Posts filed under:  Great Artists

Still electrifying, Mr. Wild


American virtuoso Earl Wild

Today I had the great pleasure of playing some of Earl Wild’s stellar performances on the air, during my Saturday morning radio shift on WRTI-FM in Philadelphia. He was born in Pittsburgh 101 years ago this day.

He died in 2010, teaching until the very end. I was one of the lucky recipients of an almost “secret knowledge” handed down by a virtuoso of the old Romantic tradition, who had heard Rachmaninoff in person many times, and who had studied with a student of Ravel’s, and of Busoni’s.  Earl could explain every aspect of piano playing — from fingering, to nuances of phrasing, to chord balancing, to pedaling, to power in brilliant passages, all the while demonstrating, at the second piano. He knew, by heart, nearly every passage from the piano repertoire. He could talk and do.

Some other things about him, impossible to convey on the air — his charisma and rapier wit. His elegant way of dressing, which never looked foppish, because he was tall and broad-shouldered, with a shock of white hair, and blue eyes that widened or which he rolled to punctuate every story he told. The most colorful ones I can’t repeat, but here’s a milder one. When a new student at Juilliard approached him in distress, saying she’d been turned down by another teacher because her hands were so small she could barely reach an octave, he said, “How big is your brain?” She became his student and went on to have a successful debut at Carnegie Hall, critically praised in the Times for her fresh interpretation of an unusual program that alternated between Schumann and Bach.

Earl was not afraid to tell us students that he practiced — a lot. His income went up with the number of hours he practiced, he said, quite deadpan. Out to dinner, he preferred a Tanqueray martini, up, with a twist. A favorite pre-concert snack was a bowl of chocolate ice cream, which he ate in his bathrobe (why I was at his house while he was getting ready for a concert, I’m not sure, but the memory sticks.) He wrote his marvelous compositions and transcriptions for piano, in part, he said, to ward off the “boredom of practicing.” Earl was a sweet man, but he was not one to sugarcoat the life of a concert pianist.

For one of his recording sessions, I served as page turner. He was recording all the Rachmaninoff Preludes and the 2nd Sonata, on his white 9-foot Baldwin grand piano in his spacious living room in Columbus, Ohio, with its acoustically advantageous cathedral ceiling. He had to record at night, to minimize extraneous outdoor noises, but there were train tracks about a mile away, and a train rolled through just as the recording engineer was doing sound checks. Earl placed his hands on the keys and perfectly replicated the diminished/augmented/whatever chord that the train horn made, mournfully blowing across the flat Ohio plain.

Earl suffered no fools. Any pompous sort unlucky enough to try to cross him would wither and burn under that caustic wit. Consequently, managerial types would not necessarily feel fondly toward him. He was not cliquish or popular with the musical in-crowd. Ever independent, he was the opposite of a “yes” man.

Oh, but how his audience adored him, from music lovers, to great arts patrons, to opera stars, and of course his students. Listen to his recording of the four Rachmaninoff Concerti and the Rhapsody on a Theme of Paganini, recorded when he was 50, with Jascha Horenstein and the Royal Philharmonic. Recorded in just five days, Earl told Anthony Tommasini of the New York Times, that he had an instant rapport with the orchestra, and making that recording was “a joy.”

Listeners today definitely heard that joy. I received an unusual slew of phone calls and e-mails after playing his recording of the Rachmaninoff Third Concerto on the air. Everyone could feel the special brilliance of Earl Wild’s playing; its precision, power, pacing, gorgeous sound, and utter sensitivity, to this day, are something rare. Happy birthday, Mr. Wild — you are still electrifying.


The Breath of Life, Through Lynn Harrell’s Cello

Cellist extraordinaire Lynn Harrell teaching Samuel Walter in a memorable masterclass at Haverford College

Cellist Lynn Harrell plays with such ease, it’s as if the bow he holds in his right hand is a natural extension of his body.  I’ve seen only two or three other artists play with this same degree of relaxed command. In a concert and masterclass he gave last fall at Haverford College, he revealed his secrets to that physical ease, and to his approach to music.

One of the keys to his playing stems from a sense of timing tied to breath. In his playing of J.S. Bach’s Cello Suite no. 3 in C, he achieved a mixture of sonic plushness and suspense, in phrasing that was completely unpredictable, yet utterly inevitable. Listening to him play Bach is like being in conversation with a person you’ve just fallen in love with, and they’re about to tell you something fascinating and brand-new. After hearing Lynn Harrell’s Bach, I’ve decided that Bach should always be played with that kind of freedom. In the Debussy Cello Sonata that followed, in which he was admirably joined by the impressive and sensitive pianist Pauline Yang, he achieved a huge array of color and a sense of un-boxed-in release that left his audience enchanted.

Over dinner after the concert, he attributed his sense of breath and timing to his father, the great baritone Mack Harrell, who died when Lynn was only 15, but from whom he still draws inspiration. During a masterclass Lynn gave immediately afterward, he reiterated the importance of breathing, of singing, when playing an instrument, so:

“I knew that man once,” he sang, to demonstrate a phrase from the Brahms Sextet in B-flat Major, for a student group. “I KNEW that man once,” he said, emphasizing a different part of the sentence — and then, with a sense of resolution: “He was a lovely man.”

Equally important to timing is knowing how to handle sound production.

Forte does not mean loud,” he said. “It means strong. It has nothing to do with volume, but more with a feeling of effort. In fact, piano and forte dynamics are quite close together in volume, but different in texture.

Piano is soft in texture, like the fur muff that Mimi’s friend Musetta brings to her in the final act of La Bohème. ‘O, piano, piano,’ Mimi sings.

Mezzo-piano is a little more muscular. Forte-piano, fp, means a normal volume of communication. Poco forte is Brahms’ invention, and the abbreviation, pf, means full-bodied and singing. When you see pp, pianissimo, don’t play less loud necessarily, play more voluptuously and use more bow.”

“Because of the thickness of the parts in Brahms’ early writing, you have to bring out some voices and back off in others. For instance, when the second viola plays off-beats in the first movement, compact the rosin granules in the bow, play a little more detached and accentuated. It should sound like a burr or a thorn in your side, against the sweet and charming melody.

“And where there is an important melody to be heard, even if it’s marked ‘p‘, the listener needs to hear it — go to it, be a bull in a China shop.

Lynn complimented student Samuel Walter in his performance of the first movement of Dvorak’s Cello Concerto, but had plenty to offer; first, “sculpt out the strings” to give the opening statement more bite and definition, but in the lyrical second theme, “release the pressure, as if you are cuddling or petting a kitten. In virtuoso passages, be pointed rhythmically, and use an intense and faster vibrato, with feeling.

“The climax of the concerto comes on the big diminished chord — but then, be like Alfred Hitchock — don’t let ‘em go, don’t let ‘em go — then wait for a BIG silence, which makes the orchestra respond more ferociously.”

In considering Samuel’s precise nature, Lynn suggested, “Don’t be cool, calm and collected. Don’t ritardando too evenly. Have a huge variety of vibrato speeds. Be a bass singer. Then be a soprano. A singer has to manipulate his or her vocal cords for ever single note.”

In the Kodály Duo that Samuel and fellow student Dora von Trentini (violin) played, Lynn suggested, “Make it more ferocious. Feel the rhythm like a dancer, and draw back for your punch.”

Lynn gave general practice suggestions: to achieve stamina for extended big passages, “Be in that ff realm when you practice. Practice again and again and again. Change your bow grip to accommodate different tones you want. Think about thumb placement, and how far your forearm is from the hair of the bow. Sometimes more relaxed fingers on the bow is not the way to go — for instance, when you want precision in Bach.”

The secret to his playing with utter physical ease? He relaxes the upper arm, forearm, and uses the muscles of his back as if he’s playing tug-of-war. “It’s tricky sometimes because there are not as many nerve endings in the large muscle groups. It makes a difference where the energy is coming from. Have the ideal of strength, with freedom from any constriction.”

The secret to his freedom of expression? His understanding that “music represents every emotion in life, even when we’re murderously angry.”

The secret to making everything sound unpredictable and new, as if you’re having a conversation with a person you’ve just fallen in love with? “In repeated performances of a piece, if I do a passage successfully, I have to let it go. I have to make it fresh each time, and original.”

Lynn Harrell, American original, does just that. And we listeners can’t help but fall in love.









J.S. Bach: What happened to his DNA?

Johann Sebastian Bach, the father of many offspring, biological and musical

As social animals, we human beings can’t help our intense curiosity about other people.  Faced with a member of the species who behaves outside the norm, we wonder, “How did so-and-so get that way?” This is especially true in the case of remarkable talent, and has led me to the subject for my next lecture-recital. Why does musical giftedness awaken in some people, and not in others who have, purportedly, the same DNA?

Famous, curious example: the Bach family. For five generations, the descendants of bread baker Veit Bach dominated their musical corner of Germany, producing an astonishing line of professional musicians, many of whom achieved creative greatness. The zenith of this familial dominance culminated in Johann Sebastian Bach (1685-1750,) whom many consider the greatest composer of all time. Yet after the generation of J.S. Bach’s sons, it all seemed to fizzle out.

What happened? Why did the genetic code that found such marvelous expression for so many generations suddenly go dormant?

The relatively new science of epigenetics studies what factors affecting a cell can change the shape of its underlying DNA, allowing certain genes to be expressed, or to be kept under wraps. It’s not only at the level of the genome, the double-helix, that causes certain traits to be expressed and even inherited, it’s what happens on the surface of the genome, or the epigenome, that can affect genetic expression. Quantifiable, scientific work is being done at the micro-cellular level. But it’s tempting to extrapolate to a larger platform and consider what factors in an organism’s (or person’s) environment affect the expression of certain genes, behaviors, and even talents.

Musicologists offer clues, through their exhaustive study of biographical data, primary sources, and historical records. Mining these musicological resources has proved fascinating. It turns out that of J.S. Bach’s twenty children, only half survived past childhood. Of these, only one grandchild chose a musical career. Only three of Johann Sebastian’s grandchildren had children of their own. And curiously, the line, without professional musicians of note, ended up in Oklahoma.

In an essay for the American Bach Society, Christoph Wolff tracks down a great-grandson of J.S. Bach who eventually settled in Stillwater, Oklahoma, amongst a large German-Ukrainian community, and whose own granddaughter possessed personal items belonging to her forebear, Wilhelm Friedemann Bach, J.S. Bach’s eldest son. This American descendant of J.S. apologized to Wolff for the family not being more forthcoming about their connection to the great musician. Devout Lutherans, they were for years embarrassed that they had sprung from a somewhat wild branch of the family, and had originated from an illegitimate birth.

Fortunately for us, not all secrets remain hidden — a persistent scholar will dig up evidence, and a persistent offspring with a modern sensibility will want to claim the truth.

Which brings me to the conclusion that all this curiosity, and all this pursuit, musical, genealogical, or scholarly, is just a quest to know the truth about ourselves. Who are we? Gifted or not, that is the question worth digging for.


The essay by Christoph Wolff, called “Descendants of Wilhelm Friedemann Bach in the United States,” appears in Volume 5 of Bach Perspectives, edited by Stephen Crist, and published by University of Illinois Press, 2003, produced by the American Bach Society.



Original Vistas, A Conversation with Ingrid Arauco

Composer Ingrid Arauco

In celebration of her new CD of original compositions, I sat down to talk with my colleague Ingrid Arauco, who is a professor of music theory and composition at Haverford College, and whose work I often perform. Vistas is one of those albums that invites repeated listenings: the mix of styles and moods played by multihued, and sometimes unusual combinations of instruments, compels the ear. The CD is beautifully recorded, and the performances (by clarinetists Ricardo Morales and Paul Demers, cellists John Koen and Yumi Kendall, pianist Charles Abramovic, flutist Jeffrey Khaner, violist Burchard Tang, trumpeter Frank Ferraro, and violinists Barbara Govatos and Hirono Oka) are stellar.

I asked Ingrid about her concept for the album, her background, and about being a woman composer in today’s world. Here are some highlights from our conversation.

 DLH: The textures and sonic quality, particularly in your writing for ensembles that include winds, is quite startlingly beautiful. I especially love the poetic quality of the eponymous “Vistas” for flute and piano, in which three of the four movements are inspired by a work of art. Tell me a little about the interplay between visual arts and music in this piece.

IA: PCMS (Philadelphia Chamber Music Society) asked me to write a suite for flute and piano, and in thinking about the ways I might characterize the different movements of the suite, I found myself looking at a little card on my desk that a colleague of mine sent me years ago.  I had always loved the picture reproduced on this card:  Kawase Hasui’s woodblock print Snow at Shiba Park.  Perhaps because I had spent so long in the company of this image, I found that a musical complement came very quickly to me.  As I mention in my program notes, there is a quality to this picture, a wonderful balance between energy and tranquility, that I found captivating.  The second movement was inspired by another familiar image, that of Monet’s Landscape: The Parc Monceau, which is such a joyful work.  The choice of Josef Albers’s Park was also an easy one to make– I had just finished reading a book about his glass pictures; this image was on the book cover, and I was fascinated by the pink rectangle in the midst of all the blue and green, how it centered the work and imbued it with spirit.  In each case, I had strong feelings about the style I would use to render each image musically, and these musical styles are as different as the styles of the images themselves.  The most interesting decision compositionally, however, was including the “Bagatelle” movement; it does not refer to any visual image, but I simply felt I needed a quick, tonally more spiky movement after the tonal warmth of the Monet movement, as a refreshment of sorts, and to set up the particular tonal mix of the Albers (fourth and final) movement.  I would love to write another piece which directly relates to visual art or architecture.

DLH: Another piece on the album, your String Quartet Nr. 2, written in 1998, was performed just a few weeks ago at Haverford College by the Amernet Quartet. How did that live performance differ, in your ear, from the ensemble that performs it on the CD?  Is hearing a live performance of your work, in which a performer brings his or her own interpretation to the piece, and which might be affected by many factors “in the moment,” a satisfying or disconcerting experience? Or both?

IA: I’ve been fortunate to hear this piece performed live a number of times by different quartets. In each performance, there are fascinating differences in detail– it’s always interesting to me, for instance, to hear how the musicians interpret a few passages which I mark “gruffly” in the score — I’ve discovered there is quite a range of “gruff” in terms of bow stroke and tone quality!  But what matters is that the detail works within the larger interpretive concept of the piece.  I also think that if the overall structure of a piece is strong, it not only withstands, but embraces variation in performance detail– by which I mean the sort of personal voice and creative response that I’d hope a performer would bring to music in any case, and which makes live performance endlessly interesting.  The only time a performance of my work is “disconcerting,” as you put it, is if there is a major disruption, such as might happen if someone totally loses their place in the music.  But even then, there is something for me to learn– I always have to ask, could I have notated something more clearly, or simply?  You learn what is difficult to put together, and why, and maybe keep that in mind for next time.

DLH: We’ve spoken a little about the phenomenon of giftedness in music, and how surprising it is that certain individuals can contribute so much to the world of music while coming from a “non-musical” family background (at least professionally non-musical.) Chopin, Tschaikowsky, and Artur Rubinstein spring to mind. Were there professional musicians in your family? When did you start learning to play the violin, and at what point did you know you wanted to become a composer?

IA: There were no professional musicians in my family, though my parents were avid listeners of classical music.  I began piano at around six, and violin about a year later, in school.  I was so incredibly fortunate to have a piano teacher who included the Bartok Mikrokosmos and selections from contemporary piano literature in my early musical “diet”– I was so captivated by the Bartok in particular; it opened up a whole new world for me.  I spent way too much of my practice time sight-reading those pieces rather than practicing my other assigned pieces!  My teacher also had me write a short piece each week; sometimes style studies, usually whatever I wished.  Every week I began my lesson by showing her this piece.  I was surprised to learn, many years later, that other piano students had not had a similar experience at their lessons! So just to say that writing music came as a natural form of self-expression. Through my teens I had many wonderful opportunities as a violinist, playing in chamber ensembles and in orchestras, where I was able to experience being inside the music in a powerful way.  During college I encountered the music of Schoenberg, Berg, Webern, Stravinsky, more Bartok– which together made a profound, life-changing impression.  Nevertheless, I did not make the move to composition until after graduation.  I asked my theory professor, composer Robert Hall Lewis, if he would teach me, with a view to continuing my studies in composition.  Thankfully, he accepted and after working with him for an intense two years, I had prepared a portfolio and was accepted into the composition program at Penn.  So, I think I was preparing to be a composer from an early age, even though I did not consciously make the decision until years later.

DLH: When you studied for your doctorate in composition, at the University of Pennsylvania, you mentioned that your training under George Rochberg, Richard Wernick, and George Crumb was very rigorous. Tell me a little about each composer’s teaching style, and how their teaching might now affect your own teaching style today.

IA: The composition program at Penn was indeed rigorous, but I’m so grateful for that, and for the opportunity to have worked with these great composers and mentors!  As for teaching style, perhaps a story will convey something of the quality of Rochberg’s teaching:  I played for him on the violin one of a set of variations I was writing, which was very free and cadenza-like in nature.  Afterwards he was silent a while, and then simply made a few cuts in my music, sometimes from mid-phrase straight into another phrase further on.  As I played this new version, I felt the structure tighten…it was a great feeling, and a marvelous lesson.  Dick Wernick worked in the trenches with me, so to speak, on things like harmonic progression, rhythmic shaping, and structure too.  He had, and has, a critical stance which is unflinchingly honest, which I admire and respect so much.  I worked with George Crumb on orchestration, and on a piece for orchestra.  What can I say about that ear for timbre and texture?  I remember once he suggested adding a harp harmonic to a particular chord so that the sound would not be “leaden.”  What a difference– with the addition of that touch the sound rose and bloomed!  But I’d be amiss if I did not also mention an inspirational teacher, wonderful composer, and friend, Jane Wilkinson, who helped me out tremendously and gave me much invaluable practical advice, not only about composing but about teaching, that I continue to benefit from to this day.

From these teachers I learned to set high standards and to teach with integrity.  And particularly from Jane, to do this with some measure of compassion for the student; just plain kindness, really.

DLH:  Historically, women have been severely underrepresented in the world of classical music, in both composition and performance. Do you feel that’s improving? Are there any roadblocks you’ve encountered in your career as a result of your gender, and how did you overcome them? Do you have any advice for any young female composers who might be following your path?

IA: I think the situation is vastly different and better for women composers than it was in the mid-80′s, when I was a graduate student.  As for roadblocks, well, I prefer to think of these as opportunities in disguise, or opportunities to grow stronger and more confident.  As for advice, I would simply say, be the artist you are, and be that absolutely as well as you can.  And keep challenging yourself– that’s the only way to move forward artistically, and probably in other aspects of life as well.


To hear Vistas and other works by Ingrid Arauco, please visit her Albany Records webpage.



First Lady of Soul

Bettye LaVette and her band at World Cafe Live in the city that finally loves her, Philadelphia

On a frigid January day in 2009,  my siblings and their kids traveled from around the country to meet in Washington, D.C. for Barack Obama’s historic first Inaugural Celebration. The only hotel we could find was several miles away from the furthest D.C. Metro stop, way out in Virginia, but part of the magic of the day was boarding the empty train and being joined by an accumulating mass of bundled-up, happy people at each station, until finally we were part of a peace-able, joyous throng of 400,000 strong at the Washington Mall, waiting to hear a concert.

As a musician, I was skeptical that sound could be transmitted in any sort of acceptable way from Jumbotrons placed around the grounds. But the concert was great. Among the star-studded line-up (Herbie, Stevie, Beyoncé, Renée Fleming) the one performer who embodied power, intensity, and burn-in-your-brain “remember this” was the one performer I had never heard of. Bettye LaVette was that unique.

So when I heard she was coming to our genre-busting Philadelphia venue World Café Live, Tom and I got tickets right away for her show last week. We waited in anticipation while her band of young guys (Darryl Pierce, drums, James Simonson, bass, Brett Lucas, guitar) vamped for her entrance. Her keyboard player and music director Alan Hill intoned, “Please welcome the First Lady of Soul — Ms. Bettye Lavette,” and Ms. LaVette, almost 70, wisp-thin and petite, strode onstage in 3-inch heels and a sleeveless black jumpsuit.

She’s been singing, for long periods unnoticed, since the early 1960′s, when she came out with her first hit single, “My Man –He’s a Lovin’ Man.” She explained that the suggestive song wasn’t what the mainstream expected from a 16-year-old, especially not Dick Clark, who didn’t book her. “Oh, I wanted to be on American Bandstand in the worst way. All my friends were going on, but they were doing things like –” and she demonstrated a teenybopper, cutesy kick.

Ms. LaVette is anti-cutesy, anti-sweet, anti-fake. There is no sugar-coating or lying to herself or anyone else in song or word. For the show, she sang all the tracks from her new CD “Worthy.” “This is what I do — I go on the road when a new CD comes out — not that there have been that many,” she added with customary candor and a smile.

Her smart, bitter take on tunes by Bob Dylan (“Unbelievable”) and the Stones (“Complicated”) rendered their provenance unrecognizable by the audience, when she quizzed us on who we thought had written them. “C’mon, white people!” she chastised us.

Yet, she was gracious too, thanking her musicians and the sound engineers at World Cafe Live for their excellent, perfectly mic’ed acoustic.

For over an hour, Bettye LaVette stabbed us with raw, unfiltered emotion — what she delivers is not just singing, but cajoling, growling, pleading, moaning, crying. Her show culminated in a heart-wrenching rendition of her hit “Let Me Down Easy.” Rarely have I witnessed such bare vulnerability — onstage or off.  I’ll remember it forever, and tell my students today and in the future — that’s the kind of caring you aim for. For now, Bettye LaVette is certainly “worthy” of her title “First Lady of Soul.”


A Happy Revelation, A Prejudice Overcome

Die Meistersinger von Nuernberg, a once-in-a-lifetime production from the Metropolitan Opera


As someone who’s transfixed by great live singing, I’m moved by the magic that occurs when one is in the physical presence of a wonderful singer, whether in a concert hall, opera house, church, or home. I like to be in the same room as the singer; I like to have my eardrums vibrate in close proximity as they hit their high notes. As such, I’ve never gotten excited by the prospect of seeing opera broadcast in HD in a movie theater. But sometimes logistics prevail. If I wanted to hear James Levine conduct his favorite opera, one that is infrequently performed, without trekking to New York during a hectic season, I would have to trek instead to the movie theater near the mall, and settle for what I thought would be a somewhat second-rate experience.

And so it came to pass that two Saturdays before Christmas, I made my way to our nearest multiplex to see the simulcast of Wagner’s Die Meistersinger von Nuernberg from the Metropolitan Opera House. At the ticket booth of the King of Prussia Regal Movie Theaters (a much less glamorous venue than the Met,) there was a lone attendant working at a very relaxed tempo, waiting on a growing line of patrons who were anxious to see “Interstellar.” By the time I paid for my $20 ticket and hurried into “the opera,” Wagner’s majestic overture had begun. Onscreen, the orchestra musicians played intently while I groped in the dark for an empty seat. (Later, when the houselights came up at the first intermission, I realized that I and another gentleman and his large picnic lunch, which included fragrant oranges and some kind of sausage, were occupying the short row that was meant to accommodate a patron with a wheelchair.)

One striking fact about every production of Die Meistersinger is its running time: six hours. I reasoned, it being such a hectic season, that I ought to leave at one of the intermissions; I had music of my own to learn, and a holiday to-do list as long as Denali. But the opera riveted me. James Levine’s conducting was perfectly paced and alive, drawing performances from his singers and instrumentalists that were both rich and transparent. The singers were blessed with magnificent voices, yes, but they also inhabited their roles in a way that made you believe these were real people up there, ones you would like to get to know. Annette Dasch was not only an honest and intelligent Eva, but a mischievous one. Johannes Martin Kraenzle played Beckmesser not only with despicable pomposity, but with lovesick vulnerability.

What made six hours fly by was not the superb music-making, the comic acting, the sonic and visual feast — it was all these things in the service of the human story, in revealing these multifaceted characters’ lives and desires through art.  During the surprise ending of the last act, the brilliant Michael Volle, as the hero cobbler/poet Hans Sachs, sang his final aria, “Verachtet mir die Meister nicht.” Sachs makes an impassioned argument, in song, about fighting to uphold the standards of art, music and literature to keep the dark forces of the world at bay. On hearing this, I cried like a baby, just as if I were there, at the opera, in person.

I realize now that the act of broadcasting this incredible production to a truly wide audience is an art form in its own right. I stand humbly corrected. So I say — if you have a chance to see a great opera production live —  of course, that’s the best of all worlds — go. But if the movie theater better fits your time frame and budget — go! You may cry like a baby, just as if you were there in person.

Happy New Year!

How To Succeed in Classical Music: Part II: Sharon Isbin

Guitarist Sharon Isbin in the 2014 Festival Opening Concert for Philadelphia Classical Guitar Society

Even though I’d heard of guitarist Sharon Isbin for years, mainly because of my guitar aficionado husband’s CD collection, I did not hear her live until a few weeks ago. No doubt because of those album covers, I assumed that she was flashy, but maybe not so deep. I was surprised, therefore, when attending the Philadelphia Classical Guitar Society’s festival opening concert, to see a diminutive, serious woman with ramrod straight posture take the stage. She was wearing a plain outfit and flat shoes. Her hair was definitely not salon blow-dried. She held her guitar horizontally when acknowledging the audience, in the European manner. Regal, yes, flashy, no.

There are many parallels between solo guitar playing and solo piano playing. Both instruments can go it alone without need for an accompanist, as both instruments are able to supply the essential elements of music on their own: melody, harmony, rhythm. And although many performers are getting away from the practice, solo guitarists and pianists traditionally perform from memory, which ramps up concert preparation time ten-fold. Sharon Isbin played her entire lengthy program from memory.

Her phrasing, tone color and structural interpretation were interesting from start to finish, in repertoire that ranged from Albeniz and Britten to contemporary work written for her. At the end of her program, the audience immediately rose as one, understanding that we had heard a masterful concert from a performer in total control of her instrument.

At the next morning’s masterclass, she sat onstage beside each student, intently observing. Often, the masterclass format can be a platform for a famous teacher to hold court, to enjoy the limelight, to draw attention and entertain. This was not the case with Ms.Isbin. Her comments were practical and serious. She explained the details of her approach to right hand and left hand fingering as it applied to each piece. She gave advice on how to memorize (away from the instrument, mentally, sitting in a chiar, at slow speed, then up to tempo.) How to avoid injury by using correct grip and hand position.

She said, “A lot of this is explained in my Classical Guitar Answer Book. I still have 4 copies with me. They are twenty dollars each. Raise your hand if you want one, and you can pay me after class.”

Many more than 4 hands shot up around the room.

This little interlude spoke volumes. Besides talent, hard work, and sharp intelligence, this is what created Isbin’s international career. This is what caused the Juilliard School many years ago to create a guitar department with her at the helm. This is what convinces famous rock musicians to collaborate with her, and what inspires composers to write new work for her. Whatever else is in play, Isbin is always looking for new ways to express herself, to teach, to perform, to be noticed in a major arena. She takes herself seriously and she does not apologize for it.

What a message this is for women, for aspiring artists, for any musician who wants to make his or her mark in this world.

How To Succeed in Classical Music — Three Women Show How: Part I: Kristin Lee



Violinist and generous young visionary, Kristin Lee

My friend Charlie recently asked the head of the Curtis Institute how he’s advising their incredibly gifted students about the job market for classical music, which, as everyone knows, is a thinning slice of a shrinking pie.

Roberto Diaz’ answer:  ”We tell our graduates they need to be entrepreneurial and creative. They need to take charge of their own careers.”

In the short span of 3 evenings, Tom and I have witnessed three women classical musicians who are doing just that. My series of posts about these remarkable evenings will begin with the youngest artist, whose work is magnanimous and daring in spirit.

Four years ago, I first heard Kristin Lee in several concerts for Astral Artists. She played virtuosic violin works from the concert repertoire with brilliance and heart, and a gutsy, rich sound. A little while later, I heard her play some rhythmically tricky contemporary recital music that was equally impressive for her precise and seamless collaborative work with two different pianists.

Later, we both appeared in a promotional film for Astral; I was a talking head, while Kristin was shown in several scenes, one in which she wears headphones in a recording booth, playing the crossover music for the film.

So I was curious to hear what she would do for LiveConnections at World Cafe, the performance space/bar/restaurant of WXPN at the University of Pennsylvania. Over the past two years, Kristin had raised the money to a.) commission five composers to write new work for her and b.) pay fellow musicians to premier these works with her onstage.

The bistro space in the basement of World Cafe is spacious, with a balcony and a main floor filled with long, communal tables. Waiters pad around bringing food and drink to patrons who wait in semi-darkness for the show to begin. The non-traditional, open atmosphere increased the audience’s anticipation for something new, and for who-knew-what?

Kristin put together a program (what she called a “Playlist”) that could not have been more global or colorful. It began with Patrick Castillo sitting beside her, speaking the words, “Last night I dreamed I was in Paris…” Kristin began to play over computer sound loops he’d created, that repeated along with his recorded and live speaking voice, in overlapping layers. This was followed by Kristin and percussionist John Hadfield accompanying Shobana Raghavan’s haunting, clear South Indian Carnatic singing.

Jason Vieaux*, renowned classical guitarist, joined Kristin in Vivan Fung’s “Twist,” in which they both mimicked the sounds of classical Chinese instruments.

Most unbelievable was the virtuosic steelpan work of Ian Rosenbaum, who played Andy Akiho’s “Deciduous” (we learned later in the Q and A that Ian, a percussionist, learned the piece AND the instrument in the past month.)

Most novel, hard-to-describe, and entertaining? Jakub Ciupinski, who “played” the theramin, not as an instrument for a horror movie soundtrack, but as an input device for the computer-generated sounds he’d created. Jakub’s flowing hair and hand motions, as he took visual cues from Kristin, displayed an arresting and energetic choreography.

Most beautiful moment? For me, this was a piece from the traditional repertoire. Kristin performed Camille Saint Saens’ “Fantaisie,” Opus 124, with Bridget Kibbey*, a harpist of astounding musicality and freedom, who can imbue a seemingly simple chord progression with urgency and meaning.

In keeping with the “breaking down barriers” nature of the evening, LiveConnections’ classical curator Mary Wheelock Javian led a Q and A with the audience. After answering a question from a concerned lady who wanted to know how much her promising 15 year-old nephew ought to be practicing (“he’s not going to want to hear this, but four to five hours a day,”) Kristin answered the question “Why this project?”

She talked about being trained in the classical tradition, which she loves. She talked about  being introduced to indie rock by an enthusiastic young relative. She talked about wanting to change the mindset that divides audiences into camps: contemporary music in one camp, traditional classical music in another. She wanted to bring divided audiences together.

“It’s all music, right?” she said. “And there’s nothing better than music.”

The joy and generosity she’s brought to this project shows that she’s succeeded.  I know we will see and hear many more cutting-edge collaborative projects from Kristin in years to come.


*Jason Vieaux and Bridget Kibbey are both Astral Artists alumni.


Poetry in Music, the Deepest Emotion of All

Emily Dickinson's garden

Last Sunday I had the singular pleasure of performing with Jacqueline Horner-Kwiatek, a wonderful mezzo-soprano who is heard more often as part of the vocal quartet Anonymous 4. For our program, Jacqui appeared as vocal soloist, and chose modern songs written by male composers to the words of female poets and writers.

The songs that began and ended our concert drew the most applause and biggest laughs. Who can resist Seymour Barab’s buoyant and sometimes bittersweet settings of Dorothy Parker’s witty words? A woman sings of receiving “one perfect rose” and you think she is going to get all sentimental about it, until it’s revealed that what she’d rather have is “one perfect limousine.” In the final set of songs by Dominic Argento, Miss Manners advises her affronted “Gentle Readers” how to behave at concerts, whether to boo at atonal music, and most of all, why she is right.

Humor notwithstanding, it was the poignant middle songs of the program that haunt me still. I relished playing Richard Pearson Thomas’s pianistically lush settings of Christina Rosetti’s verse. The most touching of all was Aaron Copland’s song written to Emily Dickinson’s poem, “Heart, we will forget him now.”

Perhaps no music is needed to underscore Dickinson’s achingly emotional poem.  There is no greater, or simpler, description in the English language of longing. We need not know the biographical details of Dickinson’s life, or even Copland’s (who was gay in an era when he could not be open about it) to feel the hurt of trying to forget a man who must be forgotten. As in all great songs, Copland’s harmonic language and melody bring the emotion into sharper focus, and make it somehow bearable, remind us of what it is to be human.

Here is Dawn Upshaw’s version of the song (with orchestral accompaniment.) The text flows along in the video montage, so that you, Gentle Reader, can see — with your ears and eyes.




Interview with Michal Schmidt, pianist and cellist extraordinaire


Michal Schmidt, cellist and pianist

A few years ago, I was astonished by an amazing feat of musicianship. At a piano trio recital program for Tri-County Concerts, I saw and heard the cellist, Michal Schmidt, lay down her cello and move to the piano to perform Ravel’s Violin Sonata with violinist Min-Young Kim, so that Matt Bengston, who had just performed Ravel’s solo piano masterpiece Gaspard de la nuit, could take a much-deserved break.

Okay, I’ll admit that I’m picky when it comes to piano playing. It’s not a small thing and also not an exaggeration when I say that Michal’s tone, phrasing, fluency at the keyboard, and sensitivity to the violinist, were exquisite examples of finesse, artistry, and beauty. So it was an honor and a pleasure when she asked me to collaborate with her on a number of interesting recitals this season — two of which are coming up next month.

Rarely is an instrumentalist so exacting and vocal about the piano part — my part. In rehearsal with Michal, I submerge my ego and keep an open mind, knowing that she can play the piano part perfectly well herself. It’s been ear-opening and a lot of fun.

Today I’d like to interview this superb cellist, pianist, wife, mother, and colleague, and share with you her insights into her unique career and life.

DLH: Tell me a little about your growing-up years, and if anybody in your family was a professional musician.

MS: I grew up in a little town in the northern Galilee in Israel. As a teen we moved to Haifa, the port city more to the south.  I have 5 siblings. Everyone played an instrument at some point in their lives. My mom played piano very well (she still does at age 84) but in her professional life she is a world-renowned sociologist, and was a professor at the Haifa University for over 30 years. My dad was a teacher at a vocational school. He played the cello and the flute as an amateur for many years.

DLH: How old were you when you began music lessons, and which instrument came first?

MS: I started piano lessons with my mom when I was about 5 years old. Piano was my passion from age three or so. My mom says I would cry and ask for my “la” and my “mi” and my “do.”

Cello came later, when I was about 10.

DLH: You came to study at the Curtis Institute as a young woman. Were you admitted to study both instruments? Did any one instrument begin to take precedence?

 I came to Curtis in September of 1978, after a year at the Royal Academy of Music in London. I did get accepted on both instruments, which was rare. Later I found that maybe it was an unspoken “no-no” at the school. They were not too tolerant of the fact that I was playing and practicing both and doing the course load of the two departments.  At the time I felt my cello playing needed a push, so I decided to study piano privately outside the school and I got plenty of push in cello at Curtis. Now both instruments are pretty much on equal footing, and I practice them both, as much as I possibly can.

DLH: You subsequently earned your doctorate at Temple University, in which discipline?

MS: My doctorate at Temple U was in cello performance. I studied there with Jeffrey Solow.

DLH: What appeals to you about playing each instrument, and what does each bring out in you as an artist? You are clearly a “people-person” and both instruments allow you to collaborate with other musicians. Do you feel the cello brings out the soloistic side of you?

MS: I love the richness of repertoire for the piano, the unlimited possibilities of the instrument and the chance to accompany, which is my favorite thing to do as a pianist.

The cello, at times, has been more of a soloistic instrument for me, but also with it, I am thrilled to collaborate with colleagues.

DLH: You’ve raised three healthy, well-adjusted kids, and we all know that juggling work-life balance can be difficult with a family and a demanding music career. Does any one incident as a working musician and mother stand out?

MS: The mix of motherhood and artistic work has been just that, a mix for many years.  I did what I could, and remember being exhausted all the time!  One incident that comes to mind- I organized a big concert in memory of a loved teacher. I was the organizer, producer, accompanist for seven singers and cello soloist for one piece as well. I got home late after the concert, and went right to my baby, Abby, who was then less than a year old (she is now 19).  The abrupt switch from “stage glamour” to changing diapers struck me very strongly – to this day I remember the precise date of that concert in 1995!

DLH: Now that you’ve recently become an empty-nester, do you have new goals for your life or career?

MS: Now with less worry about young kids, I would love to do more of what I have been doing, knowing that I CAN do more, because no one pulls at my arm to go make dinner NOW.

DLH: Do you have any advice for young musicians who are talented in two instruments and who would like to make music their profession?

MS: The advice is to keep practicing, and if you love both, do both. The main point is, that in our time, a music career may be such a difficult path, so diversifying may be important. Think of not only the one passion — maybe you have another passion that can help you with real life’s demands.

With that in mind — this week I learned in French the idiom “violon d’Ingres” — “the violin of Ingres” (the 18th century painter). This is an idiom that describes one’s passion, or a very loved hobby. It sounded so cool, I went searching for the source of this idiom.

So the story goes that when people came to Ingres’ studio to see his paintings, he preferred to play the violin for them, as he was a decent player. So his music passion went beyond and along with his passion for painting, for which he was famous.