Now Hear This: an Interview with Ann Hung and Stanislav Chernyshev, clarinet

Ann Hung and Stanislav “Stas” Chernyshev not only play the same instrument; co-lead Opus Nova, a new chamber music series in Fort Worth; and will perform together at FACP’s Bancroft Family Concert: WOMEN OF NOTE; but they are also married! The dynamic duo took a moment to give our audience a glimpse at the program, which focuses on female composers, and some background on their lives and careers.


What piece on the program are you most looking forward to sharing with our audience, and why? Ann and Stas: Missy Mazzoli’s trio “Lies you can believe in.” Not only Missy Mazzoli is one of the most inventive living composers these days, she is also close to our age and speaks the musical language of the 21st century.

When did you start playing the clarinet? Why did you choose the instrument? Did you learn other instruments? Ann: I started to play the clarinet when I was 10. My mom actually chose it for me, simply because it is an easy instrument to carry around. I also play the piano, and I started the piano when I was 5. Stas: I started the clarinet when I was 13. I heard Benny Goodman play the clarinet on the radio and immediately fell in love with the sound. That’s what made me want to learn this instrument. I also play a little bit of piano, I started at the age of 8.

When did you decide to pursue music as a career? Ann: I have been in music school since 3rd grade. Of course there are some difficult times when I just wanted to play outside with friends instead of sitting in front of a music stand and practicing, but music brings me so much of joy, I’ve always known I wanted to do something that relates to it. Stas: I decided to be a professional musician after I won my first solo competition at age 15.
 
Who’s your favorite composer to listen to? To play? Ann: It’s hard to pick just one, and it changes with time. Lately I’ve been in love with Scarlatti, Ravel, and Beethoven. But Brahms has always been my favorite to listen and play without a doubt. Stas: Bach, Beethoven, and Brahms.

What advice would you give 14-year-old Ann and Stas? Ann: Practice and listen to music as much as you can! Enjoy the time that practicing is the only thing you need to worry about (ha-ha)! Stas: I would definitely give myself lots of life advice if I could go back! If we are talking about music,  I would suggest myself to practice more and attend as many concerts as possible.

What advice would you give to a high schooler who wants to pursue music in college? Ann: Know that you are going to spend the majority of your time alone in the practice room whether you are free or not: holidays, weekends, finals–doesn’t matter. If you still think that’s something you want to do, then yes! Follow your heart! It’s a hard path, but I guarantee the result is just as gratifying as it can be. Stas: If you decide to pursue music as your career practice hard, but don’t forget to have a life as well. Your life experience is what makes your music unique. The music has to be personal and it has to come from your heart.

What’s your favorite sound? Ann: The waves from the ocean. Stas: I recently heard a Mariachi group, one of the instruments there called guitarron (basically a bass guitar), absolutely blew my mind.

Finally, when you leave this world and reach the pearly gates, what celestial concert to you hope to hear? Ann and Stas: Beethoven String Quartets

 


Now Hear This (again!): an Interview with Jolyon Pegis, cello

When Jolyon Pegis, Associate Principal Cello of the Dallas Symphony Orchestra, played our Bancroft Family Concert series last season, we conducted a “Now Hear This” interview to get to know the musician and the program for that day. For this go-round, we asked a few more questions to get that behind-the-scenes peek our audience loves. Enjoy! And we’ll see you this Saturday, November 10, at 3 p.m. for Dynamic Duos: the Bancroft concert featuring Jolyon with DSO violinist Maria Schleuning.


 

Jolyon Pegis & Maria Schleuning

What piece on Saturday’s program with Maria are you most excited about?  I’m probably most excited to perform the Kodály Duo. We haven’t performed this work in over 10 years. It’s so well written for both instruments and is fun to perform. The audience will find it entertaining and very satisfying.

Can you explain a bit about what your role as Associate Principal Cello is? What’s your function with the other musicians/within the cello section?  There are two things I need to accomplish as an Associate Principal. If you attend a DSO concert you’ll notice that I am sitting directly behind the Principal. My first goal is to play with the Principal. If I don’t, it will make the job of the section much harder since I will essentially block their view of what the Principal is doing. I also help transmit information from the Principal to the rest of the section. The other duty of anyone who is an Associate Principal is to cover for the Principal if they are off that day. That means you have to be ready to assume the duties of the Principal, sometimes with little notice.

You last played for us in March 2018. What brought you back to play for our audience this season?  This program is the first of a series of concerts that Maria and I are giving. We’ll repeat this program in Ann Arbor, Michigan, in December.

What cello piece or recording should everyone have in their music library?  In my last DMA concert in March I performed the Vivaldi Cello Concerto in B Minor. I learned about this piece from a CD of Vivaldi Concertos featuring the cellist Heinrich Schiff. I really love this CD. I think this is a good one for your collection!

 

An excerpt from Jolyon’s interview in March 2018:

Is chamber music for cello a big part of the repertoire? Yes, it is. These pieces are interesting because they are really chamber concertos. I was surprised to learn many years ago that Vivaldi wrote about 35 of these concertos for cello and Boccherini wrote 15.

How old were you when you started playing cello? Why did you choose it? Did you learn other instruments? I actually started with the violin. I played from ages 5 to 8 and then switched to cello. I’ve always liked the lower register and darker sounds of the cello. I also played the piano throughout high school.

What type of music did you listen growing up? I come from a family of classical musicians so it was strictly classical in our house growing up. With three violinists in the family I heard a lot of violin concertos as a kid. I know we wore out many records from constant playing. Although I preferred playing the cello I really liked listening to certain violinists more than anything. Fritz Kreisler and Pinchas Zukerman were my favorites.

What do you listen to now? I spend so much of my time in rehearsals or performing that sometimes I prefer silence after a concert. The radio stays off on the car ride home! Or I prefer a book on tape.

What advice would you give 14-year-old Jolyon? If you really want to improve, you need to practice consistently and you need to practice smart. It’s so important to have a plan when you get to work. I wish I learned this at an earlier age.

What advice would you give a high schooler who wants to pursue music in college? Music is a very demanding profession. If you’re not all in, don’t do it. If you try to do a double major as a “back-up,” you most likely won’t succeed. The most important thing you will do in college is practice – probably 4 or 5 hours a day. Anything that gets in the way of doing that needs to go. After college you aren’t going to get hired because of your degrees, grades, extra-curricular activities etc. You’ll get hired because of how well you play.


Season Announcement: 35th year of free concerts features top DFW musicians

Fine Arts Chamber Players: A Season of Family and Friends

Fine Arts Chamber Players is pleased to share with you the 2018–2019 season of its free Bancroft Family Concert Series at the Dallas Museum of Art: seven virtuosic programs featuring Dallas’s top professional musicians. The season is bookended by key Dallas Symphony Orchestra (DSO) personnel Alexander Kerr and Nathan Olson, and FACP is honored to have several preeminent members of the DSO, The Dallas Opera Orchestra, and the Fort Worth Symphony Orchestra (FWSO) featured throughout the series – truly a celebration of musical families and FACP’s friends. The season opens with DSO Concertmaster Alexander Kerr joined by DSO pianist Anastasia Markina and closes with DSO Co-Concertmaster Nathan Olson’s Baumer String Quartet.

The Bancroft Family Concert series, 2018-2019 Season

  • Saturday afternoons: October 13, November 10, January 12, February 9, March 23, April 13, May 4
  • All concerts begin at 3 p.m., doors to the auditorium open at 2:30 p.m.
  • Horchow Auditorium in the Dallas Museum of Art (1717 N. Harwood St., Dallas 75201)
  • No tickets required. General admission to the DMA is also free. Families with children welcome.

 

October 13, 2018: MUSIC FROM THE TOP

DSO Concertmaster Alexander Kerr and DSO pianist Anastasia Markina perform music by Antonín Dvořák, Leoš Janáček, and Ludwig van Beethoven.

 

November 10, 2018: DYNAMIC DUOS

A DSO duo featuring Associate Principal Cello Jolyon Pegis, and DSO violinist Maria Schleuning presents music by Joseph Haydn, Astor Piazzolla, and Zoltán Kodály.

 

January 12, 2019: ANCIENT INSTRUMENTS IN MODERN TIME (update)

Russell CampbellAssociate Principal Trumpet of the DSO, and DSO Principal Harp Emily Levin perform fresh and engaging music in this unusual pairing of instruments whose histories are thousands of years old. The program includes music by DebussyGershwinde Falla, and more.

 

February 9, 2019: FAMILY OF FLUTES

David BuckPrincipal Flute of the DSO, and his wife, distinguished flutist Jung-Wan Kang, join DSO pianist Steven Harlos in an afternoon of music for two flutes and piano.

 

March 23, 2019: WOMEN OF NOTE

Opus Nova, DFW’s newest chamber music ensemble, features husband and wife Artistic Directors: clarinetist Ann Hung and Stanislav ChernyshevFWSO Principal Clarinet. Presented during Women’s History Month and during the Dallas Museum of Art’s exhibit Berthe Morisot, Woman Impressionist, this concert celebrates the artistic contributions of women.

 

April 13, 2019: CHARLES BARR MEMORIAL

Yong-Ha Jung, viola, winner of the 2018 Lynn Harrell Concerto Competition, a Rising Star recitalist at FACP’s 2017 Basically Beethoven Festival, and music student at The Juilliard School, presents a recital in memory of Dallas native, bassist Charles Barr.

 

May 4, 2019: QUARTETS IN HARMONY

The Mendelssohn Octet, jewel of the chamber music repertoire, is performed by the Baumer String Quartet, led by DSO Co-Concertmaster Nathan Olson, and SMU’s resident ensemble, the Julius Quartet.


Now Hear This: Jared Schwartz, bass

The final concert of the 2018 Basically Beethoven Festival is a look at “Art Song,” intimate pieces by French and American composers performed for us by operatic bass Jared Schwartz and pianist Mary Dibbern. We interviewed Mr. Schwartz so our audience can get to know the local musician before hearing him at Moody Performance Hall on Sunday. Read on to learn why he stopped being a pre-med student to focus on voice, and when he “decided to give singing a chance.”


What piece on the program are you most looking forward to sharing with our audience? “Jeanne d’arc au bûcher” (Joan of Arc at the Stake) is a French song by Franz Liszt. Joan is preparing to walk to the pyre to be burned alive at the stake. You get to experience all the emotions of her fears and her faith as she ascends the platform, and then passes into heaven to find her eternal reward. Every time I sing this piece, I have to stop for a moment afterwards and thank God for such incredible music.

 

How old were you when you started studying voice? Why did you decide to, and did you learn any other instruments? I started piano at age 3 and originally thought that would be my path. I was actually a piano major in college, and I grew up studying violin and French horn. Additionally, I sang in (and accompanied) choirs and musicals, but never actually studied singing until halfway through my sophomore year of college at Bethel College, thanks to my voice teacher, Vicky Garrett. A year and a half later I auditioned for graduate school at the Eastman School of Music for voice and, after I got in, decided to give singing a chance. After graduate school, I have flown every six or so weeks to NYC to study with my voice teacher of the past 11 years, David Jones. Singing is definitely my favorite of all my instruments, but they all influence my singing.

 

When did you decide to pursue a career as a musician? I began college as a Chemistry/Pre-Med/French Horn/Piano major (yes, all four).  It was absolutely insane. I had a blast learning so many different things but I was sick every two weeks from lack of rest!  After one semester of that, I decided to hone in on music and use medical school as my Plan B. At this point, I think music is where I’ll stay.

 

What type of music did you listen to growing up, and what do you listen to now? I grew up making a lot of music in church, whether contemporary Christian or classical. I also did lots of musicals, so show tunes are practically in my DNA. I grew up in a small town in Indiana of about 3,000 people, that just happens to have an oratorio society, so I grew up singing in Messiah and other oratorios, as well. For growing up somewhat in the middle of nowhere, I was very fortunate to have a multitude of musical experiences.

 

Who’s your favorite composer to listen to? To sing? My favorite composer to listen to, as of late, is Mieczysław Weinberg. His orchestral music, particularly his cello concerto, are sublime. My favorite composer to sing is Verdi, particularly his Requiem. He knew exactly how to write for the bass voice. He elevated basses from silly buffo roles to real, emotional, powerful lyrical singing. I also like to sing songs I’ve written. Then the only person I can blame for writing something difficult is myself!

 

What advice would you give 14-year-old Jared? Your love for music will carry you much further than you can ever imagine. Just keep making music, keep pushing yourself, keep learning, and keep enjoying every note and every step you take along the way. Also, practice SLOWLY!

 

What advice would you give a high schooler who wants to pursue music in college? Study as many instruments as possible!  The more well-rounded a musician you are, the greater your palette of expression will be on your (eventual) chosen instrument. It is very easy for me to think orchestrally because I have studied nearly all the instruments in the orchestra. Also, read the book, The Artist’s Way by Julia Cameron. I’ve read it three times and my artistic confidence expands every time.

 

What’s your favorite sound (musical or non-musical), and your least favorite sound? My favorite musical sound is the cello, or anything in D-flat major. Non-musically, I love the sound of water, whether the ocean or a great thunderstorm. My least favorite sound is music sung without any meaning behind it…or snoring (I’m a light sleeper).

 

When you leave this world and reach the pearly gates, what celestial concert do you hope to hear? I’d probably have all the great Wagnerian singers of the past (Birgit Nillson, Hans Hotter, Jon Vickers, etc.) bust out some giant gospel music number with a huge orchestra and choir, and probably some dancers, too, to keep things really exciting! It would be rockin’!

 


Now Hear This: an interview with Deborah Brooks, cello

Ms. Brooks, cellist with the Fort Worth Symphony Orchestra, joins flutist Shauna Thompson and pianist Shields-Collins Bray for the July 8 concert of the Basically Beethoven Festival. Read on to her thoughts on Beethoven’s storytelling, her favorite composers, what she would have changed about herself in high school, and more!


Deborah Brooks

What piece on the program are you most looking forward to sharing with our audience?  The Beethoven Sonata is special to me as I have vivid memories of chamber music readings while a college student that often went well into the night. It’s a happy piece that works well in the summertime, and the first movement seems complete in its storytelling.

How old were you when you started playing the cello? Why did you choose it and did you learn any other instruments?  I began lessons on the piano at age 5 with my father. While learning violin in the fifth grade, we learned that the one cellist in our little elementary school orchestra was moving away. So, thinking that I would be bored playing the violin another year, I switched to the cello to fill the gap. Then I fell in love with the deeper sounds. I continued piano and theory studies all through high school, which was invaluable in my overall music training.

When did you decide to pursue a career as a musician/performer?  The 8th grade. Seriously. It has just been my passion for as long as I can remember.

What type of music did you listen to growing up, and what do you listen to now?  Both of my parents had music degrees, so I was listening to Mozart Overtures and late-Beethoven string quartets while a toddler. We had season tickets to the Abilene Philharmonic since elementary school. As a teenager, I would listen to some pop music in high school. Now, I often listen to music that I’m preparing for upcoming concerts or classical favorites that speak to my soul.

Who’s your favorite composer to listen to? To play?  Brahms and Mahler. It’s hard to choose between those two. They are both so emotionally complex in their music.

What advice would you give 14-year-old Debbie?  “Seriously, Debbie, talent is not enough. You need to practice more! Quit being quite so social!”

What advice would you give a high schooler who wants to pursue music in college?  If you think that you might do anything else, then don’t major in music. It has to consume you, like there’s nothing else in the world that you want to do. Then you will have sufficient drive and curiosity to learn everything you need to learn, as well as fit in all of the practice time.

 

What’s your favorite sound (musical or non-musical), and your least favorite sound? Favorite sound: Rain falling on parched earth or waves hitting a beach. Least favorite sound: Anything that is so annoyingly repetitive that it’s like torture.

When you leave this world and reach the pearly gates, what celestial concert do you hope to hear?  Mahler conducting an orchestra of all of the great orchestral players that have gone before me playing the end of his Symphony No. 2, the Resurrection!


New partnership struck with Texas Capital Bank

Funding supports first concert of free summer series; program includes World Premiere by up-and-coming local composer Quinn Mason

We are pleased to announce Texas Capital Bank as the Title Sponsor of the first concert of FACP’s 38th annual Basically Beethoven Festival. The performance is Sunday, July 1, at 2:30 p.m. in Moody Performance Hall in the Dallas Arts District.

“Texas Capital Bank is proud to support the Basically Beethoven Festival,” says Effie Dennison, Senior Vice President, Director of Community Development and Corporate Social Responsibility. “We see the power of music to enrich our community and provide wonderful opportunities for children, and we are happy we can take part in such a unique and special event.”

FACP’s Interim Executive Director Emily Guthrie adds, “Texas Capital Bank has shown tremendous leadership in the Dallas community, particularly in their efforts to reach underserved communities. We admire their outreach and feel a kinship between that and our work to break down barriers that prevent North Texans from experiencing and enjoying classical music. With support like this from Texas Capital Bank, we can continue to produce concerts of the highest caliber that are free for all to attend.”

For the 2018 Festival, FACP will produce FIVE FREE CONCERTS. Every program starts with a Rising Star Recital at 2:30 pm followed by a Feature Performance at 3 pm. Rising Star Recitals present local, gifted young musicians; Feature Performances showcase professional musicians from the area.

The July 1 Rising Star Recital features student musician Josephine Chiu, piano, joined on stage by the professional musicians of the afternoon’s Feature Performance and Scott Sheffler, bass. They will perform a chamber arrangement of Ludwig van Beethoven’s Piano Concerto No. 5.

The Feature Performance musicians, Florence Wang, violin; Sean Riley, violin; Rachel McDonald, viola; Joseph Kuipers, cello; come together for the World Premiere of Quinn Mason’s String Quartet No. 5. A Dallas ISD alumnus and former FACP scholarship student, he was a recipient of the Rogene Russell Scholarship Fund (named after FACP’s co-founder) in its inaugural year. He has won numerous awards for his compositions, including the Texas A&M University 2017 Chamber Music Symposium composition contest, the Voices of Change 2016 Texas Young Composers project, and the American Composers Forum 2015 NextNotes High School Competition. Among his recent notable commissions is a horn sonata for David Cooper (principal horn for the Berlin Philharmonic; former principal horn for the Dallas Symphony Orchestra), his Symphony No. 3 for the Dallas-based New Texas Symphony Orchestra, and a full-length orchestral work for the Dallas Symphony Orchestra to be premiered in 2019.

The ensemble will also perform selected movements from Antonín Dvorak’s String Quartet No. 12, Maurice Ravel’s String Quartet in F Major, Joseph Haydn’s String Quartet, op. 76 no. 3, “Emperor,” and Ludwig van Beethoven’s String Quartet No. 9.

 

OVERVIEW: 2018 Basically Beethoven Festival

  • All concerts are FREE. Families with children are welcome.
  • Sundays in July: July 1, 8, 15, 22, & 29.
  • Rising Star Recital at 2:30 pm, presenting local, gifted young musicians.
  • Feature Performance at 3 pm, showcasing professional area musicians.
  • Moody Performance Hall (formerly Dallas City Performance Hall): 2520 Flora Street, Dallas 75201. Doors open at 2 pm.

 

2018 Basically Beethoven Festival: July 1, “Eclectet” Presented by Texas Capital Bank

  • Rising Star Recital: Josephine Chiu, piano, Beethoven’s Piano Concerto No. 5.
  • Feature Performance: Florence Wang, violin; Sean Riley, violin; Rachel McDonald, viola; Joseph Kuipers, cello.
  • World Premiere: String Quartet No. 5 by Quinn Mason.
  • Program also includes works by Dvorak, Ravel, Haydn, and Beethoven.

The Basically Beethoven Festival is made possible in part by Texas Capital Bank, WFAA Channel 8, DART, Texas Commission on the Arts, City of Dallas Office of Cultural Affairs, TACA, VisitDallas, and ExxonMobil Community Summer Jobs Program. Since 1981, FACP has presented free classical music programs open to the public. In addition to the Basically Beethoven Festival, FACP presents free, monthly Bancroft Family Concerts October through May at the Dallas Museum of Art.  Since its inception, FACP has served over 225,000 children and performed for over a half-million residents of North Texas.

About Texas Capital Bank Texas Capital Bank, N.A. is a commercial bank that delivers highly personalized financial services to businesses and entrepreneurs. We are headquartered in Texas working with clients throughout the state and across the country. Texas Capital Bank is a wholly owned subsidiary of Texas Capital Bancshares, Inc. (NASDAQ®: TCBI) and is recognized as a Forbes Best Banks in America and the Dallas Morning News’ Top 100 Places To Work company. For more information, visit www.texascapitalbank.com. Member FDIC.


2018 Basically Beethoven Festival announced

38th annual series spotlights local composers, range of instruments in free concerts

We are thrilled to present the FREE 38th annual Basically Beethoven Festival on Sunday afternoons in July. For 2018, FACP will produce FIVE FREE CONCERTS. Held in the Dallas Arts District at Moody Performance Hall (formerly Dallas City Performance Hall), every program starts with a Rising Star Recital at 2:30 pm followed by a Feature Performance at 3 pm. Rising Star Recitals present local, gifted young musicians; Feature Performances showcase professional musicians from the area. All concerts are FREE TO THE PUBLIC. Paid parking is available in surface lots and garages in the Dallas Arts District. Families with children are welcome.

“For 2018, I wanted to highlight masterpieces from the past and the present across a variety of instrumentations and settings,” explains Basically Beethoven Festival Director Dr. Alex McDonald. Indeed, that has been accomplished with the five concerts anchored by a string quartet on July 1, a flute trio on July 8, pianos and percussion on July 15, a horn ensemble on July 22, and an operatic bass closing the Festival on July 29.

“Classical music not only has a vibrant tradition—it also has an exciting future! That is why we are using several of the concerts to showcase gifted, young composers from across the metroplex,” McDonald added. “Something I’m particularly excited about this year is our Rising Stars, who represent part of the future of classical music. In the past, we have always used a young soloist with an adult accompanist, but this year we are presenting collaborative duos: two young artists performing together. Some of our performers are only 14 years old and have already played all over the world!”

 

July 1, Eclectet

  • Rising Star Recital: Student musician Josephine Chiu, piano, will be joined on stage by the professional musicians of the afternoon’s Feature Performance (below) and Scott Sheffler, bass. They will perform a chamber arrangement of Beethoven’s Piano Concerto No. 5.
  • Feature Performance: Florence Wang, violin; Sean Riley, violin; Rachel McDonald, viola; Joseph Kuipers, cello, come together to perform works by Dvorak, Ravel, Haydn, Beethoven and local composer Quinn Mason. Mason was raised in Dallas, is a Dallas ISD graduate, and a former FACP scholarship student. He has won numerous awards for his compositions, and he was a recipient of the Rogene Russell Scholarship Fund in its inaugural year.

 

July 8, Diversions & Escapes

  • Rising Star Recital: Shiv Yajnik is recognized for his accomplishments as a pianist and as a composer during this Rising Star Recital. He will perform Liszt’s “St. Francis walking on the Waves,” and his own piano trio, “Ondine.” For his comopsition, he will be joined onstage by professional musicians Jen Chang Betz, violin, and Joseph Kuipers, cello.
  • Feature Performance: A piano trio composed of Shauna Thompson, flute; Deborah Brooks, cello; and Shields-Collins Bray, piano, will present Martinů‘s Trio for flute, cello and piano; and selections of Haydn‘s Piano Trio in G Major. Ms. Thompson and Mr. Bray will partner on local composer Martin Blessinger‘s pieces “Diversion I” and “Escapes.” They will also perform Chant de Linos by Jolivet. The afternoon also includes Ms. Brooks and Mr. Bray performing Beethoven‘s Cello Sonata No. 1 in F Major.

 

July 15, Pianos & Percussion

  • Rising Star Recital: Matthew Ho, violin, and Claire Chiang, piano, will perform works by Beethoven, Ravel, and more.
  • Feature Performance: Catharine Lysinger, piano, and Alex McDonald, piano, present Rachmaninoff’s Suite No. 2 for Two Pianos. They will be joined by percussionists Dan Florio and Brian Jones on Bartok’s Sonata for Two Pianos and Percussion.

 

July 22, Four Hornsmen of the Apocalypse

  • Rising Star Recital: William Sprinkle, oboe, and Eduardo Rojas, piano, will perform the second movement (“Largo”) from Beethoven’s Oboe Concerto, Hess 12; and his “Adelaïde”, op. 46.
  • Feature Performance: French horn ensemble Four Hornsmen of the Apocalypse have captivated audiences with their musicianship and joviality. Members include local musician Gerry Wood, with Paul Blackstone, Brian Brown, and Audrey Good. The ensemble will present opera transcriptions.

 

July 29, Art Song

  • Rising Star Recital: Local composer Jason Mulligan will be the featured Rising Star as a composer. Alex McDonald will perform selections from Mulligan’s piano preludes, he will premiere a Mulligan piece, and he will accompany soprano Alissa Roca for Mulligan’s “In the Looking Glass.”
  • Feature Performance: Operatic bass Jared Schwartz with The Dallas Opera’s Music Director of Education Mary Dibbern, piano, performs an afternoon of art song, including works by Flégier, Fauré, and Liszt.

The Basically Beethoven Festival is made possible in part by VisitDallas, City of Dallas Office of Cultural Affairs, TACA, Texas Commission on the Arts, WFAA Channel 8, DART, Dallas Arts District Foundation, and ExxonMobil Community Summer Jobs Program. Since 1981, FACP has presented free classical music programs open to the public. In addition to the Basically Beethoven Festival, FACP presents free, monthly Bancroft Family Concerts October through May at the Dallas Museum of Art.  Since its inception, FACP has served over 225,000 children and performed for over a half-million residents of North Texas.


Now Hear This: an Interview with Rebecca Glass, viola

Plano-native Rebecca Glass recently earned her Doctorate of Musical Arts in viola performance from the renowned Cleveland Institute of Music. She returns home this week to perform in recital with Alicja Basinksa, piano, at our final Bancroft Family Concert of the season on May 12. The duo will perform works by Frank Bridge, J.S. Bach, and Johannes Brahms. Not only is hearing a solo viola concert rare, but Dr. Glass is a unique performer as she is blind. Read more to learn a bit about how she started playing, how she learns music, and more!


Was there one piece on the program that you especially wanted to perform, or were you equally interested in all three? While I like all the pieces on the program, the Brahms sonata is my favorite. It is definitely the most musically and emotionally complex. Another wonderful aspect of the sonata is that it equally showcases the viola and piano parts. Alicja and I have been performing together since 2011 and when I chose the program for the concert the Brahms sonata came to mind not only because I really love the music, but also because I knew that Alicja’s artistry would make this piece a great experience for both the audience and for us as players. As for my overall program choices, this concert afforded the opportunity to select works from varying composers that display the beauty of the viola and at the same time offer an engaging and interesting recital for the listeners.

How old were you when you started playing viola? Why did you choose it, and did you learn other instruments? I didn’t begin studying the viola until I was 13. I was originally a pianist since age 3. I decided to learn the violin in second grade. Over the next five years the violin’s high register didn’t endear it to me, my parents, or our poor cat. Eventually I kept covertly transposing violin melodies down by an interval of a fifth and finally took that as a sign that I should switch to the viola. Besides studying both viola and piano through high school, I also briefly spent some time with the Chinese erhu.

Can you walk us through your process of how you learn a piece? Is there Braille for music? There is Braille music, however I mostly use it for my own note taking purposes or occasionally score study for music theory. I learn all my viola repertoire by ear. That goes for orchestral, chamber music, and solo literature. Here I owe a huge thank you to Barbara Sudweeks, assistant principal viola for the Dallas Symphony Orchestra, for recording all my music for the last 14 years. The parts she records for me include not just a played line, but she also tells me important markings such as dynamics, bowings, articulations etc. There is hardly any viola music available in Braille so Barbara’s work in making my music library is truly incredible.

When did you decide to pursue a career as a musician? I never truly considered a career in anything but music. The real question for a while was which instrument.

What type of music did you listen to as a kid, and what do you listen to now? Growing up I mostly listened to classical music, though occasionally an oldies station or the inevitable country music would end up on the car radio. Now days, I have a very wide range of tastes in music. Since our family is passionate about overseas travel, I have ended up bringing home folk music from many different countries. I also love both European and American music from the ’30s and ’40s. Classical music is still my mainstay in terms of listening, but as I spend the majority of my time practicing it, other genres can be a welcome break at the end of the day.

Growing up in Plano, what were some arts organizations you interacted with? I played and also toured in the Greater Dallas Youth Orchestra. I regularly attended DSO and Dallas Opera performances throughout high school.

Different sections of the orchestra have different roles. Can you explain what the viola’s focus is? We are the middle voice in an orchestral string section. Violas usually provide harmony and/or counter melodies, not to mention comic relief.

Who’s your favorite composer to listen to? To play? It seems like my favorite composer is always changing, but right now I’ve been enjoying Brahms, the late works of Mozart, and Debussy.

What advice would you give 14-year-old Rebecca? Worry less about comparing your musical and academic accomplishments to fellow students. Time would be better spent focusing on pursuing long-term goals. Every orchestral chair test is not a make or break situation. 🙂

What advice would you give a high school student who wants to pursue music in college? Use your time wisely in preparing. Talk to students at the college or conservatory you are hoping to attend and find out what kinds of achievements really make a difference when your auditions and applications are being considered. High school goes quickly. Prioritizing your practicing so that you can ultimately present the best audition possible can give you a real edge at the collegiate level just like in real life.

What’s your favorite sound (musical or non-musical), and your least favorite sound (musical or non-musical)? My favorite would be the evening call to prayer in Istanbul. If you ever find yourself there, try to find a high place to listen so you can hear calls of the many muezzins echo throughout the city’s thousands of mosques. As for my least favorite – no offense intended to any brass players that might be reading this – but some of the sounds that come from those instruments while warming up can be truly hair raising!

When you leave this world and reach the pearly gates, what celestial concert do you hope to hear? Beethoven’s Symphony No. 7.


Now Hear This: an Interview with Ted Soluri, bassoon

Ted Soluri, principal bassoon of The Dallas Symphony Orchestra, played on our Bancroft Family Concert in February 2017. He was kind enough to answer our “Now Hear This” questions at that time, which you can revisit here. For this go-round, Ted is telling us a bit about his debut CD, Sempre Libera, which is the basis for his April 14 Bancroft concert.


Ted Soluri

Where did the idea to do the CD, and this repertoire, come from? I always knew my first CD would be music “stolen” from another instrument. Bassoon music just isn’t what I wanted to do as my debut offering. With that in mind, I went through a fair amount of music for cello, violin, voice, anything I could find. Ultimately, I decided on vocal music because of the enjoyment I got from working on it.

What is it about opera, specifically, that drew you to the program? What is it about the bassoon that made opera arias a good fit for your recording? I fell in love with opera in college after I attended a performance of Mozart’s Le Nozze di Figaro at Florida State University. After that I surrounded myself with singers and opera. In graduate school, I was introduced to the recordings of Maria Callas. I was so taken with her concepts of breath control, phrasing, vibrato, etc. that she has since become, in many ways, another teacher of mine. So, when I was looking at voice music to put on a debut album, opera arias made perfect sense!

How did you select the pieces? Honestly, there was a LOT of trial and error. Arias I may love might not work on the bassoon. In fact, we made last minute changes due to that very thing. You get through a first reading of a piece and you know right there that it isn’t going to work. So, you try another. And another. I also wanted to make sure that I represented as many different voice-types as I could. I didn’t want an album of all-tenor arias, for instance.

​For the most part, what voices typically sing the arias featured? What voice most easily lends itself to transforming into a melody for bassoon? The arias are for all voices. I have soprano, mezzo, tenor, and baritone arias. And within that, there are differences in the voice-types. i.e. coloratura soprano, dramatic tenor, lyric baritone. Incidentally, I also tried to get a variety of countries represented as well as varying musical eras. The tenor fits most naturally in the bassoon’s own register, but other voices work well, too, as you’ll see.

The pianist on your program, Valerie Trujillo, joins us from Tallahassee. How did you two begin working together? And, how do you prepare for performances when you live so far away from one another? Valerie and I have known each other for many years through some overlap at Florida State and a few summers we were both working at the Santa Fe Opera. About two months before we were to record, she and I met, read through everything, and worked on the more difficult arias right then. Everything else came together in the days before the actual recording. For this concert, we will work for a few days here in Dallas.

Valerie’s position at Florida State University is professor of vocal coaching and accompanying, and the coordinator of the voice and opera programs. [NOTE: read a Q&A bonus with Valerie below] Does Valerie’s experience with opera help you as a performer and, if so, how? Valerie’s input was immense and invaluable! Her knowledge of these works was a constant guiding force. We talked a lot about voice-isms and bassoon-isms and how to marry the two while always keeping our eye on the musical integrity of these composers.

And, in a nutshell, what was the process for creating a CD: from idea to recording to release, can you walk us through that? This project was a long time in the making. But that is mainly due to funding and timing issues over the years. After arriving here in Dallas three years ago, I checked with Valerie to see if she was still up for it–and she was. I already had Azica Records in mind as the label because I’ve known those guys for 25 years and their work is incredible. With everything finally lining up, we set up a three-day recording session and the rest is audio history!


Spotlight on Valerie Trujillo, piano

Valerie is on the faculty at Florida State University, where she is professor of vocal coaching and accompanying, and the coordinator of the voice and opera programs. We wanted to get her perspective on what vocal coaching is, and how that relates to this program. She explains:

A vocal coach is not a voice teacher. A coach is usually a pianist (not a singer!) who works with singers on language, style, and literature. That person usually serves as the singer’s accompanist as well. Most singers have both a teacher and a coach who work together to develop the singer into a complete performer. Vocal coaches receive training in the three main singing languages (Italian, French and German), song and operatic repertoire, as well as accompanying vocal music. It is, indeed, a specialized field!

In the repertoire that Ted and I will be performing, Ted plays these arias the way a singer would sing them–minus the words, of course. He breathes where they breathe. He phrases the way they phrase. Even though he has no words to sing, it is clear he knows the meaning of what he is playing and where the arias occur within the context of each opera.

 


Now Hear This: an Interview with Jolyon Pegis, cello

Associate Principal Cello of the Dallas Symphony Orchestra Jolyon Pegis comes from a musical family (growing up with three violinists), and has a musical family (his wife Donna and son Alex play the cello, too). Mr. Pegis is our featured soloist on the program this Saturday for our Bancroft Family Concert: Baroque & Classical Masterworks. He performs cello concertos that bridge the gap between the two musical eras.


What piece on the program are you most excited about? What should we listen for? I’m especially excited about the Vivaldi. It happens to be a family favorite. My wife Donna and son Alex are both cellists and we have enjoyed listening to this piece many times. I’ve always wanted to play it. Also, the Boccherini is so fun and challenging to play. It’s been a lot of work to learn, but totally worth it.

Is chamber music for cello a big part of the repertoire? Yes, it is. These pieces are interesting because they are really chamber concertos. I was surprised to learn many years ago that Vivaldi wrote about 35 of these concertos for cello and Boccherini wrote 15.

How old were you when you started playing cello? Why did you choose it? Did you learn other instruments? I actually started with the violin. I played from ages 5 to 8 and then switched to cello. I’ve always liked the lower register and darker sounds of the cello. I also played the piano throughout high school.

What type of music did you listen growing up? I come from a family of classical musicians so it was strictly classical in our house growing up. With three violinists in the family I heard a lot of violin concertos as a kid. I know we wore out many records from constant playing. Although I preferred playing the cello I really liked listening to certain violinists more than anything. Fritz Kreisler and Pinchas Zukerman were my favorites.

What do you listen to now? I spend so much of my time in rehearsals or performing that sometimes I prefer silence after a concert. The radio stays off on the car ride home! Or I prefer a book on tape.

Your son Alexander, also a cellist, was a featured “Rising Star” performer during the 2016 Basically Beethoven Festival. What’s it like as a father to see him perform? It’s so interesting because on the one hand, knowing his playing as well as I do, I’m completely confident that he’ll be fine in a concert. Despite that, I’m a nervous wreck!

Who’s your favorite composer to listen to? To play? I really love French music. Especially Faure, Debussy, and Ravel.

What advice would you give 14-year-old Jolyon? If you really want to improve, you need to practice consistently and you need to practice smart. It’s so important to have a plan when you get to work. I wish I learned this at an earlier age.

What advice would you give a high schooler who wants to pursue music in college? Music is a very demanding profession. If you’re not all in, don’t do it. If you try to do a double major as a “back-up,” you most likely won’t succeed. The most important thing you will do in college is practice – probably 4 or 5 hours a day. Anything that gets in the way of doing that needs to go. After college you aren’t going to get hired because of your degrees, grades, extra-curricular activities etc. You’ll get hired because of how well you play.

What’s your favorite sound (musical or non-musical), and your least favorite sound (musical or non-musical)? Anybody who has ever spent any time in the Great Lakes region will know what I’m talking about. It you walk along the shore of any of the Lakes after a few days without wind the lake will be so flat it will look like glass. However, right at the water’s edge there will appear tiny wavelets that wash up the shore. They are only a few inches high and make a very soft “brushing” sound. This might be my favorite sound. It’s either that or bagpipes. Believe it or not, I love bagpipes! My least favorite sound is when I step outside on a quiet evening and hear traffic in the distance.

When you leave this world and reach the pearly gates, what celestial concert do you hope to hear? The slow movement of the Saint-Saëns Organ Symphony.