamber group, or they’re a sitting concert- engagement, and business. The winter term is Sheeran explains, was “to pass on the knowl- master in an orchestra, these confidence and dedicated to student projects—a deep dive into edge of great concertmasters and the specific leadership qualities really shine through.” n

STRINGS UCONN STRINGS University of Wisconsin-Madison MEAD WITTER SCHOOL OF MUSIC AUDITIONS

Solomiya Ivakhiv Gregg August Sophie Shao Violin and Viola String Bass Cello Soh-Hyun Park Altino, violin David Perry, violin UConn Strings Undergraduate Audition Dates Suzanne Beia, violin for 2019 - 2020 Admissions Eugene Purdue, violin Saturday, December 8, 2018 Sally Chisholm, viola Friday, January 4, 2019 Parry Karp, cello Saturday, January 5, 2019 Uri Vardi, cello Friday, January 11, 2019 David Scholl, double bass Saturday, January 12, 2019 The Pro Arte Quartet

music.wisc.edu music.uconn.edu • [email protected] • 860.486.3728

StringsMagazine.com 51 SPECIAL ADVERTISING SECTION

‘STRINGS’COLLEGE & CONSERVATORY INSTITUTIONS ARE LISTED 2018 DIRECTORY ALPHABETICALLY BY STATE

52 September 2018 / Strings SPECIAL ADVERTISING SECTION

University of Connecticut Storrs, Connecticut

ARIZONA (860) 486-3728 [email protected]

Arizona State University’s School of Music in the CONNETICUT music.uconn.edu Herberger Institute for Design and the Arts is home to an internationally recognized faculty, outstanding performance The University of Connecticut, a Research I institution with facilities and innovative curricula in education, therapy, composition and performance. ASU’s School of Music is the a world-class music faculty, offers a combination of strong perfect place for students to embrace their musical passions academics and artistic excellence. Our tailored approach and launch a successful career. allows students to pursue degrees in music performance, composition, history, jazz, and theory — and, if desired, to 50 E. Gammage Pkwy combine those pursuits with another of UConn’s 115 majors. Tempe, AZ 85287-0405 music.asu.edu (480) 965-5069 m u s i c a d m i s s i o n s @ a s u . e d u

Chapman University College of Performing Arts Orange, CA

(714) 997-6871 ILLINOIS

CALIFORNIA [email protected] chapman.edu/copa/auditions At DePaul School of Music, you will learn from a faculty of working, Start your career in music at Chapman University! Our students professional musicians in a come here to hone their craft and create anything imaginable. collaborative, performance-focused From our award-winning faculty who will know you by name, environment. You will grow, achieve and create great music. to state-of-the-art facilities and wide range of pre-professional training programs, Chapman gives you opportunities to shine music.depaul.edu 773-325-7444 and prepares you for a successful career in the performing arts. [email protected]

University of the Pacific Conservatory of Music Stockton, California 209-946-2418 [email protected] Pacific.edu/Conservatory Study MUSIC at Elmhurst College Explore your passion for music at one of the finest Combining a wide range of music degrees with intense comprehensive colleges in the Midwest. Outstanding performance experiences, our students prepare for successful scholarships available! Located in suburban Chicago. careers in music. In robust solo, chamber music and orchestral Contact Us settings, the string program at University of the Pacific is nurtured [email protected] | 630-617-3524 | elmhurst.edu/music by a supportive and forward looking faculty.

UNIVERSITY OF SOUTHERN CALIFORNIA THORNTON SCHOOL OF MUSIC Northwestern MUSIC AD_STRINGS_3.5x2.25_SU2017_060917.inddUniversity 1 6/9/17 6:42 AM Evanston, Illinois (847) 491-3141 [email protected] RETHINK music.northwestern.edu With a new 150,000 square foot music facility on the shores VIRTUOSIT Y of Lake Michigan, Northwestern offers conservatory-level training within a prestigious research university. Options You Are the New Classical for undergrads include dual degree and innovative, self- designed degree programs.

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Untitled-2 1 7/18/17 4:01 PM SPECIAL ADVERTISING SECTION

Ball State University School of Music

INDIANA Muncie, Indiana (765) 285-5400 [email protected] bsu.edu/music MAKE YOUR MUSIC MATTER. The School of Music is dedicated to providing innovative, Build a meaningful life in music through our high-quality, student-centered undergraduate and graduate undergraduate and graduate programs. Study with our world-class faculty, and discover how to make education in music. It offers a wide range of programs, excellent your music matter. student-faculty ratio, over 300 performances annually, state-of the-art facilities, and nationally recognized faculty. Longy.edu/apply | 617.876.0956 | [email protected]

Butler University School North Bennet Street of Music School Indianapolis, Indiana Boston, Massachusetts (317) 940-9065 (617) 227- 0155 [email protected] [email protected] butler.edu/music nbss.edu/violin

The School of Music offers optimal Exceptional craftsmanship with a touch of art and student-faculty ratio, flexible curricula, dynamic programs, engineering. Learn more about our Violin Making & Repair regular interaction with world-renowned musicians, and program in the construction, repair, and restoration of one of scholarships awarded on a competitive basis. music’s most accomplished instrument families. Financial aid and veterans benefits available for qualified students.

Department of Music & Dance, University of Massachusetts Amherst Amherst, Massachusetts Admissions: (413) 545-2227 [email protected] umass.edu/music

Ranked in the top 5% of public U.S. colleges and universities by U.S. News & World Report. Professional & intensive BM & MM programs for careers in teaching and performing, plus a B.A. offering flexibility for double majors. A supportive close- knit Department within the larger University.

Boston Conservatory at Berklee Boston, Massachusetts

(617) 912-9153 MICHIGAN [email protected] bostonconservatory.berklee.edu Prestigious resident faculty and exceptional student talent.

MASSACHUSETTS Superior conservatory training at a world-class research university. Boston Conservatory at Berklee trains young performing Graduate fellowships and undergraduate merit-based scholarships artists for careers that enhance the human experience. We available for Fall 2019 - apply by December 1. offer fully-accredited undergraduate and graduate programs in dance, music, and theater, and present 700+ performances a year, including 150+ new works. umichsmtd Ann Arbor, MI smtd.umich.edu

54 September 2018 / Strings SPECIAL ADVERTISING SECTION

The University of Nebraska-Lincoln Glenn Korff School of Music OHIO Lincoln, Nebraska Imagine a dynamic setting where NEBRASKA (402) 472-2503 celebrated artist-teachers and [email protected] talented students collaborate to music.unl.edu achieve artistic and academic success—THAT’S MUSIC AT CSU! The Glenn Korff School of Music nurtures the creativity, artistry, and scholarship of students & faculty; educates CSUOHIO.EDU/MUSIC students to achieve excellence as educators, performers, composers and scholars; and enriches the education of all students through the study & practice of music and dance.

Ithaca College Hugh A. Glauser Ithaca, NY School of Music (607) 274-3366

NEW YORK [email protected] ithaca.edu/music With a commitment to excellence in academics and performance, we offer comprehensive undergraduate Take your musicianship to new levels through a and graduate degrees. Our students study with members of continuous study of theory, practice, and performance. The Cleveland Orchestra, Miami String Quartet and Verve Chamber Players. Work one-on-one with renowned faculty—who are working professionals themselves—to hone your talent and find your stage. Application Deadline: December 1. 330-672-2172 | [email protected] | Kent, OH Auditions: Ithaca, Boston, Chicago, Dallas & Los Angeles WWW.KENT.EDU/MUSIC

Willamette University Manhattan Salem, Oregon MSMNYC.EDU OREGON (503) 370-6255 School of Music [email protected] Our distinguished faculty includes acclaimed soloists, willamette.edu/cla/music chamber musicians, and members of leading orchestras. The Willamette University music department offers rigorous As a string major, you will refine your musicianship, gain training in composition, improvisation and performance performance experience, and prepare for a career. combined with music historical and theoretical studies. A broad spectrum of courses from other programs in a it all happens here distinguished liberal arts university complements studies 130 CLAREMONT AVENUE, NEW YORK, NY 10027 in music. 917 493 4436 | [email protected]

NYU Steinhardt, Department of Music Carnegie Mellon University and Performing Arts Professions School of Music New York, New York Pittsburgh, Pennsylvania (212) 992-9447 (412) 268-4118 [email protected] [email protected]

steinhardt.nyu.edu/music/strings PENNSYLVANIA music.cmu.edu

The finest professional conservatory training combined Carnegie Mellon’s School of Music with academic excellence at an internationally recognized combines the strengths of a university. World-renowned faculty and emphasis professional conservatory program with those of a research on chamber music, new music, myriad performance university to foster the artistic excellence required by opportunities, and double major options. today’s competitive music field.

StringsMagazine.com 55 SPECIAL ADVERTISING SECTION

Sunderman Conservatory of Music Mead Witter School at Gettysburg College of Music Gettysburg, Pennsylvania Madison, Wisconsin (717) 337-6815 (608) 263-1900 WISCONSIN [email protected] [email protected] gettysburg.edu/sunderman_conservatory music.wisc.edu

Sunderman Conservatory of Music combines superb The Mead Witter School of Music is in Madison, Wisconsin, comprehensive undergraduate musical training and often called “the Berkeley of the Midwest” because we are Gettysburg College’s strengths as one of the nation’s leading smart and culturally aware. We offer a non-competitive liberal arts colleges. Graduates go on to rewarding careers in environment, talented faculty, and community music music and related fields. opportunities. Many students double-major. In 2019, the School will open two new concert halls.

Temple University University of Ottawa, Philadelphia, Pennsylvania School of Music

(215) 204-6810 CANADA Ottawa, Ontario CANADA [email protected] (613) 562-5733 temple.edu/boyer [email protected] music.uottawa.ca Solo training and participation in numerous orchestras and chamber music ensembles give Boyer students the skills Outstanding training offered in solo, chamber and orchestral necessary to become well-rounded musicians. Members areas. String Faculty: Violin – Yehonatan Berick, Yosuke of The Philadelphia Orchestra and professors Eduard Kawasaki, Jessica Linnebach; Viola: Michael van der Sloot; Schmieder and Andreas Delfs make up some of the Strings Cello – Paul Marleyn; Double bass – Joel Quarrington. faculty.

Rice University - School

TEXAS The Shepherd School of Music of Music Houston, Texas Gain the creative, critical and technical skills necessary for a (713) 348-4854 stimulating life in music on one of the most vibrant locations on [email protected] music.rice.edu the West Coast of Canada. String players are taught by the Lafayette String Quartet with an emphasis on chamber music. The Shepherd School at Rice University offers pre- professional training for musicians, combining the intensity of a conservatory experience with the educational excellence Victoria, British Columbia, CANADA of a renowned private university. [email protected] | 1-250-721-7903 uvic.ca/music

Texas Christian University Fort Worth, Texas (817) 257- 4742 [email protected] music.tcu.edu SCHOOL OF MUSIC

The TCU School of Music is a nationally recognized, award- winning institution that offers students a wealth of diverse and professional musical experiences while providing challenging academic opportunities in a liberal arts environment.

56 September 2018 / Strings WHAT’S IN THE CASE?

GEAR STRINGS Pirastro Evah Pirazzi Gold for C and G, Jargar A. “And I like the Jargar D. I like it because sometimes in the middle registers, violas can sound a little tubby, and because it’s a big instrument, I like using a steel D,” Phelps says. “It takes away that little tubby factor in the sound.” BOW Tubbs. “I got it when I was playing on my Tonini. I’m not sure it’s the perfect marriage with this instrument but it does work well . . . Tubbs are very, very sturdy, kind of heavy, which suits me. One day I’ll get another bow. Maybe.” CASE Custom cello-shaped fiberglass Tonareli outfitted with wheels and a luggage handle.

Shanghai Orchestra Academy. Phelps detailed its warm, throaty sound, how she combats any tubbiness, and how swimming, tennis, and red wine complement the viola more than you’d think. —Cristina Schreil

What were you playing before? A beautiful [Giovanni] Tononi. It’s just 16 inches. It’s the instrument that I won every competition, every audition on. It’s beautiful. I had two students play on that consecutively before they got jobs. My one student, who LARGER THAN LIFE was my TA, played on it for about five years, Violist Cynthia Phelps reflects on the depth and she got into the Baltimore Symphony. When she made enough money to buy her and warmth of her Gasparo da Salò own, she gave it back, and my other master’s student is playing on it now and she’s taking auditions. She actually got a one-year posi- any might assume that Cynthia Phelps shares that it was difficult to judge tion in the Baltimore Symphony with my Phelps’ quest for a new viola was an what felt right. Thinking long-term, she also other student. They all said, “Oh! That’s the M instrument shopper’s dream. The prin- strived to find a viola that wasn’t too gigantic viola!” It’s really nice. cipal violist of the New York Philharmonic and unwieldy. After four years of searching, since 1992, Phelps learned at the start of her she found the viola: a Gasparo da Salò, circa Tell us about how you found the Gasparo da tenure that the philharmonic would purchase 1560–80. It’s a “monster,” she says, at 17 Salò. the instrument that she would play. One sur- 3/16 inches. But, it’s the one for her. “I When I first learned that I would have the prise was how confusing the process became. thought I’d start with something I thought opportunity to play on an instrument that “Because a lot of people knew that I was I could handle easily . . . . It evolved into a big- the philharmonic would buy for me, it was looking—a lot of dealers knew that I was look- ger instrument that I love the sound of.” very exciting. I thought, “This is the chance of ing—my phone was ringing off the hook,” she The violist took time to speak about her a lifetime. I’m going to find something I just

RICHARD BOWDITCH RICHARD says. “All of a sudden I was inundated.” viola in China, where she was teaching at the can’t live without.” And as it’s a very heavy

StringsMagazine.com 57 orchestra schedule, I didn’t want something Can you describe its sound? A weaknesses is that it’s big. I have to be so big that I’m going to kill myself. I started It’s very chocolatey. It’s very warm and dark, careful not to start doing this [slumps]. I out moderate. I thought, “Oh, Amatis!” I do very mellow. It’s very special. It’s got cello qual- really have to be very, very aware of my pos- love Amatis, but I just wasn’t finding some- ities. Sometimes when I’m warming up back- ture and that I’m not slumping and letting it thing that fit my sound priorities until I got a stage, I’ve gotten the comment before: “What drag me down. I also have to stay pretty fit little bit bigger. cellist was that? And then I saw it was you!” [because] it’s big. I swim, I play tennis. I do [Laughs.] I really like that. I love the cello; I just anything to stay fit. Laughs[ ]. And I think it’s What do you know about its history love that burnished amber warmth. I’m a sun really important anyway as a player. This is a and others who have played it? girl—I grew up in California. very unnatural position to put yourself in I know that the principal in the Detroit Sym- for hours and hours and hours a day. To phony played it. Abe Skernick, who was a pro- What are its strengths and limitations? sound lithe and very fluid and quick, that’s a fessor at Indiana University, played it. I’m Its strength is that it’s a cannon. It’s really little bit of a challenge on this instrument not sure of the provenance behind that. got so much power. I love that. because it’s so big. On my smaller instruments it’s much easier to toss things off and be sparkling.

In what situations does it perform best? Well, it likes sea level. So, when I’m in high elevations like Vail—the orchestra goes to Vail, Colorado—I have to be careful with it. It really opens up more when it’s humid. Some instruments, it’s the opposite. They start squeaking and squawking. I do have to say, I got a carbon-fiber soundpost put in. That’s the Robert new thing . . . I would say that this used to be very temperamental and it’s not as temperamental [with the soundpost]. I think it’s great. McDuffie People say, “Oh man! No way! The wood doesn’t vibrate with something that’s not pli- able.” But I’m telling you, I love it. Center for If given the ability, what would your instrument say to you if the two of you sat down for tea, or any drink of your choice? Strings [Laughs.] “Put me down once in a while!” That’s so funny. That’s a very creative question. First of all, it would definitely be red wine, you know? With this instrument, it would be red wine.

Red wine can pair well with chocolate. Faculty That’s right. Probably, “Let me do more of the Robert McDuffie violin, Founder, concert violinist work myself,” because I tend to be very Type-A Amy Schwartz Moretti violin, Director, concert violinist and I have to play so much music all the time— Richard Aaron cello, renowned pedagogue orchestra music, solo, chamber—I’m con- Julie Albers cello, Principal cellist, St. Paul Chamber Orchestra Rebecca Albers viola, Principal violist, Minnesota Orchestra stantly having to switch gears. I realized, I can Lawrence Dutton viola, chamber coach, Emerson String Quartet do so much more with this instrument. I feel Annie Fullard violin, chamber coach, The Cavani Quartet that I need to be able to trust the instrument Hsin-Yun Huang viola, concert violist David Kim violin, Concertmaster, Philadelphia Orchestra to respond, to help me use it more to be part Elizabeth Pridgen piano, Artistic Director, Atlanta Chamber Players of the process rather than just imposing Daniel Tosky double bass, Atlanta Symphony Orchestra myself on it. That’s what you do with a great Jeff Turner double bass, Principal bassist, Pittsburgh Symphony Orchestra Ward Stare conductor, Rochester Philharmonic Orchestra instrument: It becomes a marriage. You become really good friends, because you know where to push and where to be pushed, mcduﬃe.mercer.edu you know? n

58 September 2018 / Strings NEW PRODUCTS

COMPLETE SET Thomastik-Infeld launches Alphayue strings for viola and cello

By Stephanie Powell

fter the launch of Thomastik-Infeld’s Alphayue violin strings in 2015, the A string manufacturer recently added sets of Alphayue strings for viola and cello. The latest sets offer resonant sound and easy playability at an entry-level price. The viola G and C strings are wound with monel, while the A and D strings are wound with chrome steel. Monel is a natural alloy that acts as an alternative for players with a nickel allergy. The cello set is wound with hydronalium, multialloy, and chrome, depending on which string. The hydronalium-wound A string, for example, is thicker and easier for beginner- level musicians to navigate. The viola set is designed with lower tension and is wound with a synthetic core.

ALPHAYUE FOR VIOLA

• Synthetic core • Carbon-steel A • Wound with natural alloy • $80.99 (list); $44.99 (MAP)

ALPHAYUE FOR CELLO

• Hydronalium, multialloy, and chrome winding • Steel and rope core • $135.99 (list); $74.99 (MAP)

StringsMagazine.com 59 NEW BÄRENREITER URTEXT EDITIONS

NEW

NEW Felix Mendelssohn Bartholdy Concerto in E minor for Violin and Orchestra op. 64

Ed. D. R. L. Todd and C. Brown In addition to the Sonata, this edition BA 9099-90 Claude Debussy contains arrangements of „La lle aux Piano reduction of the late version Works for cheveux de lin“ and „Il pleure dans mon cœur“ by the American violinist As proof sheets for the Violin Concerto in E minor were long Violin and Piano Arthur Hartmann. It was Hartmann considered lost, it could be described as somewhat of a sensation who inspired Debussy to make an when proofs for the solo violin part recently resurfaced. They reveal Ed. D. Woodfull-Harris arrangement of his well-known piano how the young Belgian virtuoso Hubert Léonard played the concerto BA 9444 piece „Minstrels“, also included in this with Mendelssohn. Evidence from these proofs has been integrated edition. into this revised edition. NEW

NEW Johannes Brahms Antonín Dvořák Piano Quintet Concerto in A minor in F minor op. 34 for Violin and Orchestra op. 53

Ed. D. F. Boomhower BA 10915 Score and parts

Johannes Brahms rst conceived the music that would become his Ed. I. Cividini Piano Quintet op. 34 as a string quintet. This early version did not BA 10422-90 Piano reduction survive, but the long gestation of the Piano Quintet is documented in the composer’s correspondence. Brahms rst reworked the string An important component of our Urtext edition is the original quintet to a Sonata for Two Pianos and then a third time to his Piano piano reduction, which probably stems from Dvořák himself,

Errors excepted; delivery terms subject to change without notice. Errors Quintet op. 34. and in which Joseph Joachim’s ngering is published.

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62 September 2018 / Strings SPECIAL ADVERTISING SECTION ON MY MUSIC STAND

We cellists need to cultivate a heavy, off the string staccato, played in the lower half of the bow, often suggest- ing peasant folk music. It takes careful attention to enunciate well, especially on the low strings. For this type of stroke, plus the long sections of repeated dotted rhythms, it really helps to have a strong bow that catches the string at the head of each note, and cleanly articulates on the string changes. The other big technical challenges are the fast, scale-like passages in awkward keys with con- stant shifting of position, and when I put on my metronome I’m surprised at how much I need it to keep me hon- est. In my practice, it’s all about maintaining clarity and keeping the rhythm very steady. The lyrical playing in Mahler’s Third is just as crucial. The first couple of movements feature brief, flowing legato motives requiring imperceptible bow changes. In the final sixth movement the cellos sing our Music Director Michael Tilson Thomas out heart-wrenchingly beautiful melodic has been at the helm, I have immense appre- lines, made all the more treacherous by the POETIC ciation for his passionate commitment to need to play with utmost tenderness while Mahler’s music. I’ve been privileged to per- implementing Mahler’s elongated grace form much of this canon with MTT, as the notes and specified slides. No matter how NATURE SFS-MTT-Mahler collaboration has deepened depleted I feel toward the end of this lengthy Cellist Barbara Bogatin on the over the past two decades. In that time I have reverential praise to nature, man, and angels, witnessed our partnership evolve to yield a I feel a swell of gratitude to the composer for qualities found within Mahler’s transcendent freedom of expression, and giving the cello section a moment to savor Third Symphony together we’ve recorded his orchestral works the poignant feelings expressed in the final on our SFS Media label and performed them melody of “What Love Tells Me.” throughout the world. A particular highlight for me was playing this symphony in Vienna in the magnificent Musikverein Golden Hall, PLAYER Barbara Bogatin is a member of ustav Mahler wrote his Third Sym- imagining Mahler himself conducting the the San Francisco Symphony, and has phony as an homage to nature, finding Vienna Philharmonic on that very stage and previously held the position of principal G inspiration in the view outside his reveling in the warmly enveloping acoustics cello for Milwaukee and New Jersey mountain retreat as storms swept across the that enliven every nuance of the music. symphonies. She performs at chamber- lake and forest animals serenaded from dawn Although the Third Symphony is Mahler’s music festivals and has led workshops till dusk. He wrote poetic titles for each move- longest, clocking in around 100 minutes, this on music and meditation at Esalen, Spirit ment: “Summer Marches In”; “What the Flow- cello part is not the most difficult. (Nos. 5 Rock, Stanford University, the Juilliard ers in the Meadow Tell Me”; “What the and 9 vie fiercely for that honor.) Yet it con- School, in Italy, and in South Africa. Animals in the Forest Tell Me”; “What Man tains all the unique Mahlerian slides, trills, TITLE OF WORK BEING STUDIED Symphony Tells Me”; “What the Angels Tell Me”; “What ornaments, fleet passagework, and expres- No. 3 Love Tells Me.” sively complex melodies that make practicing COMPOSER Gustav Mahler (1860–1911) I find that knowing Mahler’s descriptions these symphonies so challenging. DATE COMPOSED 1896 and the poems that inspire them adds to my Certain thematic ideas that show up in the NAME OF EDITION STUDIED European enjoyment of this music. As a member of the cello part require a lot of clarity to be heard Edition, 1974 San Francisco Symphony for all 23 years that through the full sonic power of the orchestra. PUBLISHER European American Music

StringsMagazine.com 63 ABOUT THIS DEPARTMENT MY STUDIO Teaching is the trade of a lifelong learner: Inspiration comes from all manner of experiences. My Studio is a space for teachers to discuss their influences, profound teaching moments, daily quandaries, and the experiences that helped define their approach to teaching.

Scott Flavin with a student

confidence to surmount technical difficulty; for Student B, confidence to invest in and con- FINDING CONFIDENCE nect with a personal musical interpretation. For both students, this was not related to performance anxiety, but was linked with learn- THROUGH FREEDOM ing style, affecting their practice and lessons, Solutions can be found in taking a broader view as well as performances. My solution was to approach this issue By Scott Flavin with repertoire. For Student A, I assigned a virtuoso encore piece, containing great technical difficulties. For Student B, I gave one of n over 20 years of teaching in higher educa- getting through a phrase. Student B also pre- the greatest masterworks of Bach—a piece tion, I’ve been fortunate to work with and pared extremely well, learning the music with many possible interpretations, as well I help many wonderful students. Fairly with technical assurance and familiarity with as numerous performance traditions. recently, I had a fascinating and moving pair ideas from any number of great violinists’ Both students’ usual approach got them of linked experiences with two graduate stu- recordings and performances, as well as dif- stuck. Student A became fixated on specific dents who were everything a teacher could ferent written editions. This student took in technical difficulties, practicing very slowly ask for: fine players prepared for every lesson so much information that he was not able to and carefully with the metronome, in with great attitudes. While both were playing invest in an interpretation, and what came rhythms—taking apart specific passages to advanced repertoire at a high level, they had out was a jumble of different approaches the smallest degree. All fine work, but yielding different shades of an issue that kept them rather than a unified and personal concept. limited results in slow tempi, and almost no from achieving greater heights. Student A Working with these students at the same success at tempo. Student B gathered different worked hard and learned music well, but in time was an opportunity to discover solutions printed editions of the Bach, listened to record- playing would hesitate and doubt himself for two different manifestations of the same ings of famous musicians, and researched per- technically to the point that he had difficulty issue—lack of confidence. For Student A, formance style diligently. The result after all

64 September 2018 / Strings this work was a patchwork of interpretive ideas. Not a convincing performance.

ather than helping Student A continue exclusively on the path of detail work, we R looked at the fact that he was painting a landscape starting with each blade of grass, without a concept of how each detail fit into the whole. We started analyzing the entire work: first the overall structure and mood, then each section, then each phrase. We then related each of the technically difficult passages to the whole, and found strategies that The Sunderman conServaTory of muSic never lost sight of why each passage was written. As a result of this top-down strategy, Stu- Bachelor of Arts in Music dent A was able to maintain the gesture and Bachelor of Arts in Music (combined with a second major) flow of each difficult passage, rather than Bachelor of Music Education doubt his ability to overcome a specific diffi- Bachelor of Music in Performance culty. Freed from technical boundaries, the result was a stunningly higher level of technique, combined with cohesive phrasing that Yeon-Su Kim — Violin was musically satisfying. With Student B, we focused on what was actually coming out of the instrument. Where

were the highs and lows of each phrase; what www.gettysburg.edu/sunderman was the character and spirit of the music at any given moment? We set aside issues of performance style and delved wholeheartedly into discovering the truth of every phrase of www.gettysburg.edu/sunderman this music. Next, the student performed the Bach in lessons, studio classes, and studio recital, with great emphasis placed on connecting with the moment, and investing completely in what was played, for better or worse. With help, Student B began to listen and react differently, finally freed from the CLAIRE weight of expectation of others, and started discovering his own voice. In this student’s GIVENS VIOLINS, INC. graduating recital, the interpretation was 1977 absolutely his own, resulting in an intensely engaging performance, and a teacher nearly Fine Violins, Violas, Cellos & Bows in tears of joy. Established In both cases, the solution to finding con- WE'VE MOVED fidence for these students was in helping them discover new perspectives. For Student 1201 MARQUETTE AVENUE SOUTH SUITE 150 MINNEAPOLIS, MN 55403 A, connecting with the flow of the music 800.279.4323 612.375.0708 WWW.GIVENSVIOLINS.COM helped him surmount technical difficulty; for Student B, discovering his own voice gave him the confidence to directly communicate his vision of Bach. GET 10% USE THE CODE Sometimes the best teaching solutions can OFF IN THE STSP10 be found if we are willing to broaden our STRINGS AT CHECKOUT! vision and take a fresh look at the big picture. With these students, it certainly was exciting STORE STORE.STRINGSMAGAZINE.COM to experience! n

StringsMagazine.com 65 ABOUT THIS DEPARTMENT FOR THE RECORD Each recording represents a body of choices an artist makes to define its character. This department gives musicians the opportunity to discuss some of those choices and other aspects of a specific recording project.

It’s repertoire that he and pianist Noreen Polera have performed count- less times. While they’ve recorded many albums already—this being number 13 for Peled—this project plunged them into an unconventional recording process. They invented a method that may seem bold: mini- mize the engineer. “We actually had to tell the engineer, ‘This is how were going to do it.’ We basically came to an agreement that he pressed the button for the whole session,” Peled says. The idea behind this: capture a live-concert atmosphere that remained faithful to their “souls as artists.” Amid what Peled largely describes as a market saturated with overly squeaky-clean recordings, this spontaneous, daring method helped him bring forth his personality. It was the best way, he says, to honor the legend of the cello, Brahms, and, especially, Casals. —Cristina Schreil

A lot of personal, historical, and musical connections converge with this project. When did you think to record the Brahms sonatas? I knew that Pablo Casals himself as a child played for Brahms. I studied with Bernard Greenhouse, who was a student of Casals, so there’s a direct connection. And of course, I love, love his recordings of [the Brahms sonatas]. [I] thought this would be a sort TO BRAHMS WITH LOVE of homage to the cello rather than Casals, to Amit Peled, cello; take this piece of wood and congratulate it for BACK IN Noreen Polera, piano being alive for so long and for experiencing so (CAP Records) many hands and approaches to this music.

TIME What was the recording process? Cellist Amit Peled on Last June, we spent the whole week in Miami; finding his voice with we spent three days recording it and the fol- Casals’ cello and an lowing day we performed it, which is how you would normally not do it. You would normally atypical recording process hen Amit Peled received the historic perform and then record. But since we played 1733 “Pablo Casals” Goffriller cello them so many times we wanted to have quiet W six years ago, he knew there were cer- time during the week with the producer. We tain cello repertoire highlights he’d love to stayed in a beautiful hotel next to the church record with it. Peled’s latest CD, To Brahms where we recorded, which had beautiful with Love, tackles Brahms’ sonatas for cello acoustics. It was really a nice process of diving and piano: No. 1 in E minor, Op. 38, and into each phrase and recording it as many No. 2 in F major, Op. 99. times as we wanted to.

66 September 2018 / Strings ABOUT THIS DEPARTMENT Each recording represents a body of choices an artist makes to define its character. This department gives musicians the opportunity to discuss some of those choices and other aspects of a specific recording project. SUPERIOR CREATED SOUND FOR YOU

We were synchronized. We felt really com- want to be clean, and be clean, and be clean. fortable in the space, with the instruments. You forget: There are enough recordings that Even with the weather, because it was are clean. Not to say that it shouldn’t be extremely humid and we were sweating like clean, but if it loses what I call direction—if a crazy. All of those things you have to take phrase loses the punchline, the gravitation into account. It’s an environment you have to point, or the black hole where it pushes you feel completely comfortable in because you’re somewhere—it’s a beautiful sound, but it’s trying to produce the secret diamond inside the same dynamic and it doesn’t go any- you, to share it with a microphone, hopefully where. I feel that if that [direction] doesn’t with the world. It’s not an easy process. happen, it’s not worth listening to it.

Why did you adopt the unconventional You’ve performed these sonatas so many recording approach? times. Did any new insights arise about this We wanted to feel that this is a concert. This is music during this recording experience? something flowing, something that is alive. A Totally. Many. When you make a recording, it lot of recordings, I have a problem with— is a statement. Of course I play those sonatas where it becomes just a puzzle and the engineer by memory [in concert]. Recording, and having stops you every second, every note. Then, you the urtext edition in front of me and always don’t even know what the tempo is anymore. looking at it, all of a sudden you find, “Wow, You just play and all of a sudden you get a this is an eighth note and not a 16th note, and master and it sounds better than you could I’ve played it so many times like a 16th note.” ever play, but it’s boring. We decided not to do You want to make sure that doesn’t happen that. We recorded each movement twice and because [a recording] is a statement for life. we told the engineer, [for example], “We felt the This is something that will stay forever. second one was better.” And then without even And then, having the producer, who in this going into details, we started from the begin- case is a pianist, was wonderful. Because she ning until, let’s say letter A, and then we played is not a cellist, she raised questions that nor- ”The strings give me that twice. And then from A to letter B; we did mally cellists don’t, and that was a great extra range to sink it twice. And B to C, and so on. So, we felt we learning experience, having those pairs of covered enough material, but nothing was just ears over there. in without breaking a note or just a bar or even just a phrase. It was just the feeling and flow of a concert. Was a live, organic feeling also important the sound. I must say, this CD, with the history of the because you are gesturing back to Casals? So enjoyable to play.” personal story and the way of recording, is by Yes. Casal’s recording—this was the ’30s— far the only CD of myself that I can listen to. came at a time when you didn’t cut. You just did I feel good about it. I think I will adopt this run-throughs, and if one was good, that was it. YOUMING CHEN way of recording. I think it’s much more spontaneous. You know, Violist at the you’re jumping into the water and you have to Chicago Symphony Orchestra What are other ways you captured a live- swim to the other side. That’s it. And you tell concert experience? the engineer, “I’ll see you on the other side.” I looked at the microphones and I imagined You have to get there. You cannot stop and fix. VIOLA they were actually humans. They’re all And that’s exactly what you do in a concert. medium around me and they’re listening to me. I tried That kind of feeling, of “I’ll see you at the to perform a big chunk of the piece and not end!” is something that we lost completely in Photo by Todd Rosenberg just a phrase. Even at times when we felt that recordings because we tried to become perfect. it was a good run-through and we probably Technology took over us. The albums became didn’t need to do it again, we stuck to this the CDs of the engineers, not of the artists. SUPERIOR format of doing a [complete run-through] One of the things Marta Casals Istomin told twice and then in big chunks twice. me when she gave me the cello was, “There are two things I want you to do. One is to share the It seems like you set yourself up to be in the legacy of Pablo Casals and the voice of the cello right headspace. with the world. But, the other thing is, I want VISIT JARGAR-STRINGS.COM You’re totally right. I also think it’s a matter you to find your own voice through it.” I think FOR FURTHER INFORMATION of experience. You make your first CD and that finding my voice, a lot of it is to dare to go you want it to be clean. And then you always back to how it used to be. n

StringsMagazine.com 67 Viola Superior Ad_2,25x10 inches.indd 1 12/04/2017 11.17 ONSTAGE

patterns, overlaid with double and triple stops. In these showier passages, Lark ratch- eted up the intensity, apply- ing quicksilver bow strokes, perhaps carried over from her work in bluegrass fiddling and Appalachian music. The piece’s heart lies in its darkly soaring main theme that returns at pivotal moments. If Lark’s reading could have benefited from a bit more old- Hollywood schmaltz, there was much to admire in her supple phrasing and focused, amber tone (which was unperturbed even by a way- ward clothespin that supported her sheet music, later rescued by conductor Bahl). If there was one aspect of Violinist Tessa Lark performing the ‘Red Violin: Suite’ in Central Park Lark’s performance that was more difficult to gauge, it was in the realm of projec- LPR, the house orchestra at the Downtown tion, as the tinny amplification system mud- venue Le Poisson Rouge, led by conductor died the balances. But having previously EVENING IN Ankush Bahl. performed Corigliano’s Red Violin Concerto— Earlier in the day, Lark had strolled the which uses similar material on a larger can- park’s Bethesda Terrace, telling viewers on a vas—Lark was a persuasive advocate for this THE PARK Facebook Live stream that performing out- modern but readily approachable music. Violinist Tessa Lark delivers doors felt natural to her, having grown up The program opened with the premiere of Corigliano’s ‘Red Violin: Suite’ around nature. (An early website photo Fanfare & Fugue (for a Fish), composed by with gusto showed the young violinist performing ankle- Ensemble LPR’s founder and violinist David deep in a creek near her childhood home in Handler. Moving from a stately, Handelian By Brian Wise Kentucky.) Now in her late 20s, the New York– introduction to scampering counterpoint based Lark has earned diplomas from the New with percussive interjections, the engaging England Conservatory and the Juilliard score was given a bright, incisive reading. School, as well as a growing clutch of prizes, This was followed by Thea Musgrave’s Aurora, t’s not often that a violinist performs a sig- including a silver medal at the 2014 Indianapo- presented in honor of her 90th birthday. nificant piece of American music in New lis International Violin Competition—on Composed in 1999 for the Colburn School, I York’s Central Park as its composer is whose loaned “ex-Gingold” Stradivari she per- the string orchestra piece at times evokes the seated steps away, among passing skate- formed this evening. lush, moody textures of Bernard Herrmann’s boarders, joggers, birds, and several hundred The 25-minute Red Violin: Suite is culled Alfred Hitchcock scores. other listeners. But that was the backdrop for from Corigliano’s score to the 1998 François After intermission, the focus turned to Tessa Lark’s graceful performance on June 12 Giraud film of the same name and uses a composers whose death anniversaries were of John Corigliano’s the Red Violin: Suite. Not haunting chaconne as its organizing princi- marked in 2018. In Tchaikovsky’s Serenade only was Corigliano on-hand—at a youthful- ple. As such, each variation poses distinct for Strings, the relatively small forces pro- looking 80—but so was the violinist Lara St. challenges for the violinist. When the solo duced a more sinewy sound than one usually John, who recorded the suite a decade ago and part featured a soft, ghostly melody in the hears; the heightened clarity revealed the who was evidently keen to hear a next- extreme upper register, Lark was especially music’s textural blend as well as some occa- generation account. secure, her intonation and tone control sional ragged edges. To conclude, Bahl led a Lark’s performance opened the summer pristine. finely shaped account of Debussy’s beloved concert series at the Naumburg Bandshell. Some variations turned fast and furious, Clair de Lune, just as the mosquitos were She was joined by the 20-piece Ensemble with heavily accented 16th note and triplet reclaiming their corner of the park. n

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UNLESS wo years ago, acoustic power trio Haas tributaries, Kowert’s pulsing bass, Leslie’s jan- Hawktail Kowert Tice—fiddler Brittany gling mandolin, and Tice’s simmering guitar (Padiddle Records) T Haas, bassist Paul Kowert, and gui- gradually pour into the quickening stream. tarist Jordan Tice—started recording Kowert’s bowed bass bubbles under “In the material for the follow-up to their 2014 Kitchen,” while Haas’ bowing sashays lazily debut You Got This. In the process, they like rising smoke rings. Riding sprightly chucked the recordings and started from switchback fiddle, “El Camino Pt. 2” is Haas’ scratch twice, added mandolin ace Dominick showcase. The ping-pong guitar progression Leslie to the fold, and transformed into the of “Britt Guit” allows Tice to strut his stuff. REVAMPED newly christened quartet Hawktail. On “Boatwoman,” Tice’s pensive guitar Despite this convoluted history, and and Haas’ fluting fiddle are disrupted by recordings drawn from several locations, interjections from Leslie’s mandolin. The RECORDING including a studio, a church, and two live piece grows restless and slippery, as free jazz Hawktail’s debut recording shows, the music on the resulting collection techniques are applied to bluegrass’ tradi- Unless seems consistent and effortless, a tional round robin of instrumental runs. weaves homespun seamless fusion of virtuosity and directness, Unless closes with the deceptively placid progressions with bluegrass the homespun and the unexplored. “Frog and Toad.” Here, bounding bass, cas- “Abbzug” kicks off with Haas’ unaccompa- cading guitar, and sighing fiddle lock into a By Pat Moran nied John Silakowski–built fiddle, coiling and groove that swoons as much as it swings. It’s

wheezing like an antique pump organ. Like serene string band jazz with dreamlike MARCH JODY

70 September 2018 / Strings undertones, a spinning jenny veering slightly Listening to this bristling, vibrant album career, preferring instead to vacation in off-kilter. is more edifying with a cursory knowledge of Poland with his wife. As the quartet’s name suggests, listening his improbably cosmopolitan biography. Antheil titled his 1945 autobiography to Hawktail’s tunes on Unless is much like Born to German immigrants at the turn of The Bad Boy of Music, and listening to Specter watching a hawk swooping, soaring, and hov- the 20th century, Antheil’s obsession with is bracing evidence of his self-belief. The ering. We know that physical laws apply here, experimental music led him to Philadelphia, Sonatina consists of three brief movements, but it’s still like witnessing a miracle. studying with one of Franz Liszt’s star pupils, each a test of any violinist’s technical forti- then onto New York, pestering Ernest tude. Leland fearlessly accepts every leap SPECTER Bloch—who initially rejected Antheil’s music into the highest registers and demonstrates Duo Odéon as jejune—into taking him under his wing. a quickness that feels like a dialogue (Sono Luminus) Upon completion of a first symphony, he between two challengers. Antheil doesn’t On their debut album, Duo attracted the attention of Leopold Sto- blink, and neither does Hannah Leland. Odéon’s Hannah Leland kowski, who agreed to debut the piece. Alas, Soaring and confrontational, it gets richer and Aimee Fincher offer before the program could come to fruition, with each listen, particularly the achingly brisk antidote to the comforts of familiar Antheil decided to move to Europe. unadorned Andante. music. Specter is a collection of previously In the early ’20s, at the behest of Igor The Concerto for Violin and Orchestra is a unrecorded works by American composer Stravinsky, he and his wife took up residence time capsule of mid-century modernist George Antheil. For seekers of the truly on Paris’ Rue de l’Odéon, above the famed, thought, and does not suffer for the reduc- obscure, this is a treasure: Two of the pieces rare bookstore Shakespeare and Co. Unfortu- tion from large ensemble to piano accompa- are unpublished, recently unearthed when a nately, Antheil’s proclivity for whim would niment. Pianist Aimee Fincher makes an colleague of the late composer passed away once again strike down a lucrative relation- urbane collaborator as Leland toils away in a and his family turned the trove over to a ship, failing to show up to a concert Stravin- cloud of rosin dust and sky-high harmonics. university. sky had organized to formally launch his This is the sound of a composer who almost

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StringsMagazine.com 71 had it all, and it seems a shame that it is not a that produce a very “direct” tone quality. This larger part of the lexicon. doesn’t detract from the listener’s enjoyment, Valses from Specter of the Rose are the per- but rather gives a sense of the raw emotion of fect complement to a film noir about a ballet Biber’s subject matter. Martinson’s gutsy, company with a murderous principal dancer. strongly articulated performance has some- The reassuring structure of the waltz under- thing new and different to say about these pins alternately chaotic and cloying melo- works, and her disc is a thought-provoking dies, once more showcasing the talents of contribution to the recorded literature. the musicians—perhaps even more than the —Miranda Wilson skill of the composer himself. —Emily Wright PAGANINI: 24 CAPRICES Roman Simovic, violin; MYSTERY SONATAS London Symphony Christina Day Martinson, Orchestra violin; Boston Baroque; (LSO Live) Martin Pearlman, harpsichordist-organist Violinist Roman Simovic describes Paganini’s (Linn Records) 24 Caprices as “Violin’s Everest” for good rea- Heinrich Biber’s 15 Mystery Sonatas for vio- son. This collection of unabashedly difficult and lin and continuo are some of the most fasci- showy bonbons brings to mind certain tech- nating and eccentric pieces in the repertoire. niques that serve as gatekeepers to the realm of Predating Bach’s compositions for solo violin virtuosity: skittering spiccato, intricate multi- by 50 years, they also predate modern violin- note chords, and passages requiring absolute istic convention. In this exciting disc by vio- fluency and confidence. It is natural to listen to linist Christina Day Martinson and the these movements with an ear for flaws, and Boston Baroque, you find a modern virtuoso miraculously, Roman Simovic offers none. Set- who is more than equal to the extraordinary ting this rendition apart is the way in which the demands Biber places on the violin itself. In prolific skill of violinist and composer embody each of the 15 sonatas, Biber experiments secondary roles, with a focus instead on an with a different scordatura tuning, not only to opus treated with incredible love and curiosity, increase resonance but to heighten or release each note curated with complete devotion. the tension of the string, and with it the This daring and affectionate treatment of sonority. In Sonata No. 8 (“The Crowning the Caprices makes even the most risky move- with Thorns”) the violin’s G string is raised ments sound like an invitation, rather than a an entire perfect fifth to D, and this disrup- contest. No. 6 “The Trill,” for instance becomes tion to the usual balance between the strings a dark meditation with no hint of duress, even produces a color taut with tension. while tritones tense and resolve, contorting Even more impressive in this disc is Sonata the left hand devilishly as the intervals flutter. No. 11 (“The Resurrection”), in which the vio- The octaves of No. 3 are given the space and lin’s two middle strings are crossed at the time to truly resonate, thanks to Simovic’s peg-box and behind the bridge to represent uncompromising intonation and patient bow. the cross. Here, as elsewhere, Martinson The hunter’s calls of No. 9 are articulated with deftly navigates the difficulty of the unfamil- playful delicacy, while the variations tease the iar tuning in a darkly dramatic tone, her ear with a sweep of characters ranging from phrasing rich with expressive rubato. pompous to pristine, all of whom make it very Martinson is joined on this disc by excel- hard not to smile while listening. No. 24’s lent collaborators: cellist Michael Unterman theme and variations manage to be as breath- and theorboist-guitarist Michael Leopold, taking as they are tidy. The left-hand pizzicato deftly directed from the keyboard by section is effervescent, while the string- harpsichordist-organist Martin Pearlman. crossing section is a clinic in mechanical fluid- Unlike the majority of recordings of these ity. Each variation is a resounding declaration: sonatas—which tend to use spaces with This is what it sounds like when a player moves ultra-resonant acoustics and/or a lot of beyond the technical demands of a work and reverb—the engineers of this disc have cho- becomes a vehicle for the essence of the music. sen an acoustic and a microphone placement —EW

72 September 2018 / Strings CLASSIFIEDS

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StringsMagazine.com 73 SHOP TALK

y favorite step in bow making, other than playing a new bow for M the first time, comes at about 25 percent from completion. Getting to this stage involves more than a bit of “delayed gratification.” In abbreviated form, this phase comes after the frog has been almost completely sculpted and polished, and after the stick has been planed within about .5mm of its final dimen- sions. Its fundamental curve is established, after the handle has been meticulously drilled to receive the screw and the mortise slot chiseled in. During this time, the frog has been fit to the stick, confirming that it is square to the bow head, and the button screw has been fashioned and fits parallel and straight to the stick. And, it’s after the ebony- and mammoth-ivory tip plates have been securely glued on. With these days of meticulous work completed, the bow is now ready for a serious drive to its final playing form. I use a method borrowed from the Hill bow workshop. To simulate the tension of actual hair, a wire is extended between the frog handle using a substitute frog fixture pinned into a square hole, drilled in the bottom face of the bow tip. This permits the bow to be tensioned up to near straight. Compared to the previous stages, this work feels quite fluent. The bow maker tests the straightness of the bow under tension and judges the positioning of the camber curve, making necessary corrections. The wire permits the bow to be drawn up straighter and straighter, so that longer planes can be employed, flowing from the handle to the tip. With long glides, various planes, and the intermediate use of files, the bow maker gets closer to the final dimen- sions, stiffness, and weight. If the stick cooperates, this phase can be completed in about an hour. Your artistic judgment and experience are fully employed. It’s almost like you’re flying! —John Greenwood, bow maker

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