Jungah Yoon ’19MM, on performing Reinecke’s Flute Concerto

Jungah Yoon

On April 26, flutist and Woolsey Hall Concerto Competition winner Jungah Yoon ’19MM will perform Carl Reinecke’s Flute Concerto in D Major, Op. 283, with Principal Conductor Peter Oundjian and the Yale Philharmonia. We spoke with Yoon about the challenges and rewards of performing such an important part of the flute repertoire.

Q: Why did you choose the Reinecke Flute Concerto as your competition piece?

A: The Reinecke Flute Concerto is unique in being the only flute concerto of the Romantic era, and many audience members will get to experience it for the first time. I feel a strong connection to this piece and believe that many aspects of it relate to my own life and personal experiences. When I perform this piece, I hope to share my story. I chose this piece especially because of the second movement, which is extremely nostalgic and heart-wrenching. Throughout the concerto, there are many passages of dialogue between the different voices—for example, between the solo flute, trumpet, and clarinet in the first movement, and a wonderful cantilena with the cello in the slow movement (or with the timpani, which features the same rhythm as the cello’s pizzicato passages). This rhythm sounds like a beating heart, or perhaps recalls a funeral march. The work encompasses a wide expressive scope, and it is an outstanding piece for the flute.

Q: Reinecke was a contemporary of Brahms and conducted several premieres of Brahms’ works. Do you hear the influence of this relationship in Reinecke’s Flute Concerto?

A: The Flute Concerto was written in 1908, and a key element to understanding the music is to consider its Romantic idiom, an old-fashioned style for its day. The work is rooted in the early 19th century language of Mendelssohn and Schumann, with whom Reinecke studied after settling in Leipzig in 1843, in stark contrast to the style and texture of some exemplary works composed during the same period—for example, Stravinsky’s Firebird (1910) and Petrushka (1911) ballets. Reinecke’s concerto shows him at his best and provides a milder taste of the early 20th century.

The work is in three movements, all rather different in character. The opening Allegro molto moderato is the most symphonic of the three and reflects the influence of Brahms. The first measures seem to emerge and join in on an already existing thought. The slow movement, Lento e mesto (“slow and sad”), is in the style of a bel canto aria, recalling Bellini, or the young Donizetti. The orchestra recedes to an accompanimental role, clearly giving front stage to the flute-as-protagonist, who sings mournfully in B minor. The finale is more upbeat than its Moderato marking might suggest. Reinecke’s keyboard influences are apparent in the overall texture, in which melody and accompaniment are clearly delineated yet rhythmically and gesturally interwoven.

Q: What have been the challenges of preparing and performing this concerto?

A: Personally, the most important aspect of my preparation is feeling that I truly know the work inside and out. Although the process is different for every performance of it, and new challenges arise, I always try to place focus on shaping the various lines, feeling comfortable with the technical elements, and, above all, sharing an expressive story with the audience.

The Romantic language of the Reinecke Flute Concerto has a lot to offer in terms of the expressive writing in the strings and the many colors in the winds and brass. The most challenging aspect of performing this piece is to project above and amid these textures, not just in the literal sense of projecting into the concert hall, but also the deeper manner of projecting my story and emotions to the audience. In this spirit, I hope to connect with the audience in a meaningful way.

Q: In what ways does your mindset change when you’re a soloist?

A: I have come to think about my sound more than I used to in the past. Playing with a big ensemble means that I have to project through the texture even in the softest dynamics, and that my sound needs to be clean and focused. Therefore, it requires a lot more energy compared to when I am playing solo, and I need to be aware of the balance and interaction as a soloist with the many textures and instruments of the orchestra.

Q: What are your thoughts on working with Principal Conductor Peter Oundjian, and on performing as a soloist with an orchestra of your peers?

A: I had the experience of working with Maestro Oundjian earlier this year, when we performed selections from Prokofiev’s Romeo and Juliet, as well as Shostakovich’s Symphony No. 11, for which I was principal flute. I was inspired by his expressive approach and flexibility, always engaging the orchestra to actively listen better. His passion carries through to the vibe of the orchestra and encourages us all to keep an open mind to music-making. I feel grateful for the opportunity to work with Maestro Oundjian again, and to play with the Yale Philharmonia.

This experience is so meaningful to me, especially since it is my first time playing as a soloist with an orchestra. I am so happy to share the stage with my wonderful colleagues and beautiful musicians, who are so supportive and always give me positive energy. Coming to Yale was my first time studying abroad, and this enriching community of peers made me feel comfortable and at home. I look forward to playing with them and am excited for the concert!

Principal Conductor Peter Oundjian leads the Yale Philharmonia in a season-ending performance of Brahms’ First Symphony on a program that also includes Reinecke’s Flute Concerto in D major, with Woolsey Hall Concerto Competition winner Jungah Yoon ’19MM, and Joan Tower’s Made in America, on Friday, April 26, at 7:30 p.m., in Woolsey Hall.

DETAILS & TICKETS (FREE FOR STUDENTS)

Published April 12, 2019
Share This Comments

Winners of 2019 Woolsey Hall Concerto Competition announced

The 2019 Woolsey Hall Concerto Competition took place on Saturday, April 6. This year’s competition yielded three winners: violinist Jung Eun Kang ’18MM ’19MMA, who performed Karol Szymanowski’s Violin Concerto No. 1, Op. 35; bassoonist Eleni Katz ’20MM, who performed Carl Maria von Weber’s Bassoon Concerto in F major, Op. 75; and violinist Emily Switzer ’19MM, who performed Béla Bartók’s Violin Concerto No. 2, Sz. 112. As winners, these instrumentalists will perform with the Yale Philharmonia during the 2019-20 season. Oboist Noah Kay ’19MM, who performed Richard Strauss’ Oboe Concerto in D major, AV 144, TrV 292, and guitarist Xiaobo Pu ’20MM, who performed Malcolm Arnold’s Guitar Concerto, Op. 67, were selected as alternates.

The judges were former Metropolitan Opera Orchestra flutist and current Aspen Music Festival and School faculty member Nadine Asin, pianist and Concert Artists Guild President Tanya Bannister, and former Juilliard String Quartet violinist and current Juilliard School faculty member Earl Carlyss.

We congratulate our outstanding students and look forward to hearing them perform next season with the Yale Philharmonia.

Published April 8, 2019
Share This Comments

Carolyn Kuan to conduct the Yale Philharmonia

Carolyn Kuan

On Friday, April 5, Carolyn Kuan, the Music Director of the Hartford Symphony Orchestra, will lead the Yale Philharmonia in a performance of Igor Stravinsky’s Symphony in Three Movements, Aaron Copland’s Fanfare for the Common Man and the suite from Appalachian Spring, and Arild Plau’s Concerto for Tuba and Strings with Woolsey Hall Concerto Competition winner Jake Fewx ’18MM ’19MMA. We spoke with Kuan about the repertoire and the experience she wants the audience to have.

Q: The works by Copland and Stravinsky on this program were all composed during World War II, though with different inspirations and motivations. Copland’s Fanfare for the Common Man celebrates the everyday American, and his Appalachian Spring, a ballet (and, later, the orchestral suite) for Martha Graham, is a musical portrait of new beginnings. Stravinsky’s Symphony in Three Movements is a more direct and personal effort to capture and share impressions of war. What went into your thinking, from a musical standpoint, in putting this program together?

A: I fell in love with Stravinsky’s Symphony in Three Movements at my first job as a conductor-in-residence at the New York City Ballet. It is one of George Balanchine’s most striking ballets and an impressive piece of the company’s core repertoire. Balanchine’s choreography comes from an in-depth understanding of the music, and for a long time I associated the piece more as a ballet than a symphonic work. Stravinsky wrote the piece in his early 60s and was revising TheRite of Spring around the same time. Influences from TheRite of Spring (written when Stravinsky was 31) can certainly be heard in the symphony, blended with elegance, maturity, life experiences, and world events. Interestingly, Stravinsky and Copland were writing their respective pieces at the same time. As artists, we are influenced by the world around us. It is fascinating to hear these two pieces in the same evening, especially in the chaotic world we live in today.

I am very excited to work with Jake Fewx and to share with the audience Arild Plau’s Tuba Concerto. Since it is just under 20 minutes, we thought preceding the concerto with Fanfare for the Common Man, which highlights the majestic brass sounds, and following it with Appalachian Spring, would be a fascinating and rare auditory journey for the audience.

Q: What background information if any do you want the audience to have before hearing these pieces performed?

A: Many people are familiar with the song “Simple Gifts,” with its opening lyrics “’Tis the gift to be simple, ’tis the gift to be free.” I love how Copland was inspired by the melody and borrowed it for use in Appalachian Spring. Ultimately, both Copland and Stravinsky encouraged the audience to appreciate their music without thinking too much about any potentially relevant programs or stories. For its 1946 premiere, Stravinsky insisted that the Symphony in Three Movements was absolute music, although inspired “by this arduous time of sharp and shifting events, of despair and hope, of continual torments, of tension, and at last, cessation and relief.” He wrote in one of his letters that “if passages from the program notes are used to imply extramusical connotations in my work, I have to disclaim any responsibility for such interpretations.” Supposedly, Stravinsky later provided detailed comments about the symphony, and we know he used music from a previous piano concerto, as well as music for a movie. Nevertheless, it is always wonderful to just listen to the music, and let it move you and take you on a journey. For Appalachian Spring, either before or after coming to our concert, it is fascinating to explore Martha Graham’s original choreography. Understanding Graham’s original ballet, her movements, and dance languages has certainly influenced my approach to the piece.

Guest conductor Carolyn Kuan and the Yale Philharmonia in rehearsal.

Q: Arild Plau’s Tuba Concerto—any tuba concerto, for that matter—will be a new experience for most audience members. Does that place any extra responsibility on you? 

A: For me, when it comes to a concerto, my job is to accompany and support the soloist, not unlike a piano accompanist. Almost always, soloists have spent countless hours shaping their vision and relationship with the concerto. I love sharing new sounds with the audience—sometimes in the form of unusual solo instruments such as the tuba, koto, pipa, sheng, bagpipe, etc; other times in the form of unusual sounds created by composers through fascinating instrumentation.

Q: Do you take a different approach to conducting a student ensemble than you do a more seasoned orchestra?

A: The Yale Philharmonia is an impressive orchestra, and in many ways stronger than many professional orchestras. All the orchestras I work with, including the Yale Philharmonia, play at an incredibly high level. For me, the approach is always the same, which is to make music and give everything we have in the pursuit of excellence, passion, depth, and exploration.

Q: Many recordings have been made of the works by Copland and Stravinsky that you’ll be performing with the Yale Philharmonia. Why are live performances of this music important? Why should people seek out concerts like this?

A: There are so many reasons! Attending live performances is a shared experience that is completely different than listening to music on Spotify, Pandora, or on a CD. Audience members often don’t realize they are an active and integral part of a concert experience. As performers, we can feel the energy of an audience. There is often an unspoken chemistry—as the energy between performers and audience builds, it sometimes becomes electrifying, and there is nothing quite like it. Technology has come a long way. However, watching a movie on TV is still a very different experience than seeing it in the movie theater. Even with the best sound system, there is no comparison to hearing these great symphonic works live—the glorious full strings, the exquisite beauty of a flute, the magnificent brass, the powerful drums, and so much more!

Guest conductor Carolyn Kuan leads the Yale Philharmonia in a performance of Stravinsky’s Symphony in Three Movements, Copland’s Fanfare for the Common Man and the suite from Appalachian Spring, and Arild Plau’s Concerto for Tuba and Strings with Woolsey Hall Concerto Competition Jake Fewx, on Friday, April 5, at 7:30 p.m. in Woolsey Hall.

DETAILS & TICKETS (BUY ONE, GET ONE FREE)

Published April 2, 2019
Share This Comments

Jake Fewx ’18MM ’19MMA, on being an ambassador for the tuba community

Jake Fewx

On April 5, tubist and Woolsey Hall Concerto Competition winner Jake Fewx ’18MM ’19MMA will perform Arild Plau’s Concerto for Tuba and Strings with guest conductor Carolyn Kuan and the Yale Philharmonia. We spoke with Fewx about his eagerness to challenge people’s expectations of the tuba as a solo instrument.

Q: You’re the first tubist to be a winner of the Woolsey Hall Concerto Competition. Is the tuba at a disadvantage when it comes to competitions like this?

A: This is a huge honor for me. One of the philosophies that has been deeply ingrained from my studies is that the tuba is at a disadvantage in the sense that it has several negative connotations associated with it. When an audience sees a tubist walk on stage there are several stereotypes that run through their brains (heavy, loud, brassy, oom-pah, etc.), giving them low expectations about what they are going to hear. As a classical tubist, it is always my goal to shatter these expectations by performing with a great sound and always playing with high-quality musicianship. I am very excited to have this opportunity to act as an ambassador for the tuba community and to show the world that the tuba is a beautiful solo instrument.

Q: You’ll be performing Arild Plau’s Concerto for Tuba and Strings. Is this standard repertoire for tubists?

A: It’s a little bit of a hidden gem in the tuba repertoire but is growing very quickly in popularity. There are some great recordings of it out there and it has been on several competition lists.

Q: Musically, what can you tell us about the Plau concerto? What would you want the audience to know about this piece before hearing it?

A: This piece is very emotionally dense. Plau composed this piece in memory of his wife shortly after she passed away. The music, understandably, is filled with a lot of sadness and grief. The piece, in my opinion, depicts the composer’s own emotional journey through his loss, including a quasi-funeral march at the end of the second movement, and closes with a very odd, confused scherzo, leaving the journey (open-ended) in a way. There is a lot of fluctuation in the mood of the piece, with the music evoking some very sad, soft-spoken melodies, some very fast, passionate runs, and some very mournful kinds of shouts in the upper register of the tuba. The writing for strings is absolutely gorgeous. They provide this very lush backdrop for the tuba melody to sink into and they provide some very fiery, passionate interludes between sections. There are a few melody trade-offs between the tuba and solo violin that are particularly effective. This piece is really beautiful and I can’t wait for the audience to hear it!

Q: Does the fact that there are fewer tuba concertos out there than repertoire for other instruments make it more difficult to choose solo repertoire?

A: Yes and no. The tuba’s lineage is very young compared to the rest of the orchestra and even younger when you consider solo literature. Ralph Vaughan Williams’ Concerto, written in 1954, was one of the first, if not the first, solo pieces for tuba by a major composer. There are some other excellent tuba concertos by John Williams, Edward Gregson, and more recently by Jennifer Higdon, but, generally, there aren’t a ton to choose from. Since tubists don’t get a chance to perform as soloists too often, it is very common to hear the standard concertos. The rest of the solo repertoire for tuba is increasing in size and quality as time goes on, which is providing us with more and more great, original music for the tuba.

Q: In what ways does your mindset change when you’re a soloist?

A: When playing in an ensemble I have to wear a different hat, so to speak. Solo playing allows me to be freer and more expressive, but in a large ensemble I have to act as a foundation, always striving to produce rock-solid sound, pitch, and tempo. I often act as the bottom voice of the brass section and am most often paired with the trombones; however, depending on the piece, my role can extend outside of this. We (the Yale Philharmonia) recently performed selections from Prokofiev’s Romeo and Juliet, and I was often paired with the basses, piano, and low winds, which kept me on my toes in terms of how I approached the performance. I’m particularly fond of chamber playing because it is kind of an amalgamation of playing styles. In a brass quintet, the tuba parts are often very active and challenging, forcing me to provide a foundation for the group while also having to provide the occasional melody. All in all, each of these mediums has helped me become a more well-rounded musician.

Q: How does it feel to be performing a concerto with an orchestra of your peers?

A: It is amazing! I am so fortunate to be in a school where I am surrounded by so many awesome, talented people. I am very humbled to have been given this opportunity. I can’t wait to get on stage and share this piece with the audience!

Guest conductor Carolyn Kuan leads the Yale Philharmonia in a performance of Stravinsky’s Symphony in Three Movements, Copland’s Fanfare for the Common Man and the suite from Appalachian Spring, and Arild Plau’s Concerto for Tuba and Strings, with Woolsey Hall Concerto Competition Jake Fewx, on Friday, April 5, at 7:30 p.m. in Woolsey Hall.

DETAILS & TICKETS (BUY ONE, GET ONE FREE)

Published April 1, 2019
Share This Comments

Pianist Sophiko Simsive ’18MM ’19MMA, on performing with the Yale Philharmonia

Sophiko Simsive. Photo by Marco Broggreve

Asked about Brahms’ First Piano Concerto, which she will perform with the Yale Philharmonia on Thursday, Nov. 15, Sophiko Simsive ’18MM ’19MMA does not get into musical details. “I’ve been trying to think in a more abstract way,” she said, explaining, “I like to relate to pieces on a personal level.” Simsive described herself as “a musician that always tries to identify the emotion in a piece” and wants the audience to feel that though her performance. “I feel very strongly about this piece,” she said. “I want to bring out my personality and I’m trying to bring out the story I’m trying to tell with it.”

While Simsive has long been familiar with the concerto, it was not until she played a piano arrangement of the orchestra part, for a March 2017 recital here at YSM by Dong Won Lee ’18MM, that she started “thinking deep and really getting my hands on” the piece.

Just hours removed from her first rehearsal with the Philharmonia, Simsive said, “I feel very much part of the orchestra.” Thursday’s concert in Woolsey Hall, she said, will be a high point of her time here at Yale, largely because she will be performing alongside colleagues. “I feel completely like I’m playing at home,” she said.

At the first rehearsal, Simsive said a few words to members of the Philharmonia. “I felt so grateful for the opportunity to play with the Yale Philharmonia. I wanted to let them know that for me it felt like playing chamber music with each and every one of them.” Simsive has worked with many musicians in the YSM community and pointed out that she played piano, celeste, and organ as a member of the Philharmonia in September.

As the soloist on Thursday’s concert, Simsive is looking forward to sharing a bit of herself with the Woolsey Hall audience. “I can tell a lot of different stories,” she said, “but they have to feel something—and that something is my life at Yale.”

Woolsey Hall Concerto Competition winner Sophiko Simsive ’18MM ’19MMA will perform Brahms’ Piano Concerto No. 1 in D minor, Op. 15, with the Yale Philharmonia on Thursday, Nov. 15, at 7:30 p.m., in Woolsey Hall. The program also includes Strauss’ Also sprach Zarathustra.

DETAILS & TICKETS (BUY ONE, GET ONE FREE)

SOPHIKO SIMSIVE

Published November 12, 2018
Share This Comments

Violist Josip Kvetek ’18MM, on being a soloist with an orchestra of his peers

Josip Kvetek ’18MM

When violist Josip Kvetek ’18MM played Paganini’s Sonata per la Grand Viola on a recital here at YSM last year, it wasn’t with an eye on performing the piece with the Yale Philharmonia, which he’ll do on Friday, Jan. 26. “It’s not very serious music,” Kvetek said, explaining that the Paganini sonata is a fun piece of music, a quirky sonata that just happens to be, in the words of principal conductor Peter Oundjian, “probably the most difficult piece ever written for viola.” After Kvetek’s recital performance last year, his teacher, Ettore Causa, suggested that he enter the Woolsey Hall Concerto Competition, which Kvetek won in April 2017.

The sonata, Kvetek said, is “not standard repertoire for viola.” Paganini, he explained, “commissioned a piece from Berlioz” to be played on a five-string viola. Berlioz, in response, composed Harold in Italy, an orchestral piece with viola solos. “Paganini didn’t like the first draft of the piece,” Kvetek said, “so he decided to write his own piece.” The result is “a sonata for solo instrument and orchestra, which is very odd.”

Kvetek will perform the piece on a standard viola, an instrument without an added E string, which means “I have to play with an improvised thumb position” to execute passages in the instrument’s upper register. In terms of interpretation, Kvetek said, “it’s very simple, harmonically and melodically. It’s just simple from every angle.” Still, it’s a piece that can easily feel like blocks of virtuoso passages arranged without much cohesion. “It starts becoming 50 little tasks,” Kvetek said, “and not one, coherent story. The part that helps with that is it’s very operatic. It’s much easier if you let go of the classical way of thinking.”

Now in the second year of YSM’s master of music degree program, studying with Causa, and with Steven Tenenbom while Causa is on sabbatical, Kvetek has done his share of playing with the Yale Philharmonia as a member of the orchestra’s viola section. On Jan. 26, he’ll be out front, next to guest conductor Ignat Solzhenitsyn, who’ll lead a program that also includes Stravinsky’s Firebird Suite (1919 version) and Franck’s Symphony in D minor. Performing as the soloist with an orchestra of his peers is “a little bit more stressful,” Kvetek said, “because you do know all the people. The benefit is that they’re very supportive and very helpful in the process. Everybody is hoping or cheering that you play the best you can. It becomes much easier to play in that environment.” The stress, he said, comes from wanting “to present yourself well” in front of one’s peers.

Given the operatic nature of the Paganini sonata, Kvetek said, “The majority of it is on me to deliver a performance that other people can follow.” Part of that responsibility, to be sure, falls on Solzhenitsyn, with whom Kvetek hasn’t worked. Basing his impressions on YouTube videos, Kvetek described Solzhenitsyn as an expressive conductor, which “will help me connect with the orchestra and will help bring this piece together.” Because there’s no “prescribed way of how you perform” the Paganini, Kvetek said, “It’s up to me to play it just the way I want to play it.”

On Friday, Jan. 26, guest conductor Ignat Solzhenitsyn leads the Yale Philharmonia in a program that includes Stravinsky’s spellbinding Firebird Suite (1919 version), Paganini’s Sonata per la Grand Viola, with 2017 Woolsey Hall Concerto Competition winner Josip Kvetek ’18MM, and Franck’s inventive and affecting Symphony in D minor.

DETAILS & TICKETS
WATCH A PREVIEW VIDEO

Published January 18, 2018
Share This Comments

Ignat Solzhenitsyn, on “Firebird” and working with young musicians

Ignat Solzhenitsyn

Principal conductor Peter Oundjian has said that guest conductor Ignat Solzhenitsyn, who’ll lead the Yale Philharmonia in a performance of Stravinsky’s Firebird Suite (1919 version, from the composer’s ballet score) on Friday, Jan. 26, “particularly wanted to do this piece with our students.” Solzhenitsyn recently pointed out that it’s “one of the very, very greatest orchestral paintings in our repertoire and a piece that, of course, is predicated upon the limitlessness of imagination.” Imagination, Solzhenitsyn said, is most fertile and open to influence during one’s youth. The Firebird Suite “is really a piece that, more than anything, is for young people,” he said. “It will showcase the Yale Philharmonia to beautiful effect.” The orchestra, in turn, will provide a capable vehicle for the stuff of Stravinsky’s imagination — and for the Russian legend that the composer explored — which will no doubt inspire the Woolsey Hall audience, just as it has long captivated audiences around the world.

With Solzhenitsyn, who serves as principal guest conductor of the Moscow Symphony Orchestra and conductor laureate of the Chamber Orchestra of Philadelphia, the Yale Philharmonia will also perform Paganini’s Sonata per la Grand Viola, with 2017 Woolsey Hall Concerto Competition winner Josip Kvetek ’18MM, and Franck’s Symphony in D minor. Kvetek recently said that the Paganini is “not standard repertoire for the viola,” and that while it’s “very simple, harmonically and melodically,” it’s not a piece that on its own tells “one coherent story.”

“The part that helps with that,” Kvetek said, “is it’s very operatic.” Kvetek “nailed it,” Solzhenitsyn agreed, saying the Paganini is a show piece, one that’s very difficult for the soloist. What makes it fun, Solzhenitsyn said, is the very notion that Paganini, a virtuoso violinist, produced such a piece for the viola. “Charm, wit, teasing, easy grace — those kind of words inform this work,” he said.

Asked about the Franck being a piece that’s gone in and out of favor with orchestras, Solzhenitsyn bristled. “It’s a concept I still have trouble wrapping my head around,” he said, pointing to the obvious fact that “the intrinsic worth of ‘X’ has nothing to do with if it’s popular or not, or has very little to do with it.” He’s among those who don’t understand why the Franck symphony is not performed more frequently, give that it is, undeniably, a “touchstone of the Romantic symphonic repertoire.”

“The beauty, the power, the innocence, the honesty of this music, I think, speaks for itself,” Solzhenitsyn said.

Seeing Solzhenitsyn on the podium will be a new experience for members of the Philharmonia. And working with Yale students, for Solzhenitsyn, will present a different opportunity than the experiences he’s had leading ensembles of more seasoned musicians. A collective sense of wonder and discovery that is at times diminished in a professional ensemble, he said, is right there, in all its glory, for everyone to see in a young ensemble.

On Friday, Jan. 26, guest conductor Ignat Solzhenitsyn leads the Yale Philharmonia in a program that includes Stravinsky’s spellbinding Firebird Suite (1919 version), Paganini’s Sonata per la Grand Viola, with 2017 Woolsey Hall Concerto Competition winner Josip Kvetek ’18MM, and Franck’s inventive and affecting Symphony in D minor.

DETAILS & TICKETS
WATCH A PREVIEW VIDEO

Published January 17, 2018
Share This Comments

YSM percussionists to perform faculty composer’s double marimba concerto

Sam Um, left, and Georgi Videnov

On Friday, October 27, percussionists and Woolsey Hall Concerto Competition winners Sam Um ’17MM ’18MMA and Georgi Videnov ’15MM ’17MMA will perform YSM faculty composer Martin Bresnick’s concerto for two marimbas, Grace, with principal conductor Peter Oundjian and the Yale Philharmonia. We spoke recently with Sam and Georgi about preparing and performing Bresnick’s concerto.

Q: Grace was composed in 2000 for Yale Percussion Group Director Robert van Sice. How has working with Prof. van Sice informed your approach to the concerto? Has the piece changed at all since Prof. van Sice first performed it?

SU: Working with Prof. van Sice is always an exciting and illuminating experience. From the stories of how this piece came to life to his experiences of playing this piece in various places in the world, those stories influenced a lot of perspective and gave us more of a sense of attachment to the piece.

GV: In the case of Grace, Prof. van Sice usually uses it as a teaching tool by playing the first marimba part himself and giving the other to a student. This time, by working on it from the outside, he focused our attention on issues such as balance, stylistic approach, and interpretation. Even though the piece itself hasn’t changed, I believe that the relationship between each of the performers creates a unique version of it every time it’s played.

Q: Have you talked at all with Prof. Bresnick about the piece and, if so, what have those conversations yielded?

GV: Sam and I had the pleasure of playing it for Prof. Bresnick in a coaching and during my recital. One of the important aspects for him was to differentiate the “roles” of the two soloists — such as there is clearly a puppeteer and a puppet — as Heinrich von Kleist reflects on this relationship in his essay The Puppet Theatre.

SU: Prof. Bresnick and Prof. van Sice’s attention to the sound of the instrument was crucial in our process because we came to realize that the sound world of this piece is just so beautiful and complex. The idea of echo, nostalgia, and groove made us view the piece in an entirely different way.

Q: What unique aspects of the instrument and mallet technique does the piece exploit?

 GV: The piece exploits a number of techniques utilizing the entire five-octave range of the marimba. In its climactic points, Sam plays in the low register of the instrument, while I cover its high register, allowing the marimba to express its sonorous qualities to its fullest potential. What I find particularly interesting is the interlocking gestures that both marimbas have between each other to create a continuous texture.

SU: In order to achieve a huge sound without being aggressive requires a mature approach to the instrument. Trying to find that balance of making it sound weighty was a special technique, which was very challenging.

Q: What are the most challenging aspects (either technically or musically) of the piece? And what are the challenges of performing the piece with an orchestra?

GV: Due to its nature and the fact that we fill each other’s rests, it is almost harder to play and practice the piece on your own. Early on in the process, Sam and I started rehearsing it together before we even had fully mastered our individual parts to get a sense of how it fits together.

SU: Again, the sound has to be one of the most challenging parts about this piece. To create the beautiful texture and to almost tag-team with different groups of instruments to become one super-instrument will be challenging.

Q: How have you gone about ensuring a consistency of sound and color (between you)?

SU: We did lot of counting work and breathing together whenever we had entrances together. With such responsive instruments like percussion, we have to focus a lot on each other’s ictus and try to match our strokes. In the third movement, where we have passing, flowing lines, we sang those lines out loud to match our dynamics and tempi.

GV:  The marimbas are set up in such a way (facing each other) that allows us to constantly check in with each other, both visually and aurally, on our sound and color. As Sam mentioned, we are quite aware of our stroke preparations and how we feel the groove, both when we are playing and when we have rests.

Q: How would you introduce the piece to audiences who might be new to marimba concerti and even to contemporary music?

GV: Despite the fact that the marimba has found its place in the contemporary solo concerto repertoire, the choices for a double marimba concerto are quite limited. Here is an example that doesn’t try to impress with virtuosity (even though it requires such), but with grace.

SU: I’d love to say that just because it’s new music, it’s not all complicated and difficult to listen to. Contemporary composers are mostly influenced by great musicians people are familiar with such as Bach, Beethoven, and Brahms, and they all share the same vision of making music important in their culture. I strongly believe that experiencing and being exposed to new music can be beautiful, nostalgic, and heartwarming, as well.

Q: What are your thoughts about performing a concerto by a YSM faculty composer here, at YSM, with an orchestra of your peers?

GV: Even though I’d like to share this piece with audiences outside of YSM in the future, I don’t think there is a better place for it than where the piece was conceived and having the opportunity to work on it with our professors and Maestro Oundjian — especially at Yale’s Woolsey Hall!

SU: I am very happy to have this opportunity where we can perform a piece by Martin Bresnick, who is undoubtedly one of the greatest composers and pioneers of today’s music. And to say that I am part of the same community (YSM) as him defines the great experience that students can have here at Yale. Performing this concerto has become so much more than giving a great concert. As percussionists, we unkowningly become ambassadors of new music and percussion. With this concert, I hope that we’ll be able to soften some opinions and break any barriers and fears that people have toward new music. I am grateful to be a part of the Yale School of Music, where the School provides its full support for the new music scene with concert series and opportunities like this.

Principal conductor Peter Oundjian and the Yale Philharmonia will perform in Woolsey Hall on Friday, October 27, at 7:30 pm. The program features the world premiere of the International Bruckner Society’s new edition of the composer’s Eighth Symphony, which was created by Yale School of Music Professor of Musicology and International Bruckner Society editorial board member Paul Hawkshaw. Special offer: tickets are free for all students.

LEARN MORE ABOUT AND BUY TICKETS TO THE OCTOBER 27 YALE PHILHARMONIA CONCERT

Published October 24, 2017
Share This Comments

Guest conductor David Robertson, on leading the Yale Philharmonia

David Robertson. Photo by Jay Fram

On Friday, October 13, guest conductor David Robertson, music director of the St. Louis Symphony Orchestra, will lead the Yale Philharmonia and violinist Laura Park in performances of William Walton’s Violin Concerto, Christopher Rouse’s Rapture, and Richard Strauss’ breathtaking tone poem Ein Heldenleben. We recently reached Mr. Robertson in St. Louis and asked him about championing American music and working with ascendant artists.

Q: You’ve conducted a lot of Christopher Rouse’s music. Would you talk about the importance of programming Rapture (and Rouse’s work) and bringing it to our audience here in New Haven?

A: I think that Chris’ music is really unique in the way that he has taken his experience of popular music culture, which is inescapable in the United States … I think it’s universal now. But it was possible to hold it at arm’s length in certain cultures that maintain the sort of strong roots of classical music in Europe – whereas in the United States, there’s never been this strict dividing line that the Germans have, say, between ernste Musik and Unterhaltungsmusik or serious music and entertainment music, translated loosely. So the interesting thing is that each American composer from Ives on out has really had to deal with How do they feel about this? How does it influence them? And the fascinating thing with Rouse is that it has allowed him to gain a certain amount of energy from the current and popular music, and at the same time keep all of the refinements that we know from sophisticated forms of music. And so the result is really a personal amount of or fusion of these things at a far deeper level that you can really point to and say, “Oh, well, you see this is the popular influence,” which you might be able to do, say, in a composer like Copland or possibly Virgil Thomson. With Rouse, they are fused in the same way that they are fused with Steve Reich or with John Adams. And I find that his particular take on the almost naïve emotional content that one often associates with the American experience, naïve in the best sense of the word – in the sense of pure, and unadulterated – is something that he brings out. And in Rapture it is the constant exploration of that sort of feeling of joy and autonomous peace. And the sort of feedback loop that this gives within the work. And so it’s this extraordinary build, which I don’t know that you could do in quite the same way and not have it be allied say as Ravel does with Bolero, with an actual dance form. He manages to make this cumulative in a number of remarkable ways. And so it felt like it was a great way to start a program that contains the other two works, both of which being emotional expression and storytelling in their own way. MORE

Published October 4, 2017
Share This Comments

Winners of 2017 Woolsey Hall Concerto Competition Announced

The 2017 Woolsey Hall Concerto Competition took place on Saturday, April 8. This year’s competition yielded three winners: violist Josip Kvetek ’18MM, performing Niccolo Paganini’s Sonata per la Grand Viola; violinist Laura Park ’18MM, performing William Walton’s Violin Concerto; and percussion duo Georgi Videnov ’17MMA and Sam Um ’17MM, performing Martin Bresnick’s Grace, concerto in three movements for two marimbas and orchestra.

As winners, these Yale School of Music students will perform with the Yale Philharmonia during the 2017-18 season. The judges noted that they were very impressed with the high level of talent that was demonstrated by all performers. Violinist Rachel Ostler ’18MMA was selected as an alternate, and honorable mentions were given to hornist Scott Leger ’18MM, mezzo-soprano Anne Maguire ’17MM, and violinist Diomedes Saraza Jr ’17MMA.

The judges were flutist Tara Helen O’Connor, who serves on the faculties of the Purchase College Conservatory of Music, Bard College Conservatory of Music, and Manhattan School of Music, Jonathan Yates, music director of the Norwalk Symphony Orchestra, and cellist Robert Martin, the director of faculty and a professor at the Bard Conservatory of Music.

Published April 11, 2017
Share This Comments