Samuel Thompson

Competition Day

2012-02-01T13:00:00.000-08:00

All rounds of the Padova International Music Competition were held at the Temple and Museum of Internment, a facility dedicated to the study and dissemination of facts surrounding the themes of Fascism, Nazism, racism, and the Second World War. Before entering the facility, one walks through what is called The Alley of the Unknown Prisoner (pictured), which is a series of memorial stones engraved with the names of those who perished in German concentration camps both before and during the Second World War.

This very solemn site was filled with very focused yet frenetic energy on this day as the morning and early afternoon consisted of the string preliminaries for the "Soloist with orchestra" round as well as individual rehearsals for the other divisions of the competition. While walking to my appointed warmup space I found myself remembering graduate school as the air was filled with fragments of Bach, Ysaye and Gaspar Cassado.

Throughout the day there were moments of connection among the contestants: while walking to play my preliminary round I was humorously referred to as "Brother!" by another contestant (
7
the reason to be seen in THIS photo). I had the opportunity to meet this young man immediately before the announcement of the semifinalists and was again reminded of how we are all connected: in addition to having a great sense of personal style, violinist and contestant Pawel Blaszkowski (member of the Orquesta Sinfonica de Yucatan and the Quo Vadis Quartet) is a friend of conductor Tomasz Golka (a former Shepherd School classmate of mine and yes, a very good friend!).

Conversations that day - all at the conclusion of the preliminary round, of course - also included a very enlightening and affirming talk with a young Italian cellist who had given a spectacular performance of Gaspar Cassado's Suite for Solo Cello during the preliminary round. After sharing his familiarity with the Harlem Quartet, he offered much encouragement as he noted that it is still uncommon to see and hear African-American string players in Europe...

Upon leaving, after promises to keep in touch, I found myself thinking about the immediate experience: no, I had not advanced to the semifinal round. However, after having had the desire to make this trip and participate in one of these events for so long, my victory was of a different sort - a victory in ways even more meaningful....to quote dear friend Michelle Trovato, "You've already won, because you're THERE." A great perspective to have and to maintain as I boarded the bus, reminded that I was standing on the shoulders of many who have gone before and all who have shown support through the many years.

Part Four coming soon,

Sam

Quartiere Forcellini - Italy, Day Two

2012-02-01T12:59:00.000-08:00

"Quartiere Forcellini!" was the cry made by about five Italians that were kind enough to show me the direction in which I needed to go on this Monday morning....yes, I got lost.

My getting lost should come as no surprise to you, as I was in a new country and at the time - very early morning (5:30am) - I was still in the place of processing the fact that I had flown across the ocean while simultaneously focused on the tasks both at hand and before me. Then again, the absentminded violinist should always remember to check his directions!

Padova (Padua), Italy is a fantastic and beautiful town, located in the Venetian region of Italy. It was truly amazing upon arriving to see just how well-connected the city is via public transportation: in addition to trains and buses to Venice Marco Polo Airport, the city is crossed daily by a working bus system AND a light rail system that takes people throughout the city center.

On this morning, after breakfast and many little cappuccinos (thanks to the machine), I was focused on the task at hand: practicing. The Padova Competition, which consists of many divisions, started on June 27 and I was slated to play on June 28 during the preliminary round for the "Soloist with Orchestra" division. Luckily, Casa di Colori (the hostel in which I stayed) sold bus tickets, so I was able to say "due billetti" and immediately get what I needed. The first bus took me to the train station, where everything intersects. Following that journey, I walked across the street to the platform for #6 which, according to the instructions given by the compettion officials, would take me to Teatro Internato Ignoto.

Yes, these machines are everywhere - and the coffee comes with little stirrers?!

As I write this, I find myself laughing - why is it that I, the one who makes sure that everything is purposeful and deliberate, forgot to consult either a map or a person before making the day's journey? Shortly after boarding the bus, I found myself with the feeling that I might be going in the wrong direction while simultaneously enjoying what could only be described as an excursion that lasted until the bus arrived at a shaded square in a residential section of the city.

So, I left the bus - many thanks to the Nigerian man who advised me to go into the small grocery store. Upon entering the grocery store and having the opportunity to speak with someone, I found that very few people spoke English...

"Can you tell me how to get to Teatro Internato Ignoto?"

"Quartiere Forcellini!" The next finve minutes consisted of all of the customers communicating in Italian, finding pen and paper, and writing these instructions down for me.

Again my thanks to the bus driver - as I boarded the bus, the bus driver said "The last stop on this route is Quartiere Forcellini." Perhaps I had the desire to see the city in its entirety and live the saying that the best way to see a city is to get lost?

Approximately two hours later, we arrived in Quartiere Forcellini - the bus stop was literally right in front of the competition site...

Teatro Internato Ignoto, Padova, italy

After arriving - a bit of a search for practice rooms and one of the most productive practice sessions ever experienced. Somehow, despite having been lost and being in both a new nation and city, I found it within myself to practice for five hours.

Meanwhile, there WAS a competition round going on - and it was truly interesting to experience all of the emotional energy of the contestants. At one point, a very nice and harried young man from Paris asked to share my practice room (the only room I found was a large classroom in the basement), and I said yes....after all, we're all experiencing the same feelings, right? There was also a VERY nice young American saxophonist who, upon flying in THAT day, needed to find a space to review a Piazzolla work....

...so I practiced, and then went back to Casa di Colori...

Stay tuned,

Sam

Black arts festival features standout performers

2011-06-04T22:14:00.000-07:00

Hello, all - stepping in to report that I was recently interviewed by Jeanne Claire van Ryzin for a preview article chronicling this year's Black Arts Movement (BAM Festival), a two-week festival higlighting established and emerging artists of the African diaspora. It was a pleasure to speak with Ms. van Ryzin and I'm very happy to see that my friends Ashley Wilkerson and Gesel Mason, two of the most compelling performers that I know, were also highlighted!

You can read the full article here.

More soon,
Sam

Continuum, Part Three

2011-05-27T09:01:00.000-07:00

At 5:15pm this evening I shall meet a new collaborator. Pianist Mei Rui and I are rehearsing for a recital which takes place on June 12, 2011 in Austin, Texas. Mei came highly recommended by a friend from graduate school...

...but that is not why I write. At the moment I'm sitting on the Peter Pan express coach to New York's Port Authority Bus Terminal - we're on our way. My mind has immediately gone to July 2006 when, after making my debut at the New Haven International Festival of Arts and Ideas, I took a Greyhound bus back to Baltimore (although I was living in San Antonio). THEN, I needed to rest: the Arts and Ideas recital took place just nine months after the hurricane and although I HAD been practicing, I was not as clear about much of the "other stuff" of life as I hope I am now.

That trip was nevertheless a great one: it was wonderful to play at that festival and to finally work with my friend Peter Webster, and I had the great fortune of meeting a group of artists who are members of a social justice organization called Alternate ROOTS. After the festival I spent two weeks in New York City with Gilbert Stafford, whom I met in Miami in 1999.

Much has changed since that summer: one difference that immediately comes to mind is Gilbert's absence (he left this life in January 2010). Baltimore, once a place to which I ran for less than optimum reasons, is now my home, and in a few weeks Alternate ROOTS will be celebrating its thirty-fifth anniversary in West Baltimore in conjunction with a huge multidisciplinary arts festival and the National Learning Exchange (and I'll actually BE HOME for once - HOORAY!).

Of course, to many this may seem to be just the stuff of life - why is all of this so significant right now? Well, I bought a music stand on Tuesday afternoon....

....and while leaving Ted's Music with the new music stand it came to me that the last time that I visited Ted's was March 2006 - a little over six months after leaving New Orleans - and at that time I barely had enough money to buy a metronome...

...and here we are...

More soon,
Samuel Thompson

Catching Up With...EVERYONE!!

2011-05-23T16:22:00.000-07:00

Wow....what a year. The 2010/2011 concert season is rapidly coming to an end, and all of our thoughts are turning to summer adventures and plans. This has to have been one of the busiest seasons that I have ever had, one for which I am truly grateful, and as I sit I find myself anxious to share some of the events that were highlights for me as well as those of the friends and colleagues about whom I've written over the past few years.

To have heard SO many great violinists and musicians in one season - granted, this was parceled out over FOUR orchestras (?!) - beginning with Harrisburg Symphony Orchestra concertmaster Odin Rathnam, who I heard twice, playing the Korngold Concerto in January, followed by the Brahms Violin Concerto less than two weeks ago. Odin is undoubtedly a musician's musician and (if I may quote HIM) one of the true torchbearers of the craft of violin playing and musicmaking. It was also a great pleasure to hear Dylana Jenson for the second time - should you have an opportunity to hear either Dylana or Odin, DO SO! There was also Midori, the young in years yet seasoned performer Alexandra Switala and Roanoke Symphony concertmaster Akemi Takayama in a brilliant performance of Astor Piazzolla's Four Seasons of Buenos Aires.

One violinist that I unfortunately did not get to hear was my very good friend Sarah Shellman, principal second violinist of the Florida Orchestra, who performed Thomas Ades' ferocious Concentric Paths in March of this year.

Many of my friends who live on the western coast of Florida have been making strides: the duo NONA (Nadine Trudel, cello and Gil Katz, bass), colleagues and friends from the Utah Festival Opera, had a banner year: in addition to performing as soloists in the premier of Katz' "TRIBAL" with the San Jose Chamber Orchestra, they have recently released their debut album and are currently touring the northeastern United States.

As we honor our colleagues, we must also take special care to honor those who have gone before, who in many ways shaped us and opened our doors, minds, and hearts: our teachers. In February of this year, Kenneth Goldsmith of Rice University's Shepherd School of Music was named Texas ASTA Teacher of the Year, and Jorja Fleezanis, Henry A. Upper Chair in Orchestral Studies at Indiana University's Jacobs School of Music, recently received an honorary Doctor of Music degree from the New England Conservatory of Music.

All of us associated with the Shepherd School of Music - and numerous others worldwide - have since December 2010 been paying our respects in various ways to Sergiu Luca, a giant of the violin and musicmaking who had a profound influence both on the thousands of violinists who were fortunate to study with him (including my very dear friend Zhang Zhang, president and founder of Zhang.O.Musiq), countless others who were exposed to his musicmaking and the many people who were honored to share the stage with him. It is difficult for me to find words with which to speak of Mr. Luca: I remember him vividly from my three years at Rice and especially remember his electrifying performances of Bach, Mozart and Bartok, the unfailing devotion to his students (and the reciprocation of that devotion by his class), his genuine kindness and interest in those who glimmered with musical curiosity, and the great reverence with which he was viewed by his peers. While I was not a member of his class, I do feel honored to have had three years during which I could watch him and learn both from him and the work done by his students.

While remembering those lost, it is important here to speak of the terrible natural disasters that have gripped our planet this year, specifically that in Japan. As with Hurricane Katrina and the Haitian earthquake, the outpouring of support to our fellow men has been deeply inspiring. Violist Robin Fay Massie, associate principal violist of the Delaware Symphony, founded the non-profit collective Musicians of Mercy in response to the disaster in Haiti, and to this date the organization has held successful benefit concerts for organizations providing relief to the nation of Haiti, Youth Frontiers, the Gay Lesbian Straight Educators Network (GLSEN), and will present a concert this Wednesday, May 25, 2011, from which the proceeds will benefit World Vision's earthquake relief fund.

Thank you all so much for your interest, both in my writing and in the activities of my friends and colleagues. It is always a joy to share, and I do look forward to writing more - very soon...

Until then,

Sam

"All These Years I've Known You...and Every Day I Find Something New"...

2011-05-03T22:35:00.000-07:00

Of course, I should be asleep right now - however, I just finished practicing. The last work on the stand this evening was the Fuga of the Sonata in A Minor for Unaccompanied Violin, BWV 1003, of Bach. How many times have I played this? The first was during graduate school: I think I worked on the entire sonata for two semesters before performing it on my first recital (and, of course, I did a harmonic analysis of the whole thing, much to my teacher's surprise). The second was in 2006 at the New Haven International Festival of Arts and Ideas - which makes this the third.

While there is something really satisfying about learning and performing "new" repertoire - it actually feels as if one is moving forward, adding works to the list - there is something even more gratifying about looking at a familiar work with new eyes and sensibilities. These works will always be "bigger than us"; therefore the challenge is one with ourselves, to remember the lessons, recordings, live performances and individual research that have contributed to the moment at which we start anew.

THIS time? Well, in addition to what may seem to be an almost obsessive preoccupation with my bow arm due to having purchased a new bow AND continued recovery from some shoulder issues, I have my notes from the 2009 Tafelmusik Baroque Summer Institute at hand. Granted, I am not performing this sonata on a baroque violin (although I DO plan to purchase a baroque bow someday), after having spent those two intense weeks with probably the greatest proponents of "historical performance" in North America AND having spent three years at the Shepherd School with Kenneth Goldsmith (and, albeit indirectly, Sergiu Luca) I cannot imagine approaching this work in any other fashion.

This is not to say that there is not a lot of evaluating and examination of choices and motivations going on. THAT is of course one of the joys of being a musician and a violinist. I have, in previous essays about works of unaccompanied violin, referenced Paul Griffiths; at this moment, however, I must reference violinist Odin Rathnam:

"Music and its needs are like a refining fire, constantly challenging us to re-evaluate our choices, our approach, our tools. It is music that humbles me, day after day, year after year... But confidence in one's abilities to do music justice is just as important as humility towards music."

(I would of course link to the entire entry, but have to ask permission first, ya know...)

And that's all - for now. There are essays and notes to write and details to wrap up, more concerts coming up in the next few weeks than I think I have ever had scheduled in my life - about which I'm ridiculously grateful - and there's the Insanity program....more on that later indeed....

Good night,
Sam

Knoxville String Quartet in Concert - TONIGHT!!

2011-04-25T05:38:00.000-07:00

Dear all,

Three of my Knoxville Symphony colleagues are being joined by the principal cellist of the Louisville Orchestra tonight in a chamber music concert featuring three masterworks of the string quartet repertoire!

The Knoxville String Quartet is performing tonight in Duke Hall at Lincoln Memorial University. This concert, which begins at 7:30pm, features Mozart's Divertimento No. 3, K. 138, Ludwig van Beethoven's
String Quartet Op. 59, No. 3 in C Major ("Razumovsky") and
Antonin Dvorak's Quartet Op. 96, the "American".

The Knoxville String Quartet consists of Sean Claire and Lee Sheehan, violin; Hillary Herndon, viola and Peter McCaffrey, 'cello. Sean Claire is currently Acting Co-Associate Concertmaster of the Knoxville Symphony and concertmaster of the Symphony of the Mountains, and Lee Sheehan is completing her first season as a member of the Knoxville Symphony violin section. Violist Hillary Herndon is both a member of the Knoxville Symphony and Professor of Viola at the University of Tennessee, and cellist Peter McCaffrey is currently serving as Acting Principal Cellist of the Louisville Orchestra.

Lincoln Memorial University is located at 6965 Cumberland Gap Parkway, Harrogate, Tennessee. This concert is both free and open to the public.

Friends, Colleagues and Choral Works

2011-04-19T15:28:00.000-07:00

It is always great to come home, and it seems that as I get older I am truly enjoying the comfort and security of my dwelling place. Of course this is not to say that time "on the road" is not enjoyable: both traveling for work and spending time in one's "resting place" can be equally fulfilling. While I do have a few things coming up in the next few weeks my intention, for the purpose of preparing well both mentally and violinistically, is to stay as close to home (if not to sequester myself) as possible. "The violinist, in order to be a virtuoso, must also be a recluse".

Last week was a truly special week in many ways both for Lucas Richman, music director of the Knoxville Symphony, and James Fellenbaum, a dear friend who is both the resident conductor of the Knoxville Symphony and director of orchestras at the University of Tennessee-Knoxville. Over the course of four days both of them conducted works for the first time: Maestro Richman led the Knoxville Symphony and the Knoxville Choral Society in two performances of Beethoven's Ninth Symphony - his first time conducting the work in concert - and James (I refer to him with his first name because I have known him for eleven years) led the University of Tennessee Symphony Orchestra and combined choirs from the school's vocal department in one of the most exciting performances of Carl Orff's Carmina Burana that I have ever had the pleasure of playing - and this was also James' first concert performance of that work.

In short: soloists were outstanding in both works, both orchestras rose beautifully to the challenge, and audience reactions were enthusiastic on all three days.

Personally: while standing onstage (as orchestras do) during the bows, I found myself incredibly proud of both men as well as thinking about moments in life during which we all seem to be accomplishing some task that was a part of the cosmic plan. Curiosity led me to another old friend, a ridiculously dog-eared copy of Gary Zukav's book The Seat of The Soul.

While many have praised Mr. Zukav for his poetic and thoughtful writing, others have been somewhat skeptical of his metaphysical view of life and this thing called karma. Regardless, when I think of the last weekend and the congratulatory applause given to conductors, orchestras and soloists, I find myself in agreement with this passage:

"Before it incarnates, each soul agrees to perform certain tasks upon the Earth. It enters into a sacred agreement with the Universe to accomplish specific goals. That is why when a soul succeeds in accomplishing its goal, in fulfilling what it has agreed to do, there is a richness and a specialness to the lifetime of that personality that is recognized and honored by its fellow souls, both physical and nonphysical."

So....congratulations to everyone involved in those spectacular nights of musicmaking, and a special congratulations to Maestros Richman and Fellenbaum for fulfilling their "duty on the planet".

Excellent customer service...

2011-04-16T09:28:00.001-07:00

News: I have just added violinist Odin Rathnam to the link log. Do take a moment and visit his website, on which he speaks of his life philosophy, shares information on his concert appearances, and describes both his duties as concertmaster of the Harrisburg Symphony and the work done by the Else Borges Foundation for Arts Initiatives.

The weather in Knoxville, Tennessee has changed from sunny and windy this morning to overcast and windy this afternoon. Still, it is springtime and the energy is subtle yet filled with promise and excitement.

As I have been coming here quite frequently since September, my relationship with this town has grown deeper and now includes regular stops at Coolato Gelato, a REAL gelateria that also serves what have become my two favorite soups. What started as popping in for a cup of tea before symphony concerts on Thursday and Friday nights has turned into stopping in to hear students from the University of Tennessee playing during Friday night live music sessions and, during the daylight hours, the place that I visit when I desire a quiet place to write.

Should you have not had an opportunity to visit Knoxville, it is a charming place, particularly so during the spring months. Additionally, one can also experience a cozy sense of familiarity: where else in the United States could I go and have the young man at the dry cleaner remember my name and details of my life after not having seen me for a year....

...along with this friendliness - a genuine friendliness, I must add - comes some of the most excellent and unexpected blessings, including the dry cleaner calling not only to apologize for having lost a bow tie but also offering to PAY for the replacement?!

Okay, we all know that these bowties are not that expensive, and that the loss of one does not call for letters to the editor or any other ridiculous outcry. Nevertheless, this was truly a gracious and kind gesture, one for which I think I will always remain grateful.

So....should you come to Knoxville for vacation, or any other reason, take your dry cleaning to Prestige Cleaners and sit for a bit at Coolato, which is just down the street.

More coming very soon....

Sam

New Concert Dates

2011-04-11T10:59:00.000-07:00

A few essays are in the works, I promise! =) In the meantime, I am pleased to share the following concert dates with you.

June 12, 2011
Austin, TX
Pro Arts Collective Black Arts Movement
Recital with Mei Rui, piano
Repertoire TBA

May 25, 2011
Columbia, MD
Musicians Of Mercy: A Benefit Concert for Earthquake Relief in Japan
Ryuichi Sakamoto: Rain (with Russell Wilson, piano and Jessi Sammes, cello)

April 23, 2011
Baltimore, MD
First Unitarian Church of Baltimore
Copland: Appalachian Spring
Ensemble performance conducted by Brandon Keith Brown

And now...

2011-04-05T09:55:00.001-07:00

Hello, all, and thank you for your patience.

There is MUCH about which I want to and intend to write, and of course MUCH has happened in the world during the past few months. The question, however, is where does one begin?

No time like the present - it appears that the Detroit Symphony musicians and management have come to a tentative agreement that would end what has been the longest strike in the history of America's major orchestras. Having watched this dispute for many months, this is indeed heartening news.

However, this comes at the heels of another work stoppage: the Syracuse Symphony, after a highly publicized fundraising campaign from which the proceeds would be directed to keeping the orchestra afloat for the remainder of the 2010-2011 season, has ceased operations, citing huge financial difficulties. I am being reminded once again of the years 2001-2003, during which we saw the permanent shutdown of the Florida Philharmonic, Savannah Symphony and the Tulsa Philharmonic, an early season ending in San Antonio, the Houston Symphony strike, and the reorganization of the Colorado Springs Symphony.

Since 2010 we have now seen the longest strike in America's orchestral history, the dissolution of the Honolulu Symphony, serious tremors in Louisville, the dramatic and sobering reorganization of the Charleston Symphony, and now this - and I find myself at a loss for words. What can one say?

Well, there are many opinions and theories floating around; however, I simply find myself thinking of dear friends and colleagues who have lost jobs. With that, I applaud violist Sam Bergman of the Minnesota Orchestra for sharing his opinions of tremulous situations that we all face by telling the story of a colleague who has been directly affected - a perspective that much of the world does not have the opportunity to see.

Upcoming Concerts

2011-03-15T15:49:00.000-07:00

I am so pleased to share that I shall be performing in recital at the
Black Arts Movement, an annual interdisciplinary festival that takes place in Austin, Texas, on Sunday, June 12, 2011!

More information - and more essays - to come!

Sam

Looking At An Old Friend With New Eyes - Mendelssohn and Midori

2011-02-01T23:56:00.003-08:00

As the laundry spins, I am taking this opportunity to post. It feels as if I just got home on Sunday (which I think I did?), and although life has been a bit of a whirlwind I must say that it is a joy to have time now sit and write - even if the writing has taken place during the long and uninterrupted bus trips across the country...

Monday was administrative day, and today and tomorrow are filled with putting the finishing touches on eight orchestral accompaniments that are the repertoire for the Sphinx Competition, which take place this weekend in Ann Arbor and Detroit, Michigan. This is my first time participating in the event and I am truly looking forward to seeing this organization in action, as it has become an important resource for Black and Latino string players.

While I have yet to hear him in concert, I am a Daniel Hope fan. Having first heard of him in 2004, I find myself continuously impressed by his writing, the collaborative works that he produces, his commitment to new music and of course his musicmaking. From the many videos available on YouTube (I cannot believe that I just wrote that), Hope seems to be a daredevil on the stage: while watching his performance of the Mendelssohn Violin Concerto I found myself mesmerized by what can only be called “daring”.

Having played the Mendelssohn as soloist with orchestra in 2007 (and no, I am not comparing myself to the likes of Daniel Hope and Kyung Wha Chung, another favorite), I have now found myself listening to the many recordings that are available. This is not with the intention of "copying"; rather, it is so important for us as musicians to listen. Oddly, what I’ve heard is a lot of “sameness”.

On January 27 and 28, 2011, I had the opportunity to play with the Knoxville Symphony Orchestra, with Midori as the soloist performing the Mendelssohn Violin Concerto. At the beginning of the week I found myself really looking forward to both the rehearsals and concerts: this was the first time that I would be hearing Midori live. Midori has a quiet yet visceral presence, and from the first note she played it was obvious that this was to be a very special reading, one very different from those that I have heard before both live and recorded.

Of course, where should I start?!

What I remember so clearly is the extremely deliberate placement of her fingers, even in the very fast passages, and the assurance with which Midori placed her bow on the string at all times. It was also very interesting to see that she used her bow incredibly economically; however, the reason for this economy of bow distribution was to produce the appropriate sound at all times. In tandem with this judicious use of the bow was a sparing use of vibrato. No, this was not a “plug in the left hand and throb” performance; rather, it was a reading that showed exquisite restraint while honoring both the spaciousness of Mendelssohn’s legato and the capriciousness of his virtuostic passagework. The sound and concept were both refreshing, and the perfect companion to the approach exhibited by Chung and Hope (and for the record, I am by no means questioning of either of them!)

In case anyone reading this is wondering whether or not this was a “lazy” performance – after all, why should the great ones give their all when playing in a city other than one of the cultural capitals - I must say that it was quite the contrary: what we witnessed this weekend was indeed a thoughtful performance, a performance through which the golden glow of spiritual peace shone and through which I became reacquainted with an old friend....

...and then two days later came a white-hot Korngold, played by Odin Rathnam, which you can read about below. I'm STILL spellbound...

Later,
Sam

Odin Rathnam

2011-01-31T00:29:00.000-08:00

On my trip home from Knoxville I started writing about Midori's performances of the Mendelssohn Concerto. That one's coming, as my intention is to complete - but there's been a change of plans.

The reason? I have just heard the Korngold Violin Concerto in live performance for the first time. The soloist was Odin Rathnam, concertmaster of the Harrisburg Symphony Orchestra and Artistic Director of the West Branch International Music Festival and Academy (and a new friend), and his partners in performance were Daniel Spalding (music director of the Philadephia Virtuosi) and the American Youth Philharmonic. Yes, a youth orchestra - one that plays with a level of commitment that rivals if not surpasses some of the regional orchestras in the United States.

There will be no attempt on my part to describe what I heard in terms of "violin playing", as I honestly cannot find the words that would justly serve Odin Rathnam. This was an astonishingly compelling reading, one during which risks were taken and conductor, soloist and orchestra were truly of one accord - in service to music.

Odin Rathnam is a fully committed and deeply engaged musician whose white-hot focus and stage presence I can only compare to this...

...minus the hair-flipping, of course. =)

This deep sincerity and clarity of purpose was highlighted when, upon returning to the stage to accept a tsunami of applause, Mr. Rathnam both praised the orchestra and played, in dedication to his young collaborators, a most sincere Bach D Minor Sarabande.

In the book Deep Sightings and Rescue Missions, Toni Cade Bambara says that "English is a mercantile language" - not one to serve the inner life. Right now, I have to agree - Odin's musicmaking is something that must be heard, so when the opportunity arises, do so.

Good night,
Sam

Trust

2011-01-28T13:02:00.002-08:00

A few years ago I read a blog entry written by a very well-known cellist in which he spoke of interpretation and technique. In this post, he stressed focusing on the physical, that being putting everything under the microscope of technical and physical accuracy. Of course, I agree wholeheartedly, but I wonder if sometimes, in the quest to play at the highest level possible - that being to play in a manner that transcends technique - that we overemphasize the physical.

Today I had a coaching on the first movement of the Sibelius Violin Concerto with Carol Zinavage, a brilliant pianist who lives in Knoxville, Tennessee and performs regularly with the Knoxville Symphony. As I spent both the holidays and the first three weeks of January REALLY studying and practicing, I was hoping to leave this session with a recording that could be sent out. Well, that did not take place - but what did was perhaps even more beneficial for the long-term.

Carol is a very insightful musician and coach, and this was our first time working together. After our first run of the movement, we spent time working. WORKING. One thing that has stayed was being told that I have to "let the inner soloist out." This is not by any means a statement that gives license to the abandonment of very detailed individual work: quite the contrary. Carol was very supportive of the hours that were spent in drill and with the metronome; however, she did point out that things did sound very vertical as opposed to cantabile. Additionally, she pointed out many places in the movement during which one could and should play with real abandon, using very apt metaphors to describe the emotional content of those sections.

So, we played again - the second time was of course much different, and I now find myself asking if my efforts to be "correct" are actually hindering my progress. This thought comes from being able to play very difficult passages with both technical assurance and musical integrity during the second run: not from telling myself to trust my work, but from truly making an effort to honor the music on the page.

I wonder if the question of being "free in the dome" is one that we all ask ourselves, and of course this is a question that has no easy answer. Perhaps all we can do is is have faith in our preliminary work and remember to focus on the energy and direction of the music while performing. However, this is NO easy task - but a welcome one, one that requires serious study both with AND without instrument in hand.

I am truly looking forward to working with Carol again next month. Today's session was one of the highlights of a fantastic week that included Midori's performances of the Mendelssohn Concerto with the Knoxville Symphony and the orchestra performing Ein Heldenleben. Lots of notes to absorb, and lots to learn - and the next few weeks feature more of the same, including the finals of the Sphinx Competition in Detroit, Michigan (where I will be playing in the orchestra).

I shall do my best to write more about Midori's performance in the next few days - but tomorrow features a bus trip home, which is followed by Odin Rathnam's performance of the Korngold Concerto in Washington DC on Sunday afternoon. Now, however, I rest, grateful to be a musician and happy to have the opportunities to hear so much.

Until next time,
Sam

2010 - The Year That ...Was...

2011-01-23T09:33:00.001-08:00

I imagine that it may be “too late” to wish everyone a Happy New Year, but we are still in the new year and I have not been writing. So….so much has happened between September and now, and there were many things about which I wanted to write. Unfortunately, however, I did not seem to have the time as I have been working. A LOT. Here are a few personal highlights of the past six months:

1. Two weeks of performances with the Delaware Symphony Orchestra, including last week’s very memorable – and fast – Beethoven Third Symphony. This was my fourth time playing with the orchestra since May 2009 and I must say that every time is a pleasure as I am both continuously impressed by David Amado’s concept of orchestral sound and his innovative programming: in addition to the Beethoven, this past weekend's concerts included Michael Daugherty's Trail of Tears Concerto for Flute and Chamber Orchestra and Slalom, a work written by Carter Pann "which launched itself with a quotation from the Scherzo of the [Beethoven's] Ninth Symphony so shockingly literal that startled audience members would have checked their programs if the music had not instantly taken off in a new direction." (Thomas Leitch, Delaware News Journal)

2. In September, violinist Dylana Jenson performed the Tchaikovsky Violin Concerto with the Knoxville Symphony Orchestra. Ms. Jenson is without question a violinist to be heard, as she is a thoughtful and very profound musician. This was an interpretation of the Tchaikovsky like no other, and I am grateful to have been playing in the orchestra for those evenings.

3. Speaking of reviews, I had the opportunity to write a review of the Nigel Kennedy Quintet’s album “SHHH!” for Elsie Stockdale, a very kind woman who happens to be one of Nigel’s “biggest fans” and the manager of Nigel Kennedy Online. That review was published and posted in December 2010 and can be found here.

4. The National Performance Network Annual Meeting took place in Dallas, Texas this past December. Always a wonderful gathering, this year’s annual meeting was particularly important as it was a celebration of the twenty-fifth anniversary of the organization. In addition to the many meetings and sessions, there were stellar performances by Jane Comfort and Company of New York, an excerpt of the Pomo Afro Homos' groundbreaking show "Fierce Love", and showcases by Dallas-based artists – including “Freckle In My Eye”, a powerful one-woman show written by and featuring my dear friend Ashley Wilkerson.

5. My second performance in New York City. While I still have yet to play a formal debut, it was great fun to play with my friend Mary Edwards during the release party for her album Console.

6. In February of 2010, violist Robin Fay Massie and violinist Heidi Daniels founded Musicians of Mercy, an organization that presents benefit concerts from which the proceeds are directed to organizations around the world. The inaugural concerts, which were a huge success, were in support of organizations assisting with Haitian earthquake relief.

Musicians of Mercy gave its second concert in December 2010 at First Unitarian Church of Baltimore. Organized in response to the large number of reported youth suicides this year, proceeds from that concert went to benefit both GLSEN (Gay, Lesbian and Straight Education Network) and Youth Frontiers of Minnesota. Gordon Green, a young Baltimore-based conductor, led a very enthusiastic orchestra consisting of musicians from the Baltimore-Washington DC region and I had the opportunity to perform as concertmaster during that week.

Whew...and that was only a bit of it...

2011 has started with great energy and promise, and upcoming events include performing with the Sphinx Symphony Orchestra during the 2011 Sphinx Competition Finals in Detroit/Ann Arbor, Michigan in February. FIRST, though – Midori playing the Mendelssohn Concerto in Knoxville, Tennessee, followed by an opportunity to hear violinist Odin Rathnam perform the Korngold Violin Concerto with the American Youth Philharmonic Orchestra in Fairfax, Virginia. I have been corresponding with Odin since July 2010 and having read some of his thoughts on violin playing, music making, and truly living as an artist and citizen, I am truly looking forward to both hearing him and meeting him in person.

Stay tuned,
Sam

At the Eleventh Hour - Kathy Shanklin and the YouTube Symphony`

2010-12-17T13:23:00.001-08:00

Some very great news about a colleague and her son. Bassoonist Kathy Shanklin of Cleveland, Ohio AND her son Russ have made it to the finals of the YouTube Symphony Auditions! While I'm not sure, I think that this is a precedent being made, and ti would be fantastic to have both of them selected to participate - which would mean that they would both be going to SYDNEY, Australia!

Please take a moment to watch them in action and cast your vote!!

2010-11-10T07:40:00.001-08:00

Continuum
con·tin·u·um /kənˈtɪnyuəm/ [kuhn-tin-yoo-uhm]
–noun,plural-tin·u·a /-ˈtɪnyuə/
1.a continuous extent, series, or whole.

My how the seasons are flying! In September I moved back to Baltimore, Maryland and I have to say that I am very fortunate to live in the apartment which I now call home. Public transportation (both the light rail and two major bus lines) are outside my door, and Whole Foods is right down the street!

In all seriousness, though: a few days ago I was reminded that life is bigger than "us" at times, and larger forces may be at work while it may seem that we are knocking our heads against walls. This reminder came upon picking up the November 2010 issue of Strings Magazine, in which there is an article about Terry Zwigoff's film Louie Bluie. This documentary, which was nominated for a Grand Jury Prize at the 1986 Sundance Film Festival, chronicles the lifes of fiddler Howard "Louie Bluie" Armstrong, who was billed as the last of the black string-band players. Born in Tennessee, Armstrong toured the world (including performances at the 1933 World's Fair Exposition in Chicago), and his 1995 solo album won a W. C. Handy Blues Award.

After joining Alternate ROOTS in 2007, I had the pleasure of meeting Linda Parris-Bailey, Executive and Artistic Director of The Carpetbag Theatre, a touring company based in Knoxville, Tennessee. At our initial meeting she asked me to audition for a role in "Between A Ballad and a Blues", a play about the life and work of Howard Armstrong and his partners. While I was a bit skeptical - this was not "classical music", after all - I did take the plunge, and was cast as both a musician AND "Blind Roland Martin".

Doing this play - and learning "old-time fiddle music" for the first time - was indeed a challenge, with everything from improvisation (which I had only done in Bach sonatas) to learning blocking (for the stage?!?!) being required of me. Additionally, the initial rehearsal period leading to the premiere of the work consisted of eight-hour days (which wasn't ideal considering that I did have two concertos to play a month later). Nevertheless, the premiere performances were successful and subsequent performances in North Carolina, Seattle, and throughout Tennessee were met with great admiration and acclaim.

Someone somewhere did say that Bach himself was probably inspired by street fiddling that he heard in various German cities....again, while it's very easy to get caught up in ourselves, we have to remember that we are ALL a part of something much larger - a continuum - and that is the beauty of being a human being.

Much coming up in the next few months, including a trip to Dallas for the National Performance Network Annual Meeting....

Sam

Election Day

2010-11-02T13:32:00.001-07:00

In all seriousness, I have to admit something.

I almost decided NOT to vote today.

What can I say? I've been away from home for almost three weeks, and arrived at 12:30pm this afternoon after having been on a Greyhound bus since 7:15pm yesterday. So yes, I'm tired - and I almost chose to nap....but then I thought of my Aunt Rebecca, who did not live to see the first African-American president. I also thought of my father, the activist, Suzanne Pharr, Gilbert, and the hundreds of thousands who worked tirelessly (some of them giving the supreme sacrifice, albeit not by choice) so that I could walk into a polling place and cast my vote.

To have NOT voted today would have been to have given all of those people - and especially my ancestors, who did not have the opportunity to vote - the equivalent of the finger, if I may.

So yes, I voted.

It is a responsibility, not only as a citizen, but also to honor those both living and no longer on the earth who went before.

More soon,
Sam

Charleston, Charleston...

2010-10-29T04:00:00.000-07:00

A week of Young People's Concerts has passed - these were with the Knoxville Symphony Orchestra and conducted by my friend and colleague James Fellenbaum. The last time I played concerts like these was in 2006 while living in San Antonio and performing as a substitute with the San Antonio Symphony.

Having recently celebrated my fortieth birthday, I find myself looking at many things from both an impersonal historical perspective AND a personal one. I'm sure that it is safe to say that I am one of many people now working in classical music whose first exposure to the art forms was through events like Young People's Concerts, trips to see "The Nutcracker" at Christmas, and public television. How I remember those times: field trips! In Charleston, we would either pack our lunches at home or break into our piggybanks to buy lunches at The Gourmetisserie (which no longer exists in name), a cavernous space in which one would find one's heart's desire - of course, as a second or third grader it was wonderful to have those kinds of lunch choices instead of the school cafeteria...memories aside, it is because of these events that I always feel a certain inner excitement and responsibility when playing for young people.

Needless to say, because of my feelings for these concerts and the sense of gratitude I hold for those who organized county-wide field trips to the Charleston Symphony and the Charleston Ballet during my childhood, it has been disheartening on many levels to watch the events surrounding the Charleston Symphony. As everyone knows, the Charleston Symphony suspended operations in March of this year, with both management and the board citing very serious financial challenges including "a significant drop in fundraising dollars, exacerbated by the recession's "strong headwind'." The symphony had been in a serious transition since the 2008-2009 season, managing a tremulous financial situation by reducing both the number of full-time players in the orchestra AND the number of performance weeks. Additionally, at the beginning of the 2009-2010 season music director David Stahl announced that he would be relinquishing his post as music director, phasing out his involvement with the orchestra by 2012. At that time the orchestra was also without a permanent executive director and a resident conductor.

With all of this "bad news", it has been especially saddening to hear of David Stahl's recent death, as this nevertheless adds an even more serious tone to the Charleston dilemma.

I remember the excitement surrounding the late maestro upon his arrival in Charleston and while I did not perform with the orchestra until the 2006-2007 season, many of my friends and colleagues started their orchestral careers in the Charleston Symphony. During Maestro Stahl's tenure, the orchestra grew from being a modest community orchestra to one of the most important regional orchestras in the nation. Many of the musicians that began their careers in the Charleston Symphony later secured positions in orchestras including the Cleveland Orchestra, Kansas City Symphony, San Francisco Symphony, and the Amsterdam Concertgebouw. It was always a GREAT delight to hear the orchestra during school breaks, holidays, and the Spoleto Festival and - as many friends played in the orchestra at times - wonderful to reconnect with colleagues with whom relationships were formed at music festivals and in conservatory.

Of course, everyone who has had an opportunity to work with David Stahl in any capacity is grieving in some form, and we are all watching, hoping for some sort of resolution to this situation. On a deeper level, it is heartbreaking to know that the experience that brought music to me is one that young people of my home city are not having at the moment and - dare I say - may never have again. While that statement may seem to reek of sentimentalia, I can hope that whoever reads this entry realizes the importance of our artistic institutions and recognizes that beyond the dollars and cents issues there is an abstract, long-term meaning and reason for their existence.

Now more than ever, we have to work hard, diligently, and unceasingly to ensure the survival of orchestras and cultural institutions across the globe. It is indeed disturbing to imagine a world without.

Knoxville, September of 2010 - Dylana Jenson's Tchaikovsky Concerto

2010-10-07T15:44:00.000-07:00

In his notes about Tchaikovsky’s Violin Concerto in D Major, Op. 35, Chicago Symphony program annotator Philip Huscher notes that Tchaikovsky was incredibly inspired by Edouard Lalo's Symphonie Espagnole, as well as impressed by the way that Lalo thought “more about musical beauty than observing established traditions". While Tchaikovsky completed his concerto rather quickly, however, performances of the work did run into problems, the first being Leopold Auer’s declaration that the concerto was “unplayable”. Ironically, after the work was premiered in Vienna by Adolf Brodsky and became one of the most loved of Tchaikovsky’s works despite a crushing review, Mr. Auer became somewhat the chief exponent of the concerto, adding it to his repertoire and teaching it to his students, including Toscha Seidel, Efrem Zimbalist, Mischa Elman, Jascha Heifetz, and Nathan Milstein – all of whom became the greatest exponents of the work during the twentieth century.

While the concerto is definitely a tour de force, requiring a complete technique, great musical sensibilities and almost Herculean stamina of the violinist who undertakes both the tasks of learning and performing it, “unplayable” is not the word that came to mind while hearing Dylana Jenson’s performances with the Knoxville Symphony Orchestra on September 23 and 24, 2010. Ms. Jenson is a consummate master of the violin and this was the second time that I have heard her in live performance, the first being a stunning 2003 performance of the Goldmark Concerto with the Louisiana Philharmonic. Of the 2003 performance it must be said that the orchestra was captivated by her playing, particularly her heartfelt rendering of the Andante (if memory serves me, there were tears in the eyes of a few violinists after the first four measures).

Back to September 2010: from her first notes, it was clear that Ms. Jenson’s performance of the Tchaikovsky was going to be like no other that I have heard. Throughout the first movement Ms. Jenson played with a sumptuous tone and an incredibly sophisticated sense of phrasing, a sense of undulation permeating the cantabile sections. Unlike many violinists who approach the knotty double stops and quicksilver scales as “show-off” sections, however, Ms. Jensen played those sections – and shaped them – effortlessly while also placing them in the appropriate musical context of the movement. This was not a self-indulgent exhibition of acrobatic ability: rather, this was a true dialogue – a journey, if I may.

One could easily say that the lack of self-aggrandizement inherent in this performance came from the fact that Ms. Jenson has nothing to “prove”: after all, she was a silver medalist in the 1978 Tchaikovsky Competition and has performed as soloist with orchestras throughout the world. However, if one studies her recordings – particularly her most recent recording of the Shostakovich and Barber concerti as well as her very famous recording of the Sibelius Concerto – one will hear the sense of selflessness, assurance, and musical reverence that was hallmark of this recent performance.

This sense of reverence and exploration was evident in the very intimate Canzonetta. Ms. Jenson was introspective rather than “large” in this movement, using a huge expressive palate including notes sculpted with the bow and played sans vibrato, and high notes tenderly cascading through the air like incense smoke. Again, not expected, yet this seemingly understated interpretation was most convincing and beautiful, with equally compelling accompaniment from clarinetist Gary Sperl and flutist Nadine Hur.

Ms. Jenson showed herself to be a firebrand during the Finale, which was definitely a robust Allegro vivacissimo. With technique to burn, Ms. Jenson showed great dexterity throughout, alternating an unusual lightness in sixteenth-note passages with weighty yet quicksilver double-stop playing. Her knowledge of musical language truly showed itself here: in many of those sections one could hear the continuum in Russian music that appears in the vertical attacks found in works by both Stravinsky and Shostakovich. This was balanced by a wondrous sense of musical space and time in the legato sections and, in the short unaccompanied sections, a real sense of musical structure and – with the conspicuous yet convincing absence of vibrato used to heighten tritones and other dissonances – musical humor.

Lucas Richman and the Knoxville Symphony Orchestra accompanied Ms. Jenson both attentively and convincingly during the entire work, the orchestra joining the excitement that led to a triumphant finish rewarded with long standing ovations on after both performances.

With having received overwhemingly glowing reviews for her recent recording of the Shostakovich and Barber concerti, it is clear that Dylana Jenson remains one of the most important violinists and compelling musicians of our time.

The Musician as Athlete and Other Essays

2010-10-04T23:23:00.000-07:00

Seasons have opened - in the past few weeks I have had the opportunity to perform with both the Knoxville Symphony Orchestra and the Delaware Symphony Orchestra. Yes, they are at least ten driving hours away from each other, but both experiences were wonderful, albeit in different ways. However, I have not had the time to sit and write that I would have liked to, and there are a few things that are waiting to be finished....

Nevertheless, there have been some interesting and timely articles floating around the internet about life as a classical musician. One in particular that has received rave reviews from many people (including our lot) was written by Jeremy Mastrangelo, associate concertmaster of the Syracuse Symphony Orchestra. Titled "Making Music: The Work of a Syracuse Symphony Orchestra Musician Isn't As Effortless As It Seems", Mastrangelo compares the constant preparation that is hallmark of the musician's life (and the life of any performing artist) to that of professional athletes.

While to some the comparison may seem fallacious - after all, no one is wearing shoulder pads and being sacked while playing a Brahms symphony - Mastrangelo makes a very valid comparison, one that has been made in recent years by sports psychologists including Don Greene, with whom I had the pleasure of working while a member of the New World Symphony.

Over the years there have been many people who have made the case, speaking of the lifestyle requirements necessary both to obtain and maintain a performing career. Thinking of violinists specifically, I am reminded of Paul Griffith's statement: "The violinist, to be a virtuoso, must also be a recluse." Herbert Whone, in his 1972 book The Simplicity of Playing the Violin, shares that the price of maintaining a career - hours spent refining one's craft - is "no mean price".

Mr. Mastrangelo's article is definitely worth reading....to say the least.

Coming soon...thoughts on Nigel Kennedy's "SHHH!"...and more...stay tuned.

Saying "YES" to Life

2010-09-05T16:15:00.000-07:00

Photo: Levi Sim, SDesigns Photography

And here we are, after what was a fantastic summer - although I do wish that I had written more, as there were many thoughts and events...like this photo. While this story could be categorized in the "urban legend" file, it's actually true: I was walking to a chamber music concert and spotted by Levi Sim, a photographer currently living in Logan, Utah. Of course we spoke, he took some pictures on the spot, and the invited me to come and pose for his class - with the violin.

I agreed to this and visited his class the following Monday. Doing so made for a very tight schedule as the dress rehearsal for a performance of the Verdi Requiem took place thirty minutes after the class ended, but sometimes life throws opportunities in your lap and one must always say "yes" to life.

Besides sitting for THIRTEEN photographers at once (?!), the summer was quite memorable, and there will be more on that in the coming days.

Best,
Sam

Duo NONA Premieres Work in Debut with San Jose Chamber Orchestra

2010-08-28T09:14:00.000-07:00

Cellist Nadine Trudel and bassist Gil Katz, who make up the duo NONA, are the featured soloists in the premiere of “TRIBAL” a work for solo cello, solo bass, string chamber orchestra and percussion with the San Jose Chamber Orchestra on August 28 and 29, 2010. Commissioned in 2009 by Barbara Day Turner, Founder and Music Director of the San Jose Chamber Orchestra and music administrator of the Utah Festival Opera, “TRIBAL” is Katz’s first orchestrated work.

“We’re both very excited”, Mr. Katz said about this performance and the commissioning project. “A part of that is that we’ve seen how Barbara is during the summers – she’s always so enthusiastic. It will be interesting to see her when she’s in full control, not doing traditional rep.” Founded in 1991, the San Jose Chamber Orchestra has premiered over 80 new works, mostly by commission.

In discussing “TRIBAL”, Katz shares, “What I’m describing in the piece is the conflict between an initial reaction to an event – primal instincts – and the intellectual mind that discusses that primal instinct. I do try to keep something organic in both the melody and the harmonies that people can recognize and relate to while the piece becomes more sophisticated. This is music which has elements of classical, romantic, folk and Latin music, including both the Tumbao and Mozambique rhythms, which are very common in salsa and other Afro-Cuban music."

“This piece was composed over a period of six months,” Katz said, “because we work full time performing.” Katz and Trudel, who have been married for twelve years, perform as principal bassist and cellist of the Sarasota Opera Orchestra, respectively. Additionally, Ms. Trudel is a cellist with the Sarasota Orchestra and Katz performs with the Naples Philharmonic. “This year we took a big load on – not only were we working our regular orchestra jobs, but we were really trying to jump-start our duo – gathering the repertoire, finishing other arrangements, setting up venues and our website. All of the administrative things, we are doing ourselves.”

"In the meantime we also had the Sarasota Opera season,” Trudel added, “and a small tour through the Carolinas with the duo.”

Katz and Trudel have been both writing original works, including “Anhinga” and arranging short pieces for the duo, their very thoughtful body of transcriptions including “Sometimes I Feel Like a Motherless Child”, Ravel’s “Pavane Pour Une Infante Defunte”. Their influences and inspiration have come from various sources, including their individual prowess as instrumentalists and the worlds that they have inhabited, including summers at the Cabrillo Music Festival. “We found a lot of inspiration from that festival,” Trudel said. “When we were there I felt very inspired to create.” Katz spoke with great reverence about how being an orchestral musician has influenced his compositional mind: “I play in an orchestra, so whether consciously or not I’m analyzing music all the time, listening to the finest orchestrations.”

Their work as a “formal” duo started almost by chance: “I was preparing for an audition with the Metropolitan Opera Orchestra,” Katz reminisced. “I was practicing one of those excerpts and my mind started wandering – and started jamming. [Nadine] knocked on the door and I thought, ‘It’s okay, I’ll get back to practicing’, but she brought her cello in and said ‘I like what you just did’ – and we started jamming together!”

With the tremulous state of our economy and the affect having been felt throughout the arts community, most recently in Charleston and now in Detroit, there has been a seeming rise in the number of new ventures and arts organizations throughout the country. Is winning an orchestral position “the answer” to achieving excellence and economic security, or should those with creative leanings take the required risks? “I was somewhat insecure about this duo at first,” Trudel said, “but we thought ‘Let’s just take a break from auditions and do this project before it’s too late, and we’ll start doing auditions again in the future'.”

“I don’t think a lot of people realize how much dedication it takes to win an orchestral audition other than those doing the auditioning,” Katz added. “You’re practicing all the time to play everything to whatever your definition of ‘perfect’ is. Our thought [in starting NONA] was that if we directed all of that energy into our own project that maybe we would have that satisfaction. We do, however, love playing in orchestras,” Katz said. “All of those sounds inspire what we’re doing.”

This deep appreciation of their craft – both as instrumentalists and composers – is also evident during their performances and from audience reactions to their work. In their performances, Trudel notes, “We’ve performed for retirement communities in Florida and have played arrangements of Ravel and Gershwin. However, the pieces that they come to talk to us about are the new ones, like ‘Mosie’s Caravan’, which we premiered in April, or Gil’s other new works. While we have been ‘warned’ against playing new music in these communities, the reaction to these works has been quite surprising and refreshing.”

“We want the audience to be moved when we perform, not for their focus to be ‘Wow, these guys can really get around their instruments.’ At this point,” Katz continues, “I am more flattered when someone comes to us and says that something that we played, either that we wrote or arranged, really moved them. I like it more when you can reach out to someone…and music has that kind of power.”

In addition to the premiere with the San Jose Chamber Orchestra, NONA can also be heard performing original works and arrangements for cello/bass duo on Wednesday, September 1, 2010 at So Cha Café in San Francisco. This performance begins at 8:00pm. For more information on NONA, visit www.nonamusic.com. For more information on the San Jose Chamber Orchestra, please visit www.sjco.org.

Faith in Humanity and All Things Good

2010-05-14T22:07:00.000-07:00

Having left BOTH of my formal shirts at home aside (but very glad that I brought a white dress shirt that works!), I have to say that we all have experienced moments, either personally or as witness, that reaffirm our faith in humanity and all that is good in the world. Tonight was another of those moments, hearing violinist Elena Urioste perform the Tchaikovsky Violin Concerto with the Delaware Symphony.

While I have written much over the past few years, I have to say that I wish that I had words to describe what I heard - nevertheless, it is obvious that this young woman is doing the work of her soul.

More soon,
Sam

Crass Ambition?!

2010-05-04T13:52:00.000-07:00

Hello, all - it's been a little while, yes, but it's also been quite the busy month, with many concerts and other things. As it is May and I'm currently living in a college town, I'm feeling both the energies of slowing down as well as that that says keep moving forward. Of course, that can be confusing in itself...the good news is that my interview with Robin Fay Massie-Jean seems to be circulating (it appeared on the Delaware Symphony Orchestra's Facebook page?!)...

...but today I write because I have, in recent months, found myself deeply disturbed by the reports of some behavior being exhibited toward one of my colleagues. Needless to say, the names of both my colleague (who happens to be a dear friend) and the offending party as well as the orchestra in which they both perform will not be used here; however, what has been happening now for two years can only and sadly be classified as good old-fashioned backstabbing of the worst kind.

Of course, I understand the need to be the best that one can be - but I also understand and am truly grateful to have had teachers that frowned - at best - at the callousness and destructive behavior that we as violinists sometimes inflict upon each other, behavior that is totally rooted in deep but denied insecurity.

In her book Love's Sorrow, Love's Joy, author Amy Biancolli chronicles the deep friendship that existed between Eugene Ysaye and Fritz Kreisler. The great Belgian - along with other "luminaries" including none other than Carl Flesch - sensed the significance of Kreisler's debut, later dubbing the young Kreisler the Weiniawski of the time and stating with great assurance that the young Austrian had a brilliant future before him. As Kreisler made his mark during the early twentieth century, he received invitations from Jacques Thibaud to participate in informal chamber music gatherings taking place at Thibaud's home. With the other guests including Georges Enesco, Pablo Casals, Alfred Cortot Harold Bauer, Eugene Ysaye and Raoul Pugno, it was clear at that time that Kreisler had reached a place among the ranks of the world's top string players.

While we all know that Kreisler is the dedicatee of Ysaye's Sonata in E Minor, Op. 27, No. 4 and Ysaye the dedicatee of both Kreisler's Recitativo and Scherzo and Caprice Viennoise, it is vitally important for us to know that these men forged a friendship while Ysaye was at the highest point of his career - one that continued well past Kreisler's rise to the top. Such was their friendship, recalled Joseph Gingold, that after a series of concerts in Brussels that Kreisler "immediately went to see the master, and they embraced, and Ysaye said 'Where is the gendarme?' And Kreisler said, 'She's downstairs. She'll be up in a moment.' "

Biancolli writes that Ysaye's refernce to Kreisler's wife "as 'the gendarme' (or "constable") reveals no small familiarity with Kreisler's personal life and illustrates as well the relaxed nature of their friendship....Two such Old World gentlemen could enjoy each other without allowing anything so crass as ambition (or a cranky wife) to stand in the way."

So, my question is THIS: if THESE guys, two men that we now revere, could be so relaxed with each other, WHY do some of us who have not reached those levels treat others with such gross disrespect?

Of course, this makes me miss Zhang...

More from the road,
Sam

Musicians of Mercy: Interview with Robin Massie

2010-04-04T21:14:00.000-07:00

In the aftermath of the devastating earthquakes in Haiti, we in the United States again either witnessed or participated in compassionate acts undertaken by many members of the performing arts and entertainment communities. While in New York earlier this year (albeit for reasons other than attending a charity event), I found myself amazed at the number of events organized by members of the fashion community – particularly both the Hope, Help, Relief Haiti Dinner Benefit hosted by Donna Karan, Naomi Campbell’s Fashion for Relief and others. While news of Haiti has faded somewhat from headlines, there are still many events taking place throughout the nation by members of both the social justice and performing arts communities including Lang Lang's Carnegie Hall Benefit for Haiti (which raised $100,000 for UNICEF).

Since late February, a group of musicians in the Washington DC/Baltimore region has lent its hands to relief fundraising efforts. Two concerts from which a total of over $8000 has been raised have been presented by Musicians of Mercy, a non-profit organization founded by violinist Heidi Daniels and Robin Fay Massie-Jean, associate principal violist of the Delaware Symphony Orchestra and one of the founding members of the Opus Nine Ensemble. Having spent time getting to know Robin as both a friend and colleage sine 2007, I was honored that she agreed to give this interview and share her motivations for spearheading this effort.

In a February 24, 2010 Baltimore Examiner article, you are quoted as having said (or thought) “enough was enough” upon reading about the earthquakes in Haiti and their aftermath. What exactly did you mean? Are you connected to Haiti in any way personally?

Though I am not personally connected to Haiti per se, I believe we are all connected as a people. Images of devastation and desperation flooded the news coverage in January 2010. Moved to tears, I wanted so badly to help in a meaningful way. I cannot not bear to imagine how many children have lost their parents, are without food, clean water, or shelter -- basic necessities which I take for granted each day. I could no longer watch nor read that coverage without doing my part. To me, the most natural way to communicate is through music and art. I decided to contact my friend, Heidi Daniels, and organize a benefit concert for Haiti. Within a few weeks of contacting Heidi, we planned the repertoire, booked our concert venue and had close to 70 musicians who volunteered to perform and rehearse. Thus, Musicians of Mercy was born.

Is this your first charitable effort?

Yes, this is my first self-led charitable effort. However, I have always had a heart for service.

How does this concept - Musicians of Mercy - “fit” into your life and philosophy as a musician?

I have always believed in the importance of serving those less-fortunate. It is not enough for me to attempt to master my instrument. All musicians strive for perfection in performance. After all, I've spent hours a day in the practice room over a single measure of music! Knowing that perfection is unattainable, the entire learning process gives the musician a sense of purpose and accomplishment. Music-making is just a metaphor for life. I continue to "fight the good fight" each day. I have my human flaws and limitations, but I strive to be the best woman, friend, teacher, mentor, daughter, sister, and mother I can be (Yes, I have a three year-old!). As artists, we have a great deal of power. Music can touch the innermost parts of the soul. Heidi and I realized that we can use our passion for music as a way to bring healing to Haiti. Therefore, Musicians of Mercy is a true labor of love.

Not only was your initial effort a success: Musicians of Mercy was invited to give a concert at NASA’s Goddard Space Flight Center on March 18, 2010. How did the Goddard invitation come about?

Interestingly enough, the NASA Goddard invitation was unexpected. Following several rounds of personal email invitations, one of my contacts expressed interest in having us do a benefit concert at his workplace. As a NASA Goddard employee and also being Haitian, he saw it as a way to unite the Goddard community for the same cause. He requested clearance from the necessary parties and we began planning our second benefit concert just before performing our first!

Are you pleased with the turnout for your inaugural concert in Baltimore?

I was very pleased with the turnout for our Baltimore debut concert. We had a very appreciative and generous audience for planning a concert on relatively short notice. Thanks to Sheena Martin's well-written article in the Baltimore Examiner, we had some much-needed publicity. In addition to Ms. Martin's article, a team from WBAL TV-11 News covered the beginning of our concert. I was not concerned with the number of people in the audience. Like an expectant mother, I wanted to see the birth of this concert which had been in the planning for weeks. With probably less than 50 people in the audience, we raised about $1300 for Save the Children -- not bad for a first effort. (Subsequently, the Goddard concert brought in about $7000 for the American Red Cross.)

I do know from having organized and performed in a few benefit concerts over the past few years that the organizing itself is quite the task. Has this been your experience? Were you and Heidi able to form a solid team?

Heidi and I have been "teammates" for years. We met as undergraduate music students at The University of Maryland, College Park, MD. During our first year, we were assigned to a string quartet. We got along so well that our group chose to remain together all four years. Our Choo-Choo String Quartet was known for wacky rehearsal techniques, engaging performances, and our shared passion for educational outreach. During that time, we learned each other's strengths, weaknesses, habits, etc. Therefore, we are fully equipped to collaborate on this project.

In the weeks prior to our Baltimore debut concert on February 28, we hit a few roadblocks. Record winter snowfall resulted in altered schedules for many of our performers. We were unsure as to whether or not we would have the personnel to keep the date we had booked at Old St. Paul's Church, downtown Baltimore. Also, we only had a month to plan, fund and advertise the entire concert. Many days, I looked at the roster, the schedule, the calendar, and the near-zero budget and thought, "How are we going to pull this off?" But, persistence and grace under fire helped us see it through to the end. Ironically, the concert was held the day after my birthday. It was the most memorable birthday for me in recent years!

Did your work with Opus Nine (an ensemble formed last year that played debut concerts in Baltimore, New York, and Philadelphia to critical acclaim) prepare you in a way for these efforts?

Absolutely! Alysia Lee and Jarvis Benson created a beautiful product in Opus Nine Ensemble. With their vision, they brought young talent together to re-invigorate classical chamber music and present it with vibrant, new energy. I watched them weather the early storms and growing pains while forming their new organization. While in its second year, Opus Nine continues to thrive and I'm grateful to have been there from the beginning.

You recently became the assistant principal violist of the Delaware Symphony, in addition to continuing your freelance activities throughout Washington, Baltimore and – is it Philadelphia where you record the video games?

HAHA!!! Actually, yes, I work with a studio orchestra that records soundtracks and clips for NFL Films in Mt. Laurel, NJ. It's a really fun gig! As a stuanch Pittsburgh Steelers fan, I enjoy knowing that I play a small role in making the music for my team!

How have you maintained the balance between your professional life and your home life – raising that beautiful daughter of yours?

Whew, I'd like to think that I'm doing my best to maintain a balance between home life and my professional life! However, as a musician, it's nearly impossible to "leave your work at the office." I think I will always struggle to find that perfect harmony. However, I can honestly say that my three year-old daughter gives me the greatest joy! There are times when I'm practicing and she just comes and tugs at my shirt, calling for my attention. "Mama, viola in box!" Haha, of course, I have to oblige! I've learned to be more efficient and focussed in my practice sessions. Furthermore, without the constant support of my family, I would not be able to pursue my passion for music. My mom has put her own career on hold to help me watch Samara while I am on the road. Her sacrifice makes it possible for me to have the career that I love. My life isn't perfect but it's certainly fulfilling!

What are your long-term plans for Musicians of Mercy, and for yourself?

Regarding Musicians of Mercy, Heidi and I will apply for non-profit status before the end of the year. With that comes a lot of other internal organization. We are also hoping to plan the next concert for this summer.

As for myself, good question! I strive to be the best violist I can be and desire a multi-faceted career. I want to play in a major orchestra's viola section. I will continue to take auditions over the next few years. I would like to continue teaching my beloved private students and expanding my studio. This semester, I had the good fortune of serving as a substitute viola professor at University of Delaware (Newark, DE) during resident viola professor, Andrea Priester Houde's maternity leave. It was an incredible experience which stretched me as a teacher and gave me the opportunity to mentor five undergraduate and two graduate students. I am grateful to have had the opportunity and would like to teach on that level again. We'll see what the future holds...

Where can we find out more about Musicians of Mercy and to whom can someone speak about making a contribution?

We are in the process of working on a website and such so all I can say is ... stay tuned! To make a contribution to Musicians of Mercy or for more information, please contact either Heidi Daniels or myself. You can reach us via email: musiciansofmercy@gmail.com.

On Buying a Bow, Part Two

2010-03-28T14:21:00.001-07:00

In November of last year I wrote a blog entry about buying new equipment, specifically a new bow. Well, after five months of much soul-searching, angst farming, and all things that are not so good for the soul and the psyche, it appears that an agreement has been made and I will begin making payments on this new stick this week! An incredible debt of gratitude to Bruce Wilhite of Wilhite Strings as well as to everyone who have given advice over the past five months!

More coming,
Sam

Continuum

2010-03-25T23:00:00.000-07:00

con·tin·u·um /kənˈtɪnyuəm/ [kuhn-tin-yoo-uhm]
–noun,plural-tin·u·a /-ˈtɪnyuə/
1.a continuous extent, series, or whole.

Well, what can I say for myself - I haven't been writing. The last seven weeks have been filled with activity, including lots of little concerts and the making of an audition recording. I have yet to go into the studio to begin recording Bach and Ysaye, but that is coming: the Paganini Caprices were of course put on hold to learn and record a NEW set of excerpts for the audition and the grant application process has come and gone. Oddly - and perhaps this is a sign of self-acceptance - I am finding it easier to "let go" when something is done, as well as to wait for the results and to humbly take any advice, comments or feedback that comes as the comments can indeed be a part of the growth process.

A few days ago I received two very wonderful notes from a violinist named Kimberlee Dray who currently lives in Minnesota. Kimberlee and I "met" in 2007 through violinist.com and while there was a small break in our communication I was thrilled to hear from her. She seems to be quite the fan/devotee of the late Albert Spalding who spoke these words:

"All the perseverance in the study of music, all the application devoted to it, is not worth a tinker's dam, unless accompanied by this awakening to the perception of beauty . . . The true student of Art should be able to derive benefit and instruction from every beautiful work of Art that he hears or sees; otherwise he will be limited by the technical and mental limitations of his own prejudices and jealousies."

Why this quote tonight? Well, today I gave an interview with Black Atticus, a Knoxville-based "wordsmith, song writer, die hard emcee, public speaker, and nationally ranked slam poet" whom I have had the pleasure of working alongside since coming to Knoxville in August of last year (more on that later). It must be said that I was a bit taken aback by the first question, which was "What is it like to be a black violinist" or something like that. This question has been asked numerous times, and during the course of our dialogue (which lasted for about thirty minutes) I found myself going through lfe experiences and realizing as I did when I was a child that it ain't that big of a deal, it's the path I chose. However, MY question is "WHY is this such an enigmatic phenomenon?"

More on THAT later - our conversation contained thoughts about music, relevance and the many conundrums that face artists in all genres. In the "defense" of those of us who have chosen to both study and pursue careers in classical music performance, I do have to say that we are, in addition to being a very "stylized" lot, some of the most aware people regarding the numerous performing and visual arts disciplines - yes, everything from Abstrat Expressionism to Spoken Word and Hip-Hop. Nevertheless, being wise to the ways of human nature, it is no surprise that everyone - including some of us who claim to be "worldly, sophisticated, et cetera ad nauseum" - can make assumptions about people based on surface situations.

Nevertheless, the time spent this afternoon reminded me that it is vitall important for ALL of us keep our "minds, souls and imaginations open", as well as to realize that despite the seeming differences in our crafts that we are all a part of a continuum larger than ourselves, one that stretches back centuries to the first time that man made sound and wondered how to recreate it - or figured out how to make the dye that was used in a cave painting...just like Mr. Spalding said. If I may, I must say that should we all think in this manner, the question of "relevance" could become obsolete - after all, Willem de Kooning did study classical draftsmanship before becoming an abstract expressionist painter...

Coming up next: hopefully some new music AND an interview with Robin Fay Massie-Jean, one of the founders of Musicians for Mercy, a Baltimore-based nonprofit that recently raised over $7,500 in two concerts from which the funds will be directed to Haitian earthquake relief efforts...and perhaps some more Paganini capricing? ;)

Until next time,
Sam

"Be a violinist first..."

2010-02-03T12:53:00.000-08:00

Well...not sure how to start this one but I'll say again that it does feel wonderful to be in a state of "punching my way out of the dark".

In thinking about our responsibility to ourselves as musicians and the craft of musicmaking, I have found myself remembering the words and advice of many teachers and people from whom I have had the opportunity to take lessons. The theme, of course, was all the same: "Be a violinist first."

So, this year I've decided that I'm going to study Nicolo Paganini's Twenty-Four Caprices....while in graduate school one of my summer assignments was to go through the caprices at the rate of one a week. Of course, as I look back the goal was simply to get through them, with the added benefit of improving my technique. Back then (this was in 1997 or 1998), I think I got through two of them. It is humbling to admit that I did not have the patience to analyze those thorny bits back then, and even more amazing to find that now I DO have the patience AND the desire to know them and to improve, as the true benefit is in both study and preparation.

Of course, with the goal now being one caprice every TWO weeks (with two weeks off after the first twelve), I know that I will only be taking a cursory look at these works which are both technically and musically fascinating. Nevertheless, it's a "hard slog" that I'm enjoying at the moment.

Perhaps in a few years I'll be able to play at least one of them in public...

Onward,
Sam

Danse Macabre

2010-02-01T19:32:00.000-08:00

Well...thank you all for taking the time to read my last entry. For some reason I feel that I must apologize for having been so emotional and seemingly conflicted; however, I also ask the deeper question which is about our true shared humanity and vulnerability. After all, if we cannot share our deepest selves, what is life for?

I have taken some time away from the violin to be very quiet, to think, and to find what serves as both a healing and driving force. I have, as many of us do, found solace in the craft and while doing so have also continued following the advice of my teachers and mentors - I'm listening and watching "old violinists" and finding my perspective on violin playing and musicmaking, as well as my thoughts about much of this repertoire and the craft itself, growing by leaps and bounds.

Of course, you say - this is what we DO as fiddle players! Nevertheless, I'm finding this time of listening and watching to be incredibly meaningful now in more profound ways than before. We all have our "favorites", and one of mine - discovered only last year I'm almost embarrassed to say - is Christian Ferras, and this video of him performing the Sibelius Concerto is truly an educational and emotional experience.

With this video being available on YouTube, hundreds of thousands of people have watched (I hope) it and found themselves amazed. While it's needless to say that the late Ferras had a formidable technique, his involvement with the energy and direction of the music that is truly indescribable:

The last movement (posted first), in his hands, runs like a Danse Macabre - man against violin (against his own demons perhaps) - and is one of the most hair-raising experiences I've ever had (as well as insightful - how still he is when tackling endless fingered octaves and double stops).

Formidable technique aside, however - while watching this I'm reminded of hearing the words "Get past technique!" Yes, that's the goal...but now I think I understand why we must look deeper - and with that I leave you with the first movement of this concerto, asking you not only to pay attention to the sheer edge-of-your-seat abandon with which he played the coda- making one forget that he's playing fingered octaves - but also for the glorious lyricism he brought to his audience that night, and forever.

We do have a huge responsibility as violinists - not only to master the twists and turns brought to us by Paganini, Ysaye, Dont, Ernst, and "the boys", but to go deep within ourselves while also forgetting "ourselves", focusing on the energy, direction and messages in these works and sharing (not in a self-indulgent manner) our discoveries with those who come to hear...

Onward,
Sam

On the issue of self-esteem

2010-01-25T23:19:00.000-08:00

Well, I'm home - the trip to New York was short and bittersweet (in on Tuesday, out on Thursday). It was a good trip in many ways, the most significant being that I was able to see my dear friend Philip Payton, with whom I played in the New World Symphony. Playing in the memorial service was quite an experience as well - profound, as it was my first time playing in such a service for a friend. Steven Hall and the organizers truly did a fantastic job putting this together and honoring the life of our friend Gilbert.

Needless to say, however, we all deal with loss in different ways, and I am finding myself not only feeling a profound sense of loss at times, but also looking at a much deeper personal issue, that being self-esteem. Oddly, this is stemming from a writeup that appeared in Blackbook Magazine about the memorial that was beautiful, humbling, and enlightening.

In his book The Seat of the Soul, Gary Zukav says that "when the energy of the soul is recognized, acknowledged, and valued, it begins to infuse the life of the personality. When the personality comes fully to serve the energy of its soul, that is authentic empowerment."

In a later chapter he speaks of the characteristics of a humble spirit and in relation to competition and self-worth: "If the something you aim for is prestige or notice or a gold medal instead of a tin metal, it is your personality that is motivating the competition....By striving for this award and that award you ask the world to assess and acknowledge your value before you value yourself. You put your sense of self-worth in the hands of others. You have no power even if you win every gold medal the world can produce."

Violinist Soovin Kim, whom I had the pleasure to meet and hear last year in New York, in a February 2006 interview speaks of his winning the Paganini Competition and how he made the adjustment. After winning, he had the great fortune to speak with Jamie Laredo, his teacher, who advised him not to enter the next competition. In the conversation that followed, Mr. Laredo gave Mr. Kim some very valuable advice about this life change: "He said that winning the competition would lead to some performances and, little by little, it's going to open up into your life and your career," Kim said. "And I walked out that door feeling a lot better."

Now how does this apply to me?

Well...in the write-up of Gilbert's memorial, Steve Lewis wrote that "After violinists Samuel Thompson and Philip Payton ferried us to a place of calm and beauty....". This came during a week of "the energy of my soul being recognized, acknowledged, and valued." Why do I find it strange that someone would write about my violin playing? Thinking about Mr. Kim's interview and many things that have been said about career building, I now wonder why we sometimes go from one thing to the next, always striving for "something better", to "win", to "be the best" and be recognized. Are our motivations always in the right place?

I do, however, know that my motivation for playing the Rozsa sonata at this memorial was not for recognition - so yes, it is refreshing to know that my intentions were in the right place and this commentary, for which I am grateful, was simply a reward not sought for. Nevertheless, I'm finding myself now in a place of self-examination, looking back at the many times that I have, like many, bulldozed ahead, going from one thing to the other without being sure of my motivations.

All of this is not to say that we should not strive, work hard, and test ourselves - the question, however, is simply this: Where is the line between enjoying the work and the craft and launching into a seemingly endless quest for outside validation?

Onward,
Sam

Past and Future Meeting in the Present

2010-01-18T11:07:00.000-08:00

Ten years ago on this day I flew back to Miami Beach from New York City. It had been a wonderful weekend, albeit quite cold - when I moved to Miami in 1998 I was somewhat foolish and got rid of some of my winter clothes - but nevertheless the best "gift" that I could give myself after having played the Elgar Concerto in a competition.

Today, I fly back to New York - this time from Knoxville - and the circumstances are a bit different. This time I'll be playing, in New York, for the memorial service of my dear friend Gilbert Henry Stafford.

Onward,
Sam

Gilbert Henry Stafford, 1952-2010

2010-01-04T01:31:00.000-08:00

Well, the last time I wrote it was about buying a bow, and that is in the works...

In February 1999 while a fellow at the New World Symphony I received a call from my friend and colleague Philip Payton, who was unable to play an outside performance. SO, I said yes, and was given the number of a man named Gilbert. Being from South Carolina, I of course addressed him as "Mr. Stafford" upon making the first call.

In the second message left for me: "...and Sam, it's Gilbert. So formal..."

The performance was that of the Black Door Dance Company, and Gilbert was the emcee: in a beautiful chair, dressed so elegantly, giving the audience "the scoop" on what was about to take place. At that moment, I decided that I wanted to be his friend - and knowing a bit of what South Beach was about, not one of his "friends" for the sole purpose of being let into the clubs. At that time I wasn't even thinking of going out....

...upon hearing of Gilbert's recent passing, I have like many been flooded with memories. Not only was the most amazing host at the many parties and events taking place on the Beach, he was also a truly wonderful person: an intellectual who loved opera, Miklos Rozsa, Sergei Prokofieff and the violinist Nathan Milstein as well as SO many other things, I cannot begin to recall everything. In addition to the nights out there were many hours at his apartment listening to great music and having very lively conversations, with rooms being filled with such interesting and fantastic people from all across the globe.

Still shy then (as I am now sometimes), I was amazed that this man let me into his world - no judgment, no preconceived ideas or expectations of "who I should be", just the inclusiveness that is hallmark of the many humble souls who have graced humanity with their presence.

In 2006, after not having seen Gilbert for seven years (life does what it does, and I moved first back to Houston and later to New Orleans), I decided that I wanted to spend some time with him - he was living in Manhattan at the time. While I did arrive at his apartment early (he was at a meeting), there was no way to describe the joy that I felt upon his walking into the room, towering over me - perhaps Gilbert was in many ways the "soul protector" that we all need at some point, just there, no grandstanding, but always ready to do the right thing....those two weeks were so wonderful and I am truly grateful to have had those two weeks to reconnect with my dear friend.

Again, lives and locations change - I to Charleston, then to Baltimore and later the Hudson Valley, Gilbert back to Miami and later to Los Angeles - but we kept in touch, through telephone calls and (recently) Facebook. I did not get to speak to him in depth before his passing, but the last words that I heard were from a kind, gentle, and loving soul.

While I may not have interacted with you as often as many did, dearest Gilbert, thank you for championing me and being a loyal, steadfast, sometimes hard-nosed, elegant, curious, beautiful and stable presence in my life - and thanks for making this kid from South Carolina feel like he truly mattered in the world.

Bows, or "The Way We Speak"

2009-11-23T14:34:00.000-08:00

In a March, 2009 interview with Laurie Niles of violinist.com, soloist James Ehnes recalls many of the facets of his career, including the search for a fine instrument and his studies. During this interview Mr. Ehnes shares a story in which someone complimented him on his bow grip and asked the questions "Who taught you? What happened?"

The answer was quite simple - Mr. Ehnes was playing on a much better bow than he had been ten years ago when the person questioning had originally heard him in concert.

While a student at the Shepherd School of Music many of us were in the process of acquiring better equipment, and I very fondly remember one student saying "It's amazing, you spend so much time practicing, doing what your teacher says and learning the technique, and then BOOM! You get a better bow, and it all makes sense, there's no more struggle, just application." I have found this to be true on many occasions during my search for a good stick, and the past weeks events have not only confirmed both Mr. Ehnes' and my former colleague's thoughts.

Last week I took an audition - as I have been coming to Knoxville, Tennessee often since March 2008 due to my work with Carpetbag Theatre, I thought it wise to take the audition being held for section positions with the Knoxville Symphony Orchestra. The week before this audition I had the good fortune to spend a week with a dear friend, also a Shepherd School alum, during which she graciously let me play with her violin and bow. Playing on a fine instrument like hers did indeed make a difference in how I approached sound production for the remainder of my practice period: with an instrument like that, there is no need to force. What one does is simply "find the sound". Her bow, a fine modern French bow, was made by a maker whose work I have tried before, and it was much the same - less "effort" and more attention to the quality of the strokes and the sound being produced.

The audition results - well, those aren't important. What IS important is that immediately after this audition I went to a violin shop and asked to see some of their inventory. Seven bows and about one hour (that FLEW by) later, I found one that is truly making a difference, a bow made by German bowmaker Sebastian Dirr.

Of course, the next questions are being asked: "How do I afford this? Will I spend this much time practicing, away from family and friends, and am I willing to spend the amount of time it may take to work and earn the funds necessary to purchase this? Is the violin playing the most important thing?"

There are so many stories about violinists and instruments, and the question of cost: In his Violin Dreams, Arnold Steinhardt speaks of acquiring an instrument after being hired by the Cleveland Orchestra and being somewhat shocked at the price. Nigel Kennedy also speaks of the soaring cost of instruments in his autobiography, also suggesting many ideas for bridging investors and musicians together so that these costs can be borne.

The question, though, should not be of the cost, but rather on the worth, the value of making such an investment. As I ponder - and enjoy practicing - this bow I find myself incredibly grateful for all who have spoken of the cost/value/worth conundurm and truly thankful for Mr. Ehnes' candor.

In the meantime, does anyone have any ideas on how to go about making this purchase?

The metronome ticks,
Sam

NEW MUSIC POSTED!!

2009-10-24T01:22:00.001-07:00

Excerpts from a 2007 recital at the University of South Carolina School of Music available for your listening pleasure!!

Bach: Sonata in G Minor, BWV 1001 - Adagio
Ysaye: Sonata in A Minor, Op. 27, No. 2 - "Les Furies"

The Ghosts - and Ysaye

2009-10-12T11:00:00.000-07:00

Funny, it seems that this writer is not actually keeping up with his 'responsibilities' as a writer, but it's been quite the time - part of which included a performance of the first movement of the Sonata in A Minor, Op. 27, No. 2 of Eugene Ysaye during Carpetbag Theatre's Fortieth Anniversary celebration in the Knoxville Botanical Gardens and Arboretum.

A few years ago I wrote about my first experiences with the Ysaye Sonatas and did find myself once again confronting the "ghosts" in the room while preparing for this performance. Those ghosts of course include Ysaye himself and memories of the many performances of these works that I have heard, but also included memories of my past performances as well as lessons on music and musicmaking that have taken place over many years.

The lessons that remained prominent this time included one of my first with Mr. Goldsmith, during which he said "Musicmaking is not a run-on sentence." So true - even in a movement that at first may seem to be a perpertual motion one must take time to breathe, take time to create silence, end phrases, tell the story. This is one of the premises behind Daniel Helfgot's The Third Line: analysis for performance must include real thought into the energy and direction of the music.

It is easy, of course, for many of us to become overwhelmed when faced with a work of such importance, and that overwhelm can result in a very superficial, cursory reading, but this time I did indeed want to go deeper....I think I did. Of course, it would be difficult to put all of this into words, but I find myself deeply grateful for all of the lessons, performances, books and lectures - all of the spirits who visited during this past week - for helping me begin to bring musical thought and action to life, to get past technique and into making music and hopefully honoring Ysaye's intentions as put to paper in 1924.

Until next time,
Sam

A New Year - a New Lease?

2009-09-30T15:26:00.001-07:00

While there is a very significant part of me that wishes that the title of this entry was a reference to having "set up house", that is still in the works.

My birthday was on September 27. It was a beautiful day, a very peaceful one that contained a rehearsal for upcoming performances with Carpetbag Theatre. What can I say - to start a new year with work is a great thing, and it's wonderful to have been blessed with having made it through another year on the planet!

It has been a busy time, and there will be more to write about very soon!

All best,
Sam

Michael Steinberg - revisited...

2009-09-12T23:47:00.000-07:00

While there are so many things that I have experienced about which I want to write, this one is somewhat difficult - perhaps the difficulty is the usual thought that someone may see this. Perhaps it comes from the thought that I am now about to write about a REAL writer, one of the most important musicologists of our century who was also one of my chamber music coaches during a summer at the International Festival-Institute at Round Top - a man who, along with Jorja Fleezanis, truly opened my eyes to the world of poetry and musical research while also inspiring so many of us with his openness to life, infectious curiosity and beautiful spirit?

I met Michael in 1999 at the Round Top Festival - during his three weeks on Festival Hill it was absolutely delightful to listen to him as he narrated Copland's "Lincoln Portrait" as well as to have a coaching on the Ravel String Quartet. It was also during that summer that I experienced what I can only call "creative happenings": Jorja and Michael reading poems about music and musicmaking (including a brilliant work that explored the nature of interpersonal intimacy while very strongly doing away with the question of the relationship that Johannes Brahms had with Clara Schumann, another that captured the gentle nature of playing pianissimo, and many by Alfred Brendel)on one day in the chapel, followed by a later afternoons featuring recordings of "Dead Violinists" and "Dead Tenors" - the latter two organized to open our eyes to the immense world of sound that we as musicians should understand.

While not having been able to spend as much time with Michael as I would have liked to from that summer until May of this year, it seemed that he was always "with me": after devouring his book The Concerto: A Listener's Guide in 1999 (I was learning the Elgar Violin Concerto at the time and had the great privilege to study it with Jorja during that first summer on the hill) I continuously found myself surprised when upon opening a new recording (or an old one - new to me) I would find his notes - Mahler symphonies, an EMI Great Pianists recording of Alfred Cortot - as well as read his notes in programs and see his other books in the Listener's Guide series as well as the collection of essays For The Love of Music. The greatest surprise came in 2008 when, on my last day in Toronto, I found the book of Alfred Brendel's poetry from which Michael read in 1999.

I did have an opportunity to spend some time with Michael this year. While our time was short - could it have been longer, could I have stayed? - it was truly humbling and inspiring to be in his company. While we tend to "idealize" many of those that we hold in high regard we must be remind ourselves of their humanity: upon talking with him about his future plans (which included two Mahler biographies?!) I was deeply impressed and inspired by his gracefulness and gentle nature - and reminded that while "life happens", it is how we respond to what life brings that shapes us.

"Life gives and life takes away...say yes to life." - James Baldwin

It is so important for us, when able, to spend time with those who came before and truly listen to their stories, to return the gift of attention that they have so willingly and freely given to us. Those that we regard as mentors, as well as those in our own families, have a wealth of love, knowledge and insight on all things to share, and as we grow into our lives and routines we too will find ourselves trading places - becoming the ones with insight who are sharing with the world. While I did not consciously think that my short time with Michael would be the last, I found myself and still remain so deeply grateful for having that beautiful moment with him.

I recently spoke with an old friend who although never having had the opportunity to meet him nevertheless found herself inspired by Michael's work while preparing a vocal recital: "I wanted my program notes to be like his - to take the reader on the journey with me," she said. Perhaps many of us have had that desire - honestly, I must say that his writing did indeed inspire me to keep going deeper, to find out more than "the lay of the notes" - and while I am indeed grateful for his example as it has informed both my research and my writing, there can only be one and I can only hope that my work both past and future will be infused with the knowledge of man, music and history that Michael shared with the world.

My issues aside: while I wish that I could write something as eloquent as Mark Swed's Los Angeles Times article, I can only say thank you, Michael, for giving the world the best of yourself and continuously keeping out minds, souls, ears and imaginations open through your work - which included serving as the world's program annotator and penning three books of musical essays that rival if not suprass the work of Donald Francis Tovey , and being the mentor and champion of hundreds of us who have continued in this wonderful, crazy world that we call the business of musicmaking.

May your soul rest peacefully as your spirit - through your priceless contributions to our world - live eternally.

More from the road,
Sam

Minnesota Public Radio
San Francisco Examiner
San Francisco Chronicle
Baltimore Sun

Memorial Days

2009-09-12T22:54:00.000-07:00

Well, by the time that many of you read this the day will be Sunday, September 13, 2009.

On Thursday of last week I found myself remembering September 11, 2001 - it seems somewhat ridiculous to chronicle the events of that morning, one that started with simply waking for work; however, I have to remember that I did not sleep the night before and consequently woke late. Oddly enough, while we as people tend to become incredibly focused on ourselves when experiencing the domino effect of losing time, I distinctly remember thinking that something was terribly, terribly wrong on that day: that the level of anxiety was a bit too high for that time of the morning.

That thought, of course, turned into shock/bewilderment/overwhelm/fright upon hearing someone mention the fourth plane and then say "Do you have any idea what's going on right now?!"

As I thought of that day this week, I found myself wanting to remain quiet - once again - and I did in the moments that allowed that type of reflection. On the other sides of those moments, "things to do, life going on"...but once again, on the night of September 10, I did not sleep - nor did I on the night of September 11, 2009. On those nights I was neither shocked nor frightened...but I did again have the feeling that something was amiss.

So, after a sleepless night I left for the gym at 7:30am. At around 7:45am I stopped, as there were flowers on a monument here in Knoxville. Taking the time to view the monument - and feeling somewhat embarrassed at the fact that I was, although having been in Knoxville a few times over the past two years, really looking at the monument for the first time - I saw that it was a memorial to those who had died. Many names on this little obelisk on Main Street, and at the base lay flowers and pictures - testaments to those connected to this city who lost their lives on that day.

There are many thoughts, of course - some that I wish not to share - but I can only hope that in the days and years to come that I (and all of us) not only take the time to remember, but also to examine ourselves objectively while continuing to move forward in peace - and vigilance...and I find myself grateful for having been reminded that while life does indeed go on, it is vitally important for us as humans to honor our inner leanings at times of reflection.

The Complete Musician: Daniel Helfgot's The Third Line

2009-09-07T22:32:00.000-07:00

As we all prepare for seasons to start, I am grateful for having a few moments to catch up on writing - it has been somewhat difficult to keep up this summer, with having traveled many miles and the necessity of keeping my head down. Of course, as time passes, insights and thoughts may grow stale; nevertheless, I can only hope that what I write here reflects what has been brewing inside for the months that have passed.

During this summer's Utah Festival Opera season I had the pleasure to attend a master class taught by opera and stage director Daniel Helfgot. Currently living in California, Mr. Helfgot has directed over 150 opera productions ranging from the Baroque to the modern, including several world premieres. I was incredibly impressed with his teaching this summer, as he focused on each artist's complete performance as opposed to centering on elements of vocal technique. Upon speaking to Barbara Day Turner (and, coincidentally, one of my roommates), I found that Mr. Helfgot had written a book titled The Third Line: The Singer as Interpreter.

Having been taught to be a complete musician by my teachers and coaches, I was nevertheless excited to get a copy of Mr. Helfgot's book, and while I have not finished reading it I find myself wanting to say that what I have read is some of the most thorough and insightful writing on maintaining a performing career that I have encountered. While primarily written for vocalists, there are many sections in this book that can be applied to anyone in the performing arts, specifically the chapters on auditions, competitions and recitals. I will, over the next few weeks and months, write more of my observations on Mr. Helfgot's text - and have to say that his work most definitely fits into the concept of "The Unbroken Line" that is explored in Constantin Stanislavski's An Actor Prepares.

Four Years Later

2009-08-31T21:30:00.000-07:00

Well...it's been a strange weekend and last week was somewhat odd, as I did feel a bit unsettled, as if I were forgetting something. Ironically, it was slipping my mind that the fourth "anniversary" of Katrina was looming. So, I called a few people who have all made it a point of checking in with each other on a regular basis since the storm and mass evacuation/relocation.

It seems that many people are simply focusing on the present moment while planning their futures, futures which include starting new jobs, new creative ventures, cross-country relocation, and all things "normal". Yes, it seems that life has, for the most part, gone back to normal...whatever normal may be.

Myself - I practiced, then went to the gym for a very long workout.

It is difficult to think of what a "standard" response should be upon remembering - after all, were not hundreds of thousands (if not millions) of people directly affected, and have we not all worked tirelessly to rebuild our lives in some fashion, to make sense out of chaos?

Myself - sometimes I get tired. Existential fatigue...

This year, however, weariness was replaced with moments of quiet contemplation as I walked across Knoxville's Gay Street bridge, evening sunlight dancing atop the Tennessee River, realizing that we are indeed a part of something so much larger than ourselves - a continuum of life, if I may?

It has been interesting reconnecting with some of the Europeans that I rode out the storm with, and particularly with those who in essence saved me. They're all well - it seems that we all had the same moment this weekend...quietly reflecting on that odd moment in time as if relates to the continuum of life...

...more soon,
Sam

Free-Floating, Free-Falling Shapes with Heather Maloney

2009-08-17T16:11:00.000-07:00

"Would you like to go downstairs and hear the piece?"

"No," she said confidently. "I'm going to improv."

This exchange took place last Friday night at the Alternate ROOTS Annual Meeting during that evening's Late Night/Open Mic sessions. I had decided to play Tom Benjamin's Shapes, for Violin Solo (1975) and, well, was given a gift.

Heather Maloney is a dancer and choreographer whom I met in December 2008 at the National Performance Network Annual Meeting - but the world being as it is, I first heard of her and saw her work in February 2000 at the New World School of the Arts in Miami, Florida. Her work is (to say the least) innovative and quite thought-provoking, with her choreographic language being characterized by an almost frenetic use of gesture and intense, focused physicality. I must say that it was quite the surprise to have found out that she was going to be in Seattle as I had wanted to meet her since first seeing her onstage in 2000...life does what it's going to do, no?

SO...while chatting during breaks in the evening at ROOTS that consisted of some amazing readings of poetry and other performances, Heather asked if I was playing - and then asked if I would like her to dance...and you've read the conversation. I must laugh at myself: so intent on being thorough with my practicing and musicmaking, making sure that my ideas are clear, I found myself a bit taken aback by the idea of going on stage in "free-fall" mode, let alone with one of the most fascinating choreographers that I've met. Of course, I have wanted to collaborate with dancers for quite some time, so I said yes.

What I HAVE realized, however - but not as profoundly until last Friday night - that Shapes, with its vertcial and horizontal motives, exploration of the violin and all of its sonic capabilities, and well-places breathing spots, SHOULD sound as if it is being "made on the spot", violinist and audience both waiting for the next sentence, phrase, or sound with heightened expectation.

While waiting - we were soon to perform (the number of performers on this night, one of the last, was near thirty!), we were joined by Hope Clark, who simply said yes, and jumped in.

The violinist stood silently, he breathed, and put bow to string, playing the first gesture. Movement took place in front of him - and while I did not see ALL of it, I have to say that what I DID witness (looking down while playing) was just as it should have been - but nothing that I had ever imagined or seen before....

....guess sometimes we just have to trust, let go, and dive in...I think there's video of this one...

More from this summer very soon - the lazy blogger has to get caught up,
Sam

Michael Steinberg

2009-07-27T12:03:00.000-07:00

And we're back...

2009-07-13T07:24:00.000-07:00

WOW! Realizing that I have not written in quite some time, and did not write all that I wanted to about the Tafelmusik Baroque Summer Institute - perhaps that's a good thing as I was very busy during those weeks...but now, three weeks after a forty-eight hour turnaround that involved lots of packing and two weeks of rehearsals and opening nights, I'm here again, with much to come....it does, however, feel somewhat "right" to start with this...

Again, it may seem odd to reference high-energy beats when talking about an opera, but magic happened during the final dress rehearsals of "Cavalleria Rusticana/Pagliacci" at this year's Utah Festival Opera. From the first note, I think that we were all truly reminded of why we make music - there was a level of excitement and anticipation in the theater that I have not felt in a while and of course, once one experiences that, one wants to stay in that place....

...more on this summer in the next few days, including some words on the Tafelmusik Institute...but until then, some more magic...

It's All the Same..."The Simplicity of Playing the Violin"

2009-06-09T10:26:00.000-07:00

There is a fairly famous story about a young violinist who studied with one of the world's noted pedagogues that chronicles the violinist's first semester of lessons with his new teacher. Apparently, every week the student would go in with loads of repertoire, asking the teacher what he would like to hear. The teacher's response: "Kreutzer 2, quarter bows, each note at 40 on the metronome."

I'm sure that we have all felt this or experienced this in some way, and all that I can say now is "Hello, I'm Samuel Thompson, I'm 38 years old and have played concerts all over the United States - and still have very strange problems with my bow arm."

Today I had my first private lesson at the Tafelmusik Baroque Summer Institute. During this lesson, violinist Christina Zacharias was incredibly gracious and encouraging - and THOROUGH - while going through the paces of "building a better bow arm." I have to laugh a bit as the exercises that she used, although with a baroque bow (as baroque and 'early' music are the focuses of this particular course), are the SAME that I did years ago with Kenneth Goldsmith while a student at Rice University and also while studying with Marina Brubaker for a year in Houston.

Yes, it's all the same...and oddly, I'm finding myself feeling more encouraged and ready to "do the work" than feeling "hopeless", as I and I'm sure many of us have upon encountering going back to square one. So..."Hi, I'm Sam - and I have a problem with my bow arm."

Class: "Hello, Sam."

Perhaps we should start a twelve-step group of some kind for those of us who are older and still focusing on "fixing the problem". =)

More soon - orchestra rehearsal is soon and I want to spend some time in front of the mirror...

Sam

Toronto - and Tafelmusik

2009-06-08T06:47:00.000-07:00

Why this entry starts with a bit of house music may be a question....on Saturday, the third day of this workshop, I left a chamber music rehearsal and followed the sounds of some amazing African drumming - which came from Queen's Park, one block away from the University of Toronto's Faculty of Music. Stumbling upon a small international drumming festival - complete with Orisha music being played onstage - I realized that this is definitely an exciting time to be in Toronto, with many things happening including the Luminato Festival and the Tafelmusik Baroque Summer Institute.

Now into day five of the Institute, I do find myself fascinated, amazed, inspired, and of course, humbled - the latter not only because I'm here and because of having received such generous support from both the Haight Bursary Fund and the Alternate ROOTS Artistic Assistance Program, which is made possible by funds from the Ford Foundation, but also because I am now truly becoming aware of the extent of Tafelmusik's reach across the globe and the growing number of musicians who are actively studying Baroque performance practice worldwide. Students have come to this institute from the United States, Canada (of course), Puerto Rico, Honduras, and Russia (and I was just told that there has been a Baroque performance program at the Moscow Conservatory for the past fifteen years).

There is a LOT of work to be done on my end: while I was aware of that before coming here I do have to say that playing with neither a chinrest or a shoulder rest is definitely a challenge; however, what I'm discovering is that to play without these devices one has to be very aware of one's body, and very "free" (that freedom meaning not falling into the physical traps that can, should one not be aware of one's physical apparatus, come with modern violin playing).

Nevertheless, while dealing with those challenges I have to say that I do feel that I've done the right thing by coming here for these two weeks.

On Friday night we were able to attend a concert by the Tafelmusik Baroque Orchestra, tenor Rufus Muller and soprano Ann Monoyios. This concert took place at Trinity-St. Paul's Centre, an historic church in the Annex neighborhood of Toronto, and while it was indeed enlightening and fantastic, I have to say that I was incredibly impressed by the fact that there was a line at the door for this one - a line that went back about two city blocks on each side...

More from the road,
Sam

Tafelmusik Baroque Performance Seminar

2009-05-29T16:03:00.000-07:00

Well...I will be heading north again next week, to Toronto, to attend the Tafelmusik Baroque Performance Institute, which takes place from June 4-17 on the campus of the University of Toronto. Attendance at this workshop is made possible through grants from both the Haight Bursary Fund and the Alternate ROOTS Artistic Assistance Program, which is made possible by funds from the Ford Foundation.

Having played programs of works for unaccompanied violin over the past three years and written about solo Bach works for Strings Magazine, I am humbled to have received these awards and very excited to have an opportunity to learn Baroque performance practice from one of the most important organizations working in this genre.

More from the road,
Sam

Humanity - and the End of an Era

2009-05-01T02:42:00.000-07:00

"A crossroads of maestros and tyros, the venerable Joseph Patelson Music House in Manhattan has been like a living room for the classical music world.

For more than six decades its shelves bulged with the fruit of Mozart and Bach, Stravinsky and Strauss, to be plucked by shoppers who wore its wooden floors black and sought counsel from expert and sometimes cantankerous sales clerks.

Yes, you know it is coming: Goodbye, Patelson’s."
-Daniel J. Wakin, New York Times

Yes, it was from this article in the New York Times that I and many in the world found out that Patelson's Music House was closing its doors.

I have been to Patelson's only twice - an odd thing to many, I'm sure, considering that I AM a classical musician, but I studied at Rice University in Houston and my trips to New York were rare. It was in 1995 that first traveled to the city with violin in hand (for my Mannes College of Music audition - grad school auditions, those were the days, no?) and it was during that trip that I ventured into Patelson's Music House and bought Bartok's Second Violin Concerto.

My second visit to Patelson's was yesterday.

A friend and I went into the city with the intention of filling holes in our respective music collections. This was simple for me: a few orchestral parts and perhaps some chamber music and other things that I absolutely need. Choosing those things was easy - it was deciding which small composer prints to purchase that became difficult!

"At the store the atmosphere is sad and lonely. The holdings are a shadow of what they once were. On the wooden shelves heavy cardboard dividers with composer and work names written neatly in felt-tip pen line up with little music between them."

Although written two weeks ago, Mr. Wakin's description of the store is more than accurate - the place is bare. Apparently the plan is that the store will remain open until either all or most of the remaining inventory is gone, there is no set final date.

While I was happy to have had the opportunity to replace some things (yes, it's still going on), I had a very strange feeling during the entire visit, and I shared it with one of the salespeople: "I kind of feel like I'm looting," I said as I placed my small stack of violin parts from Beethoven and Brahms symphonies on the counter.

There were conversations with other patrons as well as the salespeople - the two men working yesterday seemed to be handling this transition with grace, preparing themselves for new ventures as we all have at times. A piano teacher (who looked conspicuously like a long-lost relative) and I spoke about the remaining retail options for buying sheet music and supplies in the city. Nevertheless, while everyone was in good spirits there was a sadness in the air, a reminder of the ephemeral nature of this life.

During that first trip to Manhattan in 1995, I found myself feeling oddly protective of a half-eaten bagel while on the subway when, during the ride, a homeless person came into the car asking for assistance. I'm somewhat ashamed to admit this, as well as to share my thoughts from that moment ("His backpack is in better shape than mine", I thought as the man moved slowly and desperately through the crowded subway car in 1995).

Fourteen years later - after a few profound changes in my own life, including Hurricane Katrina and these years that have followed - I can only hope that I'm a bit more human and compassionate. While walking back to Grand Central Station my friend and I passed a homeless man on Fifth Avenue. Unlike the man on the subway fourteen years ago, this man sat on the corner, sign in his lap, saying nothing - and the world passed him by, pretending not to see.

I went back to share what I had - I do wish that it could have been more - and took his hand...

...I think he smiled. At least his eyes did...

More from the road,
Sam

Captured on Canvas

2009-04-26T22:21:00.000-07:00

In August 2009 I had the pleasure of doing a photo session with Yvonne Rabdau, a photographer/visual artist who lives in the Hudson Valley. I met Yvonne in 2007 shortly after playing the Mendelssohn Concerto with the Cortlandt Chamber Orchestra, and she proposed the shoot in 2008 - her intention being to create an oil portrait from the photos.

Three hours of free-floating shooting passed on a Sunday afternoon, and the painting was just completed! Hope that you like it!

More from the road,
Sam

Masochism - or Health?

2009-04-18T04:24:00.000-07:00

In the November 2002 edition of Strings Magazine, violin soloist Nikolaj Znaider speaks of his "idealistic pursuit of artistic merit":

"I think we as instrumentalists, in a certain masochistic way, enjoy the practicing, the slaving over details, the scales, the relentless scales and exercises," Znaider explains.

The definition of "masochist" being "someone who obtains pleasure from receiving punishment", I wonder - DO we as violinists, when practicing hours of Ševčík, Kreutzer and Flesch, feel that there is some strange, almost sick pleasure in a routine that can seem punishing, dreadful in a way? Or do we accept that a steady diet of these things does indeed contribute to our continued technical and musical health?

Hard for me to answer this one - but I have to say that over the past few weeks I have been on a steady diet of Ševčík, and feel much "healthier" because of it. Then again, this is no mean price to pay...

...off to Philadelphia today, where I will be hearing the Philadelphia Orchestra live for the first time...

Sam

Post-Script

2009-04-13T02:41:00.000-07:00

In the days following the publication of Mr. Dobrin's Philadelphia Inquirer article, there were many responses written by people in the industry. While I do not consider myself to be as knowledgeable as many, I did write the commentary below and received some pretty interesting responses at www.violinist.com - as well as a wonderful new connection. More about that later...

....the two commentaries that have been the most informative as well as the most thoughtful have come from very well-known and extremely knowledgeable men in the orchestral world. The first is by Drew McManus - orchestral consultant and author of Adaptistration.com - and the second, which I have to quote here, is by violist Sam Bergman of the Minnesota Orchestra:

"Such articles usually contain a lot of scary but isolated numbers (an orchestra CEO who makes $1 million a year!! a stagehand who makes north of $400K!!! a newly minted orchestra musician right out of school making $130K!!!!) designed to drive home the idea that orchestral finance is completely out of control, thus relieving the author of actually having to prove his thesis with real economic data that applies across the broader industry."

"So taken in a broader context, pronouncements of the unsustainability of our business model (and if history is any guide, there will be many more of these in the coming months) are more or less entirely contradicted by the self-evident ability of most orchestras to adapt to changes in our specific economies. The headlines trumpeting layoffs and salary givebacks aren't evidence of the failure of a business model. They're a demonstration of how the model bends without breaking."

Mr. Bergman's entire article can be found through this link. Enjoy, and please share your thoughts.

Back from the Abyss, and Back to the Meaning

2009-04-10T06:53:00.000-07:00

Hello, all - I'm back. The past few weeks have consisted of much practicing and much WRITING, but not writing of this sort: it's both tax time and grantwriting time, and while I am one of the many that is still working on his 2008 IRS 1040s I did, after a forty-eight hour lockdown (that consisted of slaying some personal dragons as well as many takes of Bach and Ysaye), get a grant application out before the deadline. While I have done this before, I have to say that I now have an even deeper respect for those who work in Development and fundraising for our arts organizations. Thank you all so much for doing what you do!

In a recent article in the Philadelphia Enquirer, Peter Dobrin speaks of the state of America's orchestras and the (if I may) draconian measures being taken to survive the economic downturn. For those who are unaware, many orchestras are cancelling tours, laying off employees in administrative positions, freezing salaries, shortening both summer seasons and the number of concerts to be given during the 2009-2010 season - and many music directors are taking salary cuts. While this has happened before (in an earlier blog I mentioned the cataclysmic period between 2001-2003), this round of "chopping" is sounding greater alarms due to the fact that these measures are being taken by large cultural institutions including the Cleveland Orchestra, Philadelphia Orchestra, Minnesota Orchestra, Pittsburgh Symphony, Atlanta Symphony and the Metropolitan Opera.

In his article, Mr. Dobrin does make a very valid point, that being that both business and artistic plans across the nation were based on market speculation - we can all look at the years between 1996-2008 to see some of the amazing growth and expansion that has taken place in the United States. However, with the stock market shrinking, many endowments have lost up to half of their value, which of course creates problems when interest from those endowments is allocated for operations costs.

However, Mr. Dobrin takes a very disturbing turn in his article when he begins to speak of some of the salaries earned by top orchestral executives and the musicians who make up the membership of these orchestras. "Is it really a good thing that Deborah Borda, president of the Los Angeles Philharmonic Association, made well over $1 million for the year that ended in September 2007? Or that a hornist in the New York Philharmonic made $300,000, an oboe player in the Philadelphia Orchestra $249,000?" he asks.

He then speaks of the fees commanded by international soloists and follows with: "Then there's the regular payroll. When a hundred or more applicants audition for a section violin spot, is it necessary to offer a starting salary of $130,000 for a player just out of school? Would the same audition draw less stellar talent if the job were offering, say, $80,000 the first year on a multiyear schedule to reach $130,000 in some year thereafter?"

My first argument with Mr. Dobrin is that in listing these salaries he is in effect ignoring the reality of most musicians and most orchestral musicians in the United States, as very few orchestras in this country provide those salaries. Secondly, speaking of these salaries does a great disservice to the public's perception of all musicians, particularly those who perform in two or more groups - which is, I think, the case with the majority of classical musicians in the United States.

There have, for years, been many who have predicted "the death of America's orchestras", and it always seems that in tremulous economic times - the tremors ranging from a contract negotiation to the seismic shocks being experienced today - that the question of orchestral musicians' salaries is raised alongside the dubious statement that while orchestras and arts institutions should be "run like businesses" they cannot be because they do not "produce anything".

Is it not safe to say that the aforementioned "philosophies" are moot, considering what we have seen take place in the "productive" business sector since 2001 (Tyco, WorldCom, Enron, AIG, Merrill-Lynch, Bank of America, Countrywide, et cetera ad nauseum)?

*sigh* *exhale*

I must ask your forgiveness - believe you me, I am WELL aware (painfully aware) of what's happening in this country and how arts organizations and artists are being affected. It's almost frightening. However, if the conversations continue to consist of questioning the cost of what we do, the VALUE of what we produce will continue to be maligned and that could result in great loss - particularly if the world's economic situation take an even sharper nose dive.
And what IS the value of a symphony orchestra, a soloist, an art museum, a ballet company, a theatre company? How do you measure that?

That value is something that cannot be measured in dollars and cents: it can only be measured by the soul and the senses - and with that, I share with you a clip from the 1939 movie They Shall Have Music, during which an audience (including a young man who would for all purposes be called a "troubled child") listens intently to a performance of Saint-Saens' Introduction and Rondo Capriccioso played by Jascha Heifetz.

"It's a MOVIE! They're ACTING!" you may say. Regardless - we as artists and everyone who has attended a concert has had the experience that makes itself visible on the faces of those in that audience - and the value of those transcendent experiences should NEVER be questioned in terms of "pocket change".

More from the road,
Sam

Coming Soon to a Blogosphere Near You!

2009-04-08T12:46:00.000-07:00

Please forgive me - there has been much to "tend to" since posting the last entry, including taxes...like springtime, they will come...

...thanks for staying tuned in. There's much coming, as there has been much to read and about which to write!

Fractured Atlas Blog : Featured Member: Samuel Thompson

2009-03-26T12:34:00.001-07:00

Fractured Atlas Blog : Featured Member: Samuel Thompson

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From the Vaults: Excerpts from Brahms and David Diamond

2009-03-24T22:57:00.001-07:00

Brahms: Sonata in D Minor, Op. 108
David Diamond: Chaccone for Violin and Piano (1948)

Samuel Thompson, violin
John Enis, piano

March 1994
Seretean Center for the Performing Arts
Oklahoma State University

I have to say quite candidly that a big part of any recovery includes - besides the basics of "home,food and shelter" - a true excavation of the authentic self. That of course means different things for different people, and for me it has meant "getting on with some things" that had been postponed or put aside.

During the past few weeks I have had the great opportunity to listen to some old recital recordings, and while I had wanted to convert them to CD for some years, the task is being completed. It's always enlightening to hear one's self at different stages: it is only from the journals of all kinds that we keep that we can see our growth - or even realize that some things have stayed the same and will always require work and attention.

This time of "reflection" has been joyous in many ways, one of them being that on one of the old tapes I heard "Bravi due!" shouted at the end of a degree recital preview by the late Raphael Fliegel, the former concertmaster of the Houston Symphony who taught violin and orchestral repertoire at the Shepherd School of Music until his death in 2005. What can I say - I cried, and still find myself teary-eyed upon remembering the tremendous love and encouragement that he showered upon all of us even after we graduated and started careers....

...enlightening, of course, as we do tend to listen to recordings and "judge ourselves"...

...surprising, as - well, this is not meant to be the "Sam glorifying himself" page, but I nevertheless invite you to listen to the excerpts from both the Brahms Sonata and especially to a very tender section of David Diamond's 1948 Chaccone for Violin and Piano, both of which I played with Dr. John Enis.

Enjoy,
Sam

Thank You

2009-03-19T11:11:00.000-07:00

Thank you all both for visiting my profile and voting during the Baker Artist Award contest. Voting ended in February and while I have been quite busy since then I have also been waiting with great anticipation. The winners will be announced March 25, 2009 at 7:30 on Maryland Public Television's MPT Artworks.

While I must apologize for not having written about these awards sooner, I am again incredibly grateful to all who took the time to visit my profile on the Baker Artist Award website and cast a vote!

More from the road, and thanks again,
Sam

Flying Home

2009-03-15T01:02:00.000-07:00

This is being written from Knoxville, Tennessee at 4:03am Eastern Standard Time. I find myself feeling fortunate as I prepare for this trip back to the Hudson Valley, as I again found myself in the midst of a travel snafu - the second one this month. The last one found me in the Dallas/Fort Worth International Airport for thirteen hours, that being followed by spending the night in the Thurgood Marshall Baltimore/Washington International Airport.

THIS one, however, turned out much differently - after being bumped from an overbooked flight I was treated with such amazing service by Northwest Airlines, service including a rerouting into Newark International Airport and a hotel voucher. Considering that I was in awe of the view of the Tennessee River upon flying in and some amazing fog on the mountaintops later in the week, perhaps this was the perfect ending to what was a very intense yet fulfilling short trip.

The past 2 1/2 months have been full: while working on many other projects (including recording), I played with the Tulsa Opera in February and went home for a week before flying here for our tenth performance of Between A Ballad and a Blues. What can I say about this last performance? There were many wonderful things, and I was reminded of WHY live theatre is what it is: while we do aim for consistency as performers, Constantin Stanislavski does remind us how to keep those performances ALIVE through the techniques he espouses in the book An Actor Prepares.

Should you get an opportunity to see this production in the future, please do so. I say that not because I'm in both the band and the cast (the latter as Blind Roland Martin, complete with sunglasses while walking across a stage playing fiddle tunes), but because of the level of commitment and authenticity brought to the stage by my colleagues - particularly Linda Upton Hill, Kelle Jolle, Starr Releford, Brandon Bell and Bert Tanner.

For this performance - one that took place in LaFollette, Tennessee (the home of Howard Armstrong) - we had the most amazing sound engineers! Talk about perspective expanding! There have been many times during the past four years that I have found myself looking out with a new perspective...this time, I had to pause. Here I am, ten years after having received the Master of Music degree from one of these conservatories, and I come across two guys who simply say "We just want to do the best job that we can for this show", who find such pride in their work and the equipment that they used (much of which - all of which - I cannot remember, but WHAT a great system!), and never showed the signs of being tired, frustrated, or dissatisfied. Refreshing, no?

Tomorrow - well, in just a few hours, I fly home...but once again find myself feeling humbled and grateful to have shared in creation, and I sincerely hope that I can keep that perspective in the days and years to come.

Twenty-Four Hours

2009-02-07T22:39:00.000-08:00

Deadlines approach and today was the first day in quite some time that I actually found myself succumbing to some twenty-four hour bug. WEIRD!

During both undergraduate and graduate school I would consciously take a "day away" when I found myself feeling either overwhelmed or operating at less than 100%. The "day away" usually consisted of staying at home and really conserving physical energy, and while it may sound like I was at those times being lazy I wasn't: in fact, the days immediately following the "day away" were usually quite productive.

How strange, though, that after many years of going "full throttle" I had to stop TODAY - as deadlines loom and flight days come closer? What can I say? Yesterday I felt something in my throat, so I drank a homemade remedy consisting of garlic, lemon juice, salt and water. It worked, yes - no more "throat tickles" - but today I woke with a tremendous headache and actually felt dizzy at one point. So, I went back to bed...and two hours later felt just fine.

There has been much study about these types of sudden illnesses, some of those studies concluding that sudden illnesses - at times of increased workloads - may be the way that people sabotage themselves. Of course, being sick, one can be secretly relieved that the pressure is off for at least a day, and if one is not in the right frame of mind to conquer the task that one faces then returning to that task will definitely be stressful, with the result probably being less than ideal. Having studied psychology, I did have to ask myself if I were indeed playing that game...and was quite happy to find that the answer was "No, I'm actually not well - disoriented, dizzy, feverish - and need to lie down. I can focus tomorrow, because I have been and I'm truly aware of what needs to be done...and I'm enjoying the work!"

So...the metronome ticks...and I look forward to Tuesday night.

Editing, Editing, Editing

2009-02-03T14:35:00.000-08:00

Well...the world has changed and continues to. Since Barack Obama's inauguration I have found myself torn: while it has been necessary to step back from the world and "focus on my own goings on", I have found myself wanting to pay attention to the changing situation both in the United States and throughout the world, as well as still experiencing a sense of wonder and disbelief. But the work continues, and I am for the moment at the home of a dear friend in the Hudson Valley, where I am editing recordings, making recordings, and taking stock of last year.

This process of editing, of course, never stops, and when one is submitting proposals and audition recordings one has to make sure that what one sends to the adjudicators is indeed the best that one has to offer. Right now, I'm listening to a chamber music recording made in 2007 and asking myself, "Can I send this?"

Will those listening judge me because of the level of performance exhibited by the entire ensemble, or will they, being knowledgeable of this repertoire, truly listen to the violinist that is being considered?

I do understand that we have to embrace risk, and I also understand that sometimes we have to send what we have. Of course, listening to this after so much time I am reminded that I DID spend a great deal of time preparing for this particular performance, and that the audience reaction (both to the piece being performed and specifically to my playing) was overwhelmingly positive. Nevertheless, I have to question, "In total, is this the best that I have to offer as a representation of my work?"

The process of preparing for a performance, giving a performance, evaluating one's work while also moving forward, is no small one - and I'm once again finding that this can be quite daunting; however, this feeling of "overwhelm" is not coming from my ego...guess I'm in quite the different place than in years past...

Meanwhile, the metronome ticks...

A New Day

2009-01-20T11:24:00.001-08:00

While I did wake this morning thinking of things to write...I can only post...

More from the road,
Sam
_____________________________________________________________________________________
Text of President Barack Obama's inaugural address on Tuesday, as prepared for delivery and released by the Presidential Inaugural Committee.

OBAMA: "My fellow citizens:

I stand here today humbled by the task before us, grateful for the trust you have bestowed, mindful of the sacrifices borne by our ancestors. I thank President Bush for his service to our nation, as well as the generosity and cooperation he has shown throughout this transition.

Forty-four Americans have now taken the presidential oath. The words have been spoken during rising tides of prosperity and the still waters of peace. Yet, every so often the oath is taken amidst gathering clouds and raging storms. At these moments, America has carried on not simply because of the skill or vision of those in high office, but because we the people have remained faithful to the ideals of our forebears, and true to our founding documents.

So it has been. So it must be with this generation of Americans.

That we are in the midst of crisis is now well understood. Our nation is at war, against a far-reaching network of violence and hatred. Our economy is badly weakened, a consequence of greed and irresponsibility on the part of some, but also our collective failure to make hard choices and prepare the nation for a new age. Homes have been lost; jobs shed; businesses shuttered. Our health care is too costly; our schools fail too many; and each day brings further evidence that the ways we use energy strengthen our adversaries and threaten our planet.

These are the indicators of crisis, subject to data and statistics. Less measurable but no less profound is a sapping of confidence across our land — a nagging fear that America's decline is inevitable, and that the next generation must lower its sights.

Today I say to you that the challenges we face are real. They are serious and they are many. They will not be met easily or in a short span of time. But know this, America — they will be met.

On this day, we gather because we have chosen hope over fear, unity of purpose over conflict and discord.

On this day, we come to proclaim an end to the petty grievances and false promises, the recriminations and worn out dogmas, that for far too long have strangled our politics.

We remain a young nation, but in the words of Scripture, the time has come to set aside childish things. The time has come to reaffirm our enduring spirit; to choose our better history; to carry forward that precious gift, that noble idea, passed on from generation to generation: the God-given promise that all are equal, all are free and all deserve a chance to pursue their full measure of happiness.

In reaffirming the greatness of our nation, we understand that greatness is never a given. It must be earned. Our journey has never been one of shortcuts or settling for less. It has not been the path for the faint-hearted — for those who prefer leisure over work, or seek only the pleasures of riches and fame. Rather, it has been the risk-takers, the doers, the makers of things — some celebrated but more often men and women obscure in their labor, who have carried us up the long, rugged path towards prosperity and freedom.

For us, they packed up their few worldly possessions and traveled across oceans in search of a new life.

For us, they toiled in sweatshops and settled the West; endured the lash of the whip and plowed the hard earth.

For us, they fought and died, in places like Concord and Gettysburg; Normandy and Khe Sahn.

Time and again these men and women struggled and sacrificed and worked till their hands were raw so that we might live a better life. They saw America as bigger than the sum of our individual ambitions; greater than all the differences of birth or wealth or faction.

This is the journey we continue today. We remain the most prosperous, powerful nation on Earth. Our workers are no less productive than when this crisis began. Our minds are no less inventive, our goods and services no less needed than they were last week or last month or last year. Our capacity remains undiminished. But our time of standing pat, of protecting narrow interests and putting off unpleasant decisions — that time has surely passed. Starting today, we must pick ourselves up, dust ourselves off, and begin again the work of remaking America.

For everywhere we look, there is work to be done. The state of the economy calls for action, bold and swift, and we will act — not only to create new jobs, but to lay a new foundation for growth. We will build the roads and bridges, the electric grids and digital lines that feed our commerce and bind us together. We will restore science to its rightful place, and wield technology's wonders to raise health care's quality and lower its cost. We will harness the sun and the winds and the soil to fuel our cars and run our factories. And we will transform our schools and colleges and universities to meet the demands of a new age. All this we can do. All this we will do.

Now, there are some who question the scale of our ambitions — who suggest that our system cannot tolerate too many big plans. Their memories are short. For they have forgotten what this country has already done; what free men and women can achieve when imagination is joined to common purpose, and necessity to courage.

What the cynics fail to understand is that the ground has shifted beneath them — that the stale political arguments that have consumed us for so long no longer apply. The question we ask today is not whether our government is too big or too small, but whether it works — whether it helps families find jobs at a decent wage, care they can afford, a retirement that is dignified. Where the answer is yes, we intend to move forward. Where the answer is no, programs will end. Those of us who manage the public's dollars will be held to account — to spend wisely, reform bad habits, and do our business in the light of day — because only then can we restore the vital trust between a people and their government.

Nor is the question before us whether the market is a force for good or ill. Its power to generate wealth and expand freedom is unmatched, but this crisis has reminded us that without a watchful eye, the market can spin out of control — and that a nation cannot prosper long when it favors only the prosperous. The success of our economy has always depended not just on the size of our gross domestic product, but on the reach of our prosperity; on our ability to extend opportunity to every willing heart — not out of charity, but because it is the surest route to our common good.

As for our common defense, we reject as false the choice between our safety and our ideals. Our founding fathers ... our found fathers, faced with perils we can scarcely imagine, drafted a charter to assure the rule of law and the rights of man, a charter expanded by the blood of generations. Those ideals still light the world, and we will not give them up for expedience's sake. And so to all the other peoples and governments who are watching today, from the grandest capitals to the small village where my father was born: know that America is a friend of each nation and every man, woman, and child who seeks a future of peace and dignity, and that we are ready to lead once more.

Recall that earlier generations faced down fascism and communism not just with missiles and tanks, but with sturdy alliances and enduring convictions. They understood that our power alone cannot protect us, nor does it entitle us to do as we please. Instead, they knew that our power grows through its prudent use; our security emanates from the justness of our cause, the force of our example, the tempering qualities of humility and restraint.

We are the keepers of this legacy. Guided by these principles once more, we can meet those new threats that demand even greater effort — even greater cooperation and understanding between nations. We will begin to responsibly leave Iraq to its people, and forge a hard-earned peace in Afghanistan. With old friends and former foes, we will work tirelessly to lessen the nuclear threat, and roll back the specter of a warming planet. We will not apologize for our way of life, nor will we waver in its defense, and for those who seek to advance their aims by inducing terror and slaughtering innocents, we say to you now that our spirit is stronger and cannot be broken; you cannot outlast us, and we will defeat you.

For we know that our patchwork heritage is a strength, not a weakness. We are a nation of Christians and Muslims, Jews and Hindus — and non-believers. We are shaped by every language and culture, drawn from every end of this Earth; and because we have tasted the bitter swill of civil war and segregation, and emerged from that dark chapter stronger and more united, we cannot help but believe that the old hatreds shall someday pass; that the lines of tribe shall soon dissolve; that as the world grows smaller, our common humanity shall reveal itself; and that America must play its role in ushering in a new era of peace.

To the Muslim world, we seek a new way forward, based on mutual interest and mutual respect. To those leaders around the globe who seek to sow conflict, or blame their society's ills on the West — know that your people will judge you on what you can build, not what you destroy. To those who cling to power through corruption and deceit and the silencing of dissent, know that you are on the wrong side of history; but that we will extend a hand if you are willing to unclench your fist.

To the people of poor nations, we pledge to work alongside you to make your farms flourish and let clean waters flow; to nourish starved bodies and feed hungry minds. And to those nations like ours that enjoy relative plenty, we say we can no longer afford indifference to the suffering outside our borders; nor can we consume the world's resources without regard to effect. For the world has changed, and we must change with it.

As we consider the road that unfolds before us, we remember with humble gratitude those brave Americans who, at this very hour, patrol far-off deserts and distant mountains. They have something to tell us, just as the fallen heroes who lie in Arlington whisper through the ages. We honor them not only because they are guardians of our liberty, but because they embody the spirit of service; a willingness to find meaning in something greater than themselves. And yet, at this moment — a moment that will define a generation — it is precisely this spirit that must inhabit us all.

For as much as government can do and must do, it is ultimately the faith and determination of the American people upon which this nation relies. It is the kindness to take in a stranger when the levees break, the selflessness of workers who would rather cut their hours than see a friend lose their job which sees us through our darkest hours. It is the firefighter's courage to storm a stairway filled with smoke, but also a parent's willingness to nurture a child, that finally decides our fate.

Our challenges may be new. The instruments with which we meet them may be new. But those values upon which our success depends — hard work and honesty, courage and fair play, tolerance and curiosity, loyalty and patriotism — these things are old. These things are true. They have been the quiet force of progress throughout our history. What is demanded then is a return to these truths. What is required of us now is a new era of responsibility — a recognition, on the part of every American, that we have duties to ourselves, our nation, and the world, duties that we do not grudgingly accept but rather seize gladly, firm in the knowledge that there is nothing so satisfying to the spirit, so defining of our character, than giving our all to a difficult task.

This is the price and the promise of citizenship.

This is the source of our confidence — the knowledge that God calls on us to shape an uncertain destiny.

This is the meaning of our liberty and our creed — why men and women and children of every race and every faith can join in celebration across this magnificent Mall, and why a man whose father less than sixty years ago might not have been served at a local restaurant can now stand before you to take a most sacred oath.

So let us mark this day with remembrance, of who we are and how far we have traveled. In the year of America's birth, in the coldest of months, a small band of patriots huddled by dying campfires on the shores of an icy river. The capital was abandoned. The enemy was advancing. The snow was stained with blood. At a moment when the outcome of our revolution was most in doubt, the father of our nation ordered these words be read to the people:

"Let it be told to the future world ... that in the depth of winter, when nothing but hope and virtue could survive...that the city and the country, alarmed at one common danger, came forth to meet (it)."

America, in the face of our common dangers, in this winter of our hardship, let us remember these timeless words. With hope and virtue, let us brave once more the icy currents, and endure what storms may come. Let it be said by our children's children that when we were tested we refused to let this journey end, that we did not turn back nor did we falter; and with eyes fixed on the horizon and God's grace upon us, we carried forth that great gift of freedom and delivered it safely to future generations.

Thank you. God bless you. And God bless the United States of America."

Moving Forward During Uncertain Times

2009-01-15T13:58:00.000-08:00

Well...it has been incredibly shocking (to say the least) to watch the demise - hopefully short-term - of both the Baltimore Opera and recently the Baltimore Chamber Orchestra. As a freelance musician living in this region, I do have to say that it is not only distressing to see two important arts organizations face drastic reorganizations (as well as to know that many of my colleagues will be "scrambling" - if I may - to replace those sources of income), it makes me wonder, as we probably all are at this moment, how we will survive this downturn.

Granted, there have been many downturns, and organizations have had to shorten seasons as well as cancel their seasons (between 2001-2003 we witnessed the shutdowns of the Florida Philharmonic, Tulsa Philharmonic, San Antonio Symphony, and the Savannah Symphony Orchestra), with many of those organizations - particularly the San Antonio Symphony - going through a reorganization process and finding themselves standing in much better positions years later. One can also look to the Louisiana Philharmonic Orchestra and its continued rise after the devastation of Hurricane Katrina to see, as Michael Kaiser writes in The Art of the Turnaround, that "something miraculous has transpired."

While many of these stories do bring hope, perspective and inspiration, there are nevertheless troublesome times. As a performer as well as having worked in administration, I have wondered for years how organizations have both navigated and survived the reorganization process - luckily, there are now many articles available to the general public that can be shared. I invite you to read the following for some advice and perspectives.

Leaning Into The Punch
Adam Forest Huttler, Executive Director of Fractured Atlas
In this essay Mr. Huttler states that "This is not a time for caution, conservatism, or cost-cutting. On the contrary, we need bold, entrepreneurial efforts that strengthen the field and mitigate industry fallout from the economic crisis."

Back From the Brink
Chronicle of Philanthropy, October 2008
Excerpts from Michael M. Kaiser's The Art of the Turnaround, in which Mr. Kaiser "writes about his experiences reviving troubled arts organizations".

Managing in Tough Times: Seven Steps
The Bridgespan Group
November 11, 2008
Founded in 2000, the Bridgespan Group is a 501(c)(3) nonprofit that helps nonprofit and philanthropic leaders in the hard work of developing strategies and building organizations that inspire and accelerate social change.

Articles can also be found at the website of the National Performance Network.

As we all face these tremulous times while also looking forward to the changes that will take place in our world after the inauguration, I do hope that these articles will prove helpful to all.

And in other news...

2009 Baker Artist Award
In other news, I have recently been nominated for the Baker Artist Award! The Baker Artist Award consists of both the privately juried Mary Sawyers Baker Prize and the voter selected Baltimore's Choice. The process is designed to open the nominations to the broadest possible community participation using the Web. The William G. Baker, Jr. Memorial Fund intends the Baker Artist Awards website to be an ongoing exhibition, archive and definitive statement about Baltimore as a creative richness and vitality as place to live and community that values its individual artists.

To learn more about the Baker Artist Award, please visit their website at www.bakerartistawards.org.

Please take a minute to visit my profile on the Baker Artist Awards web site: http://www.bakerartistawards.org/nomination/view/samuelthompson. As a Baltimore artist, I am eligible to win either the significant Mary Sawyers Baker Prize or the voter-selected Baltimore’s Choice. Either way, please follow the link to cast your vote! Voting ends February 1, 2009.

More from the road,
Sam

2009 - The Zeitgeist

2009-01-10T14:34:00.000-08:00

Masters at Work featuring Vikter Duplaix: Reality (Osunlade Yoruba Soul Mix)

After finding this one I had to post it as it reminded me of Rha Goddess' speech during the closing ceremonies of the National Performance Network Annual Meeting, which ended with "Fasten your seatbelts...."

Of course, with the current world situation one could also think of Charles Dickens ("It was the best of times, it was the worst of times") as well as the Chinese symbol for crisis, which is also the symbol for opportunity. What has stayed with me during this transition is the thought that many have shared, that being that as things get choppier, we have to focus on maintaining excellence in everything that we do - and my very humble thanks go to my dear friend Willie Anthony Waters for reminding me of that fact.

More from Rajni Shah
This year has started with a very nice note from Rajni Shah, the creator of Dinner with America - "the second in a trilogy of performances addressing the complexities of cultural identity in the 21st century". Alongside a very successful tour of the United Kingdom, Rajni has published Dinner With America: Essays, Films, Images and Conversations, which is available through her website.

"All texts and images are designed to illuminate both the core and outlying ideas explored in the performance installation Dinner with America and gently explore the question 'What does 'America' mean to us today?' " With the nation - and indeed the world - facing huge changes, this is incredibly timely and I encourage all of you to purchase a copy!

2009 Baker Artist Award
In other news, I have recently been nominated for the Baker Artist Award! The Baker Artist Award consists of both the privately juried Mary Sawyers Baker Prize and the voter selected Baltimore's Choice. The process is designed to open the nominations to the broadest possible community participation using the Web. The William G. Baker, Jr. Memorial Fund intends the Baker Artist Awards website to be an ongoing exhibition, archive and definitive statement about Baltimore as a creative richness and vitality as place to live and community that values its individual artists.

To learn more about the Baker Artist Award, please visit their website at www.bakerartistawards.org.

Please take a minute to visit my profile on the Baker Artist Awards web site: http://www.bakerartistawards.org/nomination/view/samuelthompson. As a Baltimore artist, I am eligible to win either the significant Mary Sawyers Baker Prize or the voter-selected Baltimore’s Choice. Either way, please follow the link to cast your vote! Voting ends February 1, 2009.

For the Price of a CD...coming soon...

More from the road,
Sam

On The Holidays

2008-12-26T13:08:00.000-08:00

Well, here we are on December 26 - the stacks of brightly-wrapped packages have been opened, and the world has gone back to normal...for the most part.

While preparing for this week's celebrations - including visits to the grocery store to gather things for my first Noche Buena (courtesy of my Honduran roommate) - I caught myself stepping out of my frenzy upon realizing that this Christmas was indeed a special one, as it was to be the third Christmas since Hurricane Katrina.

Yes, three years - they have flown by, no?

Upon having this snap into the historical context of Christmas 2008, it seemed necessary to take some time to reflect on all that has transpired since that fateful and horrifying week - my, how life has changed in many ways! When I think about that week in relation to TODAY, I can only stand in gratitude and with an almost childlike sense of wonder - in some ways, I stand as Joseph Campbell described in The Power of Myth, as the only words that can be said are "Ah....Oh...." But what CAN one say?

Well...for all that has taken place, both personally and professionally, I stand humbled and grateful -

For all who like myself are still recovering in some form, I stand with compassion and encouragement -

- and although life will never be perfect, I have to say that this place on which I stand is a much more solid one than that of this time in 2005.

This, of course, is merely a snapshot of everything that has come into my consciousness upon looking at this place in time, and I look forward to taking time over the next few days to truly absorb the magnitude of all of this. Nevertheless, thank you all once again for the encouragement, thoughtfulness, and support both moral and spiritual. I am truly humbled to be a part of humanity.

With love, gratitude and best wishes for a fantastic 2009,
Sam

On the Convention...

2008-12-17T11:02:00.000-08:00

Well...after a day of rest I am back to work. The day of rest came after what was a very long travel day back to Baltimore from Seattle, where I went for the National Performance Network Annual Meeting to perform with the Carpetbag Theatre. Never having attended one of these events, I was indeed curious - as I have been for quite some time - and of course, being a performer on the "national stage" I did see the importance of bringing the best of myself to this situation.

The performance - a shortened version of "Between A Ballad and a Blues" - was a part of the weekend showcases that were held at Seattle's On The Boards, and the work was incredibly well received by the audience, which included presenters and artists from across the globe. Performances seen include short works by choreographer Heather Maloney; Dasha Kelly, founder and director of the Still Waters Collective; the multifaceted and joyful D'Lo; actress Allison Warden and the Tiptons Saxophone Quartet.

Of course, as this was a convention, there were many seminars: those that I chose to attend were "Presenting in the Twentieth Century", "Working and collaborating Internationally: A New Global Paradigm", and a fundraising workshop held by the Creative Capital Foundation. While there was LOTS of information given during these seminars I have to say that I am very happy to have had the opportunity to participate, as well as, energized, inspired and - yes - humbled. Of course, it will take some time to truly digest what I learned last week, but that will come as well.

It is strange having the thoughts that I am having about all of this, as conventional thinking tells us that once we understand ourselves that the task of taking one's self and that understanding into the world is a "piece of cake". Not so, I realized as at thirty-eight I heard panelists saying the same things that I have heard from other panels, mentors, teachers, and guides for quite some time: just be. Be who you are, trust yourself, focus on your craft, keep your eye on your path.

This, of course, was energizing - and it was inspiring to hear the voices of many who feel the same about many large issues that I do.

Nevertheless, it was also humbling, as I was also reminded that while we are out in the world, we must also keep an eye on ourselves - making sure that we indeed walk our talk.

With that, what can I say? Perhaps a part of embracing humility is to realize that we are all human, and ALL susceptible to the ways of human nature. Perhaps that realization is also the key to true spiritual growth as well as the true ownership of who we are - and from that ownership comes the ability to bravely take all of ourselves into the world.

I have no answers, of course - just some perspective as well as the hope that I will, from this day forward, continue to examine myself as I do the world and make sure that what I contribute is truly the best that I can offer to this planet in all ways.

Happy Holidays,
Sam

On The Road Again...

2008-12-09T01:44:00.001-08:00

"Whose bag is this?"

"It's mine, sir - my apologies."

After getting off the bus in downtown Baltimore at the stop which has served as my transfer point to the MTA Light Rail which takes me to the airport, I went into a 7-11 for the purpose of buying a coffee. While I was pleased to get a portable mug (with the first coffee purchase being free), I was quite surprised to be "questioned" by a Homeland Security officer - right in the middle of the city?! Yes, the world has changed...

...nevertheless, I am now in Seattle, Washington, where I will be performing at On The Boards with the Carpetbag Theatre Company. The first coast-to-coast flight that I've taken since 1999 - and to a city about which I have both heard and read much; however, this is most definitely a city that one should experience for one's self, as it is truly beautiful, sophisticated, clean, alive, and QUIET!

More from the road,
Sam

Back to Reality?

2008-11-28T10:27:00.001-08:00

They call this day Black Friday - why, I have no idea...save for the notion that the retailers can recoup many of the losses incurred this year.

I sincerely hope that yesterday was a wonderful day for everyone: that on that day of celebrating with friends, family and colleagues we all truly felt thankful. On Thanksgiving morning I found myself needing a moment of quietude before venturing out, and during that moment I found myself feeling deeply grateful and thankful for all that has been good, not only that which transpired between this time last year and now but for all: my family, teachers, people who have shared both moral and spiritual support, and family members who did not live to see this day.

Yesterday I wrote that my wish for all of us was that we hold that feeling of deep gratitude within and carry it every day - today I feel that I'm holding up my end of the bargain, even with reality calling as it does after our days of rest....

...and yesterday I did want to share something with all of you but seemed to lose my "technological edge" in the rush, so here it is - one of the most beautiful works written for the violin - if not period.

Happy Holidays!

More from the road,
Sam

Well...

2008-11-26T11:45:00.000-08:00

It is very strange to be here again, trying to write as SO much has taken place both within my life and within the world over the past very few weeks! What can one say?

The whirlwind has taken me first to St. Petersburg, Florida for performances with the Florida Orchestra - with the flight taking place on Election Day - and most recently to Durham, North Carolina for a performance of "Between Between A Ballad and a Blues" at the Hayti Heritage Center.

Now, however, as we flow into the holiday season, I find myself looking back, tracing all of the people and events that have led to this day. Of course, tomorrow is our traditional day for giving thanks and sharing with others, but this year I find myself not only feeling a deep sense of gratitude for all that is good: I sincerely hope that we can all share our feelings of gratitude every day, as (if I may - and please forgive me for sounding much like a greeting card) every day does contains aspects and moments for which we should be humbled and grateful....

...in my last blog I quoted the late Toni Cade Bambara and once again wish to refer to her: "English is a mercantile language - one not meant to express the interior life." Sometimes it is best not to go to the Thesarus...so I share this with you with many thanks, much gratitude, and best wishes for the holiday season.

More from the road,
Sam

For November 5, 2008...The Day After

2008-10-30T15:46:00.000-07:00

In the essay “The Education of a Storyteller” (which can be found in Deep Sightings and Rescue Missions, a posthumously published collection of short stories and essays by Ms. Bambara that was edited by Toni Morrison), the late Toni Cade Bambara chronicled her growth as a writer and, yes, a storyteller, beginning with lessons from school and including the responsibilities necessary for one to take on the role of speaker. What struck me most about this essay were two things, the first being a quote from philosopher Fritz Fanon: “To speak is to assume a culture and bear responsibility for a civilization.” The second – perhaps not as eloquently articulated to some – comes from one of her relatives: “Yeah, speak yo’ speak, child. For every silence you maintain will first become a lump in your throat and later become a lump in your lymphatic system.”

I mention this because I have, like many in recent weeks, been watching the details of this year’s presidential election and found myself surprised, humbled, grateful, and indeed outraged at what I have read. Of course, I have been incredibly pleased to read much of the commentary, including that by both Representative John Lewis and New York Times commentator Frank Rich, as well as both Colin Powell’s endorsement of Barack Obama and his reasons for doing so. Nevertheless, I have also been deeply disturbed by much of be unchallenged behavior going on across the land and was quite frightened – to say the least – upon hearing about the two young men who had hatched what can only be called the Election Day Massacre.

However, a recent conversation that I had with a friend – a dear friend whom I have known since starting my undergraduate studies in 1987 - has compelled me to organize my thoughts as well as possible and share them. I can only hope that both the situation and my thoughts surrounding said situation have been presented in a manner that all can understand.

During said conversation, my friend mentioned that he had recently had a conversation with a coworker who, upon speaking about the upcoming election, said “I’m still grappling with the idea of voting for a Black man.” My friend’s response to his colleague: “I disagree with you.” Their conversation of course continued, and during the course of the conversation my friend’s coworker made the point that many were still processing this “idea” by taking a random "street poll" - asking those passing by if they indeed shared his feelings.

As I write this, I think of Mr. Fanon’s words and realize that I as a human being must do what I ask of others, that being that I must fully understand – something that can only happen through asking questions – before making a pronouncement or an argument. Nevertheless, being an “African-American” (with my family having been in the United States for longer than a generation, I take some pause with using this category to describe my people) I immediately bristled – and found myself even more incensed when my friend added “I so wish that you could have been there so that you could have taken him to task.”

My response: “Did YOU take him to task?”

“No – I wouldn’t want him to speak ill of me to my coworkers.”

Before I go on, I must say that my friend – a dear friend – has not only discriminatory bone in his body. However, as OUR conversation continued I found myself becoming increasingly angered, and after a solid hour of back and forth - during which I hammered the question "Why did you not take the opportunity to speak to this man about his views, which were obviously NOT political, but based in the ignorance of prejudice?" my friend answered: “I wouldn’t want to open the can of worms and have that kind of hatred floating around.”

When pressed, my friend also asserted that “Laying into this man at that particular time would be inappropriate” and asked why I felt that it was necessary for him to do so.

It is both daring and safe to say that we in the United States have, in regards to both human rights and the eradication of prejudice, come quite far. Nevertheless, it was incredibly disheartening to see this double standard still in existence, that being the maintenance of a personal status quo while feeling somewhat hopeless about both the issues of true racial equality and the challenge of eradicating the ignorant notions of superiority and inferiority that still plague our nation surrounding the topic of ethnic relations.

I did of course press my friend about his level of commitment and accountability and of course, upon hearing the “usual arguments” (“This man has the right to think and believe what he wants”, etc. ad nauseum) my stance changed from “explain yourself” to “fire-and-be-damned-to-you.” Not only is it inappropriate to say that someone has the right to think of any group of people with disdain, as doing so shows not only a great deal of ignorance and spiritual bankruptcy – it is safe to say that the word “inappropriate” is not strong enough to describe such dark thoughts.

By now you may all be asking the question “And your point, Sam?”

During the early 1960s James Baldwin organized a meeting with then Attorney General Robert Kennedy and a group of national and international figures including Lena Horne, Harry Belafonte, Lorraine Hansberry, and Jerome Smith – the latter who had been injured in the Freedom Rides. This meeting, held to discuss how the issues of race should be handled during that time, was not an initial success, as it “crystallized a problem that was basic to the civil rights movement of the sixties,” that problem being that “the white liberals were…pledged to reform the existing system” while “the black at the meeting saw the race problem as having moral dimensions that transcended the particular concerns of the day and went to the heart of what it was to be American.”

Those who met with Attorney General Kennedy wanted to see a great moral commitment from those who supported the cause of civil rights, as opposed to talk alone.

Almost fifty years later, as we stand on the precipice of what could indeed be a great moment in our nation’s history, that being the election of our nation’s first black president, it may be safe to say that what we – “we” referring to the entire population of this country – ask for is a great moral commitment from our leaders and our peers as opposed to the status quo talk, judgmental disdain and political posturing that plagues and frustrates us on all levels, from employment problems to issues as still divisive as race relations and gay marriage.

THIS is the type of commitment that I was seeking from my friend – and I shared that with him. To take a stand, not share with me his feelings of hopelessness, and not to expect me (as "the black man") to take up the conversation with “the other”.

After having visited Africa, during which his views on the teachings of Islam changed, Malcolm X came back to the United States applauding the sincerity of all people in their quest to understand and perhaps solve the racial problems that were destroying the United States during the very turbulent 1960s: “I said that on the American racial level, we had to approach the black man’s struggle against the white man’s racism as a human problem, that we had to forget hypocritical politics and propaganda…both races, as human beings, had the obligation, the responsibility, of helping to correct America’s human problem. The well-meaning white people…had to combat, actively and directly, the racism in other white people. And the black people had to build within themselves much greater awareness that along with equal rights there had to be the bearing of equal responsibilities.”

Understanding that we as a society have indeed progressed quite far in healing the wounds of the greater part of the twentieth century, I also understand that there are still personal wounds and memories that must be excavated and healed. Having watched and listened to men like Colin Powell and Barack Obama, I do also understand that we as a people must be incredibly careful when speaking about anything – as well as the importance of bringing these issues to a human level, as it is only through that kind of understanding that dialogue and both inner and outer change can take place.

Nevertheless, in whatever direction this election goes, we will still have the day after…and I can only hope that we as a people can continue to look inside of ourselves and summon the courage to truly take the stands of which both James Baldwin and Malcolm X spoke. The responsibility to change all notions and prejudices belongs to all of us – and neither maintaining the status quo nor shrugging one’s shoulders and saying “That’s horrible” are acceptable. If this campaign has shown us anything, it has most definitely shown us that there’s no “going back to normal” if normal means being silent in the midst of divisive and hate-loaded action.

More from the road - and perhaps more on musicmaking later (This IS "Life, Musicmaking and THE WORLD", after all...),
Sam

The Violinmaker Online!

2008-10-30T14:22:00.001-07:00

It is a great honor for me to share this article about instrument maker Marilyn Wallin, whose #81 I have owned and played throughout the United States since 1996. There is also a link to her website in the Links column. Enjoy!

More from the road,
Sam

Inquisitive Children - And Birthday Gifts!

2008-10-04T12:15:00.000-07:00

Dear All,

I'm amazed, and humbled - on September 27 (my thirty-eighth birthday?) I came home to receive an envelope filled with thank you cards made by the sixty or so children in the Thurgood Marshall Elementary School Celebrate Program! Honestly, I have to say that this was by far the best birthday gift that I have ever received!

In addition, I am also grateful for a recent contribution to Fractured Atlas in my behalf. Having become aware of Fractured Atlas and its programs in 2005, I joined the organization in 2006 and later joined its fiscal sponsorship program. Contributions to Fractured Atlas made it possible to join Alternate ROOTS and attend their Annual Meeting in 2007, from which came many wonderful things, including participation in both Rajni Shah's "Dinner With America" and Carpetbag Theatre's "Between A Ballad and a Blues", both of which are touring during the 2008-2009 season. Funds have also made it possible to purchase sheet music for concerts with the Cortlandt Chamber Orchestra (including the 2007 benefit concert for the Greater New Orleans Youth Orchestra).

Would you consider making a contribution to Fractured Atlas? Doing so would ensure both the continuation and commencement of many projects dear to me, and contributions of any size are greatly appreciated. Fractured Atlas is a non-profit arts service organization, and all contributions to Fractured Atlas on behalf of Samuel Thompson are tax-deductible to the extent allowed by law. For more information on Fractured Atlas or to make a contribution, please visit their website at www.fracturedatlas.org.

Should you wish to make a contribution via US Mail, please contact me at samuelathompson@yahoo.com.

Thank you again for your support!

More from the road,
Sam

Traveling - and Inquisitive Children

2008-09-21T17:41:00.000-07:00

Photographer Peter Lindbergh, in a 1998 interview during which he speaks about his life, says "I experience so many different sensations every day that it has become like a drug. Every day, something new happens to me." Of course, if one is open to life every day, this is most definitely true, but the statement speaks of a heightened reality - that of those who travel constantly for their work. While I am not comparing myself to Peter Lindbergh in terms of "career" - Lindbergh being a much in-demand and globally respected fashion photographer - I found myself agreeing with his statement on Friday, September 19, 2008 when, upon landing in the Thurgood Marshall Baltimore-Washington International Airport I heard cheering. Following my curiosity, I followed the sounds…and was delighted to chance upon a crowd standing at the international terminal cheering for our servicemen who were, on that day, coming home from Iraq.

How easy it is for all of us in these days of working, traveling, going to and fro – being focused solely on the “self” – to forget to stop and step out of ourselves for a moment. I was reminded of this on Thursday – concert day – when I went to visit an afterschool program at Thurgood Marshall Elementary School. This was not a part of the “official schedule”: I was asked by the music professor at Kent State- Ashtabula. With the program that I was scheduled to play being the most formidable in my career to-date, I almost declined – is our natural tendency to hide away, somewhat panicked, as opposed to opening and sharing ourselves – but realized that I would, by being the guest, be recreating the many visits by members of the Charleston Symphony that I witnessed at the same age of many of the participants in the program, most of whom had not been truly “exposed” to classical music. With that, it would have also been incredibly selfish of me, with a day free save for playing a concert, to say “no” to a group of children who were slowly stepping into the waters just as I did at their age – just as many of us, perhaps?

So, I went...and I have to say that I was amazed at the level of inquisitiveness that I found in this group of children, aged nine to twelve, some of whom will be starting in a new strings program later in the school year! While I cannot remember all of the questions, it is safe to say that of course, children are always watching, always curious – and it is our responsibility to keep that sense of openness, not only for ourselves but also FOR them, particularly when we participate in “educational and community engagement” activities.

As far as the recital later that evening – well, I’m glad that I took the time out of myself and away from the music stand to answer some questions. Incidentally, while I am always evaluating my performances, I have to say that this one went well...despite my angst about performing an entirely new program as a season opener! In fact, there were many challenges with this one (scheduling, etc.) but they were all handled gracefully - all I can do is play well, right? - and it was such a joy to work with William Shaffer, a Cleveland-based pianist/organist who was by far one of the best duo partners that I have ever had!

More from the road,
Sam

A New Season

2008-09-10T13:23:00.001-07:00

Sometimes I have to wonder if my life's karma includes dealing with tropical disturbances, considering that all of the places in which I have lived are in the throes of hurricane season...

Nevertheless, as the summer closes and seasons open, I am excited to open the 2008-2009 season in Ashtabula, Ohio on September 18, 2008 in the first recital on the Kent State-Ashtabula Classical Concert Series. This performance, to be played with pianist William Shaffer, includes Mozart's Sonata in A Major, K. 526, William Grant Still's Suite for Violin and Piano, Arthur Foote's Sonata in G Minor, Op. 20, and short pieces by Ole Bull and Fritz Kreisler. Should anyone be in the Cleveland/Ashtabula area, it would be a pleasure to have you in the audience!

Three Years Later, the Louisiana Philharmonic Continues Its Healthy Rebound!

2008-08-23T15:56:00.000-07:00

The article below was taken from the August 2008 International Musician. - Sam

To conclude its 2007-2008 season, the Louisiana Philharmonic Orchestra performed Mahler's Second Symphony in two mid-May concerts. The symphony is frequently subtitled “Resurrection,” reflecting Mahler's own obsession with suffering and death, as well as the piece's evolution, through many twists and turns, from stormy, minor-key music to a rousing major-key finale with chorus.

It's the perfect ending to a successful season for the orchestra, especially given the events of the past three years in New Orleans: the disaster of Hurricane Katrina, the subsequent flooding, the scattering of the city's residents, and the slow, often difficult process of rebuilding homes, businesses, and lives. The result, though, has been the resurrection of an entire orchestra, leading the way for the residents of New Orleans to return and start rebuilding themselves.

A Difficult Test

Leadership in the Louisiana Philharmonic comes from the musicians' themselves, making them unique among US orchestras. In the weeks and months following the September 2005 destruction of New Orleans, that leadership was put to a tremendous test.

Greg Miller, a trombonist who also serves as the LPO's personnel manager and on the board of Local 174-496, returned to New Orleans in late October after nearly two months in Seattle, Washington. A member of the orchestra since 1976, when it was called the New Orleans Symphony, before the storm Miller was serving as an artistic administrator, arranging for guest soloists and conductors. The post-Katrina period brought about many challenges.

“Some of the artists we had booked weren't available or they switched at the last minute,” Miller says. In addition to filling those gaps, the orchestra moved between multiple locations in the city for rehearsals and concerts. Many of the city's concert venues, including the Orpheum Theatre, the LPO's hall, were destroyed by the flooding, and the orchestra was forced to become a mobile, rootless organization.

The musicians, though, were undaunted. Though some players sat in with other orchestras during their evacuation from New Orleans, nearly all returned by the end of 2005 to help revive the orchestra. Annie Cohen, cellist and current chair of the personnel committee, played with the Baltimore Symphony Orchestra during the evacuation, but felt very strongly about returning to New Orleans, where she has played since 1978. “We all felt it was really important to be here and to provide whatever solace we could,” Cohen says. “The city was just shredded, and we wanted to provide music to the people who could find us.”

Hitting the Road

Before attempting to launch an abbreviated season in the spring, the LPO played several fundraising concerts in Nashville and New York City, hosted by the Nashville Symphony and New York Philharmonic, respectively. Far from New Orleans, the musicians still saw familiar faces. “We were so grateful and surprised to see people who had evacuated to Nashville or who trekked to New York to see the orchestra,” Cohen says. “It helps redefine what community is.”

The outpouring of support made the LPO's musicians and management even more determined to push on in 2006-2007, and they worked through the shifting locations and scattering of their regular audience to put on a full, 36-week season.

Kim Foreman, secretary-treasurer of Local 174-496, marvels at the orchestra's swift recovery as well. “They've been working steadily, and they've even seen a small increase in salary,” he says. “They're truly a success story coming out of the mess we went through.” Foreman also notes that the members of the LPO are the largest constituency within the New Orleans local. “They did an exceptional job of keeping it together,” he says. “That's our number one client, and you can imagine the loss we would have realized if we'd lost our symphony.”

Southern Support

Babs Mollere, managing director of the LPO, received personal and professional support from another orchestra following the hurricane. “I landed in Baton Rouge, Louisiana, the first week after the hurricane, and the Baton Rouge Symphony Orchestra became the temporary home for the orchestra for almost nine months until March 2006,” she says. During this time, donations and other demonstrations of support came pouring in from both US and international orchestras, AFM locals, and individual musicians. “These were very critical things that showed us we could move ahead,” she says.

Mollere also credits Foreman with working to obtain grants to support the orchestra and with waiving union dues for the orchestra musicians for that year. The musicians, in turn, kept their morale high and committed themselves to rebuilding the orchestra as a key part of the rebuilding of their home city, with leaders like Miller, Cohen, and timpanist Jim Atwood setting the example for newer musicians. The LPO's music director, Carlos Miguel Prieto, arrived shortly before the hurricane, and his leadership and commitment to remaining in New Orleans through the difficulties was inspiring as well.

The solidarity within the orchestra withstood the trying times immediately following the storm. “During the hurricane, it became clear that this is one of the great strengths of the orchestra,” Mollere says. “What we had grew bigger in this period—it was magnified.”

“We have flourished in terms of donations and subscriptions, and our salary has gone up,” Miller adds. A planned 10% increase in players' salaries is still slated for the 2008-09 season. For both long-term and new members, as well as audience members, “they see a definite future,” Miller says. “The salary and benefits are such that people can make a decent living here. People are coming here and they know they can make it.”

Relocating and Rebuilding

Though the Orpheum Theatre has not yet been repaired, venues throughout the city have welcomed the LPO for performances and rehearsals: Roussel Hall on the campus of Loyola University, McAlister Auditorium and Dixon Hall at Tulane University, and at churches, synagogues, and theaters throughout the region. The 2008-2009 season will see additional performances at First Baptist Church in Kenner and at locations throughout the city, as well the reopening of the Mahalia Jackson Theatre of the Performing Arts in January 2009, after the hall's extensive renovation is complete. According to Mollere, the orchestra currently performs in seven parishes, building on audience relationships formed before the storm and the city's changed demographics after.

“Part of it was the audience following us, and part of it is the audience already being there,” she says, adding that the change of locations and the transportation of instruments and equipment has been a strong test of the musicians and the production staff.

May's Mahler performances provided an additional test; the instrumentation of the symphony requires additional orchestral forces, and freelance musicians from throughout the US came to town to beef up the LPO's core players. Many of the visiting players were people whom LPO members met during the evacuation. “It's a small way of saying thanks—inviting them to come play with us here,” Cohen says. “The person-to-person support, that part has just been incredible.”

Transitions

2008-08-11T15:08:00.000-07:00

Well...after a very LONG travel day (that took place yesterday) I am at home again.

This was a fantastic summer, and there are so many things of which to speak about which I am truly grateful, as well as the many memorable things, including both seeing and hearing my dear friends Vanessa Schukis and Danielle Hermon perform both in Gypsy as Mazeppa and Electra, respectively, and again in Into The Woods. One of the most interesting things about participating in a summer festival for many years is that one does develop relationships with other artists, and those relationships can of course make performances even more meaningful on a personal level. I met both of these women in 2001 and of course, being the sap that I am, both laughter and tears flowed.

This summer also included the opportunity to reconnect with baritone Christopher Holloway, whom I first met when we both studied at the Shepherd School of Music. Chris was also quite impressive onstage, most specifically in the "premiere" of Talk To Me Like The Rain, a one-act opera written by Larry Delinger...and of course the list could go on...

Personally...well, what can I say? What SHOULD I say? For some reason it seems more appropriate to remember as it does to put all of the feelings and experiences into words, but once again - much like the summer of 2006 during the New Haven International Festival of Arts and Ideas - it seems that many life experiences came together in "the moment". In 2006 there were the memories of different teachers and places. This summer consisted of remembering the years of watching and learning from various concertmasters while preparing for taking on that role and feeling a great sense of life having made sense during the two orchestral concerts for which another old friend, Yi Ching Fedkenheuer, served as the leader.

Yi Ching and I both studied with Kenneth Goldsmith at Rice University, both graduating in 1998, and while we have kept in touch this was indeed one of the first times that we have spoken to each other in depth - and in person - since leaving Houston. It was always a joy to listen to Yi Ching in studio class, class recitals, and her degree recitals, but sitting in her section was very special in that it was a reminder of those three years during which we at the Shepherd School of Music really learned how to play in an orchestra and how to play like a section.

I do of course take some pause as I share these thoughts: they are by no means sharing the opinion that the Shepherd School orchestras are the best in the country (I have not heard many other conservatory orchestras). However, while we do all learn and grow flexible as we grow in this business, playing under the direction of different conductors and in different ensembles, there's something so freeing about being able to sit in a section and watch - and know both instinctively and deeply how to fit in.

There was an article in The Strad a few years ago in which the violinist interviewed spoke about the excitement in actually seeing "the system", knowing "the school" from which someone came just from watching and listening. I have to say that I agree.

Now, though, as we change gears from summer to autumn, there is lots to prepare for - but there will be a little vacation, that vacation including going to shows this Wednesday and Friday during Baltimore Fashion Week to support my friend Dermain Johnson (Madison Walker) - and a trip to Cortlandt, New York where I will be posing for photographer/painter Yvonne Rabdau.

More from the road,
Sam

Havanaise, and Understanding

2008-08-05T14:33:00.001-07:00

Well...these blogs are such funny things. I WAS planning to write many things about myself (as that's what blogs are supposed to be for, right?) but have to start with having had the opportunity to sit in on a piano rehearsal of Aida featuring the cover cast, led by Maestra Karen Keltner and accompanied by pianist Stephen Carey.

In the four years that I have been coming to Logan, Utah to play with the Utah Festival Opera I have indeed enjoyed playing under Karen and thoroughly enjoy watching her rehearse singers, as both her level of knowledge and commitment to the craft are truly astounding. During the act to which I listened (and I will, should time allow, be going back into the next room to hear the rest) I saw another facet of this woman, that being the very positive and (if I may) nurturing professional. Having played orchestral excerpts for Ms. Keltner in the past I was of course "not surprised", but I WAS also surprised and filled with a deep sense of gratitude to be reminded that in this wacky business that we call musicmaking there are still people like Ms. Keltner who not only understand all of an artist's transition points and takes - graciously - the role of being the guide.

Listening to this group of artists I was also reminded of what Jorja Fleezanis meant many years ago, but now - at age 37 - I understand (a bit more) the concept of keeping sound alive...

...which brings me to a recent (yesterday) performance of Camille Saint-Saens' Havanaise that I gave on one of the Logan Tabernacle Concerts....This is a piece that I performed first in a competition and later in a recital during my undergraduate. Then (this was 1994) I had the great privilege to take a lesson with Fredell Lack - and also met Kenneth Goldsmith (and life took a pretty healthy turn then). I have since played this piece in recital twice, those times being in 2007 during the Columbia Festival of the Arts, and decided to give it a go again this summer.

Being a violinist (and I'm sure that many of you will understand these thoughts) I found myself fretting a bit about the tempo of the second page and the issue of clarity AND the sixth and seventh pages (which are filled with chromatic thirds, sixths, and tenths, all to be played at a pretty rapid clip). Doing these drills was of course beneficial, but I do have to say - humbly - that I found myself somewhat stymied when playing the "easy parts": HOW do I keep the sound from dying on the long notes? How do I NOT play this as if it's simply an exercise in making clear differences between triplets and eighth notes?

Well, after listening to the recording, I guess I accomplished part of my task...but now, after this afternoon's trip into Verdi's vision of Egypt, I know...for the next time...

More from the road,
Sam

Rajni Shah's Dinner with America

2008-07-25T17:26:00.000-07:00

About a year ago I met a wonderful woman named Rajni Shah and was quickly asked to take an interview for her work Dinner With America. A review of this performance piece was recently included in Culture Wars. Enjoy.

Gratitude - and Humility?

2008-07-21T14:53:00.000-07:00

Well...the Utah Festival Opera has been going quite smoothly and it has been a great joy, to say the least, to sit in the orchestra pit and make music with such wonderful artists. Rehearsals for Gypsy, for which I am concertmaster, start tomorrow...

...a few days ago I had a surprise violin lesson with a colleague, Amneris Puscasu, and what can I say? Enlightening, yes, and humbling in some ways - but not humiliating. It does seem that as one becomes more confident in one's self one approaches "seeking advice" with great openness and willing to receive - something that is difficult to fathom when making music becomes a way to "impress the world". The ability to take advice - even after having been around the block a few times - and allow one's self to be taken back to open strings, to be a child again, is something I hope that I will never lose, and I am so grateful to have had someone take the time to do what can be quite painstaking work.

..more from the road,
Sam

Elsie Stockdale's Nigel Kennedy Page

2008-07-01T13:31:00.000-07:00

Well, well...with the proliferation of social networking websites in addition to the curious phenomenon of having the world "at one's fingertips" via the world wide web, I received a very beautiful note on my Facebook account from Elsie Stockdale of Weymouth, Nova Scotia, Canada. Ms. Stockdale is the "founder and editor of Nigel Kennedy Online (also known as "elsie does nigel kennedy...the most unofficial- unauthorized- but-I'm-doing-it-anyway site online!"), which is one of the most comprehensive sites concerning the life and career of one of the greatest violinists and fascinating thinkers of our generation - yes, that would be Nigel Kennedy.

It has been a pleasure getting to know Ms. Stockdale and I highly encourage all of you to visit her site.

Where to Start?!!

2008-06-30T14:42:00.000-07:00

Hello all - I will most definitely write more in the next few days, as I still seem to be catching up. Nevertheless, the Concerts page has been updated...

...and in the world, I'm somewhat disappointed that I missed the documentaries on the late (and yes, GREAT) Yves Saint-Laurent that aired on the Sundance Channel recently...on that, sometimes there's nothing that CAN be said.

Should you be curious about the magic that was brought to the world by Mr. Saint-Laurent, do visit the Fashion Television website. Not only will you find a beautiful tribute hosted by Jeannie Bekker, but there is also a video of a 1998 tribute that took place during the World Cup.

Diary from the Dome, and Old Friends in Tulsa

2008-06-17T11:35:00.000-07:00

Well...it's been quite some time, partially because I have in recent weeks become a twenty-first century technovictim: my computer's operating system has died.

Nevertheless, there have been some wonderful things in the past few months, both personally and professionally. Personally, I have had some great opportunities to reconnect with old friends and colleages, including South African coloratura Bronwen Forbay, who surprised all of us by taking over the role of the Queen of the Night in the Tulsa Opera's performance of The Magic Flute. Having met Bronwen seven years ago, it was of course wonderful to see her and to hear her again. Bronwen is a very convincing actress - as one should be on the operatic stage - and possesses the perfect sound: powerful without sounding forced, beautiful but also having great depth, controlled yet still alive and "spinning".

Professionally, well, after The Magic Flute I came home to have almost six weeks free, during which I did, of course, practice, and those weeks were followed by a second performance of Between A Ballad and a Blues (there will be more on that weekend soon).

Upon returning this week (for the sole purpose of unpacking, repacking, tying up loose ends and flying out again), I received two publications in the mail and it's odd, the timing is somewhat perfect. The first, a copy of STATE Magazine, the triannual magazine of the Oklahoma State University Alumni association, in which an article appears about my life since Katrina. I will indeed share my thoughts on this article in another entry, and am incredibly grateful to Matt Elliott and Valerie Kisling of Oklahoma State University for sharing my story. To quote another interviewee, "When your school - the school you love - sees fit to honor you, it's a wonderful thing."

In the aforementioned article "a man named Paul" is mentioned. That man, Paul Harris, currently lives in San Diego and was with my group during that fateful week. In the three years since then (and it's somewhat difficult to believe that it's been almost three years) Paul has been a wonderful friend, incredibly supportive and encouraging. After returning to San Diego and sharing his story, Paul was encouraged to write a book - that book, Diary From The Dome: Reflections on Fear and Privilege During Katrina, has recently been published by Vantage Press and gives a very candid look at the thoughts of one man in addition to dismissing many of the "myths and legends" that are possibly still circulating about life in the Louisiana Superdome.

While he says that writing this book was therapeutic for him, Paul has visited New Orleans several times since the storm, lending his hand to various volunteer efforts. Diary From The Dome is a continuation of these efforts: a percentage of the profits from the sale of the book will be donated to Common Ground Relief. Common Ground Relief's mission is to provide short term relief for victims of hurricane disasters in the gulf coast region, and long term support in rebuilding the communities affected in the New Orleans area. Common Ground Relief is a community-initiated volunteer organization offering assistance, mutual aid and support. The work gives hope to communities by working with them, providing for their immediate needs and emphasizes people working together to rebuild their lives in sustainable ways.

For more information on Common Ground Relief, please visit their website at www.commongroundrelief.org. Advance copies of Diary From the Dome can be purchased via amazon.com or directly from Vantage Press at 800/882-3273.

.

Genuine Emotion: An Interview with Sarah Shellman

2008-04-26T11:35:00.000-07:00

Violinist Sarah Shellman (pictured) joined The Florida Orchestra as a section violinist in 2002 and recently became the orchestra’s principal second violinist. She holds the Bachelor of Music from the Oberlin Conservatory of Music and earned the Master of Music at the University of Houston’s Moores School of Music. Prior to moving to Tampa, Sarah performed with the Houston Grand Opera, Houston Ballet and the Green Bay Symphony, and currently participates in the Cabrillo Festival of Contemporary Music. Sarah has also performed with several early music ensembles as violinist, violist and mezzo-soprano.

Since moving to Florida Sarah has become a vital member of the Tampa-St. Petersburg community, having coached chamber music groups for the Patel Conservatory Youth Orchestras, serving as a faculty member of Bay Area Music’s Summer Chamber Music workshop and performing as the concertmaster of FloriMezzo. On Monday, April 28, Sarah will again deepen her connection with her community with The String Art , a multimedia chamber music concert taking place at Ybor City’s Imperial Theatre.

Sarah and I have known each other for ten years now and it has been wonderful to see her take on the challenge of wearing two hats (those of concert promoter and performer). We took a few minutes between my opera rehearsals and what has been a jam-packed week for her to talk about this new venture.

In recent years there have been many stories about classical musicians performing concerts in “nontraditional venues”. Artists that immediately come to mind are the Chiara Quartet, cellist Matt Haimovitz and violinist Pekka Kuusisto. How did The String Art come about?

In the summer of 2007 I had a conversation with my friend Dean Hurst (a local event producer and promoter) about the state of the arts in Florida. Many residents of Florida view the state as a second home, and consequently reserve their charitable donations, if not patronage, for arts organizations “back home” – generally in the Northeast. Dean and I discussed how the state of Florida warrants its own cultural identity, as it definitely has both the population and financial resources for it!

Shortly before this discussion I participated in the Cabrillo Festival of Contemporary Music in Santa Cruz, California. I returned not only with a passion for contemporary music, but also with an idea of how to “spread the gospel.” The work of one composer featured at Cabrillo particularly struck me as attractive to new concertgoers. Mason Gates enjoys a career as both a composer and a DJ: his compositions combine classical music and electronica in such a way that they appeal to both my inner “serious classical musician” and my inner “hipster”. I see this thoughtful juxtaposition of classical and popular elements as a way to attract the attention of younger people.

Given the demographics of this area, however, we have to walk a fine line between alienating the older generation of patrons and drawing in new audiences. Combining a night club setting with “mainstream” classical repertoire seems like a good way to do this: the club’s regular crowd will hear something they’ve probably never heard before while the classical arts patrons will experience a unique venue.

Do you think that efforts like this are vital not only to the communities that they serve but also to the musicians who take the time to organize them, particularly during what have been portrayed as contentious and unstable times facing both orchestras in the United States and arts organizations worldwide?

Absolutely! To reference my answer to your first question, we walk a fine line with regards to repertoire as classical musicians, particularly in a market like Tampa Bay (i. e. not a “Big Five” city). To keep may subscribers happy we need to play the same handful of warhorses year after year: I don’t argue their greatness, though. Much of the artistic community, however, would like to hear something different; unfortunately, I believe that segment of the subscribing audience is rather small. As a result, contemporary music needs to be showcased by alternative ensembles in non-traditional venues.

From a personal standpoint, as an orchestral musician my two options for intense practice projects are either to take an audition or put on a concert. Any outside project helps to keep my chops, but performing an independent concert also keeps my passion for music alive. Audition preparation can be sterile – though not without rewards – but preparing a recital is always invigorating. Again, the warhorses of the symphonic repertoire are classics for a reason, but my soul craves artistic variety.

Many of the concert series across the nation in cities similar to Tampa have been started and maintained by members of the orchestras in those communities. Camerata San Antonio , now in its fifth season, immediately comes to mind. Are your intentions to start a concert series, and will this be the first of this kind in your region?

Of course I’d like this concert to be the beginnings of a series, as would the other musicians and organizers; however, at this point we’re adopting a “wait and see” attitude until the initial event is over and we’ve had time to discuss the viability of such a series in the Tampa Bay area.

Other colleagues of mine in The Florida Orchestra have done “out-of-the-box” concerts at nontraditional venues in the area. At one point a recurring contemporary music festival titled Bonk existed as well. I don’t believe any such series takes place at present.

This event is quite personal and important for you as well in that you are, in addition to being an organizer and performer, you’re also stepping into the spotlight, performing Eugene Ysaÿe’s Sonata No. 3, the famous and fiendishly difficult “Ballade”…

Everything about this concert is a departure from the normal concert routine of an orchestral musician: repertoire, venue, ensemble. Even the marketing had to be tweaked to present it more like a club event to attract the “scenesters” around town!

As for the Ysaÿe: it’s a rather dark (albeit flashy) piece, fitting in quite nicely with the rest of the program. I wanted to tackle something alone, and it seemed appropriate for a couple of reasons. First, I had performed it as an undergraduate, so I wouldn’t have to learn everything from square one (consider the time constraints of a full-time orchestral position). Secondly, when I performed the “Ballade” ten years ago – to the month – it basically chewed me up and spit me out! I didn’t play it well at all, and I’ve always said that I would like another shot at the piece. Now I have that chance.

Of which of your teachers do you think – both as a teacher and a performer – when approaching the Ysaÿe?

I have all of my old notes from when I studied the piece with Greg Fulkerson ten years ago, and I am still using both the fingerings and bowings that he suggested (Ysaÿe was pretty specific with what he wanted: there’s not that much wiggle room). However, this time around I’m only trying to please myself and do the piece justice, not “be a good student”. As a result, even though I think of many of Greg’s ideas, particularly in regards to arm weight and bow technique, I’ve adapted them to the way I play now as an orchestral musician.

How did you organize this particular program – particularly the juxtaposition of twentieth-century string quartets and “lone” string pieces?

I wanted to find music that elicited strong emotions to an audience that is not “in” on the classical music scene. In my experience, even the most glorious of Mozart’s symphonies, can be boring to those without any knowledge of classical music. Having just returned from Cabrillo with so much enthusiasm, I thought relatively contemporary (i. e. twentieth-century) music would be just cutting edge enough to satisfy both myself and those in search of a more avant-garde experience.
The choice of Bach was a little more unexpected: I played some of the D Minor Partita for Dean (who has no musical training) one day, and he found the music incredibly moving in a way that I’ve never seen from a classically-trained musician!

All of the pieces on this program are dark, ranging from brooding to mournful to tragic. Without getting into details, 2007 was the most difficult year of my life; I felt playing a program that resonated with my state of being at that time would allow me to communicate emotional content to an audience in a way I’d never been able to do before. After all, isn’t music all about emotional connection? And what is more compelling than genuine emotion?

Sarah Shellman will perform with Rachel Smoliar, violin; Renate Falkner, viola, and cello on Monday, April 28, 2008 at 8:00pm. This concert, featuring works of Ysaÿe, Bach, Barber and Shostakovich is being held at Czar’s Imperial Theatre in Ybor city. For more information, please visit www.thestringart.com.

Encores and Destiny

2008-04-06T23:33:00.000-07:00

Well, the double-hitter is over, and I’m finding myself feeling both grateful for having had the opportunity as well as remembering the value of being overprepared - overtrained, as the sports psychologists say...

This has been a great week, filled with wonderful surprises from both the musicians in the orchestra as well as from Rich and Debbie Simons. There was also an opportunity to reconnect with Dominique Simons, a violist with whom I lived and played chamber music for one summer while we both studied at the University of South Carolina. Going home will be a good thing, as I do feel satisfied in many ways.

At the end of the concert - what can I say? It’s still wonderful and heartwarming to receive flowers from children (as I did) as well as have an audience call you back to the stage. While I was not prepared to play an encore we asked the audience if they wanted to hear something else. They said yes - and I played Bach.

YES - the G Minor Adagio, on no warning - AGAIN....not since 1997 has something gone that smoothly, and not since June 2006 have I actually felt that vibartory link between a performer and an audience. Speaking of "myself", I have to say that it went quite well, and this was probably the best performance of the G Minor Adagio that I have ever given.

Speaking of "the moment", however (taking "little me" out of the picture and observing), there was magic made in Croton-on-Hudson on the night of April 5, 2008, when an audience sat with open ears, eagerness, and open hearts to receive...

The first time that I felt that link between an audience and a performer was in 1994 when, while making my graduate school decisions, I went to Houston for a violin lesson (and, of course, had one of those happy life accidents - a chance meeting - that changed the course of my life) and had an opportunity to hear Christian Tetzlaff with the Houston Symphony. He played the Dvorak Concerto - and the audience brought him back FOUR times! On his fourth trip back to the stage he played the Andante from the A Minor Sonata and one could definitely feel the intense connection between that man and a room filled with grateful concertgoers....

The Paradox of Permanence and Change

2008-04-04T11:52:00.000-07:00

Well...having not been "here" for a while it's interesting to write, as there are many thoughts that I would like to share.

Today is the day before yet another performance and I find myself experiencing many of the same emotions and thoughts: dread, anticipation, excitement, humility, confidence in my abilities, the continuous desire to "fix things", etc. Of course, this is amusing: after having played many concerts one would think that the performer would not experience some emotions and have some thoughts that could be thought of as negative.

Nevertheless, every performance is a rite-of-passage be it due to performing in a new space, a different hall, a new instrument or one that has been adjusted, new repertoire, new collaborators, or any of the factors that mark "a changing life", and I find myself grateful to be in this place of wonder and self-knowledge. Additionally, it is nice to know that I haven't lasped into complacency - "nervousness" can actually be fresh and exciting as opposed to ego-driven and debilitating.

In addition to the new repertoire (both Mozart #4 and Introduction and Rondo Capriccioso on the same evening), the newest thing is the violin, in some ways. I am so happy that I took the time to have the instrument adjusted and also to have had a smaller "tune-up" two weeks ago. Many thanks once again to Marilyn Wallin of Boston and the folks at both the Tulsa Violin Shop and Wilhite Strings (Knoxville, Tennessee).

My first rehearsal with the Cortlandt Chamber Orchestra was last night and the violin feels - and sounds - wonderful. The sound is now much clearer and much more powerful, the latter resulting in less "work" for the bow arm, thus resulting in the ability to be a bit more expressive as opposed to "heavy handed".

More from the road - after the double-hitter evening...

Ballads, Spirituality, Healing, and "Legitimacy"

2008-03-26T10:47:00.001-07:00

Spirituality and healing – in the book “Adult Children: The Secrets of Dysfunctional Families”, spirituality is described as feeling a great feeling of euphoria and connectedness with the universe combined with the realization of one’s incredible smallness.

Should this be the case, there are many of us that have glimpsed spirituality, some of us being unaware of what we were feeling. Should this be the case, I have experienced spirituality many times in my life, oddly enough when in cities such as New Orleans, Chicago, and New York City. Feeling small yet powerful in a city, you may ask? Yes – the smallness from the realization that I am simply one of the billions on the planet that is moving around at a particular time of day, a grain of sand on the shore that we inhabit and call Earth.

“Between A Ballad and a Blues”, the play written by Linda Parris-Bailey for which I both played AND acted was a tremendous success for Linda and the company. Personally, it was an honor not only to become acquainted with the life and work of fiddler William Howard Taft “Louie Bluie” Armstrong, but also to meet Barbara Ward Armstrong, Mr. Armstrong’s widow – a life-filled, profound, beautiful woman who celebrated a birthday on the day following the show’s closing. She took such an interest in everyone in the cast and of course in the show (there were times during our ninety minutes on stage that we could feel her very concentrated attention), even joining us onstage for the finale.

I found myself impressed with many if not all members of the cast: Bert Tanner, who played Howard Armstrong impeccably; Clinton “Hu” Harris, who brought the best of himself to the role of Carl Martin; Starr Teleford, who in many ways served as an inspiration both on and off stage by providing so much encouragement to his colleagues while facing “demons” of his own; singer Kelle Jolle, who (as the kids say) ROCKED “Wild Women Don’t Get the Blues”; Lyigia Simmons, who very convincingly and beautifully brought us Barara Ward Amstrong; Mykael Merchant, who played the connecting and important role of Paul Prentice (once a fiddle student and later an ethnomusicologist who studied Mr. Armstrong’s life) and Linda Upton Hill, a string bass player and actress who delivered one of the most powerful monologues about love, loss and parenthood that I have ever experienced.

It was strange, not only playing traditional music fro the Appalachain region but also to actually be a part of the show as Blind Roland, but I did what I know to do – and I hope that everyone was pleased…I think they were – I’ve been invited to do more performances and am waiting to hear about the tour.

After six performances the play ended it’s premiere run on Sunday evening and now, three days later, I sit in New York City’s Port Authority Bus Terminal, waiting for the shuttle that will take me to LaGuardia International Airport for a flight to Toronto. For some, this kind of traveling may seem insane, particularly considering that I moved into an apartment on February 13 – one day before flying to Tulsa, Oklahoma to play with the Tulsa Opera – and after six weeks on the road went back to my new home for the purposes of putting my bed together, unpacking, doing laundry, and resting as I could before starting today at 5:30am.

It felt odd for me, too – but I found myself feeling peacefully “invisible” upon boarding the Maryland Transit Authority’s #19 into downtown Baltimore, destination being the Baltimore Downtown Greyhound Station where I then caught the 8:00 schedule to New York.

More from the road,
Sam

Knoxville Metro Pulse

2008-03-20T13:42:00.000-07:00

Today, on opening day of "Between A Ballad and a Blues", there was a very thorough and informative article - in which I am featured quite prominently (a fact which I find curious) - in the Knoxville Metro Pulse.

Between A Ballad and a Blues - Knoxville News

2008-03-16T07:26:00.000-07:00

A ballad, a blues & Louie Bluie
Carpetbag Theatre premieres play about the life
of string-band musician Howard Armstrong

By Doug Mason
Sunday, March 16, 2008

“It’s somewhere between a ballad and a blues.”

The question was: How do you describe your music? You or I might have answered “between a ballad and the blues.” It takes the ear of a musician or a poet to switch one little article and make a sentence sing.

Between a ballad and a blues…

The lyrical self-definition came from Howard “Louie Bluie” Armstrong, who was a musician and a poet. And an artist. composer, storyteller, linguist, sensualist. He spoke seven languages and played 20 musical instruments. He was a virtuoso on the fiddle. He was a string-band musician, a musical style with roots in Africa. He represented the music when it was re-embraced in the 1970s. And he transcended it with a personal repertoire that embraced all music, from blues and gospel to Tin Pan Alley and show tunes to Hawaiian, German and Italian songs.

All his life Armstrong kept a journal, illustrated with lurid and erotic drawings that, in his old age, after he became famous, were celebrated as authentic pop art.

In 1986, when he was in his late 70s, an acclaimed documetary, “Louie Bluie,” named for the pseudonym he recorded under in the 1920s, made Armstrong a star. He enjoyed his fame for a long time, remaining active until his death in 2003, at age 94.

“Between a Ballad and a Blues,” a world premiere play from the Carpetbag Theatre, tells the story of that remarkable life. Performances will be Thursday-Sunday, March 20-23, at the University of Tennessee’s Clarence Brown Theatre.

Playwright Linda Parris-Bailey first met Armstrong in the late 1980s. During that interview is when she got the answer about his music. “It’s somewhere between a ballad and a blues.” She would meet Armstrong several more times. The executive director of Carpetbag Theatre remains friendly with Armstrong’s widow, Barbara Ward Armstrong, who lives in Boston.

Writing a play about Armstrong stuck with Parris-Bailey as an idea for about 15 years. She dived into other projects, but “Louie Bluie” was always on her mind. Finally, a few years ago, she decided to get serious about writing the play. And about raising the money to produce it. Around $72,000 went into researching and workshopping the project, the playwright says. It’s costing about $60,000 to stage it.

Carpetbag Theatre is a co-operative African-American theater company dedicated to producing new works. The process begins with the playwright, but evolves to its finished form through collaboration with the company members. It has been about a two-year process to ready “Between a Ballad and a Blues” for its world premiere.

The play features the story and the music of Armstrong and the musicians he is most associated with, Carl Martin and Ted Bogan. Armstrong and Martin, along with Armstrong’s brother Roland, made their first recordings together in Knoxville in 1930. The Brunswick-Vocalion label marketed “Knox County Stomp” and “Vine Street Drag” for the country music market, calling the musicians the Tennessee Trio, and for its “race” market, under the name the Tennessee Chocolate Drops.

William Howard Taft Armstrong (named for the President of the United States) was born in 1909 in Dayton, Tenn. He grew up in LaFollete, back when it was a coal mining town. His neighbors were German, Polish, Italian. He learned their languages. And their songs. As a young man, he would run into ethnic bars and start playing the patrons’ music, in their native tongues. He did it quick, hoping to get the music noticed before his color. If he didn’t get thrown out, he made a little money.

Armstrong and Martin toured the South together, playing everything from medicine shows to white-society dances. In 1933, they met guitarist Ted Bogan, and the trio traveled North together, first to Chicago, where they played at the World’s Fair.

World War II broke up the band. After the war, there was little demand for string-band musicians. Martin and Bogan continued on as session musicians. But Armstrong left music to sup-port his family on the assembly lines of Detroit’s auto industry. He retired from Chrysler in 1971.

Martin, Bogan and Armstrong reunited a few years later, when a resurgence of interest in string-band music had them in demand at clubs and festivals. Martin died in 1979.

After the success of of “Louie Bluie,” Bogan and Armstrong often performed after screenings of the film (including a 1980s appearance at the University of Tennessee). Bogan died in 1990. Armstrong continued on, performing his final concert just months before his death in 2003.

Parris-Bailey said Armstrong remained interested in new music all his life, she said. To honor that, “Between a Ballad and a Blues” ends with a performance by Rising Appalachia, an experimental roots music duo from Atlanta.

The show features Bert Tanner as Armstrong, Carlton “Starr” Releford as Bogan, Clinton Harris as Martin, Lyigia Simmons as Leola Manning/Barbara Ward Armstrong, Linda Upton Hill as Daisy Armstrong, and Mikael Merchant as a young fiddle student.

The band features Samuel Thompson on fiddle, Nancy Brennen Strange on guitar, Sean McCollough on mandolin, Harold Nage on guitar, Don Cassell on mandolin and vocalist Kelley Jolly.

Doug Mason may be reached at 865-342-6441.
E.W. Scripps Co.
© 2008 Knoxville News Sentinel

Zhang & Friends Music for the Planet

2008-03-12T21:45:00.000-07:00

On February 21, 2008 a member of the arts service organization Fractured Atlas wrote an article on emergency benefit concerts in which some very valid points were made, the most striking being that if the underlying causes of the problem for which the benefit concert is being held is not addressed, the problem will resurface.

Having organized and performed benefit concerts during the past few years, I did of course take pause to his statement and found myself agreeing in some ways - but the idea of "long-term care" - and "aftercare" as I call it - does seem to be something foreign to us in the United States.

More on that later, however, as this entry is not about "me". On Wednesday, March 12, 2008 the principality of Monaco witnessed the premiere of a new concert series. This concert, held in partnership with the National Museum of Monaco, was the first of the Zhang and Friends Music for the Planet Series, from which all proceeds will be directed to humanitarian and ecological causes.

Violinist Zhang Zhang, the creator of this series, and I have known each other since 1995 when we were both studying at the Shepherd School of Music. It is safe - at least - to call Zhang both a "fiddler's fiddler" and a "musician's musician": Zhang possesses a formidable technique and one of the best bow arms that I have seen, and in the three years during which we lived in the same city I heard Zhang perform works by Bach, Elgar, Debussy, Prokofieff, Ernst, Ysaye and Webern; however, the thing that we all remember about these performances outside of the "requirements of being a great artist" is their utterly convincing and inimitable quality.

By this I mean that one would walk away saying "Of COURSE it should sound like that! Thing is that no one other than Zhang can MAKE it sound like that!"

Zhang and I, although not having seen each other since 1998, have kept in touch, remaining very close through the highs and lows that we call life. Since becoming a member of the Monte-Carlo Philharmonic in 2000, Zhang has continued to grow, contributing to the musical life of her chosen city as one of the founders of both the Monaco String Quartet and Baroc'co (a baroque music group with winds and harpsichord) and leader of the Zhang Zhang Band, which performs frequently throughout both the city and the continent of Europe, including performances for the biannual presentation of collections by AKRIS. Additionally, she has received numerous invitations from Prince Albert II of Monaco to perform for "important (word?)" events, including a 2007 concert for the Ambassadors held at the Royal Palace.

This is but a small list of her accomplishments, and while I will always say that I am incredibly proud and humbled to call a woman of this substance my dear friend, I am also grateful for modern technology as the latter has allowed me to catch up with her to find out how this series was born.

What inspired you to start this concert series?

I begin to organize and perform concerts dedicated to various charities after meeting Sister Emmanuelle, who is now over 90 years old. She was a society belle who gave up a privileged life to become a nun, spending her adult life in the slums of Cairo taking care of the poor. For decades she lived in a slum built on garbage heaps in a small shack, amongst all the people she was helping. Meeting her was the turning point for me, realizing, as a musician, besides the pursue of artistic excellence and career achievement, I can also help those less fortunate with my art.

For a few years I tried to organized and play monthly concerts with a few of my colleagues and friends in a small church in Monaco. Our first concert was to help the Tsunami victims in South Asia. It was a big challenge to be artistic director, publicist, personal manager, stage hand and performer all at the same time. I learned a lot, and one of the most important thing being: To be truly affective, I can't do it all on my own.

The new organization includes two principle associates/advisors whose work are in finance, their expertise in various domains has been essential in making the series a reality. The new series are dedicated to Humanitarian as well as Ecological causes. Since 2007 I have become an Ambassador for Defi Pour La Terre, proposed by Fondation Nicolas Hulot. I take this role very seriously and hope to bring more awareness and support to the global combat against further destruction of the environment, in any way I can.

Did you find it difficult to organize something of this magnitude?

My past experience in organizing concert series included many mistakes, this has helped me to plan my current ideas and projects better then ever before. My associates are superb, leaders in their own industries , fluent in areas of world finance, geopolitics and diplomacy, and being non- musicians, they have provided an objective and global vision which made my ideals possible. Having them on my team, I am confident we can go very very far.

Knowing that you have given concerts for charity now for many years - those efforts also involving "taking music to the people" via giving concerts for the prisoners at the Monaco Prison - how do you feel about "the benefit concert" versus something more long-term and specifically directed?

I hope to be able to do both. Besides the concert series dedicated to a variety of humanitarian and ecological projects, we are also working on regular series for the prison, as well as the retirement home and the hospital. Involving different sets of musicians depending on each project. I think when ever we play for people, either inmates or the general public, we must always 'bring the music to the people', even if they have paid to come hear us in the concert halls, we must not forget to 'give' the music to them. It is not enough to just do our jobs by playing all the right notes at the right moment, dressed in our evening black. If we don't really care about the people we are playing to , about the experience we are giving them, if we stop sharing by stopping to feel the music as we play them (even if for the 100th time), then we might as well erase all live performances. It is a treat for the public to hear and see us play, but it is also a privilege for us to have a public who would come to listen.

Looking at your activities, you are a very versatile musician. How did you come to study baroque performance?

I had the enormous fortune to have met Mr. Sergiu Luca when I was 18 years old. The 7 years I spent studying with him determined what kind of musicians I was to become later in life, both musically and humanly. A truly complete musician, he was also a master of Baroque and period performance. I learned that there was not ONE right way to play. Each style, each period, each composer had a language of their own. To become fluent in each of these languages is an essential part of being a good musician.

Do those stylistic considerations inform a lot of your musicmaking?

I am an instinctive player. Unlike some of my classmates and friends who are much more intellectual and analytical, I tend to play the way I feel. Its both a strength and a weakness. I really should study more.

You have, for the past seven years, performed as a member of the Monte-Carlo Philharmonic Orchestra. Do you have a preference - that meaning would you prefer to perform solely as an orchestra member or do you enjoy exploring other performance media?

I always wanted to taste as many things as possible. Growing up in a classical music family where everyone is a professional, I did not have many opportunities to listen to anything other then classical music. So when I left that focused but narrow environment, I wanted to discover everything out there. During my freshman year in college, while being carefully taught by my teachers, I would regularly sneak out of the music school to play cymbals and keyboard with the marching band on week ends and during football games.

I also became interested in the art of improvisation. I have enjoyed playing with Jazz, Flamenco, Rock and Reggae musicians and I am especially keen on Tzigane music from Easter Europe. The Monte Carlo Philharmonic has a great advantage for some one like me, being the only orchestra in the entire country, we play not only symphony concerts, but also opera, ballet, chamber orchestra, chamber music, religious mess, and even pop music through out the season. And for more then 3 years my jazz/blues/rock/patchwork band played weekly shows in a local bar called La Rascasse, where I played anything from Kreisler to Bob Marley.

Though I have stopped playing in the bar, the experience of making music in a different way, for a different public has been a very important part of my progression.

Speaking of Explorations, you are also a member of Ensemble Explorations, a group started by cellist and innovator Roel Dieltins. When did you first meet Roel and how did this come about for you?

I first met Roel Dieltiens in the mid 90's when he came to join Mr. Luca for concerts in Houston and Oregon. He was one of the most exciting and perfect musician my friends and I had ever heard. We would follow him around like groupies and wanted to know everything about him, even what kind of car he drove back in Belgium! He was like a rock star to us and we listened to his recordings of the six Bach suites with much devotion and admiration, he was only 30 something then, we all wanted to grow up to be like that!

In 2003 I received an e mail from the secretary of Ensemble Explorations asking me if I would like to take part in the project of recording and performing the Mendelssohn Octet with the Ensemble. I jumped up and down and screamed the house down. It was like a kid who played rock guitar in the garage getting an invitation to play with the Rolling Stones! It was amazing. And the project was also incredible. The musicians of the Ensemble are some of the best artists in Europe. We all played on gut strings for this project (pure gut A and E for the violins) and the sound was extremely beautiful. The recording which was made by Harmonia Mundi won many awards, we are still playing it all over Europe.

Playing with Roel is always the highlight of my year. He is not only a perfect artist, but also a wonderful human being, natural and kind, fair and accepting. He is the ideal leader, able to choose the right combination of artists for each project, both musically and humanly. The musicians come from many different countries, all of whom are leaders in their own domain. Rehearsals are often in several languages, Flemish, French, German, Italian or English. Thanks to these sessions, I have now learnt most of the numbers in German and Flemish. Everyone participates, exchanging musical ideas and the result is always fantastic. During each concert tour, not only have we created great music, we also have enormous fun. Everyone who plays in the ensemble feels this way, no matter what we do in our regular work: symphony, chamber orchestra, teaching, solo performance...etc , when ever we play with Roel, it is always the best thing we do all year.

Would you like to have Roel play on your series in Monaco?

Absolutely. I am already working on that with the concert manager of Ensemble Explorations. Due to my high regard of Explorations and Roel, I want to provide the very best when I receive them.

Orchestras in the United States seem to be experiencing incredibly turbulent times: one of the most "memorable" seasons being the 2002-2003 season during which the Tulsa Philharmonic, San Antonio Symphony, Savannah Symphony, Colorado Springs Symphony and Florida Philharmonic all closed their doors. While the San Antonio Symphony has reorganized itself quite beautifully, it does seem - quite unfortunately - that contract negotiations in the United States may always be contentious, with many ensembles continuously finding themselves teetering towards shutting down. Working in Europe as you are, does this "American phenomenon" cause you some concern, or does the crisis seem to be solely based on mysterious financial circumstances as opposed to what many have called (for many years) the "death of an irrelevant art form"?

I wonder who are the people saying things like that. The idea that an art form must die seems absurd to me. Everything comes from something. Classical music will never die, not as long as there are human beings with souls.

But I do acknowledge the fact that there has been or is still a decline in the 'popularity' of Classical Music concerts in the western world. Compared to the past centuries.

I do not think it is the 'fault' of the Music.

In Europe, governments give much support to art and culture, because they know it is essential that these establishments remain present in current times. They do not need the orchestras or museums to make money. That is not the purpose of their existence. In Monaco, the orchestra is supported nearly 100 percent by the government. Being a small country, the halls are often only half full, but we know the orchestra will always exist, because it is a symbol of meaningful culture and worthwhile tradition, an essential part of this country. The government would never abandon it. I believe this conviction exists in other countries in Europe as well, in my personal experience, musically speaking it is especially true in Belgium, Holland, Germany, Austria, Switzerland, and France. Where the continuation and presence of artistic excellence is linked closely to the national pride.

Having lived - throughout the world - would you advise students and those auditioning for positions in the United States to consider working in Europe - and do you ever at times long for the North American continent?

Having been up rooted quite young and ended up having a nomadic life, first due to circumstances, then probably curiosity. I never knew the realities of a stable and settle life. So there are some essentials I have missed, especially in childhood.

North America is home to some of the best orchestras and music schools in the world. Providing excellent training and rigorous preparations of professional musicians. And the scholarship system is not to be matched anywhere on earth.

I do feel that given the possibility, a young musician would benefit most positively by traveling to Europe, either for studies or professional work. To hear the organ inside St. Thomas church where Bach worked each sunday, to touch the walls of the St. Florian Abbey where Bruckner is buried, to stand in front of the house where Mozart lived in when he move to Vienna (eventually marrying the land lady's daughter), to walk over the bridge where Vivaldi took daily from his house in Venice are just some of the things that we can only experience by being there. To be playing or listening music in the great halls in Salzburg, Paris, Berlin, London, Amsterdam, Naples, Venice, Florence and of course Vienna, to be hearing the languages both spoken and musical which inspired and influenced the great composers, to watch and listen to real gypsy musicians busking on the streets of Llubjana or Prague, are the things which we may never miss, unless we have had a taste of it.

I love living in Europe. It has all the essentials of life for me. In about two hours one can travel from Berlin to Rome, Zurich to Paris, Amsterdam to Vienna, Nice to Barcelona.

Though the future may bring me back to North America or Asia for personal reasons, I hope to always keep a place in Europe and return as frequently as possible. The richness of culture in such close proximity is something I continue to treasure.

Daniela Shtereva and the Strange Animal known as the International Music Competition

2008-03-11T05:21:00.000-07:00

Pianist Van Cliburn was recently profiled in a New York Times article chronicling both his career and the 50th anniversary of his victory at the first Tchaikovsky International Piano Competition. In this article, which is both well written and insightful, the author states that "It could be argued that Mr. Cliburn’s Moscow victory spawned an industry of sorts, the modern musical competition, which has had a profound, and not benign, impact on musical education and career arcs."

While I have yet to form an opinion about these events, I have had the pleasure of meeting and befriending violinist Daniela Shtereva (above) who, over the past four years, has been on the competition circuit. Over the past three years she has won three competitions (Washington International, Chicago Society of American Musicians, and the Lynn University National Violin Competition)and made the semifinals of FOUR major international events (Sibelius, Indianapolis, Michael Hill World Competition and Sarasate).

Taking the best of herself to every situation, Daniela has been performing across the world to well-deserved critical and audience acclaim. Judges praised her performance in the 2007 Lynn University National Violin Competition, and she made a very "strong impression" at the 2007 Seattle Chamber Music Festival. Later that year a commentator for The Strad wrote, upon the announcement of the finalists in the 2007 Michael Hill World Violin Competition, that "Shtereva's exclusion from the finals was inexplicable."

How a performer can be "on a roll" and later blithely excluded from a final round is something of an enigma....being undeterred, however - as well as humble - Daniela recently placed third in the William Byrd Young Artists Competition and is enjoying a continuously expanding concert career.

Daniela will be performing with the Redlands Symphony Orchestra this weekend, and in a recent article published in the Redlands Daily Facts, Daniela speaks quite candidly about her life, career, and approach. Reading this article I found myself very happy to see more of her great spirit and work ethic, and am both humbled and proud to call her my friend. Should you have an opportunity to hear Daniela in concert, by all means go....

Enjoy,
Sam

Between A Ballad and a Blues

2008-03-11T02:30:00.001-07:00

Well, I have been in Knoxville, Tennessee for a week rehearsing "Between A Ballad and a Blues", a new play written by Linda Parris-Bailey about the life of Tennessee string band musician William Howard Taft "Louie Bluie" Armstrong that premieres next weekend. My first experience in the theatre as an actual "presence" was in 1994 during my undergraduate studies at Oklahoma State University - I was a well-lit offstage "fiddler in the wings" during a production of The Glass Menagerie and while I have done the "requirements" since then I have also missed the theatre and am incredibly grateful for this opportunity.

Being one who has spent a lot of time "doing the rounds" of music festivals both as a student and a professional, I am well aware of the fact that we as humans enjoy these collisions with life as they are great opportunities for us to confront some aspect of our psyches as well as do some good work. Regarding this play, all of the actors, musicians, and staff members are amazing. Regarding karma, however: this is a bit of a challenge, albeit a welcome one, as I am not simply a "musician" playing the soundtrack (if I may) for this one.

I'm actually "in" it.

The main character, born William Howard Taft Armstrong and nicknamed "Louie Bluie", was a fiddler and bandleader, and this story - about his travels - also travels, from past to present. During these travels there are reminiscences of other fiddlers and other times for which I am to be onstage, and there is other staging about which I am not aware just yet, but I have been told that I am going to be "quite busy". This was brought to my attention again this evening as we had preliminary costume fittings and mine is to be the same as that of the main character as I am his "alter ego" or "dream figure".

Those who know me well are very well aware of the fact that I have struggled with performance anxiety throughout my life. Through a consistent yoga practice and the required deepening of my involvement with the craft of violin playing and performing - as well as the events of August/September 2005 - I do have to say that while I am still conscious, much of the angst involved with "stage fright" (which is more often than not rooted in issues involving one's ego) has disappeared, thankfully. Still, having participated in so many orchestra festivals and played as an orchestral musician for many years, it is a challenge to "step out of the box" while still using the skills that one was taught years ago.

Other than that, Knoxville is a very peaceful place, and the schedule here is such that I actually have time to do a lot of work - and go to the gym, which is where I am heading right now.

More after the show,
Sam

Battle Fatigue

2008-03-06T00:50:00.000-08:00

While my posting this article from the United News (a website containing news and articles for the United Church of God) is not a declaration of any religious or denominational ties, I do have so say that I found it incredibly interesting and helpful.

Read on,
Sam

Battle Fatigue: Don't Let It Undermine You!
by Roy Holladay

The movie Saving Private Ryan vividly portrayed the trauma, pain and suffering associated with war. Many soldiers experience battle fatigue from the constant physical, emotional and psychological pressures of combat. In World War I this condition was called shell shock—it was thought to be an organic condition. In the psychology book titled "Abnormal Psychology and Modern Life," 5th edition by James C. Coleman, there is a section dealing with "Traumatic Reactions to Combat." Notice the following from page 186 (all the quotes in this article will be taken from this book): "Most of these men were suffering instead from the general combat situation with its physical fatigue, ever-present threat of death or mutilation, and severe psychological shocks. During World War II, traumatic reaction to combat passed through a numb of classification such as 'operational fatigue' and 'war neuroses,' before finally being termed 'combat fatigue' or 'combat exhaustion.'"

In World War II 10 percent of the men in combat developed battle fatigue. Slightly over 10 million men were accepted for military service in the United States. Out of that number 1,363,000 were given a medical discharge. Approximately 530,000, or 39 percent, were for neuropsychiatric disorders. This was the single greatest loss of manpower during that great conflict. It also accounts for the greatest loss of membership in the church of God community. Many have experienced spiritual battle fatigue.

Our modern history shows that one third of the membership of the church have left for various reasons. Many have become "weary in well doing" (2 Thessalonians 3:13). We have all gone through shell shock since the 1995 events surrounding apostasy in the church. Many are still suffering from the trauma of that experience. It is expressed in many ways—including a lack of trust, commitment, loyalty and faith. Many have become fatigued and exhausted and want to be left alone. They want peace—no more fighting or confusion.

Symptoms

"Common symptoms among combat troops were dejection, weariness, hypersensitivity, sleep disturbances, and tremors. In air-corps personnel...the more typical symptoms were anxiety, frequently with accompanying dejection and depression, phobias toward combat missions, irritability, tension, and startle reaction" (page 187). How well I remember experiencing the same symptoms when the Church was going through its crisis—the inability to sleep, tension, shaking inside, nightmares, emotional hurt, pain, and disbelief. We felt betrayed, deceived and used. Notice this quote from page 188: "In the majority of cases they followed a stereo typed pattern: 'I just can't take it any more.... I just couldn't control myself.'" The Bible reveals that as Christians we are in a spiritual battle for our eternal lives. Satan wants us to quit and give up. He wants us to stop fighting.

Christian Soldiers

The Scriptures explain that we are Christian soldiers. In 2 Timothy 2:3-4 we read the following: "You therefore must endure hardship as a good soldier of Jesus Christ. No one engaged in warfare entangles himself with the affairs of this life, that he may please him who enlisted him as a soldier" (emphasis mine throughout).

The Christian life is not always easy—there are hardships we must endure. We strive to please our commander, Jesus Christ. First Timothy 6:12 shows that we are to "fight the good fight of faith." We are in a spiritual battle daily with Satan. We must also do battle against the society around us and the pulls and passions of our own nature. When Paul looked back on his life he stated that "I have fought the good fight, I have finished the race, I have kept the faith" (2 Timothy 4:7). Paul also exhorted Timothy to "wage the good warfare" in 1 Timothy 1:18. In verses 19-20 Paul lists some of the spiritual battle casualties of the first century. None of us want to become victims of spiritual battle fatigue.

How do you prevent spiritual battle fatigue? How do we help one another as we go through the battles of life? What can we do to prevent others and ourselves from becoming casualties?

James C. Coleman, in his book on psychology, explains that there were four attitudes and approaches that helped the combat soldier resist combat exhaustion and fatigue. These approaches can help us also in our spiritual battles.

Clarity and Acceptability of War Goals

In World War II there was no doubt as to who the enemy was, and why we had entered the war. We realized that the well being of our country was at stake. Contrast this with what occurred in the Vietnam War. The average soldier did not know why we were in the war. We were not trying to win the war—just contain the Vietcong. The morale of the military was extremely low. "In general, the more concretely and realistically war goals can be integrated into the values of the individual in terms of 'his stake' in the war and the worth and importance of what he is doing, the greater will be their supportive effort on him.... Time and again men who have felt strongly about the rightness of their cause and its vital importance to themselves and their loved ones have shown incredible endurance, bravery, and personal sacrifice under combat conditions" (page 195).

We, as Christian soldiers, must have our goals clearly in mind. Matthew 6:33 states that we are to "seek first the kingdom of God and His righteousness." These goals have never changed. Our ultimate goal is to be a spirit member of the family of God through the resurrection—to be born again. Sometimes the kingdom of God can seem vague and off in the distant future. As we struggle with daily living, it is hard to continue to focus on the future and our calling. Notice the following quote from page 195: "[I]n the actual combat situation the soldier's concern about the political goals of the war is somewhat remote; he is fighting for survival. Perhaps this is the reason why distant ideas, such as democracy, were the first to go in the personality decompensation associated with prolonged combat." If we are not careful we can go for days without thinking about our ultimate goal, and forgetting to pray and study diligently.

It was proven that in actual combat short-term goals provided the impetus for soldiers to carry on. "The pursuit of short-range military objectives appears, in general, to cause less stress than the pursuit of long-range ones, where there always seems to be another hill or town to take" (page 196). We likewise should break down our pursuit of the kingdom of God into daily, weekly, monthly and yearly goals. The kingdom can seem unattainable, but a daily goal of more effective prayer is attainable. Soldiers in battle must take one hill or city at a time as they march across a country. We should tackle one weakness, fault or habit at a time. Remember that overcoming means "to conquer, to carry off the victory, or come off victorious" (Enhanced Strong's Lexicon).

1.Another supportive factor in battle is the buddy system. "The 'buddy system' in which the individual is encouraged to develop a close personal relationship with another member of his unit, often provides needed emotional support" (pages 195-196). There are times that we all need encouragement and help from others to lift us up. Spiritually speaking we should not be an island to ourselves. Notice what Solomon stated in Ecclesiastes 4:9-12: "Two are better than one, Because they have a good reward for their labor. For if they fall, one will lift up his companion. But woe to him who is alone when he falls, for he has no one to help him up. Again, if two lie down together, they will keep warm; but how can one be warm alone? Though one may be overpowered by another, two can withstand him and a threefold cord is not quickly broken."

2.In 2 Corinthians 1:3-4 Paul states that God comforts and encourages us in all our trials so that we might be able to do the same for others. We all help each other adjust to battle conditions. The raw recruit (babe in Christ) may need special attention. United may still have others from our former association attend with us. Don't be critical of them, but welcome them and make them feel a part of our local battle unit (local congregation).

Identification With Our Battle Unit

The second factor that aided combat soldiers in dealing with combat fatigue was group identification. "It has been found particularly important to maintain good group identification in combat troops. The soldier who is unable to identify himself with or take pride in his group lacks the feeling of 'we-ness' that is a highly supportive factor in maintaining stress tolerance. Lacking this, he stands alone, psychologically isolated and less able to withstand combat stress. In fact, the stronger the sense of group identification, the less chance that the soldier will crack up in combat" (page 195).

In the spiritual battle of the last four years Satan has done a good job of isolating Christian soldiers. He believes in the philosophy of divide and conquer. We cannot be a religious independent or loner. If we are, Satan will pick us off one at a time. Many today do not want to have anything to do with a church organization. But commitment is a biblical principle taught throughout the Scriptures. In the heat of battle you want as many of your buddies as possible engaged in the fray. There is strength in unity. None of us want to become separate and unconnected to a greater work.

Matthew 24:14 and 28:19-20 are still in the Scriptures. We collectively have an obligation to preach the gospel to the world. One soldier can accomplish some on his own, but a whole army can accomplish more when they work together.

"In cases of combat exhaustion, the soldier often returns to his unit with feelings of apprehension that his unit will not accept him or have confidence in him in the future.... If the group does accept him, he is likely to make a satisfactory readjustment to further combat; if it does not, he is highly vulnerable to subsequent breakdown. In general, group identification and acceptance appear to be highly important in maintaining his appropriate role behavior" (page 195).

Many people are still wrestling with where to attend services. Those who may join us later must be made to feel accepted. Statements such as "It is about time you showed up" or "What took you so long?" will only drive them away. This principle also applies to someone who has been suspended or disfellowshipped. When they are invited back we should welcome them with open arms (2 Corinthians 2:6-8). They should feel needed and wanted.

Esprit de Corps

"Closely related to group identification is the matter of esprit de corps, the morale of the group as a whole. The spirit of the group seems to be contagious. When the group is generally optimistic and confident prior to battle, the individual is also apt to show good morale. It the unit has a reputation for efficiency in battle, the individual soldier is challenged to exhibit his maximum effort and efficiency" (page 195). Clearly, our attitude and approach can have a very positive or negative affect on others around us.

Notice in Deuteronomy 20:1-8 the instruction God gave to Israel when they went to war. God encouraged them not to be afraid because "the LORD your God is with you." Jesus Christ has not forsaken us—He is still the commander-in-chief and actively leads the church. Next, certain reasons were given for excusing men from battle that could be summarized as "divided loyalty." Notice verse 8: "The officers shall speak further to the people, and say, 'What man is there who is fearful and fainthearted? Let him go and return to his house, lest the heart of his brethren faint like his heart.'"

3.It is not wrong to be positive and optimistic about the work of God and the United Church of God. Negative attitudes can demoralize others. "On the other hand, when the unit is demoralized or has a history of defeats and a high loss of personnel, the individual is likely to succumb more easily to anxiety and panic" (page 195). We have the classic example in Deuteronomy 1:28-31 of how the spies discouraged the hearts of the Israelites by their negative reports. It is easy to be negative and cynical about the Church. Do we understand how this can undermine the morale of those we come in contact with? Some have never gotten over what happened to them in the past. This can only lead to resentment and bitterness. Can we forgive and move on, or will we continue to be trapped in the past?

Notice what our hatred and righteous indignation should be directed against. "Finally, hatred of the enemy appears to be a factor that tends to raise the combat soldier's stress tolerance" (page 196). Ephesians 6:12 shows that Satan and his demons are our enemiesnot humans. We should hate sin, hate gossip, hate the devil's methods, and hate division and factions. We should love all peopleespecially the brotherhood.

Quality of Leadership

The fourth factor for dealing with battle stress is the quality of leadership. "Confidence in military leaders is also of vital importance. When the soldier respects his leaders, his confidence in their judgment and ability, and can accept them as relatively strong father or brother figures, his morale and resistance to stress are bolstered" (page 195). Ephesians 1:20 explains that Jesus Christ is the head of the church. This is the best leadership possible. He will never leave us or forsake us. He will be with us to the end of the age. With His guidance and help we know that we will win the battle and be in God's kingdom.

The real problem is that our confidence in humans has been shaken. We have felt deceived and betrayed by some of our leaders in the past. Consequently, some have said that they will never be under any government again. Brethren, we should realize that God has not left us without leaders even on the human level today. Paul explains in 1 Corinthians 11:18-19: "For first of all, when you come together as a church, I hear that there are divisions among you, and in part I believe it. For there must also be factions among you, that those who are approved may be recognized among you."

4.God has allowed problems in the church to demonstrate which leaders are approved and which are disapproved. We have been very disappointed because many of our leaders have failed the test.

The Greek word for "approved" is dokimos. Notice the definition that is given in the Enhanced Strong's Lexicon: "In the ancient world there was no banking system as we know it today, and no paper money. All money was made from metal, heated until liquid, poured into moulds and allowed to cool. When the coins were cooled, it was necessary to smooth off the uneven edges. The coins were comparatively soft and of course many people shaved them closely. In one century, more than eighty laws were passed in Athens, to stop the practice of shaving down the coins then in circulation. But some money changers were men of integrity, who would accept no counterfeit money. They were men of honor who put only genuine full weighted money into circulation. Such men were called "dokimos" or "approved."

5.This aptly describes the faith of the ministry and membership of the church. We would not accept or teach a counterfeit doctrine. We are people of honor and integrity. The ministry has been placed in the church by God to provide leadership and oversight, to guide and teach, and to be helpers of our joy. Those who have been faithful should be given honor and respectjust as every faithful member of the church should likewise be honored and respected. The ministry should not be condemned and not be trusted because some ministers have not been faithful. One third of the angels rebelled, but two thirds remained faithful. We don't lump the faithful angels in with the unfaithful.

Those suffering battle fatigue had a high rate of recovery. However, how quickly treatment was administered to them was very important. "In World War II, many men were able to return to combat after a night or two of such relief. Soldiers whose symptoms proved resistant to such treatment were evacuated to medical facilities behind the lines. It was found, however, that the farther the soldier was removed from the combat area, the less likely he was able to return to battle. Removal to an interior zone seemed to encourage the maintenance of symptoms and a reluctance to return to his unit. During the first combat engagements of American forces in North Africa, combat exhaustion cases were transported to base hospitals hundreds of miles behind the battle lines; under these conditions less than 10 percent of the soldiers were able to return to duty.... In contrast, approximately 60 percent of those treated immediately within fifteen to twenty miles of the front lines were sent back to combat duty, and apparently the majority readjusted successfully" (page 196).

The longer a person stays away from church, the harder it is for him to return. It is important to maintain contact with our friends who may not be attending with us. We have a responsibility to show love and concern without proselytizing.

There are times that we all go through trials and endure hardship. We become discouraged and weary. We should seek help immediately. One of the biggest helps in these situations is a close friend.

Brethren don't allow battle fatigue to undermine you! UN

More on Katoucha Niane

2008-03-04T05:24:00.000-08:00

A few days ago I posted an article about the shocking discovery of African model Katoucha Niane's body in the Seine - she had been missing for two months.

Remembering her face now - I always wondered "Who IS that woman?" - I was, like many, incredibly intrigued and shocked by her biography, in which she speaks of being a victim of female circumcision. During her life and career she also worked tirelessly as a staunch opponent of that phenomoenon, making it known to the world both through her book and her foundation, Katoucha Pour la Lutte Contre l'Excision.

It saddens me to post such "gruesome" news about someone, but being a bit of a fashion follower (and "humanitarian") this seems to be the right thing to do, so I share with you the most recent obituary, this one from the UK Guardian.

Weary Traveler

2008-03-03T16:44:00.000-08:00

Well, "Lakme" has come and gone - a very different operatic experience for me as this was not "busy" like Puccini, Verdi, Donizetti, Wagner...cast was wonderful.

Sitting in the airport, however: this is quite humorous, as I flew back to Baltimore today to catch a flight to Nashville, where I will be picked up and driven to Knoxville - tomorrow. Mind you, had I spoken to the company manager of the Tulsa Opera (that being one of the strange yet humorous details of this juncture) I could have flown to Knoxville today instead of earning thousands of frequent flyer miles jetting halfway across the country only to do it again.

"My life as a Cover Girl"?

In one month I will play both Mozart's Concerto in D Major, K 218 and Camille Saint-Saens' Introduction and Rondo Capriccioso...and it's odd. Even now, after almost three years of "concertizing" (and mind you, I am aware that this career, while growing, is NO where near that of many of the world's top soloists), I feel the weight - the responsibility that goes with being "the soloist". No, it's not just about one's reputation, although we are all aware that one is "only as good as the last performance". This weight is welcome in some ways - it's as if I feel my teachers standing over my shoulders every time that I take bow to string.

It is, however, strange - but I think that this is what it means to be humble in some ways - the more one does, the more one realizes that one has much to learn - and sometimes one feels as if he knows nothing.

...but that's good - those feelings mean that the mind, soul and imagination are still open.

More from the road,
Sam

Katoucha Niane

2008-03-02T07:14:00.000-08:00

By Peter Allen in Paris
Last Updated: 2:18am GMT 01/03/2008

The lifeless body of Katoucha Niane, the former supermodel muse of fashion legend Yves Saint Laurent, has been fished out of the River Seine near Paris.

Detectives are investigating whether the beautiful 47-year-old - nicknamed "The Black Princess" - was the victim of a murder plot, although all the signs point towards an accidental death.

Supermodel Katoucha Niane's body found in Paris
Once a muse of Yves Saint Laurent, Katoucha became a campaigner against female circumcision

Seen as a forerunner of Naomi Campbell - the world’s most successful black model - Katoucha once commanded hundreds of thousands of pounds for her appearances on the catwalk.

In the 1980s she modelled for Christian Lacroix, Paco Rabanne and Thierry Mugler.

Until Thursday's gruesome find, she had not been seen since disappearing from her upmarket houseboat on a central stretch of the river by the Alexander III Bridge on February 1st.

The mother-of-three disappeared after being dropped off from a late night party organised by others from the world of Paris fashion, in which she still worked as a consultant.

Police believe she had been drinking heavily, and may have fallen into the water after losing her footing in a tragic accident.

Katoucha's handbag was later recovered near her houseboat.

Her body was pulled from the Seine in Boulogne, just west of the capital, according to one detective, who said investigators were yesterday afternoon still at the scene gathering evidence.
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"This may have been a tragic accident after a night out with friends, but we cannot rule out any form of foul play at this stage, up to and including murder," the detective added.

He said the body, which was spotted under a bridge by a passer-by, and which was thought to have been in the water for close to a month, was still clothed in a designer dress.

An autopsy was in progress, with numerous people attending Paris Fashion Week being spoken to about Katoucha's disappearance.

Although a French national, Katoucha was born in Conakry, Guinea, and was hugely proud of her African background.

Her father was the playwright and historian Djibril Tamsir Niane.

Katoucha worked with the greatest haute couture stars at the height of her career in the 1980s, including Saint Laurent, to whom she was always close.

Katoucha left the catwalk for good in 1994, but in recent years became an outspoken critic of female circumcision, launching a foundation to campaign against practice.

Excised at the age of nine in Guinea, Katoucha recounted the ordeal in a recent book entitled "In My Flesh".

She said she saw her career as a top model as a form of "revenge" for the horror of excision.

Katoucha wrote: "I grew up surrounded by hibiscus and ylang-ylang flowers. I used to get drunk on the richest perfumes and saw myself as a perfumer or a model.

"But one day, mother said we were going to the cinema. And I found myself the victim of a horror movie. An unimaginable trauma that I had never managed to talk about, until I found love and wrote 'In My flesh'.

"I embodied the most arrogant and admired kind of femininity, I who was supposed to be diminished," she wrote.

The Seine, despite its beautiful bridges and cobbled riverbanks, is a legendary dumping ground for the bodies of murder and suicide victims.

Last year, 55 corpses were retrieved from its murky depths, and around 150 people were rescued alive.

-this story can be found in the Daily Telegraph

Choices

2008-02-29T00:35:00.001-08:00

I just received a call today from a Polish woman living in Herndon, Virginia regarding playing with the Concert Artists of Baltimore next week - and it would have been quite nice to do so, as I would have been sitting assistant concertmaster for a concert that includes Strauss' "Bourgeois Gentilhomme" and Brahms Violin Concerto. Nice for not having taken an audition, no?

Well, unfortunately I cannot do the concert, as I am "otherwise engaged". This has been the state of the state for the entire month of February, as this was the THIRD call that I've received regarding playing in the Baltimore/DC area that I had to turn down. I guess that's life as a freelancer, no? It would have been nice to have taken these engagements, as I would be AT HOME, something that I find myself relishing more and more.

Why I have the desire to be "in my space" I do not know - perhaps it is due to having bounced around a lot over the past three years, perhaps it is due to finally having moved into an apartment in Baltimore and the desire to "set up shop" for a while. Nevertheless, here I am, and while I will not see that apartment until April I do have to say that I am grateful for what I have in front of me.

Of course, this has happened before - many years ago. In 1998, shortly after returning to Houston after a great summer in Breckenridge, Colorado with the National Repertory Orchestra I found myself with two orchestral weeks and an audition for which to prepare. Having been called many times by the Houston Ballet, I called the personnel manager (on the advice of a dear friend in the orchestra) and let him know my availability. He did call back with some services - but I was getting ready to take an audition...that I did not win (although when I came home from that audition I had to return a call to Fergus Scarfe who was at the time the admissions director or something of that effect of the New World Symphony, finding out that I had been accepted into the orchestra, which required moving to Miami Beach within two weeks).

It also happened in the summer of 2000 when, while at Spoleto Festival USA, I was asked by a conductor to be his assistant at a music festival for the rest of the summer. I had a quartet audition to take...which I did not win, and life took what I see now - and saw then - to be an incredibly beneficial turn (as I sit in a hotel room planning my press release mailing, which will take place sometime next week).

Again in 2002 - just as I was about to move to New Orleans to start with the Louisiana Philharmonic Orchestra, I received a call from the Mayo-Hill School of Modeling, which is associated with the Neal Hamil Modeling Agency. I had been accepted after going to an open call...

AHHH...what can I say? It's important to be still, to be available...and it is equally important not to let "overwhelming necessity" in the form of needing money, feeling that one "has to move forward" (win an audition and leave a city in which there is a school from which one has recently graduated so that one does not feel like a "loser"), etc., force us into making choices.

Yet it is difficult to sit still, particularly in a society wherein having an overbooked calendar is taken as a symbol of worldly success - and moreso in a society where trusting one's instincts (the still, small voice that leads us all) is almost frowned upon. Nevertheless, while I have no regrets I'm finding myself wanting to sit still for a while, to take the edge off so that I can hear that little voice again and follow it...

...but duty calls.

Different business, same perspective

2008-02-25T23:38:00.000-08:00

Okay, those who know me and know me well are aware of my many interests, one of those being fashion and, yes - chuckle - the world of models and modeling. While that entire industry may to some seem incredibly superficial, there are lots of people in that industry that have the same perspective on life and working that musicians and others who have worked quite hard - and for long periods of time - to achieve their success.

Myself, I'm remembering my teachers saying things like "Keep the focus on practicing and take the opportunities that life gives you" and "It took a long time for me to get where I am."

With this, I am thinking of an earlier blog in which I wrote that
"After the rite of passage - whatever that rite-of-passage may be - it's the day-to-day that decides one's fate/destiny, whether or not a marriage will survive, whether or not a new convert will go to heaven, whether or not a competition winner will truly establish himself with a solo/recital career, whether or not an audition winner will KEEP the job. It's all about discipline - dedication to a mission, whatever one chooses it to be."

I have recently rediscovered Stacey McKenzie, a Jamaican-born Canadian who caught the world's attention during the Calvin Klein CKBe Campaign in the 90s. In her interviews, Stacey speaks quite candidly about her career - and the realities of the industry - and recently said this about a young woman who had ">suddenly found herself in the spotlight. These words can most definitely be applied to anyone, and should be taken to heart:

"Just because she won the competition doesn’t mean everything is going to be coming to her on a platter. No, no, my dear. She has to work her butt off to prove she is a top model. A model’s career is usually a short-lived one. There's always another girl waiting to take her place because she is the new trend. There's always another girl waiting to take her place because she's better in her pictures and on the runway. Hell, there's always another girl waiting to take her place because she's the young, fresh version of her! Andrea has to be on top of her game even more now. She has to be able to reinvent herself to keep working."

Time to practice,
Sam

Concert/Performance Schedule Updated

2008-02-24T20:21:00.000-08:00

Dear all:

I have recently updated my concert schedule and am pleased to have added upcoming performances of Rajni Shah's Dinner With America, which is currently in previews throughout the United Kingdom.

I first met Ms. Shah in August 2007 through Jean-Marie Mauclet after the Alternate ROOTS Annual Meeting and was both humbled and pleased to have been asked to do an interview for this production.

"Dinner with America is the second in a trilogy of performances addressing the complexities of cultural identity in the 21st century. Where the first piece in the trilogy, Mr Quiver, explored and problematised Indian and English stereotypes, this piece pushes our thinking about what ‘America’ means to us. As the performance space shifts and transforms, it gently uncovers sub-themes of consumerism, rights, ownership, voices, hopes, harvest and division in a visually compelling and unusual piece of work."

“I’m fascinated by the notion that in this day and age everyone carries a small piece of ‘America’ inside them, a tiny concept or visual reference, often involuntary. And I’m at once repulsed and delighted at just how easily I feel connected with those ideas, which are often linked to capitalist ideals, of freedom, saturation, desire, individuality. So this is a piece about the ideas and images that we call ‘American’ and, for me, about a complicated personal attachment to both the land and ideas of the United States.” – Rajni Shah

Soundtrack features: interviews with Alice Lovelace, Bailey Barash, Ben Bryson, Bradley Kimball, Carrie Elzey, Chip Epsten, Deshantell Singleton, Eleanor Brownfield, Grady Harris, Guillermo Gómez-Peña, Imani Davis, James Gough, Jan Smith, Jean-Marie Mauclet, Jeff Mather, Jerry Cullum, Katy Malone, Lily Trapkin, Linda Norton, Lucille Schmidt, Madison Trapkin, Nicholas B. Schmidt, Philip Trapkin, Priscilla Smith, Ruth Laxson, Samuel Thompson, Stevens and Ronnog Seaberg, Tia Davis, Tim Habeger, Toby Schmidt and Zion Davis. A specially commissioned work by The Mountain Goats.

For more information on Rajni Shah, please visit www.rajnishah.com.

Why Some Do Not "Reach Their Potential"

2008-02-19T00:50:00.000-08:00

From Terry Teachout, recently published in the Wall Street Journal:

"Yes, it's important to shoot high, but there's a big difference between striving to do your best day after day and deliberately setting out to make a masterpiece. What if Welles had gone back to Broadway after "Citizen Kane" and directed "A Midsummer Night's Dream" on a bare stage, with no expensive bells and whistles? Or if Bernstein had followed "West Side Story" with a fizzy musical comedy that sought only to please? Or if Ellison had gritted his teeth, published his second novel, taken his critical lumps, ignored the reviews, and gone back to work the very next day? Then all of those gifted, frustrated men might have spared themselves great grief -- and perhaps even gone on to make more great art."

Read the complete article here...read on...

Ritz Chamber Players

2008-02-10T17:25:00.000-08:00

So, I have come out of my little hiatus for a moment for one reason only: today I heard the Ritz Chamber Players. Living in a world were platitudes are given regularly and freely (and consequently viewed with healthy skepticism), what I write here is the truth.

The Ritz Chamber Players is arguably of the finest and most musically exciting chamber music groups performing throughout the United States, and I need not speak further. If opportunity arises to hear them, seize it!

Freedom...

2008-02-08T23:17:00.001-08:00

I will be away from this place for a few days while I prepare for the upcoming three month concert marathon that is taking me to four cities - and possibly two countries - within the next three months.

However, I leave you with this - those who know me quite well will understand...and I will explain when I return.