From the Blog: Radio

This week’s From the Top show was taped in Symphony Hall with the Boston Pops in Boston, MA on Tuesday June 8, 2010. We asked our performers to tell us about the music they performed on the show:

Umi Garrett, 9, piano
III. Allegro Assai from Piano Concerto No. 23, in A Major, K. 488
By: Wolfgang Amadeus Mozart

This piece has a lot of animals in it. The melody is the rabbits jumping around. In the next scene a swan comes by and says hello. Then the squirrels run and play in the treetops. And the next scene is birds singing…Then a big parade starts in the woods with a lot of animals dressed up….They have a big party with singing, playing, and dancing. They all walk to the playground and ride the very fun roller coasters. And they all live together happily ever after….I think this piece is more my type of music I want to play. Mozart is my favorite composer.

Michael Bridge, 17, bayan
Csárdás
By: Vittorio Monti

I try to play Csárdás as if I were dancing it! Although the piece is well respected in classical circles, it is actually dance music, based on a courting Hungarian dance. I envision swirling couples who are snapping their feet to the music in the faster sections, and flirtatious young men attempted to move elegantly and impress the ladies in the slower parts. This piece was the craziest speed-learn that I ever did. I first learned the piece start to finish in one eight hour setting…It is quite difficult to play correctly on bayan because the runs do not lend themselves as well to the instrument. It makes for more of a challenge!

Gabriel Cabezas, 17, cello
IV. Allegro Con Moto from Cello Concerto No. 1, Op. 107
By: Dmitri Shostakovich

I think [this piece] often sounds sarcastic. Sort of detached and cold in atmosphere. It is all the hardest thing to nail. It is not all emotional, but rather about shock and awe for the audience. It is virtuosic and I try to get that across more than anything.

Michelle Lee, 17, violin
Tambourin Chinois
By: Fritz Kreisler; Arr. William David Brohn

My first impressions of the piece included its playful and charming qualities. The influence of Asian culture is evident, but not overwhelming. Kreisler was able to take Asian stylistic elements and incorporate them into a fun showpiece. The continuous energy of the piece propels me through the music, and is very dance-like (perfect for tapping to). In addition, the contrasting slow section is amusing because the violinist must try to fool the audience into believing the piece is over but then jump right back to the theme…Kreisler’s Tambourin Chinois is unique compared to other pieces that I have played because it is music I can both play and tap to.

We are pleased to announce the release of From the Top’s new iPhone app! Powered by Instant Encore, the mobile tool gives fans up-to-the minute access to From the Top’s podcasts, videos, radio show clips, news updates, concert listings and more. The application is available through the iTunes store and requires users to create an account with Instant Encore.

Instant Encore is committed to keeping classical music vital and accessible to the audience of today and tomorrow while providing organizations and artists with the opportunity to utilize the media model of our time, the Internet. We are thrilled to be partnered with them!

Stay tuned for the release of our Android app later in the fall.

Although From the Top doesn’t tape many radio shows during the summer, our staff keep busy during these hot months with an important and exciting task – holding live auditions for our NPR radio show.

Live auditions are an opportunity for us to hear young musicians in a different and fun capacity; most of our auditions come in by mail. Recent stops our live audition tour included Boston University Tanglewood Institute (BUTI), Interlochen Center for the Arts, Brevard Music Center (BMC), and Aspen Music Festival (AMF).  Below are some highlights from the travels of Tim Banker, Caroline Cardiasmenos, Megan Lantz, and Tom Vignieri.

News From Interlochen Center for the Arts:

Tim Banker

Tim Banker reports: “As usual, our Interlochen auditions are a real marathon for the brain as we see kids from 9am to 9pm (no exaggeration).  The level at Interlochen is very high and so it’s pretty inspiring.  It really doesn’t get boring.  Interlochen is totally international so we also heard amazing kids from locations as far flung as Israel and Peru.

One of the terrifying things about Interlochen is when you try to get breakfast at the cafeteria at like 7:40am.  Why?  Because at 7:45am about 1,000 kids have to be at their orchestras or rehearsals or classes and it’s like experiencing a buffalo stampede in all directions except the buffalo are all carrying bananas, half filled bowls of cereal and jelly lined pieces of toast.  I was half asleep at the time and simply froze to protect myself. Pretty funny.”

From the Top staffers also delighted in an Interlochen tradition: The Melody Freeze, which is, according to Tim, “a gloriously mobbed ice cream stand from which you can buy $1 soft serve.”  Yum!

Music and From the Top Alums at BUTI:

Tom Vignieri

At the Boston University Tanglewood Institute, Tom, Caroline, Megan had a great day of auditions, hearing a number of excellent prospects for the show ranging from strings to winds and brass.

“I feel so lucky to be able to regularly visit Tanglewood, the western Massachusetts summer home of the Boston Symphony Orchestra,” says Caroline.  “I was lucky to participate in programs there two summers when I was in high school and I still feel the same excitement driving through the main gates.”

Over the weekend, Tom visited the Tanglewood main grounds to hear Stravinsky’s Symphony of Psalms paired with Mozart’s Requiem.  There, he sought out recent From the Top 10th anniversary alum Keitaro “Kei” Harada.  Keitaro is one of only three conducting fellows at Tanglewood Music Center this summer. Tom says, “Kei is more than holding his own, already working with Michael Tilson Thomas and now Christoph von Dohnanyi who Kei is assisting on the big opera production of the summer, Strauss’s “Ariadne auf Naxos.” Click here to read Kei’s updates from Tanglewood.

Tom also attended an afternoon BUTI Young Artists Orchestra concert that included a performance of Brahms’ Symphony No. 1 and Respighi’s “Pines of Rome” at Ozawa Hall.  He saw several From the Top alums including double bassist Kiyoe Wellington, trumpet player Dominic Favia, Jack Kent Cook Young Artist Sodie Finebone (who recently played the tuba for our Gettysburg show, which airs September 20), and timpanist Ted Babcock.

Hanging Out at Brevard Music Center:

Caroline Cardiasmenos

At Brevard Music Center, Caroline had the opportunity to visit briefly with Maestro Keith Lockhart before his morning rehearsal of Wagner’s Tannhäuser with the Brevard Music Center Orchestra (BMCO).

She notes, “The BMCO is the top orchestra here, and is composed of college, high school and faculty musicians. Brevard utilizes the side-by-side orchestra concept, which is a special opportunity for the students!  Hearing that sound was the perfect way for me to start a fabulous day of auditions.” (If you’re not familiar with the term, the “side-by-side” concept is where aspiring musicians perform literally side by side with accomplished musicians.  It’s an excellent teaching tool.)

At the end of the day, Caroline enjoyed catching up with Utah Symphony orchestra trombonist and BMC faculty member Bill Zehfuss:  “I chatted with him at the rehearsal in the morning and then happened to end up at the same restaurant as him later that night.  It’s so great to be able to catch up with our faculty friends on these trips.”

Across the Country at Aspen Music Festival:

This was Caroline’s first opportunity to travel to Colorado and gosh did she have fun!

“When you wheel in to the Aspen Music Festival campus, the first thing you notice is the sound of rushing water.  Castle creek runs right next to the main buildings.  That, and the gorgeous high peaks surrounding Aspen are the backdrop for a day’s worth of top notch auditions.”

Caroline spent her first day at AMF’s College Conservatory Day answering questions and rounding up additional young performers to audition: “Sometimes young performers can be hesitant to sign up for live auditions when they’re in the midst of intensive summer training.  Maybe they feel they don’t have a solo work prepared because they’ve been working on ensemble repertoire or they’re afraid they’ll be too tired to play their best after a long day of rehearsals.  We try to encourage them to look at this as an opportunity they should absolutely take.  Us “From the Toppers” are experienced running these auditions and know what the summer institute environments are like.  We are always happy to hear performers sooner than later, even if it doesn’t work out the first time.”

On her second day, Caroline ran the auditions: “Audition after audition is an inspiration for me as a musician.  And when you’re in a magical environment like Aspen, it’s even more touching.”

Although From the Top doesn’t tape many radio shows during the summer, our staff keep busy during these hot months with an important and exciting task – holding live auditions for our NPR radio show.

Live auditions are an opportunity for us to hear young musicians in a different and fun capacity; most of our auditions come in by mail. Recent stops our live audition tour included Boston University Tanglewood Institute (BUTI), Interlochen Center for the Arts, Brevard Music Center (BMC), and Aspen Music Festival (AMF).  Below are some highlights from the travels of Tim Banker, Caroline Cardiasmenos, Megan Lantz, and Tom Vignieri.

News From Interlochen Center for the Arts:

Tim Banker

Tim Banker reports: “As usual, our Interlochen auditions are a real marathon for the brain as we see kids from 9am to 9pm (no exaggeration).  The level at Interlochen is very high and so it’s pretty inspiring.  It really doesn’t get boring.  Interlochen is totally international so we also heard amazing kids from locations as far flung as Israel and Peru.

One of the terrifying things about Interlochen is when you try to get breakfast at the cafeteria at like 7:40am.  Why?  Because at 7:45am about 1,000 kids have to be at their orchestras or rehearsals or classes and it’s like experiencing a buffalo stampede in all directions except the buffalo are all carrying bananas, half filled bowls of cereal and jelly lined pieces of toast.  I was half asleep at the time and simply froze to protect myself. Pretty funny.”

From the Top staffers also delighted in an Interlochen tradition: The Melody Freeze, which is, according to Tim, “a gloriously mobbed ice cream stand from which you can buy $1 soft serve.”  Yum!

Music and From the Top Alums at BUTI:

Tom Vignieri

At the Boston University Tanglewood Institute, Tom, Caroline, Megan had a great day of auditions, hearing a number of excellent prospects for the show ranging from strings to winds and brass.

“I feel so lucky to be able to regularly visit Tanglewood, the western Massachusetts summer home of the Boston Symphony Orchestra,” says Caroline.  “I was lucky to participate in programs there two summers when I was in high school and I still feel the same excitement driving through the main gates.”

Over the weekend, Tom visited the Tanglewood main grounds to hear Stravinsky’s Symphony of Psalms paired with Mozart’s Requiem.  There, he sought out recent From the Top 10th anniversary alum Keitaro “Kei” Harada.  Keitaro is one of only three conducting fellows at Tanglewood Music Center this summer. Tom says, “Kei is more than holding his own, already working with Michael Tilson Thomas and now Christoph von Dohnanyi who Kei is assisting on the big opera production of the summer, Strauss’s “Ariadne auf Naxos.” Click here to read Kei’s updates from Tanglewood.

Tom also attended an afternoon BUTI Young Artists Orchestra concert that included a performance of Brahms’ Symphony No. 1 and Respighi’s “Pines of Rome” at Ozawa Hall.  He saw several From the Top alums including double bassist Kiyoe Wellington, trumpet player Dominic Favia, Jack Kent Cook Young Artist Sodie Finebone (who recently played the tuba for our Gettysburg show, which airs September 20), and timpanist Ted Babcock.

Hanging Out at Brevard Music Center:

Caroline Cardiasmenos

At Brevard Music Center, Caroline had the opportunity to visit briefly with Maestro Keith Lockhart before his morning rehearsal of Wagner’s Tannhäuser with the Brevard Music Center Orchestra (BMCO).

She notes, “The BMCO is the top orchestra here, and is composed of college, high school and faculty musicians. Brevard utilizes the side-by-side orchestra concept, which is a special opportunity for the students!  Hearing that sound was the perfect way for me to start a fabulous day of auditions.” (If you’re not familiar with the term, the “side-by-side” concept is where aspiring musicians perform literally side by side with accomplished musicians.  It’s an excellent teaching tool.)

At the end of the day, Caroline enjoyed catching up with Utah Symphony orchestra trombonist and BMC faculty member Bill Zehfuss:  “I chatted with him at the rehearsal in the morning and then happened to end up at the same restaurant as him later that night.  It’s so great to be able to catch up with our faculty friends on these trips.”

Across the Country at Aspen Music Festival:

This was Caroline’s first opportunity to travel to Colorado and gosh did she have fun!

“When you wheel in to the Aspen Music Festival campus, the first thing you notice is the sound of rushing water.  Castle creek runs right next to the main buildings.  That, and the gorgeous high peaks surrounding Aspen are the backdrop for a day’s worth of top notch auditions.”

Caroline spent her first day at AMF’s College Conservatory Day answering questions and rounding up additional young performers to audition: “Sometimes young performers can be hesitant to sign up for live auditions when they’re in the midst of intensive summer training.  Maybe they feel they don’t have a solo work prepared because they’ve been working on ensemble repertoire or they’re afraid they’ll be too tired to play their best after a long day of rehearsals.  We try to encourage them to look at this as an opportunity they should absolutely take.  Us “From the Toppers” are experienced running these auditions and know what the summer institute environments are like.  We are always happy to hear performers sooner than later, even if it doesn’t work out the first time.”

On her second day, Caroline ran the auditions: “Audition after audition is an inspiration for me as a musician.  And when you’re in a magical environment like Aspen, it’s even more touching.”

Bella with Fellow Performers at the El Dorado Retirement Center

We love when From the Top performers take Arts Leadership to the next level – 14 year-old violist Isabella Markham, a Jack Kent Cook Young Artist, has done just that by organizing a small concert series for a retirement center with the help of her brother and seven friends.  She titled the performance “Bella Palooza” and it took place on March 7, 2010 at the El Dorado; an independent retirement home located in Richardson, TX. The program included works for cello, violin, viola, and piano. Bella chose this project to provide seniors a fun break from their daily routine. Through the performance, Bella hoped to show that musicians her age still care for elderly people, and that music is a universal form of communication. A talented artist as well as a musician, Bella also created beautiful, hand-drawn flyers to promote the event.

Bella's Concert Program Art

Bella on "From the Top"

“I strongly believe that our culture tends to forget about the elderly and aging. A lot of these people are lonely and they don’t get enough love. Everyone needs someone to look forward to, and I think music makes a person’s heart happy.”

-Bella Markham

The El Dorado Dining Hall

We asked Bella a few questions about the performance and the overall experience:

Bella with pianist Evan Ritter

From the Top: How did you come up with your project idea?

Bella: I chose this activity because I wanted the old folks to have something exciting and new to look forward to in their daily schedule. It seems that they are forgotten sometimes, so I wanted to share the gift of music with them.

From the Top: What was the experience like for you? Did you have a favorite moment?

Bella: The experience was so inspiring and enriching! I would definitely love to do something like this again. Although it was a little bit stressful in having the complete responsibility to coordinate the entire event, it was all worth it in the end.

My favorite moment was after the performance. I went around to each table to talk to the old folks and asked them what they thought about the performance. Their faces beamed with joy and they even wanted me to come back and perform again! I loved seeing them so happy.

From the Top: What do you think the audience took away from the event?

Bella: I think the audience took away the joy and love for music. They truly enjoyed seeing us young performers perform for them. I would never be able to describe how happy they were, they were so overwhelmed with joy.

From the Top: What did you learn from this experience?

Bella: I learned that no matter who you are or what you do, music can connect and communicate to anyone! In my opinion, music truly is a wonder to the universe.

From the Top: Do you think this type of experience can help your development as a musician? How?

Bella: Definitely, yes. This is an extremely humbling experience and reminds me all the time of how fortunate and blessed I am. I think this is why I gravitate towards this particular group of people. I know that my presence and sharing of music genuinely touches their hearts as well as mine. Also, I know that I’m making a difference.

From the Top: What advice would you give other musicians interested in doing a similar project?

Bella: Definitely choose a softer selection of pieces to perform. The old folks seem to enjoy the softer pieces a lot. Also, prepare to talk and introduce yourself to them, this seems to make the performance more intimate and enjoyable. It’s also good to go around and talk with them after the performance; they love to talk with you about what a joy it was to have you perform.

I can’t believe we’re already kicking off our 11th season of radio shows, and what better way than a fantabulous piano extravaganza! We taped the first show of the season earlier this week at the Young Artist World Piano Festival on the beautiful campus of Bethel University in St. Paul, Minnesota.

It was an exciting show that featured practically everything the piano can do, from solo to chamber music to a piano duo to a bombastic finale with eight hands flying! Three From the Top alums were included in the festivities. There was 15-year-old Colton Peltier, who appeared this time around with the Aurailea Trio, along with violinist Nora Scheller, 17, and cellist Jocelyn Schendel, 18. The trio performed the first movement of Ravel’s Piano Trio in A minor beautifully

Also featured was Leeza Ali, 16, who previously appeared as a soloist on both our radio and TV programs and now performed as part of our show’s grand finale. Picture two grand pianos, with two pianists seated at each bench. Leeza Ali, 18-year-old Reed Tetzloff, 17-year-old Leo Wexler-Mann, and the great Christopher O’Riley himself performed Smetana’s Sonata in One Movement for Eight Hands in E minor. It was fascinating watching the four of them working through all the intricacies of the piece at music rehearsal.

We also reconnected with cellist John-Henry Crawford, 17, who was flown in to collaborate with 17-year-old pianist Kenny Broberg on a movement from Brahms Sonata No. 2 for Cello and Piano. It was hard to believe these two met and put together this piece just one day prior to taping!

We  met superstar sisters Cindy and Serena Lu, ages 14 and 12, who played the first movement of Mozart’s Sonata in D Major for Two Pianos and then showed off their other major skill, rhythmic gymnastics (which, if you’re not familiar, is acrobatic gymnastics done with props, such as hoops, ribbons and balls). These two are such talented gymnasts that they recently competed in the Junior Olympics! During the show, I managed to tape some footage of them demonstrating, which will go live on our website when the show airs, but until then, check out this YouTube clip of 12-year-old Serena in action.

We also met 9-year-old pianist William Yang (fondly nicknamed “Yangster the Gangster”), who, though rather quiet in person, is as expressive as can be when he plays piano. For your viewing pleasure, I flip-cammed Mr. Gangster rehearsing his piece, Chopin’s Scherzo No.1 in B minor, the night before the show. Don’t miss the part when the block of wood propping up his piano bench becomes unsteady and Chris O’Riley sneaks in to save the day, or the very end of the piece where William finishes with a dynamic flourish. I loved it!

We have been avidly following the progress of Musical Diplomacy, the brainchild of From the Top’s Margaret Stewart Lindsay Arts Leadership Grant recipients Brian Kaufman and Michael Reichman. After an entire year of planning and organizing, their dream of using music to bring together leading policymakers, teachers, musicians, and concerned citizens was finally realized at the Fenway Center Auditorium on May 14. The event demonstrated both musical excellence and creative design, and was very well-received. We sat down with the two after the performance to reflect on the memories and values gleaned from their yearlong journey.

Brian after conducting Bernstein's "Symphonic Dances from West Side Story" (photo courtesy of Jesse Weiner)

From the Top: What have you learned during the course of developing Musical Diplomacy?

Brian: We learned a tremendous amount. We learned about what we’re capable of as artists, as individuals, what we have the ability to do if we put our mind to it. We learned a lot about how to put something together, how to organize things, and how to get a community excited about something. The whole thing was challenging—there was no part of it that was a walk in the park! There was constant negotiating, adjusting, and modifying original plans. To do something like this, you have to be really flexible.

Michael: What we learned is that if you have an idea and a passion, and hope to see it through, you can make it happen. There is no end to the possibilities of what you can do. No one had done what we did before at the conservatory, but that didn’t mean we couldn’t take something to the next level. For any artist out there, don’t let the world stop you from doing something that really interests you. It sounds so corny, but if you dream big, there is no end to the possibilities. This doesn’t mean that we’re going to be performing in front of three million people at Woodstock, but it does mean that this distant dream of a year ago has now become a reality, and we couldn’t be more thrilled about that. Anybody could do this.

Michael after conducting Jason Belcher's "Concerto for Improvisers and Orchestra" (photo courtesy of Jesse Weiner)

From the Top: So this being your second year of Musical Diplomacy, what new ideas emerged?

Michael: Last year what was novel about what we did was that we had a concert plus a discussion. We did that again this year, but it was also with additional effects, such as the audio clips, lighting changes, and seating changes – all things that enhanced the overall aesthetic of the concert and the musical experience. It’s about how you can change the expectations of what classical music can do, and how the music can be effective in ways that people never had thought of before. Your expectations of what classical music is can be quite broad and can be a lot of different things. It’s not just about sitting and listening; it’s about where it takes you from there.

Brian: In a standard classical concert, when the music starts the magic starts but when it stops it ends. Daniel (Daniel Bernard Roumain, or DBR) was open to any ideas that we had, but the audio clips were one that he liked that we could actually do. The lighting changes we did really made an impact as well. We went from all the lights up with the Bernstein to all the lights off for Caroline Park’s piece, a much smaller piece. This was very effective for people since it was such a big difference in aesthetic between the two pieces, and the lighting matched that difference.

Michael: The things that happened that we didn’t expect or anticipate, and ended up planning only a few days before, were a lot of these new aesthetic ideas that Daniel had suggested: an unorthodox concert dress, or in his words “dress like you are going to be on MTV,” and having some sort of creative transition between pieces so that the audience is constantly being engaged and stimulated in some way. The idea is that the concert experience should completely seamless.

(photo courtesy of Jesse Weiner)

From the Top: How has this project related to your experience and education at NEC?

Michael: We served as conductors and music directors for this project, so we did everything from the musical preparation of score study to the logistical preparation of recruiting ensemble personnel, securing rehearsal locations, etc. That is all very much a part of what we did at the conservatory, outside this project. We’re using all those skills. NEC has begun a crusade to start an “entrepreneurial musicianship” program, and the NEC President is very gung ho about this idea of educating NEC musicians to be entrepreneurs. That goes along with not just being good artists, but knowing how to “think outside the box” on ways you can contribute to the community, wherever that community is. That just so happens to be what we’re already doing! So that ties into our education in that respect.

Brian: There was an incredible overall sense of accomplishment with everything we did. Michael and I talked about how this concert was, in many ways, a synthesis of the learning that we have done over our whole education, not just our two years at NEC. All of the organizational things: raising money, getting Daniel involved with the project, having Gunther Schuller on the panel discussion, having From the Top become a part of the project, getting 85 students to freely volunteer their time, having interest from the faculty at New England Conservatory, having the entire Conservatory come together between marketing and faculty and staff, all of these were really helpful and positive things.

(photo courtesy of Jesse Weiner)

From the Top: How did you feel about the post-concert panel discussion?

Michael: It didn’t go quite as we had previously expected, and of course that had to do with a lot of last-minute replacements on the panel that happened the week of. You can formulate panel questions you would like the discussion to revolve around, but panelists feel things in the moment. Both Daniel and Donnie Perkins prefaced their speeches by saying, “I was going to talk about this, but having had this experience I feel compelled to say these things.” The format was having each panelist speak for about 8 – 10 minutes each, and then open it up for questions. I think one thing that we might want to consider doing differently for a similar formula in an event like this is to maybe have very specific questions asked by the moderator to specific panelists. That way, it becomes immediately more like a dialogue rather than a series of speeches. The momentum and the energy would be a little bit more kinetic and gets the audience a more engaged. It would also hopefully leave room for the audience to ask more questions, since we only had time for 2 questions from the audience.

Brian: This whole idea of music in and of itself, this idea that it transcends words and represents an idea that we cannot with words, is really powerful. I think it can be a powerful thing to react to that and discuss it: what did we get from that? How does it shape our thoughts? The idea of discussion is important, and the interaction between people is really important. As we move forward to do this in the future, we can begin thinking about how we can guide that discussion and make it as fruitful as possible.

Michael: The important thing for us to keep in mind is that we’re not political activists with an agenda or an idea to get across. For us, it was about guiding the discussion in a direction that made sure we were talking about where we are in our country culturally now that we have a non-white president. It was interesting that the conversation went in many different directions from that. Perhaps changing the format will make sure that not only is the interaction a little more lively between the panelists and the audience, but that the questions and issues that we intended to have raised in the event are, and that less gets left untouched.

Daniel Bernard Roumain conducting his piece, "Symphony for the Dancefloor" (photo courtesy of Jesse Weiner)

From the Top: There was a powerful moment in the discussion when an audience member challenged the panel on the issue of affirmative action. How do you think that affected what followed?

Michael: I think Daniel’s response to the question was an appropriate response, and that he responded to it as a musician and not as somebody who has his own political opinions or social opinions. It’s important that when you are trying to do an event like this to keep in perspective your perspective: I am reflecting and raising these issues as an artist. We are talking about America and the effects of racial integration culturally. We are asking “where are we in this country culturally?” We’re keeping in perspective how we’re asking the questions and who is asking the questions. I think it was good Daniel answered the question as a musician.

Brian: He didn’t just dismiss the guy for his anger, either. He really identified with his viewpoint by saying: “I understand where you are coming from, I don’t agree with you. Here are some things that I think differently, but I do understand where you’re coming from. There are parts of my experience that I cannot connect with where your experiences are, because I’ve had different experiences.” At the same time he was saying he didn’t agree, he was giving the guy’s argument value and understanding, which was really powerful. He wasn’t knocking the guy for his anger or his view, he was saying your voice is just as important a voice as any other voice, and it deserves to be heard just as much as any of the rest of us, as any of the five of us sitting up here right now (the panel).

DBR (photo courtesy of Jesse Weiner)

From the Top: What do you see in the future of this project?

Brian: Personally, I see someone giving us a $200 million grant to continue doing this. I don’t know if it’s going to happen, but I have my fingers crossed!

Michael: I think we have tapped somewhat of a niche market. Nobody is exactly doing what we’re doing in this way. We would want to continue doing projects like this—not necessarily in a concert plus discussion format, but projects that take music and set it in an illuminating context. In other words, taking art and getting people to think about it in a different way and continuing to produce events that do that.

Brian: We’ve both found that we have an interest and a passion for this kind of thing. We’re looking to keep that as a central part of what we do after NEC. In more detail, we’re looking to set up an organization that would put on these kinds of events, potentially a nonprofit.

Michael: It is definitely something we want to move forward with, and to keep thinking of new ways to be creative and enhance that concert experience, whether that be from the audience member’s perspective or from the performer’s perspective. Diplomacy through concert plus discussion only has to be one medium for that. It can take a lot of different forms, a lot of different concerts, and lot of different styles with the importance being that it’s wonderful music getting people engaged and enhancing the way they see and experience music.

Panelists Robert Gittens, Donnie Perkins, William Lowe, and DBR (photo courtesy of Jesse Weiner)

From the Top: Do you ever see it expanding beyond music and incorporating other arts?

Brian: Absolutely! I think collaboration is at the core of what we are doing. There are so many artists that are already part of this idea and that are doing things relevant to what we are thinking, and they would probably be really interested in being a part of this. The Internet is another way to make this available to everyone right away.

From the Top: Based on how this most recent experience went, what is the ideal picture you could paint for Musical Diplomacy?

Michael: Our name right now is Musical Diplomacy, and the key word to that is “music”. It’s all about making sure that the music gets you thinking or affects the way that you experience “fill in the blank.” It’s about how we can get music to get people thinking about the world around them differently. That’s the big mission, that’s what musical diplomacy is all about. The best success for us would be hearing: “Bernstein, that’s such a great piece and I’ve loved it all my life, but I never thought of it that way. Any time I listen to that music I am now going to think about it differently. And the next time I hear Barack Obama speak or Jesse Jackson or anybody in that sort of activism, I’m going to think about it differently because the music affected the way that I see this issue and how the issue either transcends or doesn’t.”

Brian: We are really interested in expanding on this idea of music as a platform for addressing social issues. It’s a really compelling idea that could make a huge difference and a huge impact for a lot communities and a lot of people. Aside from the concert and discussion, the question is that within this context of Musical Diplomacy how can we connect people to these ideas? What educational components can we bring in? How can we engage people in high school or middle school with this idea? How can we engage other communities? How can we bring this idea outside of Boston and into other parts of the country?

Panelist Gunther Schuller (photo courtesy of Jesse Weiner)

From the Top: What advice would you give to younger musicians who are interested in getting involved in their communities and are inspired to do something similar?

Brian: Try to identify the components of what you’re trying to do. Once you do that, get advice from people who are good at those individual components. We’ve been very lucky. Even though we’re receiving credit for putting this concert together, we had a tremendous amount of help. The good news is that there are a lot of people out there who want to help you. You’re not alone in this. Whether it’s your teachers or other people in your community, I guarantee there are people out there who will help you with whatever you want to do. One example at NEC: we had to raise money for our project, and we were applying for grants. We were directed towards the grant writer for NEC and met with him. We explained what we were doing, showed him drafts of our grant proposals, and he gave us feedback. Asking advice from someone is almost the best form of flattery you can give them. Don’t feel like you can’t ask. Always, always ask! Most people would love to sit down and help you in any way they can.

Michael: I think that’s the biggest thing: ask for advice. You don’t even have to have a completely concrete idea. If you’re really passionate about something and you have an idea, talk to your teachers and your mentors. Tell them about your idea and ask whom else you could approach to get advice. Take those names and then ask them for advice. It continues from there.  You’ll start developing really good rapports and relationships and a support system. That’s all you need. As we were developing our network at NEC, Tanya Maggi, the Director of the Community Performances Partnerships Program at NEC, came across From the Top’s Margaret Stewart Lindsay Arts Leadership Grant. All because we asked somebody for advice!

(photo courtesy of Jesse Weiner)

From the Top: What does it mean to be an artist in today’s world?

Brian: Especially in classical music, there aren’t that many jobs out there. Being a 21st century musician is about being resourceful and using all of your skills, and not necessarily just musical skills. That could mean teaching, performing, or putting your own projects together. For us, being relevant and part of a community is really important, and it’s part of being a 21st century musician. To go along with that, you have to have a broad view of what being “successful” is. Don’t limit your idea of success to being a violin player in an orchestra, and that’s it. You’ll miss out on a lot if you do.

Michael: I went to a conducting workshop, and one of the speakers during a career seminar said, “there are no such things as jobs, only opportunities.” As a young artist or musician, that (along with asking for advice) is a powerful idea that you can take away. It’s all about forging your own career. You can create anything you want, and if you have a passion for it, you can find a group of people that will help you. That’s almost as important as honing your craft at a conservatory. Look at your education as training for the various opportunities with which you’re going to create for yourself. With this attitude, artists (any student, really, in any field of education) would look at their careers differently, and, I think, for the better. Everybody has something to contribute to society; it’s just a matter of figuring that out. If you see your education as a way to create your own opportunities and not just apply for a job, it will have a monumental impact on your outlook.

Brian: You can also think about it as being a contribution with your art. That changes the way you approach what you do. Art isn’t about you; it’s about contributing something.

(photo courtesy of Jesse Weiner)

This is the final installment of our Musical Diplomacy series on The Green Room. We will keep you posted on future developments and proposals with the project!

We are pleased to announce our 2010-2011 national tour dates for taping our popular NPR radio program hosted by acclaimed concert pianist Christopher O’Riley. The tour will include concert events at From the Top’s home base at New England Conservatory’s Jordan Hall and cities from Athens, GA to Yountville, CA and will mark From the Top’s eleventh season in public broadcasting.

What began as a radio experiment in 2000 quickly became one of the fastest growing and most popular weekly classical music programs on public radio. Broadcast on nearly 250 stations nationwide to an audience of more than 700,000 listeners each week, From the Top celebrates the amazing performances and captivating stories of America’s best pre-college classical musicians. We are proud to continue our work through the 2011 season!

2010-2011 From the Top’s NPR Radio Taping Schedule*

Tuesday July 13, 2010: St. Paul, Minnesota
Presented by Young Artist World Piano Festival

Tuesday, October 12, 2010: Davenport, Iowa
Presented by Orchestra Iowa as part of From the Top’s Iowa Residency, Iowa Makes Music

Sunday, October 24, 2010: Boston, Massachusetts
New England Conservatory’s Jordan Hall

Tuesday, November 2, 2010: Baton Rouge, Louisiana
Presented by LSU College of Music and Dramatic Arts

Tuesday, November 16, 2010: Abilene, Texas
Presented by KACU-FM

Friday, December 3, 2010: Bethlehem, Pennsylvania
Presented by the Zoellner Arts Center at Lehigh University

Sunday, January 23, 2011: Yountville, California
Presented by the Lincoln Theater Napa Valley

Saturday, January 29, 2011: Boston, Massachusetts
New England Conservatory’s Jordan Hall

Tuesday, February 8, 2011: Opelika, Alabama
Presented by the Arts Association of East Alabama

Sunday, February 27, 2011: Athens, GA
Presented by the University of Georgia Performing Arts Center

Wednesday, March 30, 2011: Cedar Falls, Iowa
Presented by Orchestra Iowa as part of From the Top’s Iowa Residency, Iowa Makes Music

Saturday, April 16, 2011: College Park, Maryland
Presented by the Clarice Smith Performing Arts Center at the University of Maryland

Tuesday, April 26, 2011: Carmel, Indiana
Presented by The Palladium at The Center for the Performing Arts

Wednesday, May 4, 2011: Virginia Beach, Virginia
Presented by the Virginia Arts Festival at the Sandler Center.

Sunday, May 15, 2011: Oklahoma City, Oklahoma
Presented by KCSC-FM at the Rose State College Performing Arts Theatre

*Keep in mind the schedule is subject to change; you can always find the most up-to-date taping schedule on our website.

Arts Leadership is an important part of From the Top’s experience for young musicians. We encourage all our performers to give back to their communities through their music. Sahun “Sam” Hong who performed on Show #206 in Dallas, Texas, has been doing Arts Leadership outreach continually since his show taped in November, 2009.  He’s setting a great example! On June 22, 2010 Sam will play a recital in Longhorn Auditorium at Trinity Terrace for all of the residents.

Here’s a quick photo recap of his work since November:

On December 1, 2009, Sam performed for all of the fifth grade students at Tanglewood Elementary School in Fort Worth.

Sam performing between showings of the award-winning documentary of the 2009 Cliburn Competition, "A Surprise in Texas

Sam and Van Cliburn at "A Surprise in Texas" showing

Sam performing at Trinity Terrace Retirement Home in Fort Worth. He visits the residents once a week to play solo piano, accompany them singing, and do some magic tricks. This is on the second floor for residents who are unable to get out.

Sam performs for elementary students at The Cambridge School in San Diego on June 3, 2010.

We just got a neat update from composer Daniel Bernard Roumain (aka DBR).  A few weeks ago we featured a blog he wrote on Musical Diplomacy and Good, Long Hugs.  These days he’s been collaborating with the Boston Pops to work with young musicians in Boston area schools.  Check out this video for an overview of his educational philosophy (and some really cool uses of the violin).

Hi everyone! We were in historic Gettysburg, Pennsylvania last week, taping a show at the Majestic Theater, a beautifully restored 1920’s vaudeville house. We kicked off the Gettysburg Festival, an annual celebration of art and culture.

As you might imagine with a production such as ours, sometimes the unexpected happens, and this show marked one of those occasions. A fantastic teen ensemble called the Emerald Quartet was scheduled to perform on the show. Repertoire had been chosen and the script was well on its way when we received the news that one of the quartet members had a passport issue while on vacation in his home country of Venezuela and would be unable to return in time for our taping, which was less than a week away! The producers had to think quickly.

They knew this was an incredibly talented group of young musicians so they decided to bring in the three remaining members and have them play as a piano quartet with host Christopher O’Riley. Violinist Ethan Hoppe and violist Clayton Penrose-Whitmore, and cellist Alexander Hersh quickly learned their parts of the newly assigned piece – the Rondo alla zingarese finale from the Brahms G minor Piano Quartet – and then flew in to Gettysburg to rehearse it with Chris one day before the taping. Talk about a high-pressure situation! These three were obviously up to the task, however, because it came together fantastically.

It was a great show all around, and very diverse in terms of personalities and repertoire. There was 14-year-old pianist Hyung-Do Kim, who beautifully played Liszt’s La Campanella, 16-year-old violinist Elaine Kang, who played Sarasate’s showy Carmen Fantasy, and quirky 13-year-old cellist Kathryn Westerlund, who performed Shostakovich and then discussed her synesthesia (she sees colors when she plays music, and also associates people with colors. She told Chris he was purple, and she saw me as green).

We even featured royalty! Tubist Sodie Finebone, who is a descendent of a Nigerian king, gorgeously played a movement from Concerto for Tuba by Edward Gregson. He discussed his passion for music and his gratitude towards the Atlanta Symphony Orchestra’s Talent Development Program, which has mentored him since he started playing tuba.

Now for your video enjoyment, I want to show you the audition tape the Emerald Quartet sent in. Here they are, complete with their fourth member, violinist Kenneth Jones-Madrid, playing the piece they were intending to play on our show – the fifth movement from String Quartet No. 4 by Béla Bartók. Enjoy! And don’t forget to tune in when our Gettysburg show airs the week of September 20th.



This week’s show is a rebroadcast from Cedar Rapids, Iowa, but we hadn’t posted a listening guide when it first aired.  Keep reading to learn what each of the musicians think and feel about the pieces they perform.

Rhys Lloyd Talbot

Rhys Lloyd Talbot, 18, bass voice
“Honor and Arms” from Samson by Handel

When I sing this song, I try to get the song’s message of boasting and scorn for a weaker opponent across to the audience. The song’s about a giant who’s mocking Samson and saying there’s no glory in defeating someone smaller. Hands down, this is the most difficult piece in my repertoire. Consequently, I think it’s the most fun to listen to, and the most impressive song I have. It’s also a great song to sing in the shower.

Solly Burton, 17, mandolin
Czardas by Vittorio Monti

When I play this song, I feel like I am in another country in another era of time. Some songs are fun to play and listen to no matter how old.

Katherine Siochi

Katherine Siochi, 15, harp
Impromptu-Caprice by Gabriel Pierné

Impromptu Caprice by Gabriel Pierné is one of the most well-known show pieces in the harp repertoire. This piece opens with a candenza-like section, bringing to mind what the title would suggest, an improvisation in an extemporized style. My favorite part of this piece is the dramatic ending. The crescendo of arpeggios and glissandi lead to an exciting climax followed by the final four chords.

Susie Koh, 14, Aurelia Quartet, violin
III. Allegro non troppo from Quartet No. 3 in F major, Op. 73 by Dmitri Shostakovich

I really like this piece, and I think that it is a great piece for my group. It is fierce, fiery, and strong. My group is pretty wild, so we like to headbang to this piece. And that is sort of the character of the piece, too.

Laura Park, 15, Aurelia Quartet, violin

The funny thing about this piece is that it requires so much preparation: reminding Susie to put in her earplug, rearranging stands to accommodate fast page turns, and tucking our hair behind our ears. Of course we still have to keep in mind intonation, ensemble, and articulation among many other things, but it feels as if each one of us has that crazy, dark side in us that comes out when we play the Shostakovich together.

Arianna Smith, 15, viola

This piece requires a unique level of energy. Whenever we play we have so much fun. We were able to perform this piece in a concert with Rachel Barton Pine, and in the beginning of the first violin solo, Susie’s E-string came off of the bridge, and she had to play most of it on the A-string!

Allan Steele, 15, cello

This movement is intensely loud, dynamic, and violent. Written directly after World War II, it is fully described by the Borodin’s Quartet’s subtitle for the movement: “Forces of war unleashed.” It’s enormous fun to play, but it is so intense that nearly every time we play the movement, although only four minutes long, we’re out of breath and exhausted.

Aurelia Quartet

If you’ve listened to this week’s show, you probably heard Christopher O’Riley talking to oboist Bryanne Presley about the pranks she likes to pull on her dad, Wade, who is also her school band director.  Well we’ve got a treat for you – great pictures of past pranks and video of Dad getting back at her on stage.

The work of 20 high school band students on the Presley house

TPing the band room

TPing the band room: the suspects

The band students moved Dad's chair to the middle school on his birthday

The obligatory explanation note for the middle school

And here’s how Dad got back at Bryanne:

Here in the From the Top office, we’re still on a high from the incredible taping Tuesday night at Symphony Hall, where we teamed up with Keith Lockhart and the Boston Pops! What an exciting show this was. From start to finish, it featured one phenomenal performance after another. Four of the young musicians who joined us were alums, and it was amazing to see how much they’d grown as performers.

Keith Lockhart, Conductor of the Boston Pops

The show opened with nine-year-old pianist Umi Garrett. This tiny girl, clad in a party dress and bows, is nothing short of a musical dynamo. She played Mozart flawlessly and then had a very funny bit where she showed off a trick – playing “Heart and Soul” while backwards and upside down – and Keith Lockhart jumped in to harmonize!

Next up was another alum, pianist Ronald Joseph, who was on our TV show when he was 17. Ronald grew up in New Orleans, but was displaced by Hurricane Katrina and studied for a year at the Juilliard School. You can see his story here. Now a sophomore at Bard College, he and Christopher O’Riley collaborated on a two-piano piece by composer Danny Elfman, joined by the Pops.

Third up was 16-year-old Michael Bridge, who played the Russian bayan. You’ve never heard of a Russian bayan, you say? No worries. Maestro Lochart took one look at it and said, “Hey, that’s not an accordion! What is that?” Michael loved that! To explain, the bayan looks a lot like the accordion except that it has buttons instead of keys as well as a broader right hand range. Michael played Vittorio Monti’s Czardas, backed by the Boston Pops, and it was a showstopper!

Next up was one of my favorite alums – 17-year-old cellist Gabe Cabezas, who was first on our show with his quartet when he was 12, and then performed as a soloist on both our radio and TV shows. We brought him back once again for this special taping to play with the Pops. Always a great performer and an old pro at all things From the Top, I think he outdid himself this time playing Shostakovich.

Next up was 17-year-old Michelle Lee, who is not only an excellent violinist, but also an accomplished tap dancer. She played Kreisler’s Tambourin Chinois backed by the Pops. In the middle of the piece, she handed her violin to Chris, did a tap dancing routine, and then grabbed her violin back to finish the piece with a flourish. The audience loved it!

The show closed with 17-year-old composer Jeremiah Klarman. When he was originally on our show at the age of 13, we introduced him as From the Top’s biggest fan. It meant so much to him to be on the show back then, and I was greatly looking forward to his return. The Boston Pops performed Jeremiah’s Symphony No.1 in C minor, and I was completely blown away! I could tell Jeremiah was too, and I was thrilled for him.

I’ve created a little flip cam montage of our music rehearsal the night before the show. The Pops weren’t there, but you can see Keith working with the kids. He was so great with them! Believe me when I say that this show was a special treat, and one not to miss when it airs the week of September 6.

Here in the From the Top office, we’re still on a high from the incredible taping Tuesday night at Symphony Hall, where we teamed up with Keith Lockhart and the Boston Pops! What an exciting show this was. From start to finish, it featured one phenomenal performance after another. Four of the young musicians who joined us were alums, and it was amazing to see how much they’d grown as performers.

Keith Lockhart, Conductor of the Boston Pops

The show opened with nine-year-old pianist Umi Garrett. This tiny girl, clad in a party dress and bows, is nothing short of a musical dynamo. She played Mozart flawlessly and then had a very funny bit where she showed off a trick – playing “Heart and Soul” while backwards and upside down – and Keith Lockhart jumped in to harmonize!

Next up was another alum, pianist Ronald Joseph, who was on our TV show when he was 17. Ronald grew up in New Orleans, but was displaced by Hurricane Katrina and studied for a year at the Juilliard School. You can see his story here. Now a sophomore at Bard College, he and Christopher O’Riley collaborated on a two-piano piece by composer Danny Elfman, joined by the Pops.

Third up was 16-year-old Michael Bridge, who played the Russian bayan. You’ve never heard of a Russian bayan, you say? No worries. Maestro Lochart took one look at it and said, “Hey, that’s not an accordion! What is that?” Michael loved that! To explain, the bayan looks a lot like the accordion except that it has buttons instead of keys as well as a broader right hand range. Michael played Vittorio Monti’s Czardas, backed by the Boston Pops, and it was a showstopper!

Next up was one of my favorite alums – 17-year-old cellist Gabe Cabezas, who was first on our show with his quartet when he was 12, and then performed as a soloist on both our radio and TV shows. We brought him back once again for this special taping to play with the Pops. Always a great performer and an old pro at all things From the Top, I think he outdid himself this time playing Shostakovich.

Next up was 17-year-old Michelle Lee, who is not only an excellent violinist, but also an accomplished tap dancer. She played Kreisler’s Tambourin Chinois backed by the Pops. In the middle of the piece, she handed her violin to Chris, did a tap dancing routine, and then grabbed her violin back to finish the piece with a flourish. The audience loved it!

The show closed with 17-year-old composer Jeremiah Klarman. When he was originally on our show at the age of 13, we introduced him as From the Top’s biggest fan. It meant so much to him to be on the show back then, and I was greatly looking forward to his return. The Boston Pops performed Jeremiah’s Symphony No.1 in C minor, and I was completely blown away! I could tell Jeremiah was too, and I was thrilled for him.

I’ve created a little flip cam montage of our music rehearsal the night before the show. The Pops weren’t there, but you can see Keith working with the kids. He was so great with them! Believe me when I say that this show was a special treat, and one not to miss when it airs the week of September 6.

For the past two years, From the Top and Orchestra Iowa have collaborated on a project called Iowa Makes Music. One component of this residency is our Arts Leadership program, which provides high school age classical musicians with intensive arts leadership training and one-on-one mentoring to help them develop and lead their own music-inspired service projects in their home communities.  We are so impressed with the hard work that our participants have put into their projects. Here’s just one example:

Thomas Burrill, Freshman

When you hear the words “Alzheimer’s Benefit Concert,” you wouldn’t normally think of two high schoolers.  But this year Thomas Burrill (who’s father died over a year ago of the disease) and his friend Linda Xiong have been toiling over an intense project – producing a classical music concert and raising $5,000 for the University of Iowa’s Alzheimer’s research.

This dynamic duo teamed up a couple of months ago and charged full speed ahead with creating an exciting concert and raising $$$.  First order of business? They got the Englert Theater (where From the Top taped a show!) to donate space for the concert.  With one win in the bag, Thomas and Linda set out to create marketing materials, find sponsors, and raise money.

Linda Xiong, Sophomore

The final results? Over 130 concert attendees, 16 sponsors, and $5300 in donations – they surpassed their goal!  One concert-goer came up to Thomas after the show and thanked him for setting an example for “all the folks, young and old, in Iowa”

Linda posted some great clips from the concert and you can read more about how they made this project a success on the Iowa Makes Music blog.

Check back later to hear about some more projects from Iowa youth musicians!

You may remember 11-year-old Natalie Dungey on Show #202 in Salt Lake City, where she blew the audience away with incredibly polished sounds from a difficult brass instrument – the trumpet!  If you missed the show, you can listen here and watch a video of her rehearsal the night before here.

We just got an email update from Natalie’s dad and wanted to share the great news. Since performing on From the Top, Natalie blasted full speed ahead and was a featured soloist with Mateo Messina’s “Symphony of a Superhero”, a benefit concert for Children’s Hospital in Seattle at Benaroya Hall.

She didn’t stop there; next she soloed with the Auburn Symphony in February (Trumpeter’s Lullaby) and was paid to play 4th trumpet in the orchestra on the Frank Symphony in D minor and the Accursed Huntsman.

What’s coming up for Natalie? In August she’ll join the Sammamish Symphony and during the first week of December she’ll play with the Auburn Symphony.  There’s even a chance that during Fall 2011 she’ll play an entire concerto with the Auburn Symphony, at the insistence of music director Stewart Kershaw.

Some pretty amazing accomplishments for a young lady who hasn’t entered her teenage years yet!

The week’s From the Top broadcast was taped at the Englert Theatre in Iowa City, Iowa, on February 24, 2010.  We asked our performers to tell us about the music they performed on the show:

Thomas Burrill, 14, piano
Sonata No. 2 in B flat minor, Op. 35, I. Grave – Doppio movimento by Frederic Chopin

The 1st movement I’m performing is often viewed as a virtuoso piece, but it’s important to keep in mind that it’s leading to a funeral march, so the pianist has to preserve a dark dramatic resonance throughout the movement. The hardest part in this piece is to not exaggerate the rubato, yet keep moving forward while shaping the music.  There are sections of this music that produce a sense of longing for departed lives, yet one must move forward in the piece, as though one is fleeing inevitable death. As I play, I imagine as though I’m in a carriage hastily trying to escape death, though I realize that death is inescapable.

Jeremiah Siochi, 17, composer
Thoughts of a Wistful Heart for Harp and Violoncello by Jeremiah Siochi

The piece was specifically written for Katherine and Andrew. I took full advantage of the opportunity to work with my harpist sister – “work-shopping” sections of music and receiving valuable feedback on playability,

Katherine Siochi and Andrew Altmaier

technique, notation, etc. I actively considered my compositional choices, and attempted to open my music to more unity, contrast, and variety.  Tranquil harp chords tinged with melancholy begin the work, after which the cello picks up a lyrical yet brooding countersubject, progression from tranquility, to brooding uncertainty, to disjoined lyricism is reflected on the large-scale – a wistful longing becomes more brooding and builds to a frustrated, furious climax, where the strong emotion must break the lyrical “thoughts” into disjointed pieces. It is a journey of the heart that is passionately experienced, one that indulges in an unfulfilled past despite wisdom to move toward the future.

Meekyoung Lee, 18, flute
I. Allegro aperto from Concerto No. 2 in D major, K. 314 by Wolfgang Amadeus Mozart

Meekyoung Lee

There are so many different interpretations and stylistic opinions about this piece, so there is always room for new ideas and new ways to improve, and I think that’s what makes this piece stand out. I never get bored with it because there is always something new I could do. There is an aspect of optimistic, energetic happiness as well as a more shy, timid aspect in this piece. When I perform this piece, it’s happiness, a kind of royal feel to the piece that makes me feel happy. There is no need for me to “emote,” the overall simplicity bring out the joy both to the audience and myself.

Allan Steele, 16, cello
IV. Allegro from Sonata for Violoncello & Piano in D minor, Op. 40 by Dmitri Shostakovich

I’ve always loved Shostakovich. There’s something about the mix of head-banging heavy metal classical and ironically chirpy demented clown music that’s really amazing in a kind of nasty-funny way. The raw emotion and then the sarcastic humor; what’s not to love? My teacher told me that when Rostropovich performed this, he made up a story about a guy going to the bar; it corresponds to the sections in the movement so well that even if it’s a bit silly, that’s what I think of. In the beginning the guy is sneaking out, he gets to the bar, gets in a drunken fight, and eventually sneaks back home.

Jake Mezera, 14, trombone (The Bone Rangers)
III. Veloce – Ignoblimente from Sonata for Trombones by Simon Wills

This piece is a sprint from start to finish – it can never slow down and requires a lot of energy to keep it exciting. This piece is also very difficult for high school students to play. The first trombone part is very high and is a challenge for endurance. I think the hardest thing for me to nail is the trill on a high note at the end.

Joe Krantz, 18, trombone (The Bone Rangers)
III. Veloce – Ignoblimente from Sonata for Trombones by Simon Wills

Sonata for trombones is an extremely exciting piece that requires the trombone to take on many different characters. It is crucial for us to convey the different personalities that exist within the piece. This is one of the most technically difficult pieces I have had to perform with a chamber ensemble.

The Bone Rangers (Jake Mezera, Joe Krantz, Douglas Meng, and Tanner Jackson)

Douglas Meng, 16, trombone (The Bone Rangers)
III. Veloce – Ignoblimente from Sonata for Trombones by Simon Wills

When I play this piece I think of a chase going on. In different parts of the piece it is as if this person goes to a different place to hide but ends up being chased again. I really like to play this piece because it is interesting.

Tanner Jackson, 14, trombone (The Bone Rangers)
III. Veloce – Ignoblimente from Sonata for Trombones by Simon Wills

The image that I feel is invoked by this piece is a sort of mischievous feel in the first section of the piece. The second section has a drunken feel to it, and at one point Mr. Riordan said that this sounded like a drunk solider telling a twisted war story, and as the melodic line is passed, another soldier interrupts with their own twist on it. The third section has a “rising tension, released tension, and repeat” pattern, which leads in to the fourth section, which is a recapitulation of the first section. The section of this piece I like the most is the second section, because it seems the most picturesque and diverse part.

From the Top isn’t just about broadcasting phenomenal music.  An integral part of our program is the Arts Leadership Orientation, which follows every performance. What’s that, you ask? The performers gather with From the Top’s Education staff after the show to reflect on their experiences – what were they thinking before the show started? What were their favorite moments during broadcast? How are they feeling now that it’s over? This isn’t just a communication exercise; it really helps the performers bond with each other over their shared experience. And at From the Top, we’re all about growing community!

Aside from the reflection piece, the kids also get to learn more about From the Top’s mission of service and our Arts Leadership program.  As you read from Anna DeLoi’s blog, this can inspire the young musicians to take their talents to the next level and help others around them!

Check out the shout out video below, directed by the performers of Show #216. This group of kids aptly named themselves “Show Awesome” and in a quick 16 seconds you can tell how much fun they had with each other!

Hi everyone! We just got back from Iowa, where we taped a show at Iowa State University in Ames. One of the school’s most celebrated graduates was in our audience – the great American baritone Simon Estes! He introduced the first performer, 18-year-old violist Caroline Weeks, who played a beautiful piece by Rebecca Clarke.

Simon Estes and Elizabeth DeVore, From the Top's Production Manager

Next up was a local performer, 18-year-old oboist Bryanne Presley, who played Vaughan Williams and provided one of my favorite moments of the show. Her dad is also her band teacher and we had him join her onstage to talk about all the pranks she’s pulled on him over the years. Of course, we couldn’t resist encouraging him to get back at her on national radio, and he delivered with a karaoke serenade that made her squirm!

Our production manager Elizabeth grew up in Iowa, and it turned out that Bryanne’s dad was actually her first band teacher back when she was in middle school! When they reunited before the show, Elizabeth reminded him of why she chose to play trumpet – because he had convinced her that developing the muscles in her lips would make her a good kisser someday!

Next up on the show was 16-year-old Kong Qi, who is new to America having recently come across the world from China to study music at the Walnut Hill School in Massachusetts. He played the exciting first movement from Stravinsky’s Three Movements from Petrushka.

We were then joined by our 10th Anniversary Alumni special guest, conductor Keitaro Harada, who beautifully performed Astor Piazzola’s Adios Nonino on saxophone and discussed the road to becoming a conductor. I can still vividly remember his appearance on our show seven years ago, and it was thrilling to catch up with him again.

The show closed with Octet Abbraccio from Columbus, Ohio performing Mendelssohn’s Octet in E-flat, Op. 20. I loved this piece, and I was touched to see the group members in tears and hugging one another after the show. It turns out that several of them are graduating this year and this was their final performance together. What an honor to be able to share the moment with them!

We captured their wonderful performance in its entirety (including a bit of the aftermath) on video. They really exemplify the special bond that playing music together creates.