The
March 2012
Penguin
New England Conservatory
Issue XLII
Taking Bach out of the Concert Hall: Reflections on Performing on When Notes Fly
By Zach Preucil
"One of the reasons I started this is because I felt classical
The six cello suites by Johann Sebastian Bach
music is losing its audience," she says. "To sit in the concert hall for
are considered to be one of the cornerstones of music
hours might not be fun, and the performers are far away from the
literature. Written nearly three hundred years ago for a
audience, making it hard for them to really feel the music. A relaxvariety of the cello's predecessors, such as the lute and
ing setting like a cafe is a great way to introduce classical music. It's
viola da gamba, the suites were the first compositions in
a better way to connect with people, and it's free!"
which complex harmony and melodic contour were
Kai-Ching's infectious enthusiasm for the project was more
compressed into a single, melodic line without losing
than evident when I greeted her on the morning of my
their effectiveness. Indeed, I've heard many
performance at Voltage Coffee and Art. After introduccellists liken the suites to religious literatureing me to the manager of the coffeehouse, a friendly
-a cellistic Bible of sorts, only to be perwoman with a wry sense of humor, Kai-Ching went
formed with the utmost sense of reverence
about setting up for the performance in a small corner,
and solemnity. Therefore, when I was asked
moving a table out of the way to create a space for what
if I would perform the entire second suite
was to be our makeshift stage. I was struck by the sheer
from memory in a concert, I immediately felt
informality of it all; it was, in essence, the exact opposite
the burden of responsibility that surely rests
of the conventions one normally sees at a classical perupon the shoulders of any cellist ambitious
formance. Instead of a stage, we had a coffeehouse floor;
enough to attempt such a feat. However, the
instead of purchasing tickets, the audience was purchasnature of the performance wasn't my only
ing mocha frappaccinos; and instead of blinding stage
source of apprehension; its time and location
lights, we had the blinding beams of the newly-risen sun,
were daunting as well. For this concert was
refracting cheerily through large glass windows to illuto take place at nine 'o clock in the morning
minate our "stage." It was actually a bit surreal, and even
in a Kendall Square coffeehouse.
more so once the performance began. There was no
Before I tell you whether I sucnerve-racking walk through a cold backstage corridor, no
ceeded in this dangerous quest (I'm usually
annoying stagehand, no burst of applause at my appearnot even conscious at 9 A.M., so the prospect
ance. There was just Kai-Ching and her microphone, and
Zach
performs
on
the
of performing an entire Bach suite from
a long line of tired customers waiting for their breakfasts.
February
9th
Bach
and
memory was certainly a cause for concern), allow
Kai-Ching briefly welcomed everyone to the performance,
me to regale you with the specifics of this really Breakfast concert
introduced me, and then handed the microphone over so I
wonderful concert series I participated in. Its name is
could introduce my piece myself. I don't pretend to be a Bach expert,
When Notes Fly, founded in April 2011 by NEC staff
but I have a basic knowledge of the suites' history, and was able to
pianist Kai-Ching Chang, and its mission is to expose
deliver a somewhat convincing pre-performance talk to the curious
members of the Boston community to a variety of musicrowd. They seemed intrigued; I wondered fleetingly how many of
cal genres and repertoire through regular outreach conthem had even heard Bach before, and realized that my performance
certs at Voltage Coffee and Art in Cambridge's Kendall
might be their first exposure to one of the most revered composers
Square. Since its debut performance last spring, When
of all time. The thought inspired a unique sense of responsibility
Notes Fly has presented the performances of over sevwithin me; sure, my performance wouldn't even come close to the
enty musicians from NEC and elsewhere, and has relikes of Yo-Yo Ma or Anner Bylsma, but I was here, at this place, at
ceived a very enthusiastic response from the local comthis (rather unusual) time, and my job was to present the music of
munity members. This is exactly the type of reaction
Bach. And that's what I did.
that Kai-Ching was hoping for.
When Notes Fly continued on page 6
In This Issue:
Revolution of Hope
SAC Wine Tasting A Success!
Van Halen—Review
Ask Emmy: Coping with Rejection
1
2
5
6
7
Revolution of Hope: What Will Your Legacy Be?
By Stephanie Hsu
The following is an interview with David France, conducted by his colleague Stephanie Lin Hsu. David has been designing and growing a youth orchestra program in Roxbury, MA as part of his work in the Fellows Program this year
at NEC. Given the close proximity of Roxbury to NEC, and given the extent to
which David has been collaborating with NEC students and alums in his process,
both David and Stephanie hope that sharing a bit more about this work in The
Penguin will invite further conversations here and spark new possibilities for collaboration. This interview took place at the Haley House Bakery Café in Roxbury,
MA, a social enterprise that promotes the physical, economic and social wellbeing of the Roxbury community. It is a beautiful space with a powerful mission
and delicious food; do check it out!
David France's Roxbury youth orchestra is drawing on the
expertise and knowledge of multiple community members.
Stephanie Lin Hsu (SLH): David, you’re in the process of building a major
music program in the city of Boston. Tell me some of the basics of your project.
What exactly are you building?
David France (DF): What I’m building is a safe house for youth and youth development in the community of Roxbury, that will also function as a furnace for musical excellence and community renewal. I’m calling it Revolution of Hope, a Roxbury youth orchestra program.
SLH: Wow. How have you been doing this?!
DF: I don’t sleep! I believe in the African saying, ―It takes a village to raise a child.‖ I have a team of fearless leaders who are volunteering
their time to assist me in this project. I have been coming to Roxbury and literally hitting the streets and striking up conversations with locals
who have then led me to other locals. I show up and then I can’t leave, usually for 5-6 hours. So I was a little worried coming here today!
SLH: Well I’m glad you made it! Give me a snapshot of a few hours in Roxbury as David France.
DF: I ride my bike into Roxbury. Find a location to lock my bike up. And then I just walk. I walk into any building: a school, barbershop, bar,
Laundromat, public school, Boys & Girls Club, YMCA, restaurant, police station, anything. I just start talking to people, getting the temperature of the community. And I put my idea out there—to build a youth orchestra program that promotes youth development and community
renewal—and I get as much feedback as I possibly can.
SLH: How do you think the folks you meet in Roxbury see and perceive you in these moments?
DF: I was talking with a gentleman who’s a musician in the city. He was talking about the future of my music program, the Revolution of
Hope youth orchestra program in Roxbury. He said, ―When you walk into a room, you will not only be a Black man, you will be a Black man
who is articulate, and has a vision for the community beyond anything that we’ve seen before.‖ When I talk to people, they usually have a
very inspired and nostalgic look in their eyes. People have called me an ―articulate dreamer.‖ I can imagine them asking themselves, Why
hasn’t this been done yet?
SLH: Why hasn’t this been done yet? And what do you think differentiates your program from others you’ve taught at or experienced?
DF: There are a few differences. I’m building a musical organization with a team that is not only made up of musicians, but also a professional skateboarder, mathematician, and other community leaders. The foundation of what I’m trying to do feels completely different from
other music programs I know.
SLH: How would you characterize this ―foundation‖ in a few words?
Revolution of Hope continued on page 4
Volunteer Opportunity: NEC Correspondents for Community Radio Project
A group of NEC students is seeking volunteers to interview local senior citizens for a musical oral history project. We are working to produce
and broadcast a radio show/podcast featuring stories and music with seniors living in NEC’s neighborhood. NEC Student Correspondents will
talk with individual seniors about the personal meaning of music to them over their lifetime – their memories of styles, recordings, venues,
performances and performers, and how music has been woven into moments of personal meaning in their lives. Excerpts from each interview
will then be paired with a musical response, such as a recording of a song they discussed or a relevant performance at NEC. The result will be
a living history recording intended to portray a musical autobiography for each senior.
This project is a great opportunity for anyone who is interested in deepening their involvement with the local community, strengthening ties
between NEC and the neighborhood, and learning about radio and oral history. Specific responsibilities for NEC correspondents will include
a pre-interview conversation with the senior they are matched with, conducting a recorded interview, providing the materials generated to the
editing and technical crew for inclusion in a podcast, and providing a copy of the interview to the interviewee. Volunteers will be provided
with specific technical and interviewing guidelines and materials. All work can be done within walking distance of the NEC campus.
Please contact Ryan Shannon ([email protected]) for more information or to express interest.
2
Hungarian musician Franz Liszt
received so many requests for
locks of his hair that he bought a
dog and snipped off patches of fur
to send to admirers.
Mendelssohn left the score for his
A Midsummer Night's Dream
overture in a cab, and was able to
rewrite every note from memory.
The organ is one of the oldest instruments still used in European classical
music. Organ has existed since the
third century BC, with the hydraulic
system, thus making it the most complicated human technology till the
13th century AD.
Compiled by Drew Cryer
Mar. 7th—8pm, Jordan Hall
NEC Philharmonia + David Loebel
Mar. 8th—6:30pm, Williams Hall
A Soiree of French Music for
Woodwinds and Piano
8pm, Jordan Hall
Music of Jaki Byard
Mar. 14th—8pm, Jordan Hall
NEC Philharmonia + Wolff
8pm, Brown Hall
Undergraduate Opera Studio Scenes
Tchaikovsky wrote the 'Pas de deux' from the
'Nutcracker' ballet as a bet. He said he could write a
piece whose main theme was a simple descending major scale. He did it and won.
Mar. 15th—8pm, Brown Hall
Undergraduate Opera Studio Scenes
Mar. 25th—2pm, Pierce Hall
NEC Spring Gospel Sing
Most toilets flush in E flat.
3
NEC Conducting Alums lead program with the United Nations and
City of Boston Mayor’s Office at the Berklee Performance Center
Entrepreneurial Musicianship is all the rage now, but before having implemented a specific department dedicated to it, NEC was already
harvesting and supporting innovative projects. Formed in 2009 under the name Musical Diplomacy, The Sounding Board, became a vehicle for combining music performance with current social issues. Co-Founders and Artistic Directors Brian Kaufman & Michael Reichman
were NEC MM Conducting students under Charles Peltz when they began this initiative. ―We simply wanted to create a music experience
that was relevant to the important current events of the day,‖ Reichman explained. Since its inception, TSB has hosted multiple events in
the Boston community presenting music from Bach to hip-hop & addressing events from Guantanamo Bay to Barack Obama’s Presidency. Now it’s turning its sights on an increasingly prevalent global issue: environmental sustainability. TSB is teaming up with UN
communities and the City of Boston to present The Boston Rio+20 Project. This program is being run in conjunction with the Rio+20
Global Youth Music Contest, a global competition run by IAAI Global Challenges as part of the United Nations Commission on Sustainable Development’s 20th Anniversary Earth Summit in Rio de Janeiro, June 2012. The Rio+20 Conference will unite UN delegates and
world leaders on establishing a green economy while the Youth Music Contest will focus on engaging the arts community. Activities of
The Boston Rio+20 Project will include a series of workshops for several Boston-based youth organizations culminating in a large-scale
production at 4pm on Saturday March 31st at the Berklee Performance Center emphasizing the importance of youth and the arts in addressing sustainable development. March 31st’s production will include performances and presentations by a number of high-impact Boston-area organizations including City Year, Boston Children’s Chorus, From The Top Zumix, Project Hip-Hop, Artists for Humanity,
Grooversity, and Berklee College of Music.
―We hope to challenge youth to create and express viewpoints on sustainable development while empowering them as leaders and role
models for the Boston community,‖ shared Kaufman. These programs will give over 100 Boston youth, many low-income and at-risk, a
chance to be part of social entrepreneurship in the arts by illuminating international sustainable development. Moreover, this project will
increase awareness for the United Nations’ goals of addressing climate change, sustainable ecological systems, and poverty eradication
through a just economy.
The Boston Rio+20 Project on March 31st at the Berklee Performance Center will be free and open to the public. This program was made
possible by the Berklee Community Grant Program, IAAI, the City of Boston and UN Rio+20 communities. For further information,
check out TSB’s website at: http:// www.thesoundingboard.com/events.html.
Revolution of Hope continued from page 2
SLH: How did they come to discover that they were so personally invested in this vision?
DF: I strongly believe that the vision of this project is authentically transcendent. If something is ―authentically transcendent,‖ people from
any background can find themselves in that larger vision. That’s how I advertise it. I talk about it first, give the Executive Summary, and say,
―If you can see yourself in this—if you can find yourself in this—give me a call.‖ And my team, they found themselves within this vision.
They found a part of their own dreams inside of this.
SLH: What do you want to say to NEC students about this?
DF: Well, because I honestly believe that this vision is authentically transcendent, I believe that any NEC student can find a place for themselves within this. I don’t know what their place is. I could share my vision, my stories, my documents, and whatever is ignited within them,
they would be able to tell me what their place is. Because the thing is, even if everyone can find their place within this, they may not want to.
For the people who have come on board for the Revolution of Hope project, who they find—the part of themselves that they find reflected
through this vision—compels them to come on board.
SLH: What questions might a musician ask him- or herself to test this out, to find his or her place within a new vision, whether it be the vision of Revolution of Hope, or another?
DF: What will be your legacy? After you are gone—after you’ve done whatever you’ve done and you’re no longer on this earth—what will
be your legacy? So many people allow their legacy to just happen—we all have a legacy, whether it’s good or bad. But it’s possible to be
more intentional about what your legacy is. The future is what provides the fuel for the now. So ask yourself now: What will be my legacy?
SLH: Oh man, I may not sleep tonight either, thinking through that question. Any final thoughts, David?
DF: To anyone who reads this, visit our Facebook group for the Revolution of Hope. You can go and look for yourself in that group. And I’m
still looking for volunteers who want to help to build this foundation for the program, so please e-mail me at [email protected].
SLH: Thanks, David.
DF: Thank you, Stephanie.
Stephanie Hsu is a
2011-2012 Abreu Fellow.
Send questions or comments
about this article to
[email protected]
David France is a
2011-2012 Abreu Fellow.
Send questions or comments
about this article to
[email protected]
4
SAC Wine Tasting Event
Graduate voice major Jen Russo educates the attendees on
the proper mannerisms of wine tasting.
Jen Russo, Maya Jacobs, and Mary Starkey
Zach Preucil carefully sniffs his wine before tasting.
The sampling begins!
From left to right: Maureen Heflinger, Elizabeth Oka, Brett Walfish, Rob Cinnante, Zach Preucil, Tara Mueller, Andrew Chilcote.
Join our staff in meetings every Tuesday at
6:15 P.M. in Bistro 33!
5
Van Halen—A Different Kind of Truth
by Neal Markowski
“How many roads must a man
walk down, until he knows he’s lost?” is one
of David Lee Roth’s finer lyrical moments
on the new Van Halen album, A Different
Kind of Truth.
Sorry, you misheard me? No you
didn’t, Diamond Dave is really back in Van
Halen. And boy oh boy, am I mixed about
this! Now, maybe this is because even
though I grew up listening to Van Halen, I
was much more versed in the stylings of
their second lead singer, the Red Rocker,
Sammy Hagar. It wasn’t until later years I
reacquainted myself with Roth and really delved into those first
six albums. Those albums were full of loud drums, sweet harmony vocals, widdly-diddly guitar licks and Roth usually yelling on top of the music, most of the time about girls or cars or
both. After these six albums, there was a schism in Camp
Halen, and Roth was out. Flash forward to this year, where
Van Halen has released their first album with Roth since 1984.
People seem to be going crazy over this. Greg Kot
and other critics see this as a return to form to the early stuff
that people loved so much. Me? Not so much. Sure, Eddie
Van Halen still does the widdly-diddly, finger tapping, distorted, ―waaaampp-waaa-dididididididididididily‖ thing like
he did back in 1977, and Alex Van Halen still plays the
drums and Wolfgang Van Halen still plays the bass like he
did on – oh wait, he never played the bass on a Van Halen
album. Yes, you heard it here (if you didn’t hear it 4 years
ago) – Eddie Van Halen kicked out Michael Anthony and
replaced him with his now 20 year old son, Wolfgang. And
boy does he try to do a good Michael Anthony impression!
Maybe I seem harsh here, but I just don’t feel like
this album has any staying power. The reason Van Halen
and Women and Children First, among others, were successful was because the band was exciting and fresh and young!
You don’t want to hear about 55 year old guys trying to pick
up moms! And why would you want to listen to a band simply repeat itself for this long? At least with Hagar, the music
changed (for the better or worse, that’s your call.)
Neal Markowski is a junior composition major.
Send comments and questions about this article to
[email protected]. Visit NEW his blog
at http://neglectedrecords.blogspot.com/ and don’t
forget to register to vote!
OVERALL RATING - Insignificant.
KEY TRACKS – ―Bullethead,‖ anything from the first
Van Halen album.
When Notes Fly continued from page 1
Although my attention was obviously focused on the music while I was performing, a few thoughts occurred to me every now and then as to the
uniqueness of the setting. A coffee machine whirred ostentatiously during part of the Allemande; a jangle of coins added an unintentional percussion effect during the Courante; and after the Sarabande many of the customers burst into applause (Thank God, I thought, they seem to like it!).
What struck me as interesting about all of these things, however, was that if any of them had occurred in a real concert hall, they would be considered outrageously dishonorable to the music. Imagine attending a performance in Jordan Hall and being suddenly distracted by a patron making a
cup of coffee in the row in front of you. Or what if the audience members around you committed the unforgivable sins of applauding between
movements, wearing jeans, or--worst of all--talking amicably while the music was going on?! It would be an outright scandal--not unlike the one
that happened in January at a New York Philharmonic concert (for complete details, read my article in the previous issue of The Penguin). Of
course, there's nothing wrong with the conventions normally adhered to in a formal concert setting, but what I learned from my experience at the
coffeehouse--and what we can all learn--is that music doesn't always have to be presented in such a rigid, constraining atmosphere. Bach's music
didn't change that cold February morning--but its function did, and perhaps it's time for us to start considering the various functions that classical
music can serve in the context of twenty-first century culture. This concept is the essential heart of When Notes Fly--to encourage people to give
classical music a chance, with the hopes that we musicians can find it within ourselves to see past our elitist conformities and bring our music to
where it can exercise its maximum potential: the community around us.
Despite all of the potential hazards that might have hindered me since I had arisen before the sun that now glared brightly onto the floor
in front of me, I managed to get through the suite without any memory lapses or other epic fails (hooray!), and gratefully acknowledged the applause I received upon the conclusion of my performance. However, my participation in the concert was not yet over. Kai-Ching took up the microphone once more and, to my surprise, conducted a brief impromptu interview with me about the experience I'd just had. "How does this feel
different than a regular concert, Zach?" she asked, smiling, as the mocha-sipping customers looked on with interest. "Well, a regular concert is a
lot quieter," I responded, to some scattered laughter. "And it would be a lot later in the day, after I would be conscious for a considerably longer
amount of time…but I like this, though, because it's more--friendly," I continued, pausing briefly to choose the right word. "In fact, it almost feels
more natural to perform this way." The audience smiled and nodded, and as Kai-Ching took back the microphone, I felt a sense of hope that some
of them might have been inspired to come out to a real concert hall. Maybe they will make their way into the city, this weekend or the next, to try
out ―that symphony hall place" they've always heard about. Maybe the inspiration and curiosity that first stirred within them on that morning in a
bustling coffeehouse will grow upon experiencing the wonder and magic of a formal classical music performance. And maybe, if they like it
enough, some of them might even come back.
For more information about When Notes Fly, visit www.whennotesfly.com.
Zach Preucil is a senior cello performance major.
Send comments and questions about this article to
[email protected].
6
Ask Emmy!
Dear Emmy,
I just finished going through the audition process for a number of summer festivals, and it is bringing up a lot of feelings of doubt and anxiety.
I auditioned for several festivals last year and wasn’t accepted, which was really discouraging and set me down a slippery path of self doubt. I
was able to muster enough confidence and energy to make it through this audition season but feel worried that if I don’t get accepted to any
festivals this summer that I won’t be able to stay positive and proactive. I guess I’m wondering how you can take rejection in stride and use it
to keep you motivated instead of letting it set you back?
Dear Slippery Path,
I can’t tell you how much your question resonates and recalls moments in my professional development, but before I launch into all that, I
want to say this: it gets better. It is hard to weather rejection no matter how much experience and wisdom you have on your side, but weathering rejection when you’re young can be particularly complicated. There’s so much uncertainty and possibility that surrounds your existence
right now, so every set back can feel like a foundational moment. Every rejection can feel like a final sentence. But it gets better. The older you
get, the more firm you become in your identity, the more at peace you become with your particular strengths and weaknesses, the easier it gets
to move past these kinds of road bumps. I realize this doesn’t help you just yet, but I thought I’d share it all the same.
It’s easy to internalize rejection and let it influence your narrative about the skills, talent and value you have to offer. But, self doubt isn’t entirely a bad thing. It is often a tricky side effect of other positive qualities such as self reflection, humility, and the drive to continually improve.
I know how often I use the word balance, but it’s germane here as well. Dealing with rejection is a delicate balance of letting your challenging
experiences shape and move you forward without letting them cut you down.
I know how damaging self doubt can be when it takes over your internal narrative and stomps out other voices that might be trying to remind
you about all that you have and will accomplish. I have been down that slippery path, and it is grueling to reign in self doubt once it’s on the
loose. Although I’m not always successful, I try to engage in positive, proactive thinking. I usually take a long walk to physically step out of
my hurt and consider all of the external forces that might have affected the particular situation: personal bias, taste, a particularly large applicant pool, a family or organizational connection, an off day. And for the times that I can’t step out of my hurt, I rely on people who love me to
help. I talk to a close friend, or a family member—someone who I know can be relied upon to help me refocus and reframe.
I don’t think of myself as much of a fatalist, but I guess there’s a spark of that philosophy that drives me forward. I can’t tell you how many
times I wasn’t accepted for a fellowship, job, or opportunity that I desperately wanted and thought I was well suited for, only to go on to get a
fellowship, job or opportunity that was even more perfectly tailored to my interests and goals. But in order for that to happen, I had to get back
on the horse, I had to put myself out there again and remain positive about my prospects. When I wallow in the pain of rejection, my mother
always reminds me in her quirky non-native English that, ―when one window closes, it is opening a new door.‖ Slippery path, I hope this saying also brings you some comfort and helps you stay focused on the path ahead and the opportunities that are waiting just around the bend.
Yours,
Emmy, or “M,” is a fixture of the NEC community.
Send your questions or comments to
[email protected].
M
7
A Poem by Julia Partyka
Mind over matter
Life is nothing without risk
To rise, you must fall.
Julia Partyka is a junior vocal performance major.
Send questions or comments about this poem to
[email protected].
Crossword Answers
Across
2. Enjoy Dancing at the Havana Club
5. Check out the Boston Public Library
7. Buy tickets to our famous Boston team! Red Sox
8. Go kayaking in the Mystic River
11. Take a stroll in the Boston Common
Down
1. Spend a sunny day on two wheels. Biking
3. Go to the Coolidge Corner Theater
4. Explore the Irish heritage trail
6. BU is home of the Coit Observatory
9. Go to see the clowns at the Circus!
10. Go see Boston's Independent Film Fest!
Trivia Sources
http://www.talkclassical.com/3141-some-interestingmusic-facts.html
Want to see your name here?
The Penguin Staff
Co-Editor
Co-Editor
Layout Production
Staff Writer
Staff Writer
Trivia Compiler
Calendar Compiler
Advice Columnist
Faculty Advisor
Faculty Advisor
Neal Markowski
Zachary Preucil
Steven Bass
Stephanie Hsu
David France
Wesley Chu
Drew Cryer
Emmy
Thomas Handel
Suzanne Hegland
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
Write for The Penguin!
Drop us a line at
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8
The deadline for our
April issue is
March 28th!