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 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 Francis Walking on the Waves, and his own composition, Piano Trio: Ondine. 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 tackle the piece Diversions and Escapes by local composer Martin Blessinger; and Flute Trio selections by Haydn and Rorem. Ms. Brooks and Mr. Bray will pair up onstage to perform the first movement from Beethoven’s Sonata op. 5 no. 2.


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.”

New Year. New Logo. Same Mission.

Fine Arts Chamber Players has launched a new logo, marking the most significant change in its visual identity since its formation in 1981. The updated design is bold, modern, and eye-catching. Most importantly, the FACP mission and programs are not changing. FACP continues to provide free, professional, classical music concerts, and free music education programs.

“Our previous logos served us well in communicating that we are steeped in classical music,” FACP Executive Director Rachel Assi explained. “However, our influences reach far beyond one composer or one era of music. We feel our logo should be as unique as our programs. After nearly 40 years, FACP is still the only professional chamber music group in Dallas providing all of its programs for free.”

“When we started out,” Co-founder and Artistic Director Rogene Russell explained, “our initial programs were our free, professional classical music concerts. Now, our music education programs are a vibrant part of what we do in the community. This new logo is more representative of what we do.”

Looking at the new logo, musical influences are clear: the “F” is a forte notation and resembles a string instrument’s f-hole, a quarter note is nestled in the negative space of the “A,” the “C” and “P” meld to form a stringed instrument, and the tail of the “P” completes the “f-hole” structure. FACP worked with Celeste Rader-Philips at Rader-Philips Design on the new logo.

Members of the media, arts organizations, and community partners should contact Communications Manager Emily Guthrie at for an image file of the logo.

Now Hear This: an Interview with Colin Davin, guitar

Guitarist Colin Davin, on faculty at the Cleveland Institute of Music, enjoys a robust performance career which brings him to Dallas on November 11 to perform alongside Emily Levin, principal harp for the Dallas Symphony Orchestra. The program features new and known works: music they have arranged for their instruments, and a contemporary piece the duo premiered at the 2017 Cleveland International Classical Guitar Festival. A performance clip of Mr. Davin and Ms. Levin can be seen here.

What piece on the program are you most excited about? What should audience members listen for? The whole program has been a true delight to rehearse and perform, but I’m particularly excited for the finale, Manuel de Falla’s El Amor Brujo. It’s our own transcription of this magnificent Spanish ballet score, and it’s full of incredibly beautiful lyricism, flamenco-inspired harmonies and rhythms, mystical storylines–what more could we ask for? Given the richness of the original orchestral score, it’s also a wonderful opportunity and challenge for us to present the vast range of instrumental colors and effects on our two instruments.

Is chamber music for guitar a big part of the repertoire? What is a typical performance for you: solo, chamber ensemble, orchestra, etc.? Chamber music is a huge part of what we do as classical guitarists. Personally, I’ve always thrived on collaboration, and relish working with great musicians who bring out new elements in my own playing, the vibrant discussions about how to realize a phrase, match dynamics or rubato in a certain way, and so on. As for a typical performance, there’s no such thing! This fall alone I’ve been a concerto soloist, given a solo recital, performed duos with Sharon Isbin (who was my teacher at The Juilliard School) and with Emily Levin (prior to this concert, that is), and performed with the new music ensembles Present Music (Milwaukee) and Talea Ensemble (New York City). My parts for the last of those called for three different guitars, mandolin, Appalachian dulcimer, autoharp, and a curious Turkish instrument resembling a banjo called the cümbüş.

You are based in Cleveland and Emily Levin, your duo partner, is here in Dallas. How did you two connect and start working together? How do you work on music together? Is there a lot of traveling, or do you Skype? After first meeting at the Aspen Music Festival through our mutual friend Grace Browning, another wonderful Dallas-based harpist [editor’s note: Ms. Browning performed with Ms. Levin as part of the Dallas Harp Quartet for FACP’s Bancroft Family Concert in October 2016], Emily and I began working together while both living in New York City. Lucky for me, I saw a solo recital she was giving, so I pretty quickly had the thought that this was someone I’d love to work with. Shortly after we had decided to make our collaboration a serious duo, we were each offered wonderful opportunities outside of New York–Emily with the DSO, and me teaching at the Cleveland Institute of Music and the Baldwin Wallace Conservatory, both in Northeast Ohio, where I grew up. Rather than let the duo fade out as might be expected, we doubled our efforts and put in some serious work to solidify our full-length program.

I’m allergic to Skype rehearsals–potential issues of delay, sound quality, etc. drive me crazy–so I’d rather take a few days off and come to Dallas, or find time in New York together, where we are both still active.

How old were you when you started playing the guitar? Why did you choose the guitar? I started playing guitar at the age of 7, and unusually, I started on classical. Most kids, of course, want to play electric rock/pop guitar, but at that early age I hardly knew any better! My father had long played the guitar as a hobby, and is an enthusiast of many styles of guitar playing. One of his favorite players, the brilliant folk-rock guitarist and singer-songwriter Richard Thompson, had suggested in an interview that beginners should start with classical, and could then easily adapt that technique and musical understanding to other styles. In my case, classical stuck early on, and has been my passion in life since the early days!

Do you plug in and play electric? I do play some other styles, and occasionally, quite a few other instruments in the plucked family. Over the years I’ve played electric guitar, banjo, mandolin, oud, rubab, dulcimer, and a good handful more. Often, these are in contemporary-classical contexts, but I’ve certainly had opportunities to play rock, jazz, and some other “popular” genres. In fact, I’m a member of a semi-active folk/Americana band called Cathedral Parkway.

What type of music did you listen to as a kid? As a kid, I was raised on the great folk and rock bands of the ’60s and ’70s: Joni Mitchell, Neil Young, Joan Baez, etc. As I got into middle school and high school, I was a big fan of REM, The Beatles, YES, King Crimson, and a whole swath of jazz musicians. That said, I was absolutely listening to a lot of classical music as well, with a particularly affinity for the Beethoven Symphonies, Rachmaninov Piano Concertos, and anything in the hands of the English guitarist Julian Bream.

Who’s your favorite composer to listen to? To play? This is a tough one–there’s so much brilliant music that’s all so different, beautiful, and exciting! So if you’ll indulge me, I’ll go with one “old” and one “new” for each question. Favorite composer of the past to listen to: still Beethoven, though the experience of hearing his music has come to mean so much more to me as I’ve matured. Close second, or maybe even tied: Benjamin Britten. To play: J.S. Bach, whose music continues to reveal its depth and complexity every time I come back to an old piece or start to work on a new one.

Favorite modern composer to listen to: my friend Caroline Shaw, who somehow manages to weave intricate processes into expressions of absolutely sublime sound and emotion. Her music is nothing short of a revelation. Favorite composer of today to play: Joan Tower, whose solo guitar piece “Clocks” and flute and guitar duet “Snow Dreams” are both evocative, exciting, and a real journey in sound. It’s terribly difficult music to play, but deeply rewarding and worth the energy.

What’s your favorite sound (musical or non-musical)? Least favorite? I’ll offer a musical favorite and a non-musical one. Musical: the sound of the last note of a large orchestral work (let’s say Mahler’s 9th Symphony) ringing in the concert hall, the audience’s collective breath held as the final hint of that resonance and the silence that follows are savored. Non-musical: the sound of a busy city waking up in the morning, before the sounds of people and traffic are yet boisterous enough to drown out the birds. And for reasons mostly of professional anxiety, the sound of speakers feeding back or loudly popping is truly awful.

Once you leave this world and reach the pearly gates, what celestial concert are you looking forward to? This is another tough one! I would love to see Mozart lead a performance of Don Giovanni, or the peak of Beatlemania.

Acclaimed duo on November’s Bancroft Concert to perform for DISD students

Fine Arts Chamber Players is pleased to present guitarist Colin Davin, faculty member at the Cleveland Institute of Music, and Emily Levin, principal harp of the Dallas Symphony Orchestra, on stage Saturday, November 11, for a free Bancroft Family Concert. Ms. Levin and Mr. Davin will perform music by Philip Glass, Maurice Ravel, Dylan Mattingly, and Manuel de Falla arranged for their instruments. Mr. Davin holds numerous prizes in international competitions, including the Guitar Foundation of America International Solo Competition. Regular FACP concert attendees will remember that Ms. Levin opened the 2016-2017 Bancroft Family Concert season with the Dallas Harp Quartet. She also has earned extensive professional awards and accolades, including Bronze Medal of the 9th USA International Harp Competition.

“We have never had a guitar-harp pairing on a program before,” FACP Co-Founder and Artistic Director Rogene Russell said. “And, it’s unusual for FACP to have a guest artist from outside of North Texas on our stage, but we are so excited to champion the creative ventures of our local artists. When Emily and I were talking about her work with Colin, all the pieces came together to give them a performance opportunity in Dallas.”

Held in the Horchow Auditorium at the Dallas Museum of Art (1717 N. Harwood Street, Dallas 75201), the Saturday program begins at 3 p.m. with doors opening at 2:30 p.m. As always, the concert is FREE TO THE PUBLIC with no tickets required. Families with children are welcome. For more information, please visit our FAQ page or call 214-520-2219.

In addition to their concert, Mr. Davin and Ms. Levin coordinated with FACP to perform for students in the instrumental programs at Dallas ISD’s W.E. Greiner Exploratory Arts Academy. The duo will play an excerpt from the Bancroft program, and will visit with the music students as well.

“Emily and Colin are excellent role models for young, aspiring musicians,” explained FACP Executive Director Rachel Assi. “We are excited to be able to work with Emily and Colin, and with the music faculty at Greiner, to present a program that will provide a unique experience for Greiner students.”