Chien Tan's Play-Violin.com

Violin Interview with Elina Vähälä

Chien Tan — Thu, 01 Sep 2011 03:04:30 +0000

We warmly welcome back violinist Elina Vähälä for her third appearance with the Oregon Symphony (Carlos Kalmar, conducting) September 24, 25, 26 to open our classical 2011-2012 concert season. Born in the United States and raised in Finland, Vähälä’s Oregon Symphony debut in 2007 playing Vivaldi’s Four Seasons was met with great enthusiasm. In 2010, Vähälä’s total command of the instrument took the Portland audience and musicians alike on an mesmerizing, emotional ride, evoking lament and requiem in Benjamin Britten’s Violin Concerto for the fallen soldiers of the Spanish Civil War. In addition to performing worldwide, she is a professor of violin at Hochschule für Musik in Detmold, Germany.

In September you will perform Prokofiev’s Violin Concerto No. 2 with the Oregon Symphony. How would you describe this music to someone rather new to classical music?

EV: This violin concerto is a great example of Prokofiev’s very original musical language, clear, intelligent yet highly emotional but never sentimental. He is a master orchestrator, so the tonal colors are magnificent. The second movement has an incredibly beautiful tune with such long phrases that they create almost a breathless atmosphere. The final movement is very exciting with a special mixture of moods, dancing, but at the same time there is a threatening drive. You can also find a bit of Peter and the Wolf there!

How did this idea of commissioning a violin concerto (due for its world premiere in 2012) from Jaakko Kuusisto come about? How involved are you in helping to shape this work as it is being composed?

EV: Commissioning a violin concerto was something I had on my mind for some time, and then I just decided that it was time to do something about it. It was very clear from the beginning that I wanted to propose this idea to Jaakko. I have been very impressed by his compositions, both chamber and orchestral works. I haven’t seen any material on paper yet, but Jaakko has promised me some sketches this month when we meet for a performance of the Prokofiev concerto in Finland before Oregon, with him conducting. He is very busy as violinist and conductor, so he has scheduled the final composing process for this concerto for September and October. He has the work pretty much ready in his head, so he has told me for example about the form. The concerto will start with a big solo cadenza which is somewhat unusual. I must say that I’m totally excited about the project. The fact that he is such a fantastic violinist himself, makes me anticipate both great writing for the violin plus some fun challenges! What makes me also very happy is that we have received a lot of interest for the concerto from different orchestras, and a recording has been scheduled right after the premiere.

What inspired you to launch Violin Academy? Tell us its mission.

EV: The fundamental inspiration came from the idea of “paying it forward”. When I was 12 years old, a similar project was launched in Finland under the auspices of the Kuhmo Chamber Music Festival. We were twelve young violinists, selected by audition, and we received very intense master classes from renowned Russian pedagogues five times a year for five years. We all continued our studies with our regular teachers during the year. It was simply fantastic. The top training was brought to us so that we kids didn’t have to leave the country for additional training at a young and tender age.

The Violin Academy “Vol. 2″ was founded by me and violinist and violin pedagogue Janne Malmivaara, who also was a student of ”Vol. 1″. We both were concerned about the education for violinists in Finland, and came to the conclusion that there would be a space and need for a project of similar format. We have been so lucky to have gurus like Ana Chumachenco and Ilya Grubert to join “the faculty”. The funding for five years is generously provided by the Finnish Cultural Foundation. We are starting our third year already, and we can see the importance of the project. The kids have made great progress, they practice more professionally, they have realized what it takes to become an artist and a violinist and how much work it requires to achieve something. Also the support that the kids give to each other is heartwarming and of huge importance. We found a great location on the country side in Southern Finland to have the master courses where we can work, lodge and have meals together in a very private and family-like atmosphere. As teachers we want to give all the knowhow and support we have to offer, and in exchange we are expecting the students to commit themselves fully. The education that we provide is free of charge for the students, paid by the foundation. We are looking into different solutions to continue the project, one way or the other, once our funding ends. In the long run I dream of having something similar to the Curtis Institute of Music in Finland!

Finland, for a country of 5.4 million inhabitants, seems to produce so many great classical musicians, composers, conductors in relation to its size. That includes you, Esa-Pekka Salonen, Osmo Vänskä, Jukka-Pekka Saraste, Sakari Oramo, etc. Is it the culture? Education?

EV: All the names mentioned in the question are products of the music education system founded in the 1960′s. It allowed anybody interested in classical music to get an education, even in the most remote places. Besides, classical music was considered something essential, enlightening and part of the basic human education, so it was an important school subject also. The hierarchy of the education was very simple but effective; music institutions (practically everywhere in the country), conservatories (in all cities of medium size and up), and finally the highest, the Sibelius Academy in Helsinki. The talents were easy to harvest from a broad mass of kids who had music as a hobby. The education was fully included in the government budget, so it was practically free of charge to everybody. Because of the small size of the country, no talent was hidden from the attention of the music field.

I’m speaking in past tense because this system has been endangered, or more precisely already torn down, so that is why for example getting the Violin Academy started was a huge achievement and victory for the classical music “freedom fighters”. The classical field in Finland has been sleeping comfortably for too long and letting things slip downhill, but there are many important figures who have already a long time ago spoken up very directly in the media and criticized the current tendency, such as Mikko Franck, Ralf Gothoni, Arto Noras, Kaija Saariaho and Juha Uusitalo. The classical music field needs to wake up and promote the cause and defend the arts of the highest level, without compromising the substance and popularizing the content.

If I were to visit Finland as a tourist in July, what would you recommend I must see or do?

EV: Helsinki is a great summer city and when possible, I love to enjoy its location at the Bay of Finland. Long walks along the Kaivopuisto shores (you can even do a bungee jumping there if you want – I wouldn’t…I’m such a chicken!) are my favorite. But: Finland is a country of countless music festivals. July is the high season. To me the most extraordinary July event is the Kuhmo Chamber Music. You could not imagine that this small town in the middle of nowhere becomes the center of the world of chamber music for two weeks. To me it’s a magical place. An impressive array of international top musicians, extremely innovative programming by Vladimir Mendelssohn, audience full of chamber music enthusiasts from all around the world and the beauty of the nature make the festival completely unique. Highly recommended!

Another major event in July is the Savonlinna Opera Festival taking place in the medieval Olavinlinna Castle surrounded by Lake Saimaa. If you make a boat trip on this biggest lake in Finland, you can maybe spot a Saimaa seal, endangered small seal which can only be found in Lake Saimaa. I’ve seen it three times, during a sunny day when it has popped its head above the water surface. So cute!

For music students I’d strongly recommend the master classes of the Savonlinna Music Academy taking place in July. Concentrating on chamber music, Lieder and opera, it offers tuition of highest quality by outstanding pedagogues and instrumentalists. The students get to perform important chamber music works together with the teacher, which is a wonderfully direct way for a communication between the student and the teacher.

When I have free time during the summer, I love winding down by enjoying the silence of the Finnish country side and its forests, sauna, swimming, boat trips, fishing etc. I think I’m a very typical Finn in that respect!

Here’s Elina Vähälä with her chamber music colleagues Alina Pogostkina – violin, Ara Gregorian -viola, Yuval Gotlibovich – viola, Robert Cohen – cello, Alexander Bailie – Cello, performing Tchaikovsky’s String Sextet D minor op. 70, “Souvenir de Florence”

Back to School! Violin Playing Tips Online

Chien Tan — Tue, 23 Aug 2011 23:50:38 +0000

Back to school is around the corner. For violin students brushing up on violin playing and who would like online violin playing tips, here are two suggestions to get you started.

Violinmasterclass.com

While it is not intended to replace a violin teacher, it provides important concepts and offers a chance to observe a great violin pedagogue, Kurt Sassmannshaus, and students. I studied with Mr. Sassmannshaus one summer when he was an assistant to Dorothy DeLay. Many ideas that DeLay herself taught are found on the website, which can now be viewed online for free.

Need help on improving technique? Can’t get that bow to spiccato evenly? How about checking the Quicktime videos? Look under “Master Classes”, then choose “Right Hand, “Spiccato” and “Exercises”. The exercises are demonstrated at all levels from beginner to advanced. Select the level that’s best for you. One caveat: those students demonstrating have largely polished the technique. It is not their first try!

If you think you need to slave away for hours each day working on some specific technique, think again. You need a practice strategy. How about three minutes a day? This is possible if you follow “The Power of Virtuous Moments” which emphasize that the most important lessons in our lives happen in short moments. Organizing 20 virtuous moments in a one hour practice session, each lasting three minutes, will maximize your time. A practice schedule, timer and a metronome are required.

You can even book a virtual lesson as video exchanges and in real time.

Kurt Sassmannshaus and student demonstrating spiccato.

R. Todd Ehle, AKA Professor V

http://www.toddehle.com/

Todd Ehle has nearly 22000 subscribers on YouTube, and numerous videos on violin playing that are helpful. The Professor V link above will land you to his subscriber page and you can browse on the lower right hand corner for videos that may interest you.

Or, to access his links to video playlists as arranged by technique go to http://www.toddehle.com/id71.html

A sample of Professor V’s video tutorials:

There are numerous online tutorials out there, so if you happen to know one that you highly recommend, let me know. Some day I hope to have time and quiet space to make a couple of tutorials.

Chamber Music Northwest- In the Works Review July 8

Chien Tan — Mon, 11 Jul 2011 22:51:52 +0000

My In the Works review for July 8, as guest blogger for Chamber Music Northwest is now posted here, typos and all. I urge you to attend these fabulous coaching sessions- and they are free to the public.

Video Production Innovation: San Francisco Symphony

Chien Tan — Sat, 09 Jul 2011 20:50:19 +0000

As some of you know, I am a big fan of YouTube videos and the use of multimedia to promote orchestras and the performing arts in general.

While there are sound reasons why some American orchestras do not have much video presence online, it greatly annoys me that when I type and search for “Oregon Symphony” on YouTube, the stuff that comes up mostly are bootleg footage from audience members discreetly filming with their smartphones. My orchestra deserves better representation online.

Enter San Francisco Symphony online video, entitled “Inside the Orchestra- the Filming of Keeping Score”. Under the direction of Michael Tilson Thomas, it shows the innovation of bringing people closer to the music through video production. Since that video was uploaded in 2009, other orchestras have gotten on board with the idea, even presenting live webcasts (ahem, Los Angeles Philharmonic, Berlin Philharmonic).

Now I understand that such production requires vision and substantial budget. How do I know? Let’s just say that self-producing a treble violin music video in 2004 was a great trial-by-fire experience. But I also know that technology since that time has gotten so much better, and can be had for less cost. When done tastefully, I think it not only enhances the listeners’ experience to the music, it also raises the profile of the symphony.

From Oregon Bach to Chamber Music Northwest…

Chien Tan — Tue, 05 Jul 2011 23:30:21 +0000

I spent a lovely twelve days in Eugene participating at the Oregon Bach Festival. The friendly and social vibe there made for pleasant connection and reconnection with people. For example, it was great to see oboist extraordinaire, Allan Vogel and his wife, flutist Janice Tipton at OBF. I knew Allan when I was a masters student at CalArts where he was (and still is) on faculty. He and Janice needed a house sitter one summer so I happily offered to do so for several weeks.

Yesterday back at home in Portland, I was greeted by a backyard visitor, who must have jumped over the fence. I’m sure by now she’s on the other side of the butte because of the incredible racket of fireworks in the neighborhood last night.

Faline, the backyard visitor

I plan to blog a little bit for Chamber Music Northwest (CMNW), beginning with the July 8 “In the Works” coaching sessions of the Protégé artists with CWNW veterans, and hopefully ending with the Protégé Club Concert July 17 at the Alberta Rose Theater. This blogging project is new and evolving as we speak, but at the very least I do look forward to observing the talented artists at this festival.

2011 Oregon Bach Festival

Chien Tan — Mon, 13 Jun 2011 00:24:44 +0000

Are you wondering where to get your classical music fix this summer? One wonderful option is the 2011 Oregon Bach Festival (OBF) held in Eugene, Oregon June 23-July 10.

Under the artistic leadership of German conductor Helmuth Rilling, the festival is filled with choral-orchestral masterworks, guest artists, chamber music, social events, and education programs. I love the full-scale choral-orchestral works, something which I wish I could perform more of. They have an impressive lineup of repertoire, such as Brahms Requiem, Bach’s Magnificat, Golijov’s Azul (with Yo-Yo Ma, guest cellist) and Honegger’s Joan of Arc at the Stake.

OBF has created videos online to inform the public of the festival’s offerings. Here are two examples that I like to include.

1) A 30 second spot that introduces the predominant theme of this year’s festival, In Praise of Women:

2) Guest conductor Marin Alsop and John Evans share their thoughts on Honegger’s Joan of Arc at the Stake. The July 2nd performance in Eugene, Oregon is the first in a series that Alsop will conduct, with stops in Baltimore, New York, and London to commemorate the saint’s 600th birthday in 2012.

Oregon Symphony concertmaster Iwasaki leaves for Nashville

Chien Tan — Wed, 01 Jun 2011 16:13:19 +0000

Jun Iwasaki, violin /Photo: Oregon Symphony

Oregon Symphony’s concertmaster Jun Iwasaki has accepted the concertmaster position with the Nashville Symphony, effective September, 2011. Iwasaki has been a great leader for the past four seasons in Portland and will be missed. I have appreciated his top level of discipline and preparation, his artistic flexibility working with artists and conductors, and his superb range of expressions on the violin (as was noted in his most recent solo performance of Ravel’s Tzigane). You can still hear Iwasaki perform with musicians at Chamber Music Northwest Thursday, July 21st and Sunday, July 24th.

Press release from the Oregon Symphony:

(PORTLAND, Ore.) – Oregon Symphony President Elaine Calder today confirmed news from Nashville, Tennessee: that concertmaster Jun Iwasaki is leaving Portland to assume the role of concertmaster for the Nashville Symphony Orchestra.

Iwasaki joined the Oregon Symphony in the fall of 2007 and quickly established himself as a consummate artist and an audience favorite. In addition to his performances with the orchestra he has participated in chamber music concerts, taught privately, coached Portland’s youth ensembles and appeared as a soloist with the Columbia Symphony and the Portland Youth Philharmonic. Early in 2009 he performed the Korngold Violin Concerto with the Oregon Symphony and he was scheduled to play the second Violin Concerto by Max Bruch at concerts in February 2012. He has regretfully withdrawn from the 2012 performances and a violin soloist will be named as quickly as possible.

In confirming Nashville’s announcement Calder said, “It’s hard to accept that Jun is leaving us after only four seasons, but the Nashville Symphony has a $23 million budget and a new, acclaimed concert hall. They record regularly on the Naxos label and have received six Grammy awards in the past decade. We wish him all the very best, and will now turn our attention to finding a gifted new concertmaster. In the meantime, we are fortunate in Peter Frajola, our Associate Concertmaster, and we know that the performance standards we demonstrated at Carnegie Hall last month will continue under Carlos Kalmar’s inspired direction.”

Music Director Carlos Kalmar commented: “It is very sad to see Jun go. As a concertmaster he helped tremendously and had a crucial role in the growth of the orchestra during the time he was here. His artistic presence, his commanding musicality and strong leadership were very important for the orchestra and for me personally. I am sure Jun will have an equally positive impact in Nashville. They will be thrilled to learn about his discipline and artistic standards.”

Nashville Symphony press release:

Nashville Symphony has appointed Jun Iwasaki as the orchestra’s new concertmaster. Currently concertmaster of the Oregon Symphony in Portland, he will officially assume his post at the start of the 2011/12 season, which opens on September 9 at Schermerhorn Symphony Center. Iwasaki has already appeared as guest concertmaster with the Nashville Symphony twice this season and will return for the orchestra’s performances of Mahler’s Second Symphony on June 2-4.

“Jun is an elegant, technically gifted player who brings a wealth of experience and a high level of professionalism to this position,” says Music Director Giancarlo Guerrero. “The orchestra’s stellar reputation has allowed it to continue attracting fantastic musicians from around the world. When we worked with Jun as a guest concertmaster earlier this season, the chemistry was perfect, and I knew he was the right person for the job. In addition to his phenomenal musical sensibilities, he possesses a natural ability to lead and to communicate, which is a key part of the concertmaster’s role. The concertmaster is the conductor’s ‘right hand’ and essentially represents the members of the orchestra – when I shake hands with the concertmaster onstage, I am acknowledging and thanking each musician.”

Iwasaki will make Nashville his home, working closely with Guerrero to help implement the conductor’s artistic vision. As concertmaster, he will establish a particular bowing style for the violin section and for the rest of the strings, which in turn will shape the music’s phrasing and buoyancy. Through this process, Iwasaki will play an important role in continuing to develop the sound of the Nashville Symphony in the beautiful and acoustically superb Laura Turner Concert Hall in Schermerhorn Symphony Center. In addition, he will play most of the violin solos required in the symphonic repertoire, and will appear on occasion as a soloist with the orchestra. “I am looking forward to working with Maestro Guerrero and the entire Nashville Symphony organization, says Iwasaki. “I hope to continue building a musical tradition with all of the musicians, in one of the most magnificent concert halls in the world.”

Play-violin.com Interview: Amy Schwartz Moretti

Chien Tan — Tue, 31 May 2011 07:53:01 +0000

Former Oregon Symphony concertmaster Amy Schwartz Moretti has been keeping very busy since leaving Portland in 2007 to become Director of the Robert McDuffie Center for Strings at the Mercer University Townsend School of Music. Earlier this year, Moretti released her debut solo CD entitled Kaleidoscope in 2011. Her elegant and refined violin playing is clearly evident in this recording.

Here’s an update on Amy.

You have been in Georgia for several years now. Can you give us an update?

Moretti: The past few years have been a blur of babies, violin, travel, and Mercer. My husband, Steve, and I are proud parents of two baby boys, a 2 1/2 year old and a nine month old. We are enjoying the joys of the little boys… trains, cars, airplanes, trucks and tractors. I continue to play concerts in all sorts of combinations. An occasional concerto, lots of chamber music, and most recently, led my fellow faculty and Center students in Bartok Divertimento, with Maestro Robert Spano conducting. I also played a movement of Brahms Sonata No. 1 in G with Robert Spano at the piano and some of the Chausson Concerto for Violin, Piano and String Quartet with Elizabeth Pridgen, piano, and a quartet of Center students. Another big highlight for me this years was playing with James Ehnes, Richard O’Neill, and Robert deMaine. We decided to tackle some quartet repertoire together. What great guys! Also, this year marks the graduation of the first class of students that I helped recruit to the Center. It’s hard to believe that four years have gone by so quickly.

Is CD Kaleidoscope your first recording? What inspired you to create it?

Moretti: Yes, Kaleidoscope is my first solo CD. The only other CD I have played on, besides live recording CD’s, is James Ehnes’ Mozart Concerti recording where I played in his chamber orchestra. I’ve always been asked if I had a CD so it was about time that I actually created a representation of my playing! Some close family friends helped to inspire me, as well as my husband (Steve Moretti) who served as my producer.

Describe some of your favorite pieces on Kaleidoscope and what makes it special for you.

Moretti: Each piece has some personal meaning, whether it is a piece I studied with my very first violin teacher or a piece that is a favorite for my parents. One that has a special place in my heart is Meditation from Thais. I absolutely love playing it. It’s one of those pieces that always has a strong effect on the listener. It shows such a profound quality of expression.

What performances do you have coming up?

Moretti: My summer will be filled with music festivals, beginning in Fayetteville, TX, going to Amelia Island, Florida, Rome, Italy, Seattle Chamber Music Society, and finally Concertmaster for a week at the Grand Teton Music Festival (GTMF). I will be playing in all sorts of chamber music combinations, plus the fun week of orchestral playing at GTMF.

Whew! You are one busy gal! So, what was it like to work with Robert Spano? Had you collaborated with him before?

Moretti: Spano is a profound musician, with great energy and intellect. I had worked with him while sitting in the concertmaster chair a few times and always enjoyed it. This time around I had the chance to perform with him playing a movement of a Brahms Sonata. It was quite fun to play with him. His musicianship is inspiring. You can feel how deeply expressive he is. He also conducte the Center String Orchestra, comprised of students and faculty of the McDuffie Center, in Bartok’s Divertimento for Strings. Great fun!

On one of your recording tracks you team up with Robert McDuffie. What is he like to work with?

Moretti: Bobby plays with a lot of heart. We always enjoy playing together. Since the first time we played chamber music together at Chamber Music Northwest, somehow we just easily clicked. He always wears his heart of his sleeve when performing and audiences appreciate that. He inspires me to reach deeper and take ore chances musically.

The Robert McDuffie Center for Strings of Mercer University offers conservatory-quality music training for a very select number of students. How is it similar or different from the Cleveland Institute of Music, and the San Francisco Conservatory, where you studied?

Moretti: Founded four years ago, we have been working hard to establish ourselves as one of the top string schools in the country. We are focused on creating the right environment to foster great string players, wonderful people, and entrepreneurial individuals. The music world is not an easy one to navigate, so we want to prepare them to be their own best independent contractor for life in the industry. I am pleased to say that we are attracting students from not only nine different states, but Greece, Canada, and Korea. We are a small program, maximum of 26 students in the Center, where each of the students gets individualized attention from all the faculty artists. Theses select students get similar offerings to other conservatories, but they also are getting the well rounded liberal arts education from Mercer, and opportunities that aren’t always available to undergrad music students. For example, our students perform chamber music regularly with our faculty artists and visiting artists. This pat year, four of our students prepared Mendelssohn Octet with the St. Lawrence Quartet for performance!

You manage to have an incredibly active music and teaching career, while raising a young family. How?

Moretti: Really I don’t know. It’s crazy. But, I enjoy all of it, so I just have figured out how to do as much as I can without driving myself insane! Plus, my husband Steve is an amazing Dad! Finding practice time is a juggling act in the midst of everything, but I try to carve out time in the morning when I’m the most fresh. When I’m not at school teaching/running the Center, nap time for the boys is always a good time to fit in more practice time, too. Somehow having the two babies has made my creative juices flow even more. I feel my musical “voice” is stronger than ever. You know how it is when you have something to say and you want people to hear it, you can’t wait to share it!

Indeed! Thanks for your time.

Oregon Symphony celebrates the Orchestra

Chien Tan — Sat, 21 May 2011 15:20:53 +0000

Photo: Justin Dunlap

Alas, the final Classical week of the Oregon Symphony’s 2010-2011 season is here this already, but what a way to go! It’s been only nine days since our performance at Carnegie Hall. The symphony soloists sound great and are a joy to listen to. Then the entire orchestra performs the virtuosic Bartok’s Concerto for Orchestra. Come hear the OSO and our wonderful musicians this weekend taking the spotlight:

Joël Belgique, principal viola
JáTtik Clark, principal tuba
Niel DePonte, principal percussion
Todd Kuhns, assistant clarinet
Nancy Ives, principal cello
Jun Iwasaki, concertmaster
Matthew McKay, percussion
Alicia DiDonato Paulsen, acting principal flute

Another rave review for the Oregon Symphony plus update

Chien Tan — Thu, 19 May 2011 14:32:46 +0000

Another review, this one by David D. Rooney, music critic for Musical America who wrote about the Oregon Symphony’s Carnegie debut:

Kalmar’s musical preparation seemed little short of miraculous. The orchestra had both the notes and the motivation to deliver a superbly proportioned account that was tonally sophisticated and also hit all the interpretative marks. On the strength of its accomplishment in its Carnegie Hall debut, one imagines a speedy return.

See Rooney’s entire review, which includes Montreal Symphony’s, here on James Bash’s blog.

My previous post (links to Oregon Symphony Carnegie debut) has been updated. It includes a pretty complete Carnegie debut links compiled by Oregon Symphony marketing staffer Stephani Wilkinson, as seen on Charles Noble blog here.