So today I have an afternoon off from the kids I usually work with at PS 115, in Queens, NY. They are a fun bunch of kids, who give me a lot to think about, and usually a few chuckles in there too. But that afternoon off means that I have a few extra hours of free practice time, which I am looking forward to.
Something that I am pondering, (I wonder if any readers can weigh in on this), how does one convey the importance of new works to new audiences in new countries? How does one convey the importance of old works by old composers, that few people know about? Which would get more weight? To what degree to you pitch one over the other? How much time do you spend describing the pieces, so that your audience members become converts and fans of these composers?
I ask all of these questions, not only to any readers out there, (I would love to turn this into an open dialogue), because I am asking these of myself. I am putting together a recital in a few weeks, the first recital that I have done in almost a year, in the Netherlands. It will be my very first time in that country, and my very first time performing a full recital outside of the country. (I have performed on a few occasions in the Czech Republic and in London, and an audition in Malta.)
This is actually going to be a really exciting performance, and if it goes well, I hope to bring it back to this country. The repertoire is all for Solo Viola, spanning almost 300 years! I will be performing at the home of American composer Anthony Green and his partner Itamar Ronen, in Leiden. Among the pieces that I will be performing are two solo works for viola, that Anthony wrote, the first being his piece Nachtspiel, which he wrote in 2006; and his Two Pages for Kara, composed in 2011. Both pieces I have had several opportunities to perform; the second he wrote specifically for me, in memory of my sister Kara. I will also be performing Gilad Hochman's Akeda, which he composed in 2007, recreating the parable of Abraham and Isaac. The piece is very fitting and relevant today, as we question the insanity of terrorist groups around the world, and the senseless act of governments worldwide for sending their youth to war.
The other two pieces will include J. S. Bach's Suite No. 3 in C Major, which I have performed and taught on several occasions, (an old favorite!) and Gunter Raphael's Sonata for Solo Viola, Op. 46, No. 3, which is one of the pieces I am looking to explore in my upcoming Dissertation. The Raphael is a charming piece that was composed in October 1940, while Raphael was practically a prisoner in his own country, (Germany) unable to work, based upon his heritage (he was forced from his University teaching position in the mid-1930s because of his Jewish background). Yet the piece is loaded with optimism, and filled with energy and charm. Few people, if any, know of this composer in the States, and he is certainly under-appreciated. My goal is to inspire others to consider my passion and enthusiasm, not only for Raphael, but for the Solo Viola works by Anthony Green and Gilad Hochman as well.
Something that I am pondering, (I wonder if any readers can weigh in on this), how does one convey the importance of new works to new audiences in new countries? How does one convey the importance of old works by old composers, that few people know about? Which would get more weight? To what degree to you pitch one over the other? How much time do you spend describing the pieces, so that your audience members become converts and fans of these composers?
I ask all of these questions, not only to any readers out there, (I would love to turn this into an open dialogue), because I am asking these of myself. I am putting together a recital in a few weeks, the first recital that I have done in almost a year, in the Netherlands. It will be my very first time in that country, and my very first time performing a full recital outside of the country. (I have performed on a few occasions in the Czech Republic and in London, and an audition in Malta.)
This is actually going to be a really exciting performance, and if it goes well, I hope to bring it back to this country. The repertoire is all for Solo Viola, spanning almost 300 years! I will be performing at the home of American composer Anthony Green and his partner Itamar Ronen, in Leiden. Among the pieces that I will be performing are two solo works for viola, that Anthony wrote, the first being his piece Nachtspiel, which he wrote in 2006; and his Two Pages for Kara, composed in 2011. Both pieces I have had several opportunities to perform; the second he wrote specifically for me, in memory of my sister Kara. I will also be performing Gilad Hochman's Akeda, which he composed in 2007, recreating the parable of Abraham and Isaac. The piece is very fitting and relevant today, as we question the insanity of terrorist groups around the world, and the senseless act of governments worldwide for sending their youth to war.
The other two pieces will include J. S. Bach's Suite No. 3 in C Major, which I have performed and taught on several occasions, (an old favorite!) and Gunter Raphael's Sonata for Solo Viola, Op. 46, No. 3, which is one of the pieces I am looking to explore in my upcoming Dissertation. The Raphael is a charming piece that was composed in October 1940, while Raphael was practically a prisoner in his own country, (Germany) unable to work, based upon his heritage (he was forced from his University teaching position in the mid-1930s because of his Jewish background). Yet the piece is loaded with optimism, and filled with energy and charm. Few people, if any, know of this composer in the States, and he is certainly under-appreciated. My goal is to inspire others to consider my passion and enthusiasm, not only for Raphael, but for the Solo Viola works by Anthony Green and Gilad Hochman as well.
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