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David Deveau in Solo behind tNhe o te s ROCKPORT MUSIC NEWSLETTER : FALL 2015 David Deveau in Solo somehow began to enjoy the process! I On a crisp, beautiful Saturday evening in realized the wonderful freedom of being October, classical music lovers gathered to hear able to play things again and again until you are sure you have a “take” that is Rockport Music Artistic Director David representative of your vision of the piece; Deveau’s first solo piano recital in the Shalin whereas in a concert, it’s do or die in DAVID DEVEAU’S CD COVER Liu Performance Center since its opening in real time. 2010. The five-year wait was well worth it. After the taping with Andrés, I enjoyed a sense of making music so much that I decided I’d attempt a new solo disc and wanted to record something that had been very infrequently recorded (if at all), along with some other Beginning with the lovely opening piece by Haydn, followed by music I love. The obvious choice was this transcription by Lizst’s Funerailles , and then the pastoral Siegfried Idyll , it was Josef Rubinstein of Wagner’s Siegfried idyll . The Idyll had clear this was to be a special evening. After intermission, the only been recorded once before in this version, long ago, concert continued with two brief but beautiful selections by and when I approached Steinway Records with this project, Brahms, and culminated with the Schumann Fantasy. The they were more than game. For the CD, I wanted to feature concert was predominantly based upon David’s new CD the interconnections (and aesthetic battles) between Wagner, released by Steinway Classics earlier this fall entitled Siegfried Liszt, and Brahms—three titans of the late Romantic age. Idyll . In a review of the CD, Anthony Tommasini of the New York Making the recording at the Shalin Liu Performance Center Times hailed that, “…pianist David Deveau gives a sensitive on our wonderful Steinway was a joy, and I already know account of a fascinating solo piano transcription of Wagner’s ‘Siegfried Idyll’…It’s a revelation to hear this sublime, David Deveau in Solo continues on pg . 07 intimate work played on the piano.” Deveau had not recorded a CD in many years, so I asked him “why now?” Here’s his response: Earlier in my career, I recorded solo works of Liszt and Schumann; and several years later, I recorded music by British composer Peter Child, called “Doubles,” which he composed for me. In each case, I felt real discomfort with the recording process: just me, a producer whose job is to “keep score” (i.e. make notes on what’s good and what’s not in each take), a sound engineer and some microphones. h c t It was, for me, inhibiting. u L l e a Unlike the joy of playing a concert for an appreciative h c i M audience, I felt only a stifling sense of “Don’t mess : t i d up.” Then, in April 2014, I made a recording with my e r C o dear friend and colleague, violinist Andrés Cárdenes t o h (to be released in 2016) of music by Schubert, and I P DAVID DEVEAU PERFORMING A DRAMATIC SOLO RECITAL ON OCTOBER 24, 2015. ROCKPORT MUSIC 37 MAIN STREET, ROCKPORT, MA 01966 T 978.546.7391 W rockportmusic.org 01 From The Trustee Chair BY SUSANNE GUYER Latinoamericano, and much I am pleased to serve as the new Board Chair for more. In other music genres, Rockport Music and to work with an impressive group we enjoyed concerts by Mary of Trustees, Council members, staff, volunteers, donors, Chapin Carpenter, Rickie Lee and the Rockport Music community to build upon this Jones, Martin Sexton, Lisa Fischer, and many more. In organization’s remarkable history of achievement October, David Deveau’s first o l l e and growth. solo recital in our new concert i d a T home was a thrilling evening n o J Rockport Music has distinguished itself among music lovers : of musical celebration. David t i d e in New England and throughout the country for a wide range of r continues to reach new heights C o t exceptional musical offerings and educational events presented o in delivering on the Rockport h P in the stunning Shalin Liu Performance Center. Music mission to provide SUSANNE GUYER, BOARD OF TRUSTEES CHAIR I would like to thank Joe Mueller for his outstanding leadership exceptional musical concerts over the past four years. Under Joe’s chairmanship, Rockport that enrich our lives. Music grew in many ways as he set forth a plan for securing We have so much to be proud of at Rockport Music—exceptional Rockport Music’s future and preserving the Shalin Liu concerts in classical, jazz, folk, and world music, a growing Performance Center. Looking ahead, our job is to work together and vibrant education program for both children and adults, to execute these plans and continue to professional leadership by Tony Beadle and his staff, a com - work as a team in orde r to build on past mitted team of volunteers, and of course, successes. This past year has brought us the truly beautiful Shalin Liu Performance This past year has brought us so many so many beautiful musical Center. This organization would not be the beautiful musical moments that touched moments that touched us, success story it is today without everyone who has contributed his or her time, us, moved us, as well as surprised us. From moved us, as well as surprised us. the Opening Night Gala with Yo-Yo Ma to expertise, gifts, and even their own voices the 12-year-old jazz prodigy Joey Alexander to share their experiences with others. during the Jazz Festival, Rockport Music continues to reach This is an organization with a history of exceeding expectations. even greater artistic heights each year. This year David Deveau The Rockport Music community is unique, and everyone brought the best ever Rockport Chamber Music Festival with involved plays an integral role in our ongoing success. All pianists Emanuel Ax, Marc-André Hamelin, Benjamin of our past achievements would not have been possible Grosvenor, and Peter Serkin, as well as chamber ensembles without your commitment and support. Together we make including the Shanghai Quartet, the Boston Trio, Cuarteto beautiful music! BOARD OF TRUSTEES Margaretta Hausman TRUSTEES EMERITI Gregory R. Bover Olivia Parker Susanne Guyer, Chai r Steve Lindo James Barker Lois Brynes Melvin Rosenblatt Stephen M. Bell, Mary Malone Thomas Burger Andrew Calkins David W. Scudder Vice Chair Joseph Mueller Mollie Byrnes J. Robert Cassady, M.D. Mary Ann Sherry Garth Greimann, Irving H. Plotkin Janice Cane Stephanie Connaughton Arnold Shore Vice Chair Frank E. Previte Susan Gray Michael Costello Hinda Simon Allan H. Cohen, Ruth S. Shane Mimi Harper Deborah Epstein Kathleen Skrabut Treasurer Naomi R. Stonberg William Hausman S. Frank Fritsch Helen Soussou Jeannie McIntyre, William E. Taylor Sherwin Greenblatt Barbara Sparks Secretary ROCKPORT MUSIC Frank G. Berson Richard Tennant COUNCIL Lorraine B. Horn Andrew Spindler David Deveau Peter Wernau William J. Kneisel Bruce D. Sunstein Artistic Director Philip Cutter James Bacon, Chair Nina D. Fieldsteel Margaret Ziering Dianne Anderson Edward Lowenstein, M.D. Paul Sylva Tony Beadle Philip Goldsmith, M.D. Patricia Bertero Michael J. Mazzini Susan Wagner Executive Director Everett (Michael) Morss FALL 2015 NEWSLETTER 02 Jazz Chats: A Look into the Jazz Journey BY RICH TENNANT It’s a hot night at a jazz club in Philadelphia. The young trumpet player is taking a particularly strong solo on an up-tempo tune. His friend, sitting in the audience, calls someone on his smart phone and holds it up so the recipient can hear the music. “Who’s that playing the trumpet?” the man on the other end asks. “That’s my friend, Sean Jones” the caller replies. t n “Have him call me” the other man says. The “other man” is the a n n e artistic director of Jazz at Lincoln Center and one of the most T y d n respected musicians and trumpet players in the world, Wynton i C : t Marsalis. i d e r C o Jones did not return that call for 2 long years. He felt in his t o h heart that he just wasn’t ready. There was first the job of P continuing to hone his craft, of playing and learning from other RICH TENNANT PRIGHTQ INTERVIEWING SEAN JONES IN A JAZZ CHAT, AUGUST 2015. more experienced musicians, and of completing his Masters Degree from Rutgers University. When he did return the call, his beginnings, early struggles, lucky breaks, and the people who audition resulted in being offered a permanent position as lead inspired them along the way. Through this we found our trumpeter in the Jazz at Lincoln Center (JALC) Jazz Orchestra. common thread as human beings and a context for the music we were about to listen to. Today, Sean Jones is one of the world’s most renowned and accomplished jazz trumpeters/composers/educators/activists. The Jazz Chats are designed to reveal an intimate look into the After six years with the JALC Orchestra, he left life and work of each artist. Fundamental to pursue his own unique contribution to the “Hearing the musician at questions of home and upbringing are legacy of jazz as a leader. Something he calls, discussed as well as inspirations and defining Sean 2.0. the Jazz Chat beforehand musical moments. Some of my guests over really changed the way I the past few years have been Christian Chattin’ it Up heard his music on stage” McBride, Anat Cohen, Julian Lage, and The This story was revealed to me, in Sean’s Yellowjackets.
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