Showing posts with label Nebraska Wesleyan University. Show all posts
Showing posts with label Nebraska Wesleyan University. Show all posts

Thursday, February 1, 2018

Guitar and Flute: A Happy Meeting Bringing You an Evening of Music

A musical duo of guitar and flute will present a concert entitled Duo Primo on February 4th at 4:00pm at O'Donnell Auditorium on the Wesleyan campus (Tickets $10, Students $5, Free up to age10). Musicians Betsy Bobenhouse and Antonio Forgione spoke with LincolnCMN about the upcoming performance. 
Forgione is excited that:

"The concert will feature some of the best composers who wrote for flute and guitar, from Mauro Giuliani, who made by far the largest 19th century contribution with 22 compositions, to Astor Piazzolla, who dedicated to this ensemble the celebrated Histoire du Tango."

The duo met, according to Bobenhouse, "last April through mutual musical friends. We had both played flute/classical guitar repertoire in the past and were excited to do so again." With Forgione having moved from Italy in 2011, he said, I missed my friends flutists in Italy, but it was only by chance that I met Betsy and the excitement about doing a duo was immediate" since he'd played guitar since the age of 11 and flute was the first instrument that "gave me the feeling of a perfect match with the guitar."


With both members of the duo having played guitar/flute music before, there are carefully selected favorites as well as some that are new to them both such as a piece by Libby Larsen.

What brought them to a love of music and a life with their instruments?

For Forgione, "The guitar happened to be my instruments just by chance, after a gift from a friend. I would say that it really chose me rather than the contrary,"and he feels that classical guitar is the "'ultimate' guitar" because while "not many big names of the history of music dedicated their efforts to this instrument, [...] still what the classical guitar repertoire can offer is extremely fulfilling and second to none especially in the 20th century. It challenges the hands and the mind in directions that every young musician can find rewarding."

Bobenhouse had an early start and exposure to music since her "father played French horn in the Omaha Symphony for over 30 years and my sister joined OSO as a 'cellist when she was 18 years-old." But Bobenhouse chose the flute for its sound, and while she's been playing and teaching the instrument for years, the thing she loves the most is "starting a rank beginner; it is so much fun introducing children to the music, in general, and the flute, in particular. It doesn't matter to me if a student intends to pursue a career in music because music is for everyone!"

Music is indeed for everyone, and this performance is a perfect way to experience music for those who've loved it for years or those who are just discovering the beauty of music--especially the classical sounds of guitar and flute duo!

Sunday, October 22, 2017

Orchestra and kids: constant commotion!

Lincoln's Symphony Orchestra (LSO) performed their fall Family Concert this afternoon at O'Donnell Auditorium on the Wesleyan Campus. Maestro Polochick became a lovable father figure of the orchestra as they went about introducing the instrument families to the lost dog, "Treble," actor T. Adam Goos.

For those who've never attended a Family Concert, it's preceded by crafts, photo booth, and instrument "petting zoo" (where kids can take turns playing different instruments). As you head in for the concert, kids receive their programs and a pack of crayons--they can color the picture on their programs and turn it in at the end of the concert for a chance to win a prize!

The concert never lasts more than an hour and yet it's full of a variety of classics and the fun interactions between the orchestra and the actor.

This performance kept the kids moving and learning rhythm, dynamics, conducting, low/high, and all the sections of the orchestra! Each section took turns introducing itself and playing "Linus and Lucy"--strings, brass, woodwinds, and percussion!

A perfect introduction to the orchestra and the world of music and fun for all ages. Save the date for the next Family Concert with LSO on March 4th, 2018.

Monday, May 8, 2017

Nebraska Choirs Unite to Celebrate

Lincoln Choral Artists (LCA) finished their year with a final celebration of the 150th birthday of Nebraska.  Earlier in the choir year, LCA celebrated the sesquicentennial of Nebraska by collaborating with other Lincoln area choirs. This past Sunday, in O'Donnell auditorium on the Wesleyan campus, LCA was joined by singers from across Nebraska. The Heartland Singers of North Platte and the Grand Island City Singers.

Although the theme was "Sowing the Seeds of Music in Nebraska," it was clear from the participation of talented choirs from across the state that there are not only seeds, but many fruits of music in Nebraska!

The Bellissimo handbell choir of Lincoln also performed, a pleasant surprise on an otherwise choral concert, and the audience enjoyed the experience of seeing the talented performance of this community handbell choir.

The best pieces of the concert were the ones especially suited to the theme of Nebraska's celebration. The visiting choirs both performed works by John Rutter, with the North Platte choir's performance of "For the Beauty of the Earth," a most moving performance.

Two pieces were featured by Nebraska composers: "Nebraska Sky," the work of North Platte native, Kim Baxter, and "The Bee and the Frog," performed by LCA, by composer David von Kampen.

"Blow Prairie Winds," "Rattle on the Stove Pipe," "Song of Peace," performed by the bell choir, were other crowd pleasers that kept the Nebraska theme!

Although the concert was longer than many have the attention span for in this day and age, the massed vocal choir performances of "Battle Hymn of the Republic," "Beautiful Nebraska/America the Beautiful," and "Praise to the Lord the Almighty" gave a great chance to see the collaboration of the many singers, conductors, pianists, and organist of the day.

Sunday, March 5, 2017

Lincoln Choral Artists: Music High Above Lincoln

High above Lincoln in the Nebraska Club, the 20th floor of the US Bank building downtown, the Lincoln Choral Artists (LCA), a talented community choir under the direction of Jason Horner with Dennis Plutalov at the piano, took a little “break” from their usual repertoire and presented “Crooning over Lincoln.” Dinner, concert, and auction all to benefit the wonderful work of LCA in keeping choral music alive and well in our community. Throughout the 2016-2017 year, LCA is celebrating Nebraska for its sesquicentennial, with A Capitol City Choirs Concert in the fall, and the upcoming Sowing the Seeds of Music in Nebraska on May 7th at 3:00pm at O’Donnell Auditorium on the campus of Nebraska Wesleyan. 

The gala on Friday, March 3, featured music of the ‘40s and ‘50s, old familiar favorites of Frank Sinatra, the Andrew Sisters, Nat King Cole and more. The choir was challenged to learn different sounds and harmonies than exist in some of their more classical repertoire, but what was most evident throughout program wasn’t the hard work put into the music but the fun the performers were having!

They opened the evening with “Fly Me to the Moon”—memorized, an impressive feat. In between choral pieces, the audience was treated to solos or small groups, some performed by the evening’s M.C., Michael Tully, and some by members of the choir. Not only was the audience tapping their toes along to the tunes, but even when not singing, every member of the choir was engaged, smiling, and moving to the music! Music included "Boogie Woogie Bugle Boy," "Java Jive," and a break from the crooner-theme for a Bach Organ Fugue in a challenging choral arrangement!


Once again, LCA proves that a love for music is far from dead in the Lincoln community.

Sunday, November 13, 2016

Lincoln's Symphony Orchestra: family, fun, and the future of music

This afternoon was a busy one in the area's Classical music scene with a variety of concerts in Lincoln and Omaha from orchestras and flute choirs to pianists and operas. One crowded event was Lincoln's Symphony Orchestra's "Three Little Pigs" Family Concert. What a sight to see as families with children of all ages, from babies on up, crowded into Wesleyan's O'Donnell Auditorium for the afternoon's entertainment.

LSO is doing a tremendous service to the community by holding these family concerts: encouraging children to come, listen, and experience orchestral music while also keeping it short, entertaining, and engaging. Maestro Edward Polochick, although forced to remain seated throughout the concert due to a broken foot, was warm and welcoming to the children as actor Tim Marrone came along in the character of Mother Goose, then Mr. Pig, and finally, the Big Bad Wolf.

Not only is clapping and noise allowed and encouraged (as laughter or boos resounded throughout the auditorium depending on the antics and character of Marrone), but children also had the opportunity beforehand to play various instruments, have their faces painted, do crafts, then color on their programs and help conduct on stage. Although some of the music is lost behind the laughter, it is heard, and the next time children hear Beethoven's 5th or the music of Ravel, they'll have a happy memory associated with it and want to learn more!

A wonderful way to inspire a love of orchestra and perhaps the next generation of musicians!

Tuesday, January 21, 2014

2014 Extravaganza: An afternoon of fanciful flight



On Sunday, January 12, LMTA presented the 2014 Extravaganza. Hosted every three years, the Extravaganza is, according to the Extravaganza's co-chair, Charlotte Heermann, “a special opportunity for students to play in an ensemble.” Marcia Wiebers, who also co-chaired the 2014 Extravaganza, remarked that: “The program was a feast for the eyes with the colorful t-shirts, the wildlife power point photos displayed, the close up shots of the performers on the big screen as Mid America Video Images recorded the event, the balloons, the keyboards, the strings. It was a treat for the ears with the narration and the music. It was heartwarming to observe the teachers helping and encouraging the students as they rehearsed and performed. There was a lot of excitement in the air and big smiles as the students came off the stage from their performance.”
Pianists performing at the 2014 Extravaganza
Photo courtesy of LMTA

Fourteen digital keyboards, provided by Dietze Music House, filled the stage. Under the baton of Del Whitman, string and music instructor at Lincoln East High School and Lux Middle School, the musicians performed. There were 32 LMTA teachers involved and approximately 200 students who registered. “Each teacher helped in some way, shape or form before, at the rehearsal or at the performance,” Wiebers added, “it goes without saying that the teachers of the performing students were invaluable in preparing their students.” It is not possible in this review to thank all of the LMTA members by name who contributed through their committee service and hours spent organizing and preparing for this event—but without each of them, this Extravaganza would not have had the same success.

Without the sponsors, Keith Heckman and Dietze Music House providing the pianos, Nebraska Wesleyan University allowing the use of their facilities, and LMTA members serving on committees, the Extravaganza could not have taken place. A huge thank-you goes out to them. Wiebers added a thank-you to other vital non-members who made this Extravaganza a success including “Del Whitman, the conductor, radio personality Joe Skare who narrated, photographers Steve Zechmann and Joe Wicks, videographer Kyle Wullschleger, members of the Crane Trust, Larry Jones of Nebraska Wesleyan, and Amy Flamminio who assisted with the writing of the narration.”

Violins, guitars, and cello take the stage.
Photo courtesy of LMTA
In every way, this event was the fruit of collaboration. Teachers working with other teachers, teachers and students, student to student, pianists, string players, and different types of media—music, photography, video, etc. The narration helped people know what to listen for in the music. Wiebers shared that: “My husband commented that a young child blurted out, after hearing the Ghost Dance, 'that wasn't so scary.' Many people enjoyed a good chuckle from that, so you know that the little ones were listening to both the narration as well as the music.”

One thing that is particularly memorable about this year's Extravaganza is the story about the commissioned piece, The Great Winged Migration. Nancy Schoen and Debra Heald procured the commission, and Schoen related the story of composer, Carol Klose: “She was excited to do the work. After researching Nebraska, Carol was inspired by the annual spring migration of the Sandhill cranes. Carol knew she was fighting cancer, but she was moved to compose this duet. After she was in hospice care, she expressed deep regret at being unable to complete the piece. After her death last February, anonymous composers collaborated to use the musical ideas Carol had already written.”

The beautiful piece that Carol Klose was inspired to write was performed at the close of the Extravaganza and dedicated to her memory. Thanks to her inspiration and focusing in on the Sandhill cranes, Klose set into motion the selection of the theme for the Extravaganza, “Taking Flight.” This led to the artwork by Zhanna Semm used as the logo on t-shirts, programs, and posters, wildlife photography (courtesy of Steve Zechmann and Joe Wicks) used during all the groups' performances and the Sandhill Crane video (thanks to Kyle Wullschleger and the Crane Trust) played during the premiere of the commissioned piece.

The Great Winged Migration was a wonderful way to close the 2014 Extravaganza—an afternoon of learning and listening.

Sunday, January 5, 2014

LMTA presents "Taking Flight" - the 2014 Extravaganza

On Sunday, Jan. 12, LMTA will present the 2014 Extravaganza. The event will be held at the O'Donnell Auditorium on the Nebraska Wesleyan campus at 3:00pm on Sunday. Tickets may be purchased at the door for $5 for adult and $3 for ages 16 and under.

What is an Extravaganza?

According to Charlotte Heermann who is co-chairing this year's Extravaganza, "This is a special opportunity for students to play in an ensemble if they haven't done so previously: follow a conductor and listen to others playing to be sure they are together. These things help form their understanding and musicianship, but perhaps just as important, they have a chance to have fun with music and make new friends."

The 2011 Extravaganza - see all the pianos on stage?!
Photo courtesy of Jo Karl

15 digital keyboards, provided by Dietze Music House, will be on stage. 30 pianists will take the stage at a time -- two per piano -- and play a duet under the baton of Del Whitman. Thirteen groups at varying levels will play duets and a brief narration will be read between each group by Joe Skare of B107.3. The narration, written by this LincolnCMN writer, will give insight into the musical ideas to listen for in each piece. Photographs of wildlife will be projected on a screen during each piece. These photographs are courtesy of Steve Zechmann and Joe Wicks.

As you can imagine from the above description, a lot of work has gone into brining this event together. Heermann shared some insight into the process:

"Some of the tasks required to put this event together include securing a venue, a performance date, keyboards, a conductor, a narrator, selection of music, chairmen and committees to work on specific aspects of the production.
We are deeply indebted to Nebraska Wesleyan University for hosting us on January 12, and Keith Heckman of Dietze Music House for providing the Clavinova keyboards for the performance. At least 17 committees have or are working on various aspects of the Extravaganza, and we have been working on this since August 2012."

This is LMTA's tenth Extravaganza, besides the pianos on stage, several groups of violins and other strings will take the stage to perform together as well. Since 1983, LMTA has been providing this experience of ensemble playing for young musicians.

Besides the committees and sponsors, the teachers, parents, and students have also put in a great deal of time and effort--and Sunday will be a wonderful time to enjoy the fruits of their labors as the young musicians "take flight" and the audience listens...



...for bees, balloons, and butterflies, kites and clouds, phantoms, and fire-breathing dragons!



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Monday, October 14, 2013

NMTA Guest Artist and Clinicians: Spend your life with music

Libby Larsen, Dmitri Vorobiev, and Polina Khatsko are the guest artists/presenters for the 2013 NMTA State Conference. Larsen, the commissioned composer, will share “The Art of Composing Music” and will be present for the premiere of her new piece which you can read more about in her interview here. Vorobiev will perform ($15/adult, $10/student) on Thursday, 7:30pm, in O’Donnell Auditorium on the Wesleyan campus. He and Khatsko took the time to share a little about themselves and what they will be bringing to the conference.
 
Polina Khatsko - guest clinician at the
NMTA 2013 State Conference
Khatsko, guest clinician this week, has a special place in her heart for Nebraska already, having studied at the University of Nebraska at Kearney.

“Kearney, NE, was my first American home... It’s hard for me to think of another place as ideal as Nebraska to start my journey in the U.S. The sincerity, simplicity, and generosity of Midwestern people is extraordinary, and it’s what stole my heart from the very beginning—what made me feel incredibly welcomed, encouraged me, and helped to overcome any hurdles on the way to assimilating into a new culture.”

Indeed, Khatsko shared, “Kearney, Nebraska, is also the place where I truly learned to smile – a quality that in the 1990’s, wasn’t too common among people of Belarus, where I came from.”

Khatsko will bring her smile back to Nebraska as she and her husband, Vorobiev, will present a Master Class on Friday afternoon for the winners of the MTNA Piano Competition. Khatsko will also be giving two presentations on the Russian School of Piano Playing; she wants her audience to be aware of the importance attached to “the culture of sound, or more precisely, sound production as related to piano playing.

Vorobiev, who will be performing Thursday evening, at 7:30pm, in O’Donnell Auditorium, says that for him, the “culture of sound production” that is so vital to the Russian school of piano playing, is the way that he was taught from an early age.

“I am thankful for that particular way of upbringing that I had. It really gave me so much in depth and dedication to help me get where I am now. Focusing on: how you listen, what you listen for, and how you respond to certain things when you play.”

In addition to the focus on listening, Vorobiev said that he received a “vigorous training in music history and music theory.” Music was certainly in his blood, Vorobiev’s grandpa and mom were both musicians, and he was enrolled in music school, “not just lessons, actual music school—theory, history, and two lessons per week,” from the age of 6. His love for the piano was especially strengthened by going to concerts, and he remembers fondly hearing the Tchaikovsky Piano Concerto when he was six.

Dmitri Vorobiev - performing
Liszt and Beethoven on
Thursday at 7:30pm in
Wesleyan's O'Donnell Auditorium
Vorobiev went on to explain that he was not only involved in classical music. Around the age of 13 or 14, he got into heavy metal. “It was all part of me. But, something about classical music was always sacred for me, I guess.”

Like any kid, he studied and practiced, but at times, “I was lazy, too.”

Ultimately, about the age of 14, Vorobiev made the decision to become a professional musician—because he really loved piano. Although he had not heard the phrase yet, “One of the best ways to spend your life is to spend it doing something that will outlast it,” Vorobiev says that it sums up what was at the back of his mind with that decision.

Khatsko says that, for her, pursuing music as a career has to do with “the privilege of making an impact on and enriching people's lives, and the privilege of connecting to people on any level, at any time, in any place.”

On Vorobiev’s program for Thursday night, he will be sharing a little bit of himself by playing works of Liszt and Beethoven. A year ago, he recorded a CD of Liszt, and right now, Vorobiev has set himself the goal of performing the complete solo piano works of Beethoven. Therefore, this performance of two composers very close to him will represent “who I am, and what I am doing.”

Both Khatsko and Vorobiev have advice for young musicians.

Khatsko reminds them:

“Aside from all the known benefits of having music in your life, you should realize that music has unique power... power that lets you open up, express the inexpressible, find comfort, unleash worries and tame anger, and most importantly - discover yourself, find sides of yourself that you didn't even know were there.”

And Vorobiev, while relating a story of a young student who couldn’t remember where Middle C was from week to week, reminds parents:

“Inspiration also comes from parents—how much do they do. Take the kids to concerts. Teachers can tell you all these great things, but if the parents do not participate, it just stays on the side and doesn’t become a part of life. I wish that kids would have a little more eagerness to learn classical music.

‘Live your life...’ might not mean much to an 8-year-old, but learn how to practice, learn in piano, or violin, or whatever. It will ensure that you will have a very successful life. A recent Nobel prize winner, a chemist, in his acceptance speech said he owes everything to his music teacher—because that’s where he learned to practice.”

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Friday, October 4, 2013

Libby Larsen brings the 'Ghosts of Old Pianos' to Nebraska


Thanks to the Nebraska Music Teachers’ Association and a grant from the Nebraska Arts Council, composer Libby Larsen has written a piece to be premiered in Lincoln on October 18. The world premier of Ghosts of Old Pianos will be given during the Nebraska Music Teachers’ Association Conference. The performance will be free and open to the public at 9:00am on October 18, the second day of the conference, at Wesleyan’s O’Donnell Auditorium.
Composer Libby Larsen
Photo credit: Ann Marsden

In an interview with LincolnCMN this week, Larsen explained a little about the creation of the piece, Ghosts of Old Pianos. “Valerie Cisler and Nathan Buckner,” the pianists who will perform the commissioned work, “were very trusting,” Larsen smiled. The pianists told her: “Just let your imagination take you where you need to go.” That, Larsen explained, “is a wonderful thing for a creative artist to hear.”

The idea was already in her mind from her many travels through cities and towns throughout the United States. While waiting to go on stage, Larsen has found herself spending a lot of time in “church basements and backstages of concert halls.” Over time, Larsen said, “I collected in my mind, and took photos, of abandoned pianos. Once those pianos had been put to really good use, now in a dark corner, a basement—they are still beautiful, sometimes with decayed keys, and often deeply dust-covered.”

Larsen found herself “very moved” by the old pianos:
“They’re like old servants. I spend time with a piano like this and get a very special feeling—as if tiny little fragments of music from the piano are still there, echoing in the walls or in the wood of the piano.”
Larsen has coined a new term to explain the musical motives in this work, and that is “ghosting.” In the first movement:
“You may know the tune, the piece will suggest it to you, and as you listen, you will finally piece it together. The pianists just play fragments of the melody, until you finally get a hazy image of the whole aria—as it would have been played on the Steinway Grand in Bethlehem, Pennsylvania.”
A ghostly, dust covered piano
Photo credit: Steve A Johnson
She chose the 1897 Steinway Grand from the Bethlehem Hotel in Bethlehem, PA because it is claimed to be haunted. It will be heard playing by itself and sometimes the figure of the beautiful but scandalous May Yohe will be seen at it. 

Another movement is entitled “Whole World,” and it presents a “ghosting” of the traditional tune, “He’s Got the Whole World, In His Hands;” that movement is inspired by a 1907 upright in a church basement in Chicago, Illinois. “Whole World” is reworked from one of Larsen’s earlier four hand pieces, and has become the center point for Ghosts of Old Pianos.

Another piano that will be represented in the piece is the square piano from the Jinny Lind Theater, which burned down. Larsen loved this project so much that she hopes to make a series of “ghost piano” works that will include a Hammond B organ from Maine, an upright found in a dumpster in Tennessee, and a spinet discarded in the north woods of Minnesota.
“The poetry of what is in the air around a decaying instrument is quite beautiful.”
One parting word, Larsen shared her advice for young musicians, and indeed, all musicians:
“I would encourage them to think of music as their life-long journey. Encourage them to trust their own ideas when they’re studying music. Learn the technical tools they need, but then use those tools as they to trust their musical instincts when preparing, performing, or talking about a piece of music. 
Music is a life-long companion. You can bring out your emotions on it, or it may bring them out for you. Music challenges you to become better. 
Young musicians: this is not something you conquer and then put in a drawer, it’s a journey. The reward comes from staying with it and staying focused.”

Wednesday, October 26, 2011

Ned Kirk to introduce new musical masterpieces to Lincoln audience


Repost: October 26, 2011
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Ned Kirk will perform in Lincoln on October 30, 2011
Ned Kirk will perform in Lincoln on October 30, 2011
Bruce DeFries, courtesy of Ned Kirk

Looking for something to do in Lincoln this weekend? Wesleyan University’s “Bravo Bosendorfer” Concert series brings you Ned Kirk at the piano. This performance takes place on Sunday, October 30th at 3:00pm in O’Donnell Auditorium (50th Street and Huntington Ave.). Tickets: Adult, $12; Senior Citizens, $10; Students, $8. More information regarding tickets is available by calling 402-465-2269

Ned Kirk, chair of the music department at St. Mary’s University in Winona Minnesota, has been performing around the country and the world for the past 25 years. Sharing with Examiner readers, Kirk said; “my most memorable concert was in Mombasa, Kenya, two years ago when I gave a concert at an outdoor pavilion sponsored by the U.S. Embassy. It was incredibly hot and very, very humid, and there were monkeys screaming in the trees nearby, and all I could think was... How amazing is this!”

Although there will most likely not be any screaming monkeys at the performance in Lincoln this weekend, Kirk is hoping that the audience “will enjoy hearing new things.” He wants to present pieces that are lesser known, “but are absolutely masterworks.”

The first half of the program consists entirely of works by Beethoven, a well-loved composer, while the second half will introduce the audience to composers by the names of Medtner, Reger, Rzewski, and Kapustin. Most of the pieces will be new or unfamiliar to the audience, but “to balance that, I have included an audience favorite of Beethoven’s ‘Moonlight’ Sonata.” Even with the well-known piece, the audience will discover that there is more to the “Moonlight” Sonata than the first movement!

Kirk admitted that he has no favorites: “I love it all!” However, he hopes that “an audience favorite might be Rzewski because of the interesting mix of 20th Century techniques and Jazz themes – a very effective piece!”

Saturday, October 15, 2011

Lincoln's piano teachers learn from Barbara Lister-Sink


Barbara Lister-Sink's mission is to "free the caged bird" by teaching injury-preventive keyboard techniques.
Barbara Lister-Sink

On Barbara Lister-Sink’s recent trip to Lincoln as Guest Clinician for the Nebraska Music Teachers’ Association (NMTA) 2011 Conference, October 13-14, she spoke with this Examiner about her work of teaching injury-preventive keyboard technique. Lister-Sink has given numerous presentations for national and international music organizations, and at the NMTA conference, she gave three sessions on the subject.

At the Conference
Of course, she was speaking about what she loves. As Lister-Sink said about her work, “the driving force is that I want people to be available to make fabulous music. I’m not a doctor or a physical therapist, although I embrace aspects of all those things in order to train teachers and musicians, so that we can unite to make beautiful music.”
In order to be free to make music, Lister-Sink primarily covers “the roots and casues of discomfort, pain, and injury in playing the piano.” She said that she also tries to impart “the urgent need for all of us to work together to find common language and common core principles of good body use.” She defines technique as “the best coordination of the whole body, directed by the brain.”

Lister-Sink draws attention to the fact that the music-making involves a relationship between the body and the instrument, “I’m like a marriage counselor. There’s an ergonomic relationship going on and you have to understand the body, muscles, how they work, and how the piano works.” In the end, you discover the most efficient way to produce sound. “Once you understand these core principles, I teach how to embody them, to use sensory information, and know the various muscle groups, where they are, and what they feel like.”
Another analogy she drew was that of an energy conservationist; “it’s like going into someone’s house to do an energy check.” To help do her energy checks, on Thursday at the conference, Lister-Sink “did something about the medial deltoid because, for whatever reason, we’ve modeled our teachers or nobody’s told us not to, and we hike out the upper arm, demobilizing the shoulder joint.” The goal, she said is to allow the joints “to move easily and subtly at the piano.”

One of Lister-Sink’s goals is “getting a language that is useful and factual.” She is continually fact-checking with physical therapists and biomechanics experts as well as going back to school to combine the study of neuroscience and pedagogy. One way to describe the goal of her methodology of teaching is that there must be an understanding of “what the fundamental sensations are of sound production. Sort of like learning the primary colors, but by the time you get to a Chopin Etude, you’re mixing, and you don’t even see the primary colors anymore, but it’s all in a mix that works.”

By knowing how the body works and using it properly, Lister-Sink says she “can be more fully available to listen, the musician’s primary duty, to see whether my concept is actually being produced acoustically. If I’m all bound up in motion, too much muscle tension, I may distract myself to think I’m being musical, but am I really doing what I think I’m doing?” She encourages pianists to record themselves and listen to whether they are producing the sound they want and creating a musical aural experience.

These aural experiences that music should create can be compared to “listening to a story on the radio" which "puts it deeply inside a part of your brain” versus watching the same story on TV, which "is a different experience because there are other things lighting up your brain, it’s neuroscience, really. I think there’s a profound experience just listening. The great late Rubinstein, and Horowitz, if you look at them on youtube, you see pianists really listening, you can see it in their face, really listening, and then controlling the sound so they can do with it what they want. It’s hard for young people to model after it now because there’s not a lot of it around still. I’m trying to empower people to know what they’re doing ‘freeing the caged bird’ of their artistry.”

Why?
When asked what first got her interested in “empowering” people, Lister-Sink replied that the first transformative experience was her own injury at the age of 16, “that was a wake-up call. I didn’t know that was possible, and it continued to be a mystery. Nobody really knew what I had; there was a lot of misdiagnosis. In those decades, there were also injuries of choice, lots of pianists in the 70s were getting a nerve clipped in the thumb!”

In Holland, Lister-Sink had a “Eureka! experience” when she found a great teacher who told her to “be aware of what you’re doing: you have to be aware of what state your muscles are in.” By teaching Lister-Sink virtuosic technique that involved impulse techniques and fragment work, she was able to play the big repertoire without the pain that she used to experience when playing it. But the pain returned a few years later when she was back in America and she went back to Holland to try to find some answers. There she found a physical therapist who did something no one else had ever done: “She made me sit down at a piano and observed as I played. She said, ‘you’re back is bowed, you’re hyper-extended, and you’ve cut of circulation with your alignment of your arm, and you’re lymphatic system’s clogged.’ Suddenly, it was like ‘oh! The restof the body, not just my arms and fingers!’ Your spine matters, the control center is the brain, and communicates through the spine.”

Lister-Sink, continually fact-checking and learning more, is helping to empower teachers and future musicians through her injury-preventive techniques, and Lincoln teachers learned a lot from her this past week about “freeing the caged bird”—allowing the freedom to create music!

Thursday, October 13, 2011

Tony Caramia and an intimate evening with an American theme

First published October 13, 2011
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"It's like you're in his living room." This was the reaction of one audience member to Tony Caramia's recital, An American Journey. Caramia brought everyone in the O'Donnell Auditorium into his living room by his stories about creating this particular "themed recital." With music teachers and students in Lincoln attending the NMTA 2011 Conference, they were given a wonderfully fun evening of music by attending Caramia's recital tonight, October 13th.
The audience entered to the sounds of Meredith Wilson's Orchestra playing and covers from late 1800s-early 1900s song covers, a setting of the mood, both aurally and visually. Caramia began with an "American Beauty Rag" and a slideshow of rag sheet music covers from all over America.
But Caramia made it an intimate setting when he began describing how he comes up with his themed recitals. "Titles intrigue me," he said,"and 'sonata' just doesn't appeal to me." Instead, he starts with a title like "Accent on Rhythm," fascinated by that title, it led him to find American titles from the same publisher, and he began a search through IMSLP, NAXOS, and, "everybody's favorite," Google. A delightful discovery that Caramia shared was Manuel Blancafort's Homage to Chaplin fromAmerican Souvenir. "For the younger people: If you don't know who Charlie Chaplin is, try a Google search of him," Caramia advised, "this piece gives a great musical tribute to his humor and his compassionate side."
Caramia shared the themes of some of his past recitals. "One year I chose to do 'Ballads and Ballades,' I played a lot of Jazz ballads with some Classical ballades.... Another year, my theme was 'Preludes,' so I did all Preludes, none of the Fugues." Last year, Caramia said that he chose to celebrate two birthdays. In honor of Chopin's 200th birthday, he sought out and performed, not the works of Chopin, but works of other composers written in honor of Chopin. "The second birthday I celebrated, was my own." He said as the crowd chuckled, "I played pieces from 1950, like the great music of 'Guys and Dolls' and a wonderful piece by Norman dello Joio."
The last half of the program consisted of some Jazz improvisations based on songs about certain American cities which Caramia called "a jazzy jaunt through St. Louis, Chicago, New Orleans, and Manhattan." All the while, the improvisations were accompanied by a slideshow of artwork on covers of songs about the cities in question.
As the lights faded out completely, Caramia performed an improvisation on "America the Beautiful," and the slideshow presented covers of American or patriotic songs from the Civil War era, World War I, and everything in between, ending with several picturesque covers for various editions of "America the Beautiful."
Caramia gave this Lincoln audience an intimate, fun evening, and the musicians in the audience could learn from him how to program a themed recital as well as how to incorporate visual media with their own performances. He also demonstrated wonderful technique as his hands seemed to simply toss of the notes effortlessly creating energy and rhythm in the music.
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Friday, October 7, 2011

Tony Caramia: Making musical memories with 'An American Journey'

Tony Caramia, Professor of Piano at the Eastman School of Music, will be giving a concert in Lincoln as part of the 2011 Nebraska Music Teacher’s Conference taking place at Wesleyan University. The concert is Thursday, October 13, at 7:30pm at O’Donnell Auditorium. The concert is open to the public and tickets are $15 at the door.
Caramia has performed on NPR’S “Piano Jazz,” the Rochester International Jazz Festival, and three National Conferences on Keyboard Pedagogy. Besides performing, Caramia conducts workshops in Jazz piano for Music Teacher’s National Association (MTNA) Conventions, International Workshops, and has lectured at conferences on several other continents as well. Besides Jazz and Piano Pedagogy, Caramia is passionate about “theme recitals” and the use of multi-media in performances.
An American Journey
Recently, Caramia shared a little of what has gone into programming this concert, which is entitled An American Journey. “I have a lot of fun planning recitals. I’m slightly embarrassed to say that I think I have more fun planning a concert than in practicing for it.”
For starters, Caramia explains, “I come up with an idea, a concept, and it takes me on a journey of discovery.” He said that the title of this concert has several meanings—for it also took him on a journey. It began when “I came across some music that I had purchased, I don’t remember when. It was 1940s sheet music from a publisher who specialized in publishing ‘Modern Piano Compositions.’ I found this title ‘Accent in Rhythms’ and bought it for the title. Then, I noticed an ad for other publications and it featured ten selections with America in the title.”
From there, Caramia had his inspiration. Meredith Wilson, later to become famous for composing the Music Man, had commissioned these original pieces for his orchestra on a 1930s radio show. Four of these pieces have been newly arranged for piano by Caramia and will be published by Alfred Music Publishing very soon.
He began searching for other pieces that were American themed. “Themed recitals lead me to find composers that I haven’t played before, or to find lesser known pieces by well-known composers.” He found a Spanish composer who had written an homage to Chaplin, a Rag from 1915 entitled “American Beauty Rag,” pieces that feature American cities in the title, and others.
A Musical Journey
“I teach at the wonderful Eastman School of Music, which has an open-mindedness to recital programming.” Caramia explained that this “open-mindedness” means realizing the importance of finding a balance between the old familiars and the new. At the Eastman School of Music, there are performances of the core of Classical music repertoire, “but there is also a Jazz program which encourages Jazz performances and contemporary and new compositions are likewise explored.” Caramia stated that he hopes to see more national performers branching out from the old and trying something new.
For aspiring performers, Caramia has this advice: “Use different aspects of your creativity. If you speak well, speak; if you are artistic, incorporate powerpoints or pictures with your performance—redefine what performing means! Don’t just do the same-old, same-old. I want to encourage as much creativity as possible.”
Caramia’s performance in Lincoln on October 13, will demonstrate not only the theme of An American Journey, but also his use of multi-media. As the audience enters the auditorium and during intermission, they will be hearing original recordings of the American pieces as performed by the Meredith Wilson Orchestra. During the performance by Caramia, a slideshow of sheet music covers that are artistic in their own way and feature the American theme will play.
Come, enjoy An American Journey!
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Tuesday, September 20, 2011

Around the world in 400 years: Jonathan Ryan at the organ

“Tonight, you will hear all the sounds of the organ, a wide range of hues from the tonal palette as I put the instrument through its paces.” So Jonathan Ryan said as he welcomed the audience. The Lincoln Organ Showcasepresented the concert last night, Sept. 19, O’Donnell Auditorium, to an audience of music-lovers, music students, and many organists from the Lincoln area.
Ryan continued, “I am happy to share the gift of music with you on this King of Instruments.” He explained that the many different musical styles and sounds that the audience would hear came from the fact that he was performing pieces from nearly every period of musical history and from all around the world. “The only period missing is ancient Greek!”
From Sweelinck to Shearing, Ryan gave the audience the sounds of Dutch Renaissance, German Baroque, French Impressionism, American jazz-influence, Romanian-Hungarian-Austrian minimalism, and music from two British composers. More impressive than the thrilling crescendo and climax of Bach’s Sinfonia from Cantata 29 or the virtuosic Etude Coulee of Gyorgy Ligeti, was the intimate, emotional phrasing of the Bach Fourth Trio Sonata’sAndante movement. Ryan referred to this movement in his program notes as “justly...among the most memorable movements from Bach’s hand.” Certainly, it was one of the most memorable movements from Ryan’s performance.
Virtuoso as he is, Ryan programmed many reflective pieces, and one such was George Oldroyd’s chant and psalm based piece which “create[s] seamless harmonies, easily evokes perhaps the rolling hills of the English countryside at dusk.” Surely Ryan’s performance evoked the peaceful countryside for as the piece ended, a sigh escaped from the audience as everyone came back to reality.
The second half featured the monumental work of Maurice Durufle, Prelude, Adagio, et Choral-varie sur le theme du “Veni Creator.” This piece, 22 minutes or more in length, Ryan likened to a 700-page novel, you sit down to read knowing its length and ready to invest your time to follow its development. To assist the audience in understanding this work, Ryan shared his own interpretation of it: “I think that it depicts a journey through life. At first, trying different things, passing on to parts of exquisite beauty, then a struggle.” He identified the Adagio as having one of the most memorable climaxes in 20th-century music, which spirals down, thrust into a new world of a simpler, clearer life, yet still profound and ending with peace, prayer, and ultimately triumph.
After two curtain calls, Ryan gave an encore of a newly composed piece by Arizona resident, Ken Yukl, another piece of exquisite beauty at the hands of Ryan.
The evening of music from different countries and centuries came to a close, and Ryan had given the Lincoln audience exposure to the perfect shaping and expressiveness of his performance—he made the organ speak, and it spoke to everyone’s lives and hopes.

Sunday, September 18, 2011

Sneak preview of Jonathan Ryan in concert



Right here in Lincoln, on Monday, September 19th, at 7:30pm, Jonathan Ryan will perform at O'Donnell Auditorium at Wesleyan University. From an 8-year-old in awe of the organ to the First Prize winner of international and national organ competitions, Ryan has loved the great instrument.
For $15, anyone can enjoy a wonderful performance accompanied by detailed program notes so that you not only hear the music, but really understand what it means.
Here is a sneak preview of the program and program notes from Ryan:
· I will open with one of my very favorite pieces of music in the world: the Sinfonia from Cantata 29 by J.S. Bach, one of the most energetic, vivacious musical celebrations of life I've ever heard.
· We'll continue with a set of delightful late Renaissance dance variations by the then-equivalent of a Dutch rock star, Jan Sweelinck, and the sublime Trio Sonata No. 4 in E Minor by J.S. Bach, a work particularly known for its transcendent, beautiful middle movement.
· Two English selections will close the first half: a serene free-work inspired from a Psalm verse by George Oldroyd, and the dramatic, profound Rhapsody in C-sharp Minor written during a sleepless night amid a WWI air raid by perhaps England's most celebrated 20th-century composer Herbert Howells.
· The second half begins with one of our own country's finest, Calvin Hampton, a New York City organist and choirmaster, with two movements from his work Five Dances. Based on a rhythmic ostinato, they showcase Hampton's unique, and, I think, enticing, musical voice.
· A rarely performed truly extraordinary piece by György Ligeti follows: the Etude coulée. Written in 1969, it could hardly be a more virtuosic test of technique as its 3.5 minutes require the organist to play nearly 13 notes per second in each hand without ceasing. Minimalistic in character, it also creates a rather intriguing mesh of musical color that, in my experience, has never failed to captivate audiences.
· I enjoy including organ pieces by the legendary jazz pianist George Shearing, and we will have two selections from him based on early American hymn tunes after the Ligeti.
· The "main course" of the second half, however, constitutes one of the most sublime major organ works from the 20th-century, the Prelude, Adagio, and Chorale Variations on Veni Creator by the Parisian organist-composer Maurice Duruflé. It is truly a masterwork, and, to me, a profound journey. Despite its advanced technical difficulty, it's one of the most emotional and deeply satisfying works I've ever played.
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