From the Blog: For Teachers

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.

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!

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).

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

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!

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!

Kanu o ka ‘Aina, one of the schools we visited in Waimea, recently received a large federal grant from the Community Development Financial Institutions Fund’s Native American assistance initiative. The program supports native institutions that address the development and needs of native communities. Kanu o ka ‘Aina is a bilingual, Hawaiian-focused charter school that integrates outdoor ‘learning laboratories’ into its curriculum.

Gary Washburn, a music teacher honored on Show 209 in Waimea, notified us that the NAMM Foundation has selected Honoka’a High and Intermediate Schools as one of the “Best Communities For Music Education” in the nation. Congrats! Read more here.

In January, From the Top partnered with Hawaii Public Radio to bring our radio show and education programs to the island of Hawaii. It was the first time a program like ours has been recorded on the Big Island for national broadcast, and we were greeted with open arms and that famous Aloha spirit.

During a whirlwind week, we taped broadcasts in Waimea and Kea’au, and visited five schools and one youth center in four different communities, sharing the performances and experiences of From the Top musicians with nearly 2000 community members of all ages. On the broadcasts, we highlighted four performers and one jazz band from Hawaii and brought eight others from the mainland.

Highlights:

In the lush plantation village of Honoka’a, we were greeted with a special hula welcome by staff and students and met an inspiring music teacher Gary Washburn, whose jazz band was featured on the Waimea broadcast.

In the rainy mountain town of Waimea, a group of middle school students challenged 16-year-old guitarist Daniel Tekunoff to try the ukulele for the first time during a school performance. He gladly accepted and plucked out, “Twinkle, Twinkle Little Star.”

At the Kamehameha School in Kea’au, 100 middle and high school students attended our sound check and dress rehearsal and beautifully thanked the performers and crew with a traditional mele (chant). Elementary school students were also treated to a special introduction to some of the instruments in the woodwind family by Chicago-based chamber group Trifecta.

In all, it was a wonderful week and we are so grateful to our hosts Hawaii Public Radio and the people of Hawaii Island.

See more photos.

Last Friday, we gathered 3-5th grade students from our Boston Public School partners (Philbrick, Edison and Winthrop elementary schools) for a special concert at Boston’s Roland Hayes School of Music. The goal was to link the  elementary students who have participated in our three year program, Turn it Up!, funded by the Wallace Foundation, with opportunities to study music within the Boston Public Schools as they enter high school.

High school students from Roland Hayes School of Music and Boston Arts Academy performed a variety of music – a solo vocalist, young men’s choir, solo pianists, and a superb steel drum band – for about 160 students, faculty, and a few parents. There was a pre-concert tour of the Roland Hayes School for the entire audience led by four Roland Hayes students, as well as a Q&A session following the concert.

Two of our four From the Top/NEC Fellows Audrey Wright and Irineo Cabreros, who have been leading sectionals and providing inspiration for these budding young elementary school students, were on hand to join in on the event. In fact, Audrey planned the entire concert!

“We were as excited and inspired by the performance as the rest of the audience,” says Audrey.

And who wouldn’t be, with teachers, elementary kids, and high-schoolers all dancing together during the steel drum band’s finale of Shakira’s “Hips Don’t Lie”?

After the concert, there were some great questions, and a few kids even asked about the schedule at Roland Hayes School and how they could attend. One parent commented that since From the Top started visiting her school, her son has enjoyed listening and watching our shows and looks forward to the live radio tapings he’s been invited to attend at NEC’s Jordan Hall thanks to this partnership.

We are pleased to announce the first recipients of the Margaret Stewart
Lindsay Arts Leadership Awards, a new program that encourages high school and collegiate musicians to give back to their communities through the arts.

Through this program, From the Top will provide grants and mentoring for three community projects this year. A shared grant pool of $2500 will support two existing programs -  Musical Diplomacy, a community initiative that inspires conversation about social issues through music, and the Andover Lawrence String Program at Phillips Acadamy – and launch a new after-school arts program in Boston. More information about the leaders and their work is available on our web site.

Gathering the Grantees

Brian Kaufman, Griffin Gaffney, and Michael Reichman at the orientation

On April 8th, grantees Griffin Gaffney, a From the Top alum and first year student at Havard, and Brian Kaufman and Michael Reichman, Master’s candidates at New England Conservatory, attended an orientation at our office. They introduced themselves and their projects, met the From the Top education team that will be supporting them along the way, and shared the individual stories and experiences that inspired them to pursue this opportunity.  The leaders also shared the challenges they face and helped each other brainstorm around these issues. Fellow grantee, Jacob Shack, who was unable to attend in person, was introduced through a video we recorded with him earlier in the week. Technology saved the day!

The orientation was an eye-opening experience for all and the first of what we hope will be an on-going conversation between these inspiring arts leaders! We plan to reconvene the full group before the start of summer and will document their efforts along the way.

- by Lauren Chipman

“Look at her hair!”

“I think she’s in a rock band.”

“Whoa….”

I don’t look like your typical classical musician getting ready to work with a group of 4th grade violinists, but my appearance reflects who I am and what I do for a living.

I lead a very eclectic life as a musician – I play in symphonies in Los Angeles, am a member of two rock bands: The Section Quartet and The Rentals, and have a full teaching studio.  As I was finishing up my undergraduate degree at USC in Viola Performance, I learned to say yes to every opportunity that came my way.  I had never considered playing rock music but, after a phone call from Matt Sharp of The Rentals, I quickly discovered my love of playing viola in a rock band.  This opened up pathways that I had never even knew existed and I now compose music myself, in addition to recording and performing with famous bands and musicians all over the world.

From the Top recently asked me to visit two schools in Santa Barbara (Roosevelt Elementary School and Santa Barbara Junior High School)  to play and speak with students about all the different musical avenues that I pursue.  I drove up from Los Angeles with violinist (and BFF) Danielle Belen.  Danielle and I have been friends for almost 10 years and when we were at USC together, we formed a classical string quartet that toured internationally.  She has a really amazing career – in addition to being a faculty member at The Colburn School in Downtown LA, she recently recorded a solo CD with Naxos Records.  I think that our different musical paths really compliment each other and I was excited to share our different stories with the students.

Danielle started off by playing the 1st movement from Bach’s Partita No. 3  and then talked about what it is like being a professional classical musician as well as recording a classical CD. She then introduced me by saying, “You might have noticed that Lauren here has a mohawk, does that look like a typical classical musician?”  A resounding “No!” echoed through the hall.  After I played a piece called Chahagir by Alan Hovhaness, I talked about my career and the different types of music that I play.

I think that it’s really important for students to realize that they don’t have to feel constricted by music.  I always say: the instrument that you play shouldn’t dictate the type of music you play. Danielle and I talked to the students about the different opportunities in music that don’t even involve performing: management, producer, engineer, even therapist.  As I was talking, I could see different children’s eyes light up, a whole new world opening up for them.  That’s why I love doing this and was so excited to work with From the Top in a setting beyond the radio show.  I want to inspire kids, even if they never end up working in music.  Hopefully they will always remember that day the violist with the crazy hair visited their school.

My favorite moment of the day came during the question section at the end of the first school.  Danielle called on a girl in the 2nd row and the girl said, “Sing a song for us!”  I responded, “What?” “You said that you sing in a band, so sing a song for us.”  I quickly racked my brain for a Rentals song that I could at least remember a verse or two.  After I sang a little bit, she looked satisfied – I had successfully charmed and inspired another discerning audience and my job was done.

Editor’s Note: Lauren and Danielle visited two schools on Thursday, January 28, 2010 after From the Top’s taping at the Lobero Theater in Santa Barbara, as part of our Arts Leadership Program.

The first school was Roosevelt Elementary School, featured in the video.
Principal Donna Ronzone, a long-time From the Top fan, had attended the taping the night before. During her introduction, she excitedly shared the tale of
9-year-old Umi Garrett’s dramatic performance of Liszt’s Gnomenreigen with the
4th grade audience.

The second stop was at Santa Barbara Junior High,  where 70 elementary and
middle school orchestra and band students from area schools came together
for Lauren and Danielle’s presentation. These students are part of a
citywide after school music program- the music teachers involved are an
inspiring example of arts leadership in action!

The students were enthusiastic participants during Lauren and Danielle’s
presentation with an endless stream of questions- everyone was having such a
great time, we ended up staying well past the allotted 45 minutes!

Special thanks to all of our friends in Santa Barbara who helped make this
event possible and to Lauren and Danielle for their time and enthusiasm!

Today is National Arts Advocacy Day!

Our friends at Americans for the Arts have organized hundreds of dedicated arts supporters from across the country to come together in Washington, DC to tell Capitol Hill how important culture is to our communities, how much arts education means to our children, and how much the arts improve our daily lives.

No matter where you are today, it’s easy to tell your elected officials what you think about this issue. Visit Americans for the Arts’ E-Advocacy Center, where you can send a message directly to your Representative and Senators telling them why the arts are important to you and your community. They’ve even provided useful bullet points to include in your letter.

Go forth and advocate!

From the Top’s broadcast this week was taped at the Lobero Theatre in Santa Barbara, California on January 27, 2010. We asked our performers to tell us about the music they played on the show:

Jonathan Miron, 17, violin
“The Foundation of Arethusa” from Myths, Three Poems for Violin & Piano by Karol Szymanowski

“When I think about this piece, what stands out to me is the utmost variety in color and character. The music allows the performer to demonstrate his virtuosity in creating different sounds and moods that envelop the audience and leave them in a unique state of mind.”

Kara Sainz

Kara Sainz, 17, soprano
“Voie Che Sapete” from The Marriage of Figaro by Wolfgang Amadeus Mozart

“Voi che sapete was the first aria I learned, so it’s a unique and special piece of music to me. The aria is sung by Cherubino, a page boy, who is experiencing overwhelming feelings of ‘love’ for every woman he sees.

When I sing this aria I feel that the most important thing to get across is the emotion within each melodic phrase. Since Cherubino experiences so many rapid mood changes, each line must be expressed differently. One challenging aspect of the piece is maintaining the mindset of an adolescent male character. This is difficult for me because I essentially have to suppress my feminine mannerisms. Ultimately, what makes this piece special to me personally is that I have learned so much about characterization and acting by singing it.”

Kevin McAtee, 17, flute
I. Allegro maestoso from Concerto No. 1 in G major, K. 313 by Wolfgang Amadeus Mozart

“I like this piece because it’s so open-ended. Every flutist plays it differently. My interpretation is a collage of different ideas from my teachers and my peers, as well as my own ideas. I love this piece because it is like a window into each flutist’s soul.

The piece is unique because of how deceptively simple it is. It is very difficult to turn something like the allegro maestoso into an interesting piece of art while keeping it light and simple in the true Mozart style.”

Soleil Trio
Verano Porteño (Summer) from The Four Seasons of Buenos Aires by Astor Piazzolla, arr. José Bragato

• Rieko Tsuchida, 15, piano: “I love the cool vibe of the Latin style in this piece. It was hard for our group at first because we had to move away from the usual classical style we were accustomed to and take more risks with the music. None of us got the Latin tango style at first, but watching YouTube videos of the famous dance group ‘Tango Fire’ really helped me. We had a lot of fun improvising off the music and adding ornaments and embellishments for extra flare. When our trio was rehearsing one day, we decided to make up a story to go along with the piece. We ended up with a story about how one big, lazy Argentinean man spends his excruciatingly hot summers. We got pretty creative with it.”

  Kenneth Renshaw

• Kenneth Renshaw, 16, violin: “This movement invokes the image of a dark, smoky bar in Argentina during the summer time—when the heat and stickiness are nearly unbearable. My favorite point in the piece is near the end, when the dark, smoky bar image gradually gives way to a lively and rhythmic rush of sound, sweeping to the exciting, climactic finish. Being able to find the right pacing in the overall scope of the piece can be a challenge because it’s very difficult to switch characters between the dark, smoky section and the more exciting rhythmic section.”
• Will Chow, 16, cello: “‘Verano’ means ‘summer’—not a happy summer when you go to the beach, but a hot summer when you don’t want to do anything except sit and wish it wasn’t so hot. The piece has to make both the performer and the listener feel like the paint is peeling off of the walls because it’s so hot.”

Umi Garrett, 9, piano
“Gnomenreigen” (Dance of the Gnomes) by Franz Liszt

“The story I made up about this piece begins with gnomes dancing peacefully at a party. Soon, an evil witch finds out about the party and she is very angry that there are gnomes in the forest. This bad witch thinks she is the only person who is allowed to live in the forest, so she plans to kill the gnomes. When the witch arrives at their village, the gnomes are very scared. Suddenly, the good witch magically appears in the forest and protects the gnomes. The good witch sends the bad one out of the forest forever. The gnomes start celebrating the day by going on a rocket and flying to space. They look at many, many bright shining stars in the universe.

I had a funny experience with this piece when I was in Vianden, Luxembourg. I was playing so energetically on stage that suddenly I pushed my chair backward. When it slid back I couldn’t stay on the chair any more, so I continued performing standing up. The next time I performed there, they taped the chair down to the floor so it wouldn’t slide!”