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!


Now Hear This: an Interview with Quinn Mason, composer

Audiences at the first concert of the 2018 Basically Beethoven Festival will hear the World Premiere of Quinn Mason’s String Quartet No. 5. Mr. Mason is quite an accomplished composer, regardless of his young age. He grew up in Dallas and graduated from North Dallas High School. He first became acquainted with Fine Arts Chamber Players through an in-school demonstration by one of our troupes, and eventually was part of our scholarship program for private lessons.

Enjoy this interview with Mr. Mason to learn more about his process for composing, his history (including his first time in the audience at the DSO with rock star Sting on stage), and his interests.


Why was the String Quartet No. 5 selected for this concert?  This one is a representation of my current style. I’d say it marks the emergence of the compositional voice that I experiment with today. The fourth movement of this quartet has been performed before, but this is the first time the entire piece has been performed in public – it’s a World Premiere.

 

How old were you when you started playing an instrument? When you started composing?  When I was 10 I started piano classes at my elementary school. That led to an interest in exploring music more. I took private lessons and had extra practice on the keyboard after school. That led to improvising, exploring, and creating music.

After piano, I started the cello about 2 years later; and I did the recorder at school. Cello was my first experience playing with an ensemble through orchestra, the New Conservatory of Dallas. In high school, North Dallas High School, I joined band for the first time in the percussion section.

I was 10, actually, when I started composing. I even drew my own staff paper for my earliest pieces!

 

Can you walk us through your process of how you compose a piece?  Sometimes the idea comes first, sometimes the rhythm comes first. I’ll take all the ideas and put them in a little black notebook I keep. Eventually, I’ll put all the notes together and order them. Then one idea – a theme – will come to the forefront and I might voice that with a particular instrument, then fill out the other sections … essentially, it’s taking ideas and shaping them into a larger picture.

 

When did you decide to pursue a career as a composer?  In high school. It was my band director Mr. Warmanen who encouraged my composition by letting me composer for the band and letting me compose my own pieces for the band. And this was after I’d taken some time off from music in middle school.

 

What type of music did you listen to as a kid, and what do you listen to now?  My mom brought me up on ’80s and ’90s music, mostly R&B and hip-hop. So, classical music was something I had to seek out on my own through the radio. I still listen to classical music, but I’ve recently gotten into salsa music and Latin music, in general.

 

Growing up in Dallas, what were some arts organizations you interacted with?  FACP – I was a scholarship student and received free cello lessons in elementary and middle school. Once I left the cello, FACP was able to facilitate composition lessons for me.

I grew up in the audience at the DSO. First performance was seeing Sting in Peter & the Wolf at the DSO. I still remember that! That was a school trip.

 

Who’s your favorite composer to listen to?  Igor Stravinsky is my favorite of all time. It used to be Tchaikovsky, but once I heard “Rite of Spring, I thought – this is my man. The reason why I like Stravinsky so much is because he experimented with different styles, but he always sounds like himself at the same time. That’s unique and inspiring.

 

What advice would you give 14-year-old Quinn?  You’re not going to be an actor, stop writing screenplays. Practice more piano, listen to a lot more contemporary music because it’ll really open your mind. And, just be yourself – don’t try to be someone else.

 

What advice would you give a high schooler who wants to pursue music in college?   Make lots of friends and be very social because music is a universal experience and very collaborative. Be nice to everyone and don’t burn your bridges – those connections can really help you in college and in your career.

 

What’s your favorite sound (musical or non-musical), and your least favorite sound (musical or non-musical)? Favorite sound – I’d have to say the sound of an orchestra tuning up. It’s very refreshing to hear lots of open strings and warming up. Least favorite sound – when people clap after the third movement of Tchaikovsky’s Symphony No. 6.

 

When you leave this world and reach the pearly gates, what celestial concert do you hope to hear?  I want to hear Stravinsky conduct his own “Rite of Spring.” That’s what I really want to hear.

 


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.


Now Hear This: an Interview with Trio Kavanah

Kavanah (pronounced kah-vah-NAH) is an ancient Hebrew word that specifies the intention and sincerity of heart needed for effective and honest prayer.  As Trio Kavanah, violinist Grace Kang Wollett, pianist Trevor Hale, and clarinetist Daniel (Danny) Goldman strive to express that same sincerity in the music they create and share before audiences. Among other musical endeavors, Ms. Wollett plays for The Dallas Opera Orchestra as does Mr. Goldman, and Dr. Hale keeps a full calendar as a Dallas-based pianist.


Trevor Hale, Grace Kang Wollett, and Daniel Goldman

How did the three of you come together to form Trio Kavanah?

GRACE: It started from a casual chamber reading.

TREVOR: Danny and I met with a desire for collaboration, and we decided to form a trio. Danny introduced Grace into the mix, because they knew each other from the Dallas Opera. We have been playing together ever since.

DANNY: I was dying to play chamber music. Orchestra auditions and performance had consumed my life, and I wanted to collaborate with a pianist. Trevor came highly recommended so we met and jammed. Then I decided to randomly invite Grace because we were at Juilliard together and both in the Dallas Opera Orchestra. The energy and vibe was so positive and fun during the first reading that we kept meeting, and then decided to make it into something legit.

 

How old were you when you started learning your instrument? Why did you chose your instrument? Do you play other instruments?

GRACE: I was 7 when I started on violin, and I was drawn to it just because I really liked it. I moved around a lot, so my parents preferred a small instrument. I can also play piano, guitar, ukulele, records, and some viola.

TREVOR: I started when I was 8, and loved the unique variations of sound on the piano. In addition to piano, I occasionally play harpsichord.

DANNY: I picked up the clarinet at age 11 when the band director presented instruments to students, and I liked the clarinet because it was black and had shiny keys. Plus, my dad used to play clarinet in high school, so it struck a chord. I started on piano, dabbled in accordion (yes, I took private lessons on accordion, don’t judge me). Since clarinets come in various shapes and sizes, professionally I have to play E-flat clarinet (the baby one), bass clarinet, and basset horn from time to time.

 

What type of music did you listen to as a kid, and what do you listen to now? 

GRACE: As a child, I listened to classical music and Broadway musicals. I’ve stuck with listening to classical as an adult, and also listen to Christian contemporary and indie tunes.

TREVOR: I grew up listening to classical, jazz, and classic rock. My favorite non-classical musician was rock guitarist Eric Johnson (Cliffs of Dover still one of my all-time favorites). Now I enjoy some pop, hip-hop, and R&B, and obviously I love classical as well!

DANNY: I think a lot of ’80s/90s music like also Annie Lennox, Gloria Estefan, Santana, and Pink Floyd. Now, I go for hip-hop, classical, chill-hop, jazz, some forms of EDM [electronic dance music] but not too intense. Really, I like all sorts of stuff: one moment it could be Coldplay, then the next moment Mozart C Minor Mass (omg so good).

 

Who’s your favorite composer to listen to? To play?

GRACE: My favorite for listening is Elgar, and playing is Mozart.

TREVOR: This is tough to choose only one! To listen I would have to go with Beethoven. I love performing Rachmaninoff with Chopin tied for first!

DANNY: To listen, Ravel. To play, big orchestra Mahler. But, I go through phases! Mozart is another favorite to play.

 

What advice would you give to your 14-year-old self? 

GRACE: It’s okay to feel awkward about everything! Keep finding your voice.

TREVOR: In the real world you have less time to practice, so create effective practice methods early on.

DANNY: Being unsure, low in confidence, shy, confused, even lost, is actually essential at times. Don’t fight it by faking it. Keep finding what you want to do and how you want to do it. Don’t feel pressured to be so assured of your craft, especially at a younger age. Things start to line up and then true confidence kicks in. Then you’ll have the essential ability to be sensitive and emotionally open while being thick-skinned and impervious to the haters and rejection. It’s a weird combo.

 

What advice would you give a high schooler who wants to pursue music in college? 

GRACE: If you can’t imagine doing anything else – if through thick and thin you think you’ll feel the same – go for it with everything you’ve got!

TREVOR: Musical progress is like the stock market. Sometimes you only see the rewards over the long term. Other times you see drastic ups and downs with profits and losses. Music is no different: ride the wave out. Music in college is where you invest in the long term, while soaking up as much knowledge during the short term.

DANNY: Understand that even if you have a successful career in music, you might struggle with money for a period. Be absolutely sure that you are OK with that. And make sure you can handle 50% rejection. Yes, that’s right – about 50% rejection! The good news is that if you follow through with it, your future workdays won’t be work at all: they’ll just be your dream and you’re doing what you love 24/7. It’s pretty sweet.

 

What’s your favorite sound (musical or non-musical), and your least favorite sound (musical or non-musical)? 

GRACE: My favorite sound is my 2-year-old son’s laughter. My non-favorite is the engine sound of crazy speeders who cut me off on the highway!

TREVOR: I love the sustained sound of the cello. It is magical. My least favorite would have to be the tuba (sorry tubists!).

DANNY: My dog Oliver’s grunts and snorts when he greets me after a long day at work are my favorite sounds. Non-favorite, if I had to choose one, maybe Dubstep.

 

When you leave this world and reach the pearly gates, what celestial concert do you hope to hear?

GRACE: The voices of angels and everyone there singing and praising God.

TREVOR: An entire concert performed by Mozart on violin or fortepiano.

DANNY: I have to go with Trevor on this one: watching and hearing Mozart perform with other expert instrumentalists of his time, and getting to talk to him after.


Now Hear This: an Interview with Angela Fuller-Heyde, violin

Angela Fuller Heyde joined the Dallas Symphony Orchestra as Principal Second Violin in 2009. An advocate of new music and chamber music, Ms. Heyde leads the ensemble at the Bancroft Family Concert on January 27, 2018. Ms. Heyde and FACP Artistic Director Rogene Russell settled on the idea to stage Franz Schubert’s “Trout,” and the concert program was crafted by adding Duo by Alan Hovhannes to the afternoon. This piece for violin and cello has special significance to the violinist: the work was commissioned by Ms. Heyde’s father for her mother.

Tell us: what is about “The Trout” that made you want to put an ensemble together? This has always been a favorite of mine. I grew up watching a VHS recording (remember VHS?!) of Itzhak Perlman, Pinchas Zukerman, Jacqueline du Pré, Zubin Mehta, and Daniel Barenboim performing “The Trout.” The joy and interplay amongst that group of friends was inspiring – and of course the playing was, too!

Why was a Fine Arts Chamber Player concert the place to perform the piece? We felt that the FACP audience would love to hear this favorite.

You started playing violin at age 3, with your mother as your teacher. Why did you choose the violin? How long did you study with your mother, and what was it like transitioning to a different teacher? I chose the violin because that was my mom’s instrument and I wanted to be like her! I studied with her until I was 9. She basically had to drag me to another teacher, I was so afraid of the change. The teacher she brought me to, Sally O’Reilly, was and continues to be a second mom to me, her wit and warmth made the transition manageable.

What type of music did you listen to as a kid, and what do you listen to now? As a kid I tried hard to listen to the music my friends listened to (all I can remember at the moment is ’80s Madonna), but in my heart I knew I loved classical music, and that’s what we listened to at home. Now I generally prefer quiet, or in the car I listen to NPR or an audio book. I listen to stuff my husband listens to: U2, Coldplay. I like that a lot but don’t necessarily seek it out myself.

What type of music do your children listen to? I take my 2-year-old to Music Together classes, so we listen to the CD from class together – some classics and some beautiful children’s songs from around the world. My 11-year-old likes pop. I am always amazed to hear her singing along to music that I put on in the car for her! She also is a big fan of the Suzuki Book 3 CD. (Ha!)

Different sections of the orchestra have different roles. Can you explain what the second violin section’s focus is? The role of the second violins is that of backup singers. The first violins are Beyonce, and we are the backup singers. We support, harmonize, and often do the same things as the first violins at an octave lower to fill out the sound. Sometimes we provide more of a rhythmic current, while they get to sing away at the melody. It can be very interesting and rich, though sometimes I would rather be playing the first violin part!

Who’s your favorite composer to listen to? To play? It is very hard to name a favorite. I love Beethoven: I think his violin concerto is absolutely perfect. I love Shostakovich, and I love Brahms. Brahms is very satisfying to play. As a second violinist I always appreciate Bruckner. He really used the second violins as equals, giving us a lot of incredible material to dig into.

What advice would you give 14-year-old Angela? I would tell 14-year-old Angela to have a little more fun and practice a little less. I was so serious and so focused, I feel like I missed out on normal kid stuff. On the other hand, I might not have gotten to this place in my career!

What advice would you give a high schooler who wants to pursue music in college? I would tell them to make sure that they are with a great teacher, and make sure that they find a great teacher for college, not just to go to a school with a fancy name. I would tell them to practice well, but live a little, too!

What’s your favorite sound (musical or non-musical), and your least favorite sound (musical or non-musical)? My favorite sound is my 2-year-old’s voice when she says, “Hi, Mama.” Least favorite sound is the sound of people chewing. Arg!

When you leave this world and reach the pearly gates, what celestial concert do you hope to hear? Louis Armstrong singing “What a Wonderful World.”