Listening

From the Top’s broadcast for Show 243 was taped at the Bethel African Methodist Episcopal Church in Jamaica Plain, MA on Sunday December 18, 2011. We asked our performers to tell us about the music they performed on the show:

Boston Children’s Chorus, featuring the Premier Choir & Young Men’s Ensemble
“Alleluia,” by Randall Thompson
Anthony Trecek-King, Artistic Director

This is a great piece of music – one of the standard choral pieces out there. Written by an American composer for the Tanglewood Festival, he originally intended it to be more of a practice piece (particularly for conductors). It has everything you could want in a piece: tempo changes, meter changes, a large dynamic range, difficult harmonies. It is a challenging piece for choirs to pull off, and is just the kind of piece I like to challenge our singers with – even though it’s a standard, it’s still a difficult piece.

From the Top Alumni String Quartet
II. Molto adagio from String Quartet No.1
 By: George Walker

Tessa Lark, Violin

It’s so beautiful and powerful! I’d actually never heard of the composer or heard this piece until a couple weeks before the show – but I’m so glad I know about it now! The piece seems to tell a story of love and the many faces it wears- tenderness, warmth, passion – what a beautiful work.

These kinds of tear-jerker pieces are my absolute favorite to play. It’s easy to relate to and as a performer I can really pour my heart and soul into it which acts, in a way, as my own personal emotional therapy!

Ryan Shannon, Violin

This piece has quickly become one of my favorites, even after such a short time as it is one of the most beautiful, poignant, and heartwarming pieces that I have ever played. I believe it is a piece that touches a very deep part of our souls, a part of us that is not effected very often in our day to day lives; a part of us that is near the very root of our being, part of our foundation, part of the essence of our humanity that makes us who we are. When I play this piece I am transported in a way that I have never been before in my life: it takes me out of time and space to a medium beyond my understanding. I feel, so strongly, but I cannot put my finger on what I am feeling, as if the music has transformed the physical world around me and I cannot breath without being a part of it and feeling the emotions that it evokes, as if the very air has become imbibed with emotion, with meaning. It is almost impossible to describe these emotions, as I have never felt them before: some sort of combination of extreme sadness and elation, or perhaps the point at which these two meet and become one and the same.

As a group, I think the most difficult, or rather important, aspects of performing this piece is the blending of sound. Each of us has an equal role in creating and filling the sound and we must all be a cohesive and unbreakable whole in order for the effect of the intense emotions to come across. Our sound is the foundation for our audience’s experience and it must be capable of raising them high, to experience the foundation of their soul. They must be able to find themselves in the sound that we create.

Post-Show Reflection: The show was an absolute blast!! As totally expected! I was wowed by the choir and their truly remarkable ability to change the music so quickly while being completely together! At times it felt like I could almost see the air as it was blown away by a blast of sound or as it disappeared in a sudden dramatic quietening. Alexandra’s tone on the bassoon was so poignant, it was all I could do but look up into the rafters and feel the beauty in the sound fall over me. And of course I would have given an arm and a leg to see Tessa fiddle, but it was all delivered quite wonderfully! (No amputations necessary )

I want to thank the entire From the Top crew and staff for giving me this amazing opportunity (again!) to play with such incredible musicians, tell my story at the Hope Lodge (through From the Top’s Center for the Development of Arts Leaders) to the world, hear and play such moving music, and be a part of everyone that enjoyed! Thank You!!

Clayton Penrose-Whitmore, Viola

This piece is a very beautiful piece; the type that gives me goose bumps. It has a beautiful calm opening that builds and climaxes into the middle of the piece, and then slowly deflates through the end.

This piece is very beautiful and slow, so it is difficult to sustain the phrase. One thing we watch out for especially is intonation. It’s so beautiful that I feel like I would let everyone down on experiencing the full beauty of the chords and harmonies if I were to play something out of the tune.

Michael Dahlberg, Cello

It captures the emotional journey and stillness of Barber’s Adagio for Strings but casts it in a new light. Because it is played less frequently, I find it easier to hear anew, like a fresh way to experience that feeling of eternity.

I think what makes it tick is the right balance of flow and stillness. It has to get across a feeling of timelessness while being grounded in an inevitable pulse.

Post-Show Reflection: Returning to the show, I was reminded of how much fun concert productions can be. The staff is intent on bringing out your best playing while keeping you focused on having fun and being yourself. So glad to take part again!

Boston Children’s Chorus
“My Soul’s Been Anchored In The Lord”, trad. spiritual (arr. Moses Hogan)
“In His Care-O”, trad. spiritual (arr. William Dawson)
Anthony Trecek-King, Artistic Director

I like to regularly touch on different spirituals. They are truly an American idiom, and something that we can call our own, not a borrowed genre of music. Historically, such deep roots important, so I try to do a couple of different ones every year. Though these spirituals may appear joyful, they each have a profound sense of seriousness.

When listening to the theme of “My Soul’s Been Anchored,” for example, just that statement says, “I am sure of myself – I’m anchored in the Lord.” “In His Care-O” conveys a similar message of comfort in having faith. Both come out of the context of slavery – being enslaved and not really having a future, it was nice to find solace in something else, something beautiful. A lot of time spirituals are performed too carefree – what we try to do is, though we may appear joyful in performance, bring a sense of seriousness to this music. That’s what I try to bring across whenever we are performing a spiritual.

Boston Children’s Chorus
“I’ll Fly Away,” by Albert E. Brumley (arr. Jim Papoulis)
Anthony Trecek-King, Artistic Director

This is a gospel hymn, and we just want to have fun with it – it is very different from anything that we’ve done before. I wanted a very bluegrass, roots-y feel to it – we brought in a guitar, a bass, and a fiddle to help set the stage for this. The composer actually wrote it when he was picking cotton in Oklahoma – it as though he literally wanted to “fly away” from his responsibilities in the fields. We tried to change our sound for this piece to a slightly brighter, more “twang-y” sound, so hopefully we sound different here than from the previous three.

This week’s From the Top’s broadcast (Show 242) was taped at the Lensic Performing Arts Center, in Santa Fe, on October 25, 2011. We asked our performers to tell us about the music they performed on the show:

Hugo Kitano, piano, 16
IV. Finale: Presto non tango; Agitato from Piano Sonata No. 3
 By: Frédéric Chopin

When I play this piece, I think of the Headless Horseman galloping because of the 6/8-meter and the sinister theme. My favorite part is when the piece changes to B major at the very end, because it gets rid of all the sorrow and is so uplifting. It also gives my left hand a much-needed rest after four pages of nonstop arpeggios.

The most difficult part of the piece is to resist the temptation to play loud everywhere. It’s so fun to play really loud and really fast, but I’ve come to realize that that doesn’t sound very good. When I play it, I think of the duality of the two themes, one in minor and one in major, one good and one evil. It’s a struggle ultimately won by B major and righteousness.

Post Show Reflection: My favorite memory from the three days was the dress rehearsal, and how informal, relaxed, and hilarious everybody was. I felt totally prepared and ready, and calm and comfortable. It was so fun and organized, yet memorable. The concert was very exciting. I had no nervousness at all, I felt at ease and really enjoyed the actual performance, and the audience was so appreciative and the staff was so helpful.

Music has the power to transcend our differences in a diverse human culture and evoke emotions we never could have known existed. It celebrates our universal humanity and unifies as a whole, opening up opportunities for all.

Audra Vigil, guitar, 14
Saudade No.3
By: Roland Dyens

Saudade No. 3 by Roland Dyens is definitely one of my favorite pieces. Every time I play it, it makes me want to dance. It’s really groovy and funky. All the syncopation makes the piece come alive. It’s just an all-around fun and happy piece.

Saudade No. 3 holds a special place in my heart. I’ve been playing it for about 5 years now, and I’ve grown to love it and love playing it. I’ve spent a long time with it, but every time I look at the score I find something new and interesting I’d never noticed before. Getting to know a piece of music is really like getting to know a person; you think you know them well, but there’s always something new to discover. Every time I play this piece, it’s like talking to an old friend. I really do love this piece.

Post Show Reflection: My favorite memory was backstage before the concert. I felt like we all connected to each other in a way that only musicians can do. We all sort of subconsciously knew that we were in this together.  The concert was amazing! I’ve never played for an audience that large, and I really fed off the crowds’ energy. I knew that they all wanted to support me and wanted me to do well. My performance was for them, and by connecting with them, I was also performing for myself.

Music has the power to change the world. Music is about imagination, and its only limit is one’s creativity. As long as you can think of it, music can do it.

Micäela Aldridge, mezzo-soprano,17
“Svegliatevi nel Core” (4:15) from the opera Giulio Cesare
By: George Frideric Handel
The Sun Embraces the Stony Earth” from the opera Elmer Gantry
By: Robert Aldridge (father)

When I sing this Handel aria, I really try to think of ways to get into the character that sings this aria, by any means necessary. I also think of how I can get an audience member to experience what I as a character am struggling with in the aria. The most common scenario that I think of for this is an operatic version of Harry Potter, where I, as Harry, have to avenge the death of my parents and the many others that were killed by Voledmort. When I see a ghost that is telling me defeat Voldemort, it is the ghost of Albus Dumbledore

Compared to other pieces I’ve performed, this aria is very challenging – it has a very fast tempo, with a sudden change to a slower pace in the second section, or “B section”, which requires a lot of breath control and support. In the “A-section”, I move a lot more and have more freedom. Another hard part is figuring out, or composing, Baroque ornamentations – there are endless possibilities for what I can do, and which ones are better to use given certain circumstances.

Post Show Reflection: My favorite part of the experience was getting to know the performers and staff members, the pizza party, and being silly in the dressing room. The performance felt so surreal and I couldn’t believe that it was happening. I’ve waited for to do this for a couple mouths and it was like a fantasy when it happened. Although I was really nervous, it turned out to be surprisingly easy once I open my mouth to sing. 

Music can really change someone’s life for the better and can develop a passion for music or just art in general. 

Russell Houston, cello, 17
Requiebros
By Gaspar Cassadó 

“Requiebros” means flirting in Spanish. So naturally when I’m performing the piece, I check out the cute girls in the room and play out towards them. My favorite part is definitely the flirtations and outgoing nature of the piece; I think it suits me well, because I’m always a fan of flirting with girls! After I played this piece once, I got compliments on my “flirty dance” from a lot of girls and that was exciting!

Again, this piece is a lot of fun to play because it’s about flirting. It’s imperative that you to not get nervous and overanalyze when flirting, just as it is important to let go and not worry too much about performing during this piece. Without letting go of those inhibitions, it’s impossible to fully express the fun nature of this piece.

Post Show Reflection: My favorite memory was the Interview portion of the show: it was awesome how comfortable and flexible the staff made me feel while talking onstage! The performance was surprisingly easy: I wasn’t nervous beforehand because the staff prepared me so well for everything that was to come.

Music has the power to connect a room full of one-time acquaintances. Though the audience doesn’t necessarily know each other, it’s amazing that through music a large anonymous group of people can share the same experience. That’s very powerful in and of itself.

Amelia Sie, violin, 15
Lotus Land
By: Cyril Scott

Since the Lotus is a sacred item in Buddhism (and other religions), it reminds me of an oriental song, especially with its whole-note intervals. It reminds me of clear ponds with lots of Lotus flowers, and a mist blanketing the ground. When I was playing it through for violinist Jan Mark Sloman, he told me that I should make people feel stoned…that was very strange.

A lot of pieces I’ve played before evoke strong emotions. Usually, I play pieces that are super-flashy or very emotional. This piece, however, is more subdued. It has a mystical feel. When performing Lotus Land, I try to make people feel in a different, enchanted world. This is very different for me, so that’s probably the hardest thing for me.

Post Show Reflection: The Performance was my favorite memory from the three days! Everyone put in so much work to make the live taping work, and it was so gratifying to be able to participate in it and perform for the crowd. At first I was really nervous, but then I remembered I had already recorded everything earlier that day, so the performance was much more exciting and laid-back. This was such an uplifting experience.

Music has the power to move people; to make people cry, laugh, and smile. It expresses emotions to people you couldn’t normally communicate with.

From the Top’s broadcast for Show 241 was taped in East Building Auditorium at the national Gallery of Art, Washington, DC on Sunday, October 16, 2011. We asked our performers to tell us about the music they performed on the show:

Jehshua Karunakaran, violin, age 17
Danse Espagnole from “La Vide Breve”
By: Manuel de Falla

Danse Espagnole is taken from Falla’s  2-act opera: La Vida Breve, or “The Short Life”.  It is a dramatic tragedy involving a Gypsy girl, Salud, who falls in love with another man, Paco, who is already engaged to another woman.  When the Gypsy discovers this, she confronts Paco, who, in front of many people, denies knowing her.  Brokenhearted, Salud drops dead at his feet.  How much more drama is needed?!

There are 2 interludes in this opera: Interlude, and Danse Espagnole.  Fritz Kreisler recognized the potential of the Danse as a violin virtuoso piece and transcribed it for violin.  As with most Spanish music, the Danse is packed with melodrama, panache, flair, and flashes of color.  When I first started learning this piece, my teacher recommended that I watch several Flamenco dances to get a sense of what this kind of Spanish dance represents.  As I perform this piece, I think of two Flamenco dancers interacting with each other.  Keeping the Flamenco image/movie playing in my head helps me express the vibrant Spanish character of Danse Espagnole.

This piece is more stylistically challenging than technically demanding. To ensure that this piece is performed effectively, it’s important to consider all the colorful rhythms, twists, and turns that make this piece so Spanish.

Post Show Reflection:  Performing on this show was more exciting than what I had anticipated.  I think we had a really great selection of performers for this show, and I really enjoyed the teamwork.  Also, playing at the National Gallery of Art was special, and I really appreciate all the planning that was put into the production of this show.   The Arts Leadership Workshops were also very insightful.  Thumbs up to the From The Top staff!!

Music expresses that which cannot be said, and on which it is impossible to be silent.

Noah Lee, cello, age 11
Hungarian Rhapsody, Op. 68
By: David Popper

The Hungarian Rhapsody has many colors. It is a very emotional piece. When I begin the piece, a blast of emotions hit me. I either become sad or angry or happy, and so forth. Once I capture the feeling, I think of a moment in my life and express it in my music by playing what’s in my heart. In this piece there are many dynamic and tempo changes that make it fun to play! Hungarian Rhapsody is Gypsy music. My favorite part is the fast part because I can picture the Gypsies singing and dancing and having a good time. I don’t have a least favorite part.

There are many technical spots in this piece that I worked on, but musically it came naturally to me. When I play this piece, I want the audience to be entertained.

Post Show Reflection: My favorite memories are the “Swag” performers, the FTT Staff, the CIA SUV (the FTT mini van that shuttled us to and from the hotel), and my new friends. The performance itself was so bright and intense

Music can inspire and promote change.

The Clevand Piano Trio (Annie Fullard, Coach)
Primavera Porteña from ”The 4 Seasons of Buenos Aires”
By: Astor Piazzolla

Haruno Sato, violin, age 16

I really enjoy playing this piece, because I can do whatever I want with it. Obviously not entirely, but if you listen to different recordings, people have very different ways of playing it, and I just like to have some fun with it. My way of having fun is playing around with slides and glissandos. Also, our coach was joking around and told us to imagine ourselves playing at a bar. I kept that image actually, just chillin and playing some sexy Piazzolla at a bar.

For me, this is the first piece that I’ve played that isn’t a straight classical piece. It’s hard to keep a relaxed chill feeling while playing it, since usually I’m sitting upright in a chair with a metronome, steadily hacking at the Tchaikovsky concerto. It’s a completely different feel, and you really just have to have fun playing this piece. And quite honestly, I think it’s hard to do for a lot of young classical musicians.

Post Show Reflection: I really enjoyed the “CIA SUV” rides with Tom Vignieri and the performers, the first day with all the performers where we started the whole “swag” thing, and playing at the NGA. The concert was really fun because you could actually feel the excited audience, and it was so casual; it felt good.

Music has the power to bring people together. It connects people from all parts of the world.

Hannah Moses, cello, age 16

The Piazzolla is really just a lot of fun to play. Haruno and I first heard the piece last year when we actually performed it as part of a large group ensemble, and we sort of fell in love with it and wanted to play it on our concert with Arianna. It’s a fantastic, fun tango and we all just love having fun with it together. It brings out the fun, sometimes crazy, sides in all three of us, and I love it (shout-out to our fun, crazy, wonderful chamber music coach Annie Fullard!).

It’s a special piece to me because we played it on a benefit concert Haruno and I organized in June. I hope when we play it that it makes our audience feel like dancing as much as it makes us feel like dancing.

Post Show Reflection: My favorite moments were hanging out with Tom Vigneri and the rest of the kids from the “CIA SUV”, and also performing with my friends at the soiree and the taping. The taping was a blast. I loved every second of being on stage. Everyone was so supportive and fun and the energy was fantastic. 

Music can change the world.

Arianna Körting, piano, age 17

This particular trio piece is one of my favorites because it brings out the sassy/spicy side of our group. We have a lot of fun playing the piece together, even when it is written in a minor key! When I play this piece, I can picture beautifully dressed dancers dancing the tango. That is why we decided to wear red dresses!

This is actually the first time I have ever played a tango. The unique thing about this piece is that we are able to make it our own. There are so many different interpretations of the music and we have the ability to transform this piece into a dance party everyone can enjoy!

Post Show Reflection: My favorite memories were getting to know all of these wonderful musicians and playing for such a lively audience on Sunday! I also loved the soiree on Friday. It was great to mingle with the audience afterwards and to share our passions for music. The experience was plain FUN! The vibe was very exciting and I thoroughly enjoyed entertaining the audience! I was not nervous at all; I was much more excited to perform!

Music has the power to make a difference in society because it can take the audience members away from their daily stresses and into a world where sense of time and space are transformed, even if only for a brief moment. People of different cultures are able to communicate through the feelings expressed.

Dong Won Lee, piano, age 17
Prelude No. 8, “Un reflet dans le vent”
By: Olivier Messiaen

Messiaen’s “Un reflet dans le vent” reminds me of two things: Mongolia and Thomas Wilfred’s “lumia compositions”. Although the piece is very French and subdued, it is extremely sweeping (it’s a reflection in the wind, after all). The up and down melody makes me wish that I could hear the Gobi Desert howling at night! Next, I think of Wilfred‘s “lumia compositions” (Op. 161, 1965-66), which he uses constantly transforming beams of light in a wooden cabinet. Connect the Prelude and the “lumia compositions” together, and you experience the cosmos.

I have never played any minimalist pieces. I’m not saying that Messiaen is a minimalist, but he is certainly very repetitive. The Prelude No. 8 is a challenge because I need to enjoy the repetition to make it sound special. Especially important to emphasize are the moments when Messiaen tricks you into thinking that you are entering a completely new strain, when actually he leads you right back to where you started.

Post Show Reflection: My favorite memory was the school visit with the kids at the Center City Public Charter School, the Chester Dale Collection at the National Art Gallery, the word “Swag!,” and the two Tom’s (Voegli and Vignieri). The performance was really relaxing because everything felt so casual. The spirit of music really came alive. The other performers inspired me to connect with the audience-something that I had forgotten.

Music can make you feel, make you jealous (in a good way), and make you forget reality.

Stephen Banks, saxophone, age 18
II. Chanson Pour Ma Mie and V. Lou Cabridan from Tableaux de Provence
By: Paule Maurice

Post Show Reflection: My favorite memories were interacting with the other musicians backstage before the taping, and seeing other musicians play genuinely. The performance was much different than I expected; it was very comfortable.

Music can change one’s state of mind, and give people a means of expression.

From the Top’s broadcast for Show 240 was taped in Jordan Hall at New England Conservatory in Boston, Massachusetts on Sunday, October 2, 2011. We asked our performers to tell us about the music they performed on the show:

Llewellyn Werner, 15, piano
IV. Fuga: Allegro con spirito from Sonata in E-flat, Op. 26
By: Samuel Barber

Samuel Barber’s Piano Sonata, Op.26 is considered to be among the greatest works of piano literature in the 20th century. It was composed in 1949, a time of extraordinary exploration and innovation in the arts, and as such, was revolutionary and original. The piece was premiered by Horowitz

The 4th movement, which is what I performed, is a modern version of a fugue, a form that has evolved tremendously over the centuries (Bach’s WTC, Beethoven’s Op.110, counterpoint in works off Ravel and Debussy, etc). It is not as strict as the works I mentioned above; instead, Barber takes the fugue to wild and new places.

The theme of the piece is jazzy and syncopated, adding many accents and ties to an already well-shaped phrase. This theme develops throughout the work, modulating from key to key, and being heard in triumphant, passionate, beautiful, delicate, and bombastic ways, just to name a few. The listeners will recognize this theme sometimes, but Barber may also use contents of the theme to create new material.

How could I have a favorite part? Fine, from measure 1 to the end. A good performance of the movement evokes many feelings from its audience. I see it as a work of discovery. At the beginning, there is an urgent question — something that needs to be accomplished — and we go through many twists and turns in an attempt to reach our goal. Along the way, we begin to think of our situation from many other viewpoints, and after much exploration, the dramatic end brings a sense of closure.

It was difficult, at first, to successfully bring out the many different voices in Barber’s dialogue, especially when they interrupt each other. It is also extremely important to take care with the quick, dynamic contrasts in the piece, and the many incredible nuances that bring the movement to life. Even though there is so much beautiful and exciting material to showcase, the energy has to be a constant during the piece, but not predictable. The breaths and accelerando have to be  in tune with the general direction of the piece.

The movement is complex, virtuosic, emotionally engaging, immensely tricky to work on, and has thousands of subtle nuances that really make it an extraordinary work of art. (In other words, it is my favorite type of piece.)

Post Show Reflection: Being able to meet such fascinating and creative people who share my passion for the arts. The entire From the Top staff is committed and hard-working, not to mention fun, so I was thrilled to work with them. I relish pressure and love to perform. While I enjoy tremendously the experience of being on stage, I cherish the chance to connect with the audience and my listeners, and take them to places they haven’t been to before. If they are inspired in any way by my work, then I feel I am fulfilling my dream.

Music transcends the cultural and political barriers of our world, and allows artists the opportunity to go beyond the concert stage and make an impact on a global scale. (I encourage any who are bold enough to engage in these vital and rewarding humanitarian ideals). Music, advocacy, and using them to make a difference are my passions/goals in life.

Boston Flute Academy Young Artist Quartet
(Judy Grant, Artistic Director)
Lyric Poem
By: George McKay

Elizabeth Sperry, 15 Flute

When I play this piece, I think about a person crying over a last loved one and their grief.

I love this piece because it requires so much communication between the players in our group for us to make it second like it’s together, both technically and emotionally.

Jinji Zhang, 17, flute

I think that Lyric Poem is such a beautiful and sensitive piece of music. I love how each flute part is equally as important, and how we really have to combine all 4 of our sounds in order to make this piece work. Whenever I play this piece, I see many different colors, mostly dark and deep purples and browns.

Although the piece is not technically challenging, it is definitely a challenge to achieve a beautifully blended ensemble sound. We all have to carefully listen and create music together which is a great thing.

Post Show Reflection: I loved the arts leadership conference – it was great because I got know both myself and my cast mates better. Performing in Jordan Hall was magical – I connected on another level with my ensemble members. I am so grateful to have shared such a powerful moment in time with such amazing people.

Music has the power to bring happiness, hope, and confidence to all.

Brendan Dooley, 17, flute

Lyric Poem is a wonderfully sensitive piece of music and if it is approached with the proper delicacy and attention to detail it is truly set apart from much of the flute ensemble repertoire. This is both what I like most and what I like least about it – the piece is deceptively difficult to play well, but also extremely rewarding when done right. Lyric Poem contains many lessons on ensemble playing.

A sense of blend and excellent intonation are both vital to the performance of this piece. Where other music gets its novelty through intricate parts, Lyric Poem depends on impeccable ensemble playing. This is refreshing as well as being singularly difficult for the performer.

Post Show Reflection: The arts leadership orientation was a favorite memory – it was an awesome culmination of the camaraderie we had been developing over the weekend. Performing on Jordan Hall stage was truly a singularly amazing experience. It was an amazing peak for all of our hard work and the hard work of the staff!

Music has the power to unite whole communities that would have otherwise been divided.

Emma Huelskamp, 17, flute

This piece is incredibly understated, yet emotional. The title Lyric Poem perfectly fits due to the flowing, formless style in which the composer wrote the piece. The dense harmonies create a sonic haze that envelopes the listener and draws them into a world of reverie.

The unity of sound that the four members of the ensemble must create is something rarely found in the flute repertoire. It has been a unique experience to work with my peers to achieve this type of sound.

Post Show Reflection: I loved the pizza party on Saturday night; I was so excited to be there and it made the whole experience real. I left even more excited about the show the next day! The performance was one of the most moving moments I have ever experienced. There was literally electricity in the air; the people’s anticipation and my group’s joy and excitement were incredible.

Music has the power to heal, move, inspire, and to change history through the hearts it touches.

Ashley Robillard, 17, soprano 
“The Tulip Tree”
By: Ned Rorem
“Winter” from 6 Elizabethan Songs
By: Dominick Argento

The Tulip Tree by Ned Rorem was one of the first songs I was assigned my freshman year at Walnut Hill. It’s very special to me for that reason. My favorite part is when the boy begins to speak at “‘No, no,’ said he”. That whole section is very eerie and light. It reflects the attitude of that boy, and is so much fun to sing. My least favorite part of the piece, or at least the most difficult part for me, is the melody’s little chromatic parts. The song is very beautiful and is tiptoeing on the tonality line, and tiptoeing on that line is rather difficult, but very fun once you get the hang of it. Winter by Argento is one of the most exhilarating pieces I’ve had the pleasure to sing. I’m utterly obsessed with the Shakespearean text and the way Argento set it. Some of the lines sound iambic (“Then nightly sings that starting owl” and “And milk comes frozen home in pail”, etc.) and it was such a powerful piece. My favorite part of the whole piece is how it begins. Out of nowhere pops out this intense, powerful line that forces you to pay attention. It is incredibly grabbing, because it is almost a shock to hear! It literally comes from nowhere. Plus, it’s nice to have that sense of complete control in your openings. My least favorite part of the piece is how short it is! It certainly doesn’t feel short when you sing or are listening to it, but it is only a few pages long! It’s so powerful though, you barely even notice it’s short before it’s already gone.

The Tulip Tree and Winter are different from other songs that I have sung because, though they are both shorter pieces, they are so captivating. The Tulip Tree creates this eerie atmosphere right from the beginning, and then has an amazingly captivating story to follow. It is really haunting and sticks with you. You’re forced into the story. With Winter, it starts off as a piece that makes people want to listen. The beginning line erupts from nowhere, powerfully and brilliantly. It is a super powerful piece, and darker than the Rorem. The sheer power and force of the piece truly captivates me much the way the eerie atmosphere in Tulip Tree has me completely enamored with the piece.

Post Show Reflection: There was this one moment when we were all practicing and warming up in the green room; music was flowing all around the room in a moment of beautiful chaos. I was overwhelmed by all of the talent pouring out of that room and was completely honored and humbled to acknowledge that I was included in that room. All our hard work was beginning to pay off. Performing in Jordan Hall was amazing. I had performed there before for choir, but never had I never performed there was a soloist. The energy, support, and excitement that the audience was giving off was practically tangible. It was an amazing, inspiring performance that I will never forget.

Music can change the world, improve a community, engage the mind, and enliven your heart.

Jisoo Kim, 17, violin
IV. Allegretto poco mosso from Sonata in A Major for Violin and Piano
By: César Franck

César Franck’s Violin Sonata has four movements, and I personally thought of this piece as a story of a human being’s life. The first movement represents delicate childhood, the second movement portrays the difficult, rebellious years of adolescence, the third movement paints the mature, subdued stage of an adult, and the final movement represents the last stage of life, which summarizes everything from the beginning to the end; almost like a grand finale, which I played for From the Top.

I immediately fell in love with the piece when I heard it performed by a fellow student at the Juilliard School many years ago. Franck’s Violin Sonata is particularly unique to me because it is a piece that my brother, Hyung-Do, and I enjoy performing together. Its beautiful melodic lines, the fierce passages, and the improvisatory, free structure appeals very well to my own musical taste.

Post Show Reflection: My favorite memory from the three days was definitely the actual performance/ interview with Christopher O’Riley. He was great rehearsing with me before the concert, and I liked how we both performed as a very effective duet. During the concert, I really felt the powerful connection between the performers and the audience. From the Top is an experience I know I will never forget. 

Music has the power to connect people of all ages. There is no limit, and music is so influential. It can truly change someone’s life.

Boston Youth Symphony Orchestra (BYSO) Cello Quartet 
(Steve Laven, coach)
A Barnraising
By: Steve Laven 

Leland Ko, 13, Cello

This piece was composed by Andrew Laven’s father, who told us that he composed this when he was out in the Tetons of Wyoming witnessing a construction project. This image helped us imagine what different parts of the piece represent – for example, the beginning starts out as animals scattering at the sound of construction, and sounds of an eagle soaring overhead can be evoked from the music later on. About halfway through, the piece turns into a jazzy hoedown (my favorite part).  I think (and I believe the rest of the quartet can back me up on this) that we’ve come a long way with this piece, ever since we learned it at the beginning of the year. We played it a few times in concert and even though we didn’t touch it the whole summer, it’s finally come together.

The biggest difference with this work compared to other quartets I’ve played is that it’s a cello quartet. Because of that, it is harder to hear the individual instruments. With four cellos, we create one homogeneous sound and really have to listen to who has the melody, which forces us to watch each other more closely. I view it as an exciting challenge that really helps me as a chamber musician, orchestral musician, and soloist.

Post Show Reflection: It was awesome connecting with all these wonderful people and knowing there are people out there who share your passion. The performance was not nerve wrecking at all (surprisingly). It was great interacting with the audience, which took a lot of pressure off us. I feel that this wasn’t a normal concert. It was freer in some ways.

Music can show emotions that we cannot express with words. 

Zlatomir Fung, 12, cello

I really love A Barnraising by Steven Laven! I think it is great because of its consistent groove and beautiful melodies. This piece describes the process of raising a barn at the beginning, it reminds me of small creatures running away as the big digging unfolds; finally the main melody of the piece unfolds to celebrate the process of erecting the barn.

This piece is such that each of us gets to play the melody; no one is really left out from the action. There are hard cello shifts and rhythm complexities. Compared to other pieces, this one has a lot more groove.

Post Show Reflection: A favorite memory I have from these three days was the pizza party, where I got to meet all the people who were going to be on the show. It was also really fun hearing the other people play their pieces because they are all also talented. When I was performing on the stage of Jordan Hall, it was one of the most exciting experiences of my life. The thrill of being on that stage was remarkable. Playing chamber music is so fun and From the Top made it all better.

I think music is a very powerful force. It has the power to inspire people and convey emotions. It is a very great thing to be able to change people’s life through music.

Claire Raizen, 16, cello

A Barnraising is a piece by Steven Laven, arranged for cello quartet, that tells the story of a barn being built. It starts out with the sounds of animals running away from the construction workers, invoked by a challenging harmonic passage. As the piece progresses a rhythmic bass line kicks in, like the sound of a motor running. A Barnraising ends with an upbeat dancing feel as the people in the town celebrate the completion of the barn.

Playing this piece in a cello quartet is very challenging. I have to work hard to make sure my part is heard when it needs to be, because everything around me has the same color as my cello. It was an amazing opportunity to be able to have Steven Laven as our coach, and work with someone who is so intimately familiars with A Barnraising.

Post Show Reflection: My two favorite moments from the three days were meeting everyone at the pizza party and getting to hear everyone play their incredible pieces. The concert was so much fun! The atmosphere was relaxed and supportive. The crowd was enthusiastic and very encouraging.

Music has the power to do anything you want it to do.

Andrew Laven, 16, Cello 

I love A Barnraising, not only because my dad wrote it but for a lot other reasons. It makes me think of being in the Grand Tetons in Wyoming, where my family has gone every summer. My favorite part is “rehearsal C” where a soaring melody (supposed to be an osprey) is played by the 1st  & 3rd cellos in octaves, and the 2nd & 4thcellos accompany the melody with vigorous eighth and sixteenth notes. Claire and I get to play the sixteenth notes, and once during a rehearsal on that part, I could feel my endpin gradually sliding back into my cello. Before long i was playing close to the ground!

Compared to others this, piece almost has a jazzy feeling to it. When we play it, it’s important to get across that new “non-classical” feeling. Also, it’s important to bring out the important voices. The hardest thing for me is my octave A’s when I start the new section, and the hardest thing for the group is to nail the dynamics.

Post Show Reflection: My favorite memory was the moment we finished our piece and the audience leaped into applause for all the 11 kids who performed – it was amazing to know how much the audience appreciated our music. I felt a huge sense of accomplishment when we all bowed for the crowd. It was an amazing experience to be on that stage performing my dad’s great piece with three other amazing cellists. We all had so much fun playing together and sharing our passion and enthusiasm with the audience.

Music has the power to inspire anyone to do something they love, and it also has the power to create many different emotions.

From the Top’s broadcast for Show 239 was taped in on the Music Pier in Ocean City, New Jersey on Wednesday, August 31, 2011. We asked our performers to tell us about the music they performed on the show:

Amy Semes, 16, Violin
I. Allegro Moderato from Violin Concerto No. 1 in F-sharp minor, Op 14
By: Henryk Wienawski

This piece is very technically intimidating. Although there are a few moments of calmness, the majority of the piece is angry and mad.

This piece is in the key of F-Sharp minor which is very unique. Not many composers write in that key. It’s relative major, A-major, is much more popular and used a lot more often. This key makes the technical passages in this piece so much harder.

Post Show Reflection: Being able to hear all the other fabulous performers was inspiring. After the show, we all ate an apple funnel cake, and we did know what was in that thing. =) Performing on the stage was an amazing experience. The Ocean City Pops was amazing and the entire FTT staff was so much fun.

I believe music has the power to make people really happy. I often play at nursing homes and I see people really enlivened when I play for them.

Jacob Hernandez, 18, trumpet
I. Allegro from Concerto for 2 Trumpets in C, RV537
with William Scheible – Trumpet & Ocean City Pops Artistic Director/Conductor
By: Antonio Vivaldi

The Vivaldi Concerto for Two Trumpets is definitely fun to play. If I had to describe it in one word I would describe it as “royal”, especially the 3-quarter note opening arpeggio. It is very stately at times and easy to listen to.

I have played concertos but never before have I played a duet concerto. That is what makes this piece different than anything else I’ve ever played. It will be cool to finally perform a duet with Mr. Schieble in public after playing so many of them during lessons with no audiences.

Post Show Reflection: My favorite memories were performing w/the OC Pops, and chilling with the performers while playing cards. The performance was awesome and amazing! I loved the crowd. It was definitely one of my most memorable performing experiences.

Music has the power to change, motivate, and inspire.

Polaris Quartet with Christopher O’Riley, piano
(Alan Rafferty, Coach)
I. Allegro, ma non tanto from Piano Quintet in A major, Op.81
By: Antonín Dvořák

Jenny Lee, 17, violin

When I listen to this piece, or when I play it, I think of it as a movie. Although there are very many melodic parts, you can also encounter very intense and dramatic parts of the piece. I imagine a woman telling someone about her love life.

This piece is very lyrical. To get on out the melody to the audience, I feel that communicating the music is the most important thing to do. It’s also the hardest thing about this piece. This piece is very unique because everyone has an equally important part.

Post Show Reflection: A memorable moment for me was when My fellow quartet member Josh kidnapped me on the boardwalk and forced me to dance with him while a parade was going on! Horrifying, but super funny. =) From the Top has to be one of the most comforting performances I have ever played in. The audience members were so nice and I felt like I was myself up on stage.

Music has the power to start a new life. It can make you be passionate about anything. It’s powerful.

Billy Fang, 18, violin

Our quartet previously had the honor of performing this piece with an exceptional graduate student pianist from the Universität Mozarteum in Salzburg, Austria, and whenever I hear this piece I remember his incredible ability to make the piano sing. My favorite part is the end of the movement; the climax is so epic and is always really fun to play.

Unlike some other chamber music pieces, each part in the Dvořák quintet is very active. It is very easy to get emotionally involved in this movement, so we always need to keep an eye (or an ear) on the balance.

Post Show Reflection: My favorite memory from the three days was when Josh (forcibly) made Jenny dance with him on the boardwalk. It was absolutely exhilarating to perform with my quartet once again, this time in front of a large, supportive crowd.

Music has the power to bring people together and to discover more about ourselves and about others.

Demi Fang, 15, viola

This piece is so unifying. After a brief, sweet cello solo, all 5 players suddenly break out into an urgent passage of rich harmony with a soaring violin part. I love how the movement ends as richly as it begins, with an added sense of glory. And of course, in between are more mellow themes involving conversations between certain members. The movement could stand alone as a piece itself, it’s so fulfilling and versatile.

This movement in particular is very different than the other movements in the quintet, in that it doesn’t have one overall characteristic/quality/mood to it. This movement is a manifestation of many emotions, sometimes desperate, sometimes sweet, and sometimes bitter. It’s important that these many different moods can carry through the audience when performed.

Post Show Reflection: A memorable experience was walking around on the boardwalk. The performance was much more relaxing and fun than expected. Knowing we had great audio backup allowed us to sit back and enjoy ourselves.

Music can change an audience for the better. It can inspire in so many ways, and bring them so many different emotions.         

Josh Halpern, 17,cello

We learned the Dvorak Quintet for our collaboration with musicians from the Mozarteum in Salzburg, so we didn’t actually get to practice it with our pianist (Johannes Wilhelm) until the day before we performed it for the first time. It was a GREAT collaboration – he’s a fabulous pianist and really fun to work with. So, every time we play the piece I think of Salzburg and our trip there to perform. While I play, I try not to let my mind wander to the long, hilly beautiful walk Johannes took us on through Salzburg on the last day of our visit. The other movement of this piece tends to have just one idea but this movement that we’re playing, the first movement, has all kinds of ideas and colors and textures so that difficult part is bringing all that out.

Believe it or not, the Dvorak Quintet is the only complete work that the Polaris Quartet has performed. We were only together as an ensemble for about nine months, and our other repertoire that we’ve performed includes movements of some exciting chamber works but not an entire piece. It’s nice to play an entire piece… each movement give us perspective on the other movements, and we’re able to get the full picture.

Kevin Sun, 18, piano,
I. Overture from Overture in the French Style, BWV 831
By: Johann Sebastian Bach

The overture is a highly structured piece, with two slow alla breve sections framing faster scurrying passages. Yet within the structure, there is startling freedom, particularly in the beginning and ending’s melodies and harmonies. This is, after all, Bach’s attempt at the French style, and as the rhythms become dotted and the melodies ornate, his music evokes images of Louis XIV, the Sun King of France. We see the king quite clearly, as he walks stately in the Palace of Versailles.

Bach’s efforts to emulate the French style have created a piece atypical of his compositional style in his use of lavish ornaments and rhythmic constancy. This uniqueness is hard to present. As a performer, I must be vigilant in considering the subtleties that form the “French style” while never forgetting the piece’s general form and direction. It is a challenge like patting your head and rubbing your tummy; it’s difficult to coordinate.

Post Show Reflection: Performing on From The Top was a fantastic experience! My fellow performers were all so talented and musically mature that they inspired me to work even harder to improve. Perhaps my most favorite memory was meeting the audience members after the show. I loved shaking hands and chatting with music lovers, piano teachers, and other piano students. Some of them commented on and critiqued my playing. Others simply talked about music in general. I loved it all, and I think that atmosphere of a mutual love for Classical music was a beautiful way to end my From The Top experience.

I think music is multifaceted. It can be a collection of sounds, an emotional outlet, an artistic medium, or a matter of academia. That music can take on all of these forms is what makes it so powerful, and I’m so glad to have music so deeply interwoven into my life. I want to keep listening to, expressing, and studying music for as long as I live.

Austin Huntington, 17, cello
I. Andante – Allegro vivace from Sonata No. 4 in C major, Op. 102
By Ludwig Van Beethoven

This Beethoven sonata is different than the rest, and that is one of the reasons why I am so fond of it. It is divided up into two relatively short movements that, when performed together, makes the sonata a total of 15-20 minutes in length. The first movement (what I played on the show) is the more proud, serious, and operatic movement. It starts off with a singing “canyon” shape (starts on C descends then ascends like canyon). There is a brief introduction that leads into the main part of the sonata; I think of this section as the most opera-like.

The beginning could be compared to a simpler aria, whereas the main sections are a typical dramatic and singing dialogue between the piano and cello that reminds we of opera (I try to imagine singing like Domingo here). I would say this operatic element is the hardest to nail, since there are so many things that could go wrong, and when they do the performance sounds merely average. Also, the beginning is an incredibly awkward start.

Post Show Reflection: My favorite memory was our first rehearsals of the Beethoven Sonata with Mr. O’Riley. It was amazing playing with him for the first time and hearing his guidance. I actually learned a lot about the piece that I had never thought of before. The performance was really fun, especially going from talking to performing. It was more stressful to talk, since it was not what I am used to. So when it was time to perform, I was allowed to express myself.

Music can change lives

From the Top’s Show 238 was taped in the Aire Crown Theater at the McCormick Place in Chicago, Illinois on  Saturday, July 2, 2011. We asked our performers to tell us about the music they performed on the show:

Stephanie Block, 17, viola 
I. Andante comodo from Concerto for Viola and Orchestra
By: William Walton 

Walton’s viola concerto holds a special place in my heart. It has been with me for the past year, and is definitely my favorite viola concerto. I love the “British-y” aspect of it- to me, British music has a certain unique quality. It’s not too melodramatic or too emotionless. It seems to have certain parts that are somewhat dramatic, but are masked by tranquility. Walton does a wonderful job of “sneaking” these emotions into the concerto. I like that you have to really look for the feeling in it and identify it.

My favorite part of this concerto is the beginning, with its calm and leisurely pace and its gradual move into the exciting and intense parts. Perhaps the hardest battle I have had with this piece is all of the chords! There is one part in the middle with a series of sixths, and those are so hard to bring out, not to mention play perfectly in tune. That will be a continuing project for me. This piece makes me think of a distinctive love story- one that is kept under wraps until one’s feelings are finally revealed. With the beginning of the piece, you wouldn’t guess that there is any love there, but it presents itself later. Accessing my own emotions is what really helps me bring across my feeling in this piece. Compared to other pieces I have performed, the Walton continues to be one of a kind. Many people love it for both its romantic and composed aspects. It’s more emotionally mature than many other pieces I have played on viola, and for someone as emotional as me, a piece like this is best.

Post Show Reflection: I loved getting to know everyone, both the kids and the staff. I never knew everyone could be so relaxed and nice! Also, playing on a great stage for a huge audience was amazing. I loved the feeling after I finished, sprinting upstairs with my medal. The actual performance was so exciting. It actually wasn’t that scary, more like encouraging. Nothing compares to the feeling of performing for me. It was truly amazing.

Music has the power to heal: broken hearts, so many things. The possibilities are endless.

Geoffrey Hahn, 18, baritone
“Whither Must I Wander?” from Songs of Travel
By: Ralph Vaughan Williams

This particular piece of music transports me into the English countryside. We experience the beauty of the landscape throughout the various seasons of the year, as seen through the eyes of a wanderer. The tune is beautiful and melodic. It is written as a strophic piece, which serves to emphasize the magnitude and power of lyrics. Although there are some lighter verses, there is feeling of sadness and nostalgia in many of the images of nature, especially those that describe the rain. The lyrics are a story, actually a poem, as “ Whither Must I Wander” is a part of the Songs of Travel, a group of poems written by Robert Louis Stevenson that describe the memories and observations of a solitary vagabond.

I chose this song to sing for my grandmother when she was in a coma following a serious stroke. She was a true inspiration to me; a lover of nature, an avid hiker, world traveler and music lover. Her fondest memories, which she shared with all of her grandchildren, were of her extensive travels both near and far. In her letters, she describes the magnificence of nature. Waves breaking over her on the stern of an ocean liner while she traveled through the Panama Canal, and a glorious sunrise she witnessed somewhere in the wilderness. As I finished singing to her, she opened her eyes for the first time in over a week. She died soon after, at the age of 104. I sang again at her memorial service. These memories will always be with me.

Post Show Reflection: My favorite memory from the last 2 days was the performance, especially the recording rehearsal. Being able to work with Christopher Riley is an experience I’ll never forget. The experience was fantastic! It was oddly comforting being in front of 4000 seats. The audience was warm and loving.

Music has the power to change everything from communities to countries, the power to reform!

Nikita Annenkov, 19, cello, 
Impromptu
By: Alexander Arutiunian

This piece, with its Central Asia motives and musical elements, reminds me of a celebration like a wedding in Uzbekistan. Even though it’s written by an Armenian composer, the music of both countries is somewhat alike. The A section makes me think of people dancing, playing folk instruments, celebrating. The slow part or B section brings a picture of a desert, with a clear night sky, camels resting, dunes and sand. It sounds like it could almost be a soundtrack for “Aladdin”.

This piece has many colors. I think the difficult part is to show these colors, to get across the unique folk elements of the piece.

Post Show Reflection: My favorite moment of the show was after we bowed at the end of the show, went to meet the audience, and how people were expressing their appreciation for our concert and classical music in general.

I believe that music has the power to end wars, poverty, and all the negative things in this world.

Septacular (Timothy Riordan, Artistic Director; Bryan Polacek, coach)
Merit School of Music  
I. Soldier’s March, III. Royal March, V. The Devil’s Dance from The Soldier’s Tale
By: Igor Stravinsky 

Julia Ghica, 17, violin

I love the different moods that are incorporated in this piece. For instance, we once had to gallop around the room to feel the aesthetic of a phrase then I had to serenade a vacuum to get the mood of a different section. I also love the instrumentation since violinist usually play with strings players or pianist, it’s awesome to be able to play in a small ensemble with other instruments.

This is the first time I’ve worked in an ensemble where we all were at an extremely high level of playing and where we all became so familiar and comfortable with a piece of music. I’m so privileged to have played L’Historie with people who really decided to commit.

Post Show Reflection: My favorite memories were the recording day, taking pics/frolicking, the last performance with Septacular, and the dance. The performance was exhilarating and comfortable, because I was with 6 other musicians I knew and trusted.

Music can change lives. There’s no other way I can say it.

Kamila Hines-Muhammad, 17, clarinet

The Soldier’s Tale is quite atypical instrumental chamber music; it incorporates several metric changes, abstract musical ideas and a jarring storyline of a soldier’s encounter with the devil. Parts of this piece are very intense and others are more relaxed and carefree, and my group tried to evoke these images of such dynamic shifts with our music One image my chamber ensemble and I tried to convey in the piece was the devil dancing around, perhaps in a circle around someone, very mischievously during the “Devil’s Dance.”

The Soldier’s Tale takes more focus, concentration and gravitas than any other piece I have played. One of the most imperative things to interpret was the intent behind each and every phrase Stravinsky wrote. Matching these intentions across the group was one of the biggest challenges of the piece, but also became one of the most fun.

Post Show Reflection: My favorite memories post-show were watching Youtube videos backstage before going on air, the rushing sense of accomplishment post performance, and Nikita’s prom story! =) The actual performance was simultaneously terrifying, with the pressure to be perfect, and exhilarating, because it was so much fun to play in my group

Music has the power to change the world and unite everyone to a common cause and emotional connection.

Abigail Arnold, 17, bassoon

L’Histoire du soldat has so many different emotions to offer. In the first movement we go from casual to excited (almost to the point of obnoxious) and then end with the line returning to that very casual feel. Then with the royal march we have the pompous, anxious, egoistical feel. My favorite though is the maniacal “Devil’s dance.” It has everything! The devil’s excited, tries to play it cool, seduces and returns to his excitement, although it’s much more frustrated.

What amazes me more than anything else in this piece are these subtle, incredibly beautiful lines Stravinsky has written in below the melody. For instance, in “March du Soldat” the clarinet, bassoon, bass and violin have this 4 part harmony that’s intensely beautiful. I love that even though I’ve been working on it for a year now. I still find these lines that change my understanding (if the piece completely).

Post Show Reflection: I loved frolicking in the grass outside the convention center with the septet! Stephanie! Surprisingly, I wasn’t nervous when it came to the actual performance. I was just up there having fun and making music with some of my favorite people in the world!

Look around! Music is everywhere! It has the power to make life wonderful!! It’s completely awesome!!

Joel Cantoran, 17, trumpet

Post Show Reflection: My favorite memory was the live performance for 2500+ people. It was intense but very fun as well.

Music has the power to change one’s life completely!

Jacob Mezera, 16, trombone

When I play this piece, I picture the solider marching home, happily and proudly. My favorite part of the piece is my solo in the “Royal March.” This is my favorite part because it’s very “trombone-esque”. It’s loud, raucous, and rambunctious. One image that the “Devil’s Dance” invokes is the devil scampering uncontrollably around the solider.

This piece is unique because it has narration and dancers, but only with seven instrumentalists. Most pieces that have narration and choreography require a large ensemble. The most important things to go for are the style and the musical ideas. This piece is one of the hardest. I’ve ever performed in a group.

Post Show Reflection: My favorite memory was dancing after the show! There was awesome music and a dance floor. It was so fun dancing with the other performers and random people. The actual show was awesome! That theater is huge! Even though there were so many people in the audience, it wasn’t intimidating because I could barely see them because of the lights in my eyes.

Music has the power to change lives. Anybody who puts time and passion into music has the ability to do anything they want.

Daniela Gazibara, 18, double bass

I think The Soldier’s Tale is a wonderful piece. Since acting is a part of the piece we already get some direction of what our playing is supposed to portray. With that being said we still get to find our own “voice”. That’s the best part of the piece: the fact that we get to tell a story with our instruments.

The hardest thing to nail in The Soldier’s Tale is the rapid change of mood, or the feel. I’ll get maybe an eighth note of time to completely change my feel and body language. It’s difficult to communicate with the group, change the image in my head & change may facial expression while not getting lost.

Post Show Reflection: I really loved the dressing room at McCormick place. This is where we all hung out together and watched funny YouTube videos. It was an ideal bonding situation. Also, the dance party after the performance was incredibly fun! We all had a really great and memorable time! The stage was extremely dry- I couldn’t near the other members of Septacular. That made performing difficult. It didn’t help when the breeze snatched up my music. With all the said it was incredible! It was very exciting.

Music can change the world (culture, traditions, etc). It inspires a new type of thinking and allows people to communicate effectively.

Yael Litwin, 18, percussion

I love how many layers there are to this piece. As soon as you think you think you’ve got it figured out, you find some new thing that you didn’t notice before. I’m always finding new things about this piece every time I listen to it. That’s why my favorite parts of the piece are just a few measures at a time.

I love playing this piece. Because we’ve been playing it for so long, we’ve all gotten really comfortable with it and we can work on musical things during rehearsal and work on tuning the notes and getting the parts together.

Post Show Reflection: Aside from the actual performance, the dance after the show was really fun. Just to see everybody let loose and enjoy themselves was great. It was one of the most enjoyable performance experiences I’ve ever had, to be playing great music with great friends along with other great performers was just an awesome experience.

I really do believe that music has the power to change the world for the better. Music has the power to connect people from all over the world, from different to connect people from all over the world, from different countries, background, nationalities, etc.; it is a common passion for every person.

Kate Liu, 17, piano, 
II. Presto from Sonata No. 2
By: Avner Dorman

I think this is one of the most exciting and fastest pieces I’ve ever played. There are lots of running notes and places with odd accents that all in all, make this piece really fun to play. My favorite part has to be when the left hand ostinato comes in towards the end, and I can’t say I have a “least favorite” part. Ironically, the way I was able to finally play this piece was when I started to “give up” on it. The technical aspect was so challenging that I sort of gave up on it and went for the excitement factor instead.

This piece is kind of jazzy, which is new to me since I haven’t played any jazz before this. I think this piece is really about the excitement, so no need to get so caught up on the technical aspects. When I play this piece, I always have an adrenaline rush that just increases as the piece goes on.

Post Show Reflection: My favorite memory was the performance at the Arie Crown Theater. I started out really nervous, but as time went on I started relaxing. Plus I couldn’t see the audience because the lights outside the stage were all off.

Music can bring joy and passion to everyone. Not only that, people will also be able to understand the universal language that has expressed emotions since the beginning of the cavemen.

We are excited to announce that our own Christopher O’Riley recently teamed up with cellist Matt Haimovitz (2010 Grammy nominee for Best Classical Crossover Album) to create the classical/pop CD Shuffle. Play. Listen. The two-disc set was released from Oxingale Records on September 27 and offers traditional classical selections as well as pop and rock interpretations. You can preview the music and purchase a copy on Amazon.com or iTunes.

Disc one is full of Igor Stravinsky, Leoš Janáček, and Christopher’s own arrangement of Bernard Herrmann’s Vertigo Suite.

“O’Riley effectively captures the essence of Herrmann’s indelible soundtrack, and the pianist’s richly expressive playing is matched by Haimovitz in atmospheric performances that may have you feeling a little dizzy,” says Tim Smith of The Baltimore Sun. “Selections from O’Riley’s ‘Vertigo’ Suite are interspersed with colorful music by Janáček, Martinů and Stravinsky (the ordering provides built-in shuffling on this disc); the artists deliver that repertoire impressively, too.”

The second disc takes a different turn, offering Christopher’s arrangements of popular music from Radiohead, Arcade Fire, A Perfect Circle, and more.

“In concert, we go between Stravinsky and Radiohead, and then John McLaughlin and then some Bach and Ravel. It’s part of the same trajectory for us, and it fits seamlessly in a program,” Matt Haimovitz said in an interview with New York Times author Dan Levitin. “For me, a classical listener will be interested in Radiohead or any of the tunes we’re playing on the pop side. I think what we’re doing has a sincerity to it. We’re getting to the spirit of this music, while translating it in a very different way than the original.”

Here’s a clip of the duo in action, playing O’Riley’s arrangement of “Empty Room” by Arcade Fire:

Christopher and Matt are touring cross-country until April 2012, with their next performance in Portland, Maine on Friday, November 18.