Podcasts about solera quartet

WFMT presented the Solera Quartet on Impromptu in May 2019. These rising stars have been acclaimed by critics as “top-notch, intense, stylish, and with an abundance of flare and talent” and “one of the foremost young string quartets.” The post Solera Quartet appeared first on WFMT.

Subscribe to the podcast here! Miki is a core member of the Grammy-nominated ensemble, A Far CryThe Boston Globe profile on Miki's "Little Criers"concerts for families and children. Find "Little Criers" on A Far Cry's Facebook Page.Miki and I play in the Solera Quartet together: MUSIC IN THIS EPISODE is from Mendelssohn's String Quartet, Op. 80, from the Solera Quartet's debut album, EVERY MOMENT PRESENT.Robert Levin, Professor Emeritus, Harvard UniversityRonda Cole, Director of NVSMS , Violin Teacher, Teacher Trainer for the Suzuki Association of the Americas (SAA)Ricardo Cyncynates, Assistant Concertmaster of the National Symphony OrchestraAni Kavafian, Professor of Violin, Yale School of MusicMiriam Fried, Professor of Violin, New England Conservatory of MusicDonald Weilerstein, Dorothy Richard Starling Chair in Violin Studies, New England Conservatory of Music

Praised by critics for her "astounding virtuosic gifts" (Boston Herald), "achingly pure sound” (The Toronto Star), and “impressive technical and interpretive control” (The New York Times), TRICIA PARK enjoys a diverse and eclectic career as a violinist, educator, curator, writer, and podcaster.Tricia is the producer and host of the podcast, “Is it Recess Yet? Confessions of a Former Child Prodigy.” She received the prestigious Avery Fisher Career Grant and was selected as one of "Korea's World Leaders of Tomorrow" by the Korean Daily Central newspaper. Since appearing in her first orchestral engagement at age 13 with the Baltimore Symphony Orchestra, she has performed with the English Chamber Orchestra, St. Paul Chamber Orchestra, Frankfurt Radio Symphony Orchestra, and National Symphony Orchestra of South Africa; the Montreal, Dallas, Cincinnati, Seattle, Honolulu, Nevada, and Lincoln Symphonies; and the Calgary, Buffalo, and Westchester and Naples Philharmonics. Tricia has given recitals throughout the United States and abroad, including a highly acclaimed performance at the Ravinia Rising Stars series. She also performs as half of the violin-fiddle duo, Tricia & Taylor, with fiddler-violinist, Taylor Morris.Tricia is the founder of the Solera Quartet, the winner of the Pro Musicis International Award and the first American chamber ensemble chosen for this distinction. Acclaimed as “top-notch, intense, stylish, and with an abundance of flare and talent,” the Solera Quartet performed their debut recital at Carnegie Hall’s Weill Hall to celebrate their addition to Pro Musicis’ roster. The Soleras’ debut album, Every Moment Present, features music by Janacek, Mendelssohn, and Caroline Shaw and was hailed by the New York Times hailed as “intoxicating….The quartet’s playing on the recording is sensitive and finely articulated throughout and the sound bright and vivid.”Other career highlights include Tricia’s recital debut at the Kennedy Center, appearances at the Lincoln Center Festival in Bright Sheng's The Silver River, her Korean debut performance with the Korean Broadcasting System (KBS) Orchestra and collaborations with composer Tan Dun. As First Violinist of the Maia Quartet from 2005-2011, she performed at Lincoln Center and the 92nd Street Y in New York and Beijing’s Forbidden City Hall and was on faculty at the University of Iowa.Passionate about arts education and community development, Tricia is the co-founder and artistic director of MusicIC, a chamber music festival that explores the connections between music and literature. In 2019, Tricia received an MFA from the Writing Program at the School of the Art Institute of Chicago, where she was a recipient of the New Artist Society Scholarship and was awarded a Writing Fellow Prize. Her writing has been published in Cleaver, Alyss and F News Magazines.Tricia received her Bachelor and Master of Music from the Juilliard School where she studied with Dorothy DeLay. She was a recipient of the Starling-DeLay Teaching Fellowship at the Juilliard School. She has studied and performed chamber music with Felix Galimir, Pinchas Zukerman, Cho-Liang Lin, Michael Tree, Gary Hoffman, Paul Neubauer, Robert McDonald, and members of the American, Guarneri, Juilliard, and Orion String Quartets as well as the new music group, Eighth Blackbird. Other former teachers include Cho-Liang Lin, Donald Weilerstein, Hyo Kang and Piotr Milewski.Currently, Tricia is an Artist-in-Residence and Lecturer in Chamber Music and Violin and Viola Performance at the University of Chicago.Connect with her here. RESOURCESDr. Derald Wing SuCitizen, by Claudia RankineI would like to thank Tricia for the music in episode - Cesar Franck's Violin Sonata performed with the pianist Domenic Cheli.Photo credit - Denise Karis  

Subscribe to the podcast here!Laura UsiskinCheck out the Bayberry String Quartet's ONE-PAGE "QUICK GUIDE" TO REHEARSING REMOTELY!2:25 - Laura talks about how she got started with her first cello teacher, the legendary pedagogue, Gilda Barston.4:02 - Laura talks about her early issues with confidence and how she compared herself to other players. Laura's cello teachers in college: Fred Sherry, and Aldo Parisot.6:30 - Why Laura studied neuroscience for her undergraduate degree.7:14 - How Laura's quartet, the Bayberry String Quartet, got started.10:02 - The Bayberry's community-minded mission of "a quartet in every home" and how that informs their work.12:37 - The ways chamber music creates connection for musicians and audiences alike.14:05 - The Coronavirus pandemic and its affect on the performing arts, institutional teaching, and, in particular, the teaching of chamber music and collaborative work.15:52 - Laura talks about how and why the Bayberry String Quartet began their experiments with virtual rehearsing. Laura shares some tips for how to get started.Bandlab (Free! The app that the Bayberry's use)Acapella ($ - An app for video recording and stitching together remote performances)18:51 - Laura's first realizations why virtual rehearsing can be better than live rehearsing. "I felt like I was doing things I couldn't do in person."20:00 - How virtual rehearsing enhances and accelerates score study.21:25 - "Bandlabbing": how virtual rehearsing doesn't replace in person rehearsal and performance but is also an incredibly useful tool to augment the rehearsal experience.21:56 - Some of the limitations of virtual rehearsing.23:48 - How the Bayberrys' are responding to the needs of musicians in the era of Coronavirus by generously sharing tips, tools, and transparency of their process.25:48 - Laura talks about the Bayberrys' one-page guide to getting your own virtual rehearsing practice started. "Virtual rehearsing can't replace in person rehearsing but it's been so much more helpful that I thought it could be."27:53 - Why commenting while "bandlabbing" is an integral part of virtual rehearsing.30:40 - More tips on how to rehearse musical nuances remotely and the challenges of deepening the rehearsal process when we have to remain physically apart.32:22 - "Some [virtual rehearsing] is even better than rehearsing in person."32:46 - The parallels between virtual teaching and virtual rehearsing.34:04 - Shout out to Miki Cloud, IIRY's first guest :), and my colleague in the Solera Quartet.34:25 - The importance of weekly/regular video chats to complement the virtual rehearsals and to promote communication and bonding in your ensemble.36:45 - The Bayberrys' goals to perform and rehearse entire sections and movements virtually.37:32 - The surprising challenges of virtual "playthroughs" and how they make you a better player. The bravery and vulnerability required to record yourself and share works-in-progress.38:35 - Are there certain repertoires that lend themselves to virtual rehearsing more than others?41:00 - How does the Bayberry String Quartet decide who "leads" rehearsal in virtual space? Laura shares some of her quartet's strategies and the challenges of organizing digital space.43:43 - The ways virtual rehearsing can be "gamelike" and how it introduces an element of "play" into the rehearsals and learning process.44:56 - What is the role of chamber music instructors in this new frontier of virtual rehearsing?45:29 - Laura's suggestions for how instructors can guide and support student learning in virtual rehearsing and performance.48:11 - Laura's thoughts on how virtual rehearsing can be fun, helpful, and rewarding to all students: professionals, pre-professionals, and amateurs.49:39 - How virtual rehearsing allows for a "tangibility" of performance. How students and performers can have a stronger sense of ownership through virtual rehearsing.51:36 - Laura shares some tips for navigating the technological pitfalls as you begin "Bandlabbing."53:45 - Laura talks about the Montgomery Music Project, an El Sistema program she founded and ran in Montgomery, AL.56:50 - Laura shares how running the Montgomery Music Project taught her many arts administrative skills.58-10 - Laura talks about her debut album, "Reimagining Bach" and how she asked her filmmaker friends from college, Sarah Adina Smith and Jonako Donley, to make these three stunning music videos of her playing Bach, Patrick Greene, and Peter Susser.1:01:28 - Laura's series, "Chamber Music at AEIVA," that presents concerts that connect visual art and music.1:03:54 - What Laura would tell her younger self about being enough: "just because it's not perfect doesn't mean there isn't quality in it."1:05:26 - How the pandemic causes us to reevaluate external markers of success and progress and how many classical musicians are struggling with losing their will to practice.

Subscribe to the podcast here!Learn more about the stuff we talk about in this episode here:Rebecca Fischer4:10 - The complexities of growing up in a musical household and striving to find one's own voice and individuality6:17 - How the Chiara String Quartet got its start.8:49 - Advice to young string quartets and the importance of building community.12:19 - The joys of making a life as a chamber musician and making sure everyone in the group feels equally seen and heard.15:40 - Scrum and the emotional labor it takes to address the musical work in a string quartet.18:39 - The Chiaras' path towards playing string quartets from memory and the "wild transformation" this brought to the group.21:43 - The "wonderful risk of not knowing what is going to happen on stage" and losing the barrier between performer and audience.24:30 - My (the Solera Quartet's) memory experiment and asking Becca for her advice on safety planning for memorized performances and how to build performance practice.27:03 - How memorization increases connection within an ensemble and how trust and caring for each other increases vulnerability and musical intimacy on stage.28:44 - How vulnerability is antithetical to a classical musician's training. The problem of classical music training and its corrective nature with an overemphasis on noticing what is wrong rather than what is right.30:10 - The extraordinary lack of self-consciousness in the folk music recordings of Bela Bartok. The many extra steps that most classical musicians need to make to lose self-consciousness and the struggle to find a balance.32:09 - The delicate challenge of ending and disbanding a long-standing ensemble. Moving onto the next chapter in one's career and seeing where creativity can take you.37:51 - Becca's other creative projects including Afield and her creative life with her husband, Anthony Hawley. Also, her work as a singing violinist.42:11 - What are the things we need to cultivate "creative courage"? Also, the crisis of perfection in classical music and the avoidance of vulnerability.46:13 - The lessons Becca has learned from the visual art world. The power of a daily creative practice and the joys of making things from scratch without judgement.47:59 - How bearing witness to other examples of creative living can be liberating and important for classical musicians. The need for the permission to create and "make something" just for the sake of making it.51:01 - The richness of a career as a result of cultivating interpersonal depth with colleagues, students, and community.53:19 - Becca's advice to her younger self: the importance of having fun, sleep, going to parties, and valuable friendships. "Never take for granted your creative impulses and act on them sooner."54:40 -Becca on her book of personal essays related to music, childhood, memory, travel, and "gifts for daughters."

In this episode, we talk with world-class Julliard-trained violinist Tricia Park about her experiences as a child prodigy. We discuss how learning to play the violin and perform for world-class audiences at a very young age made her feel special all the while contributing to a limited sense of identity. She shares her unique insights into what it’s like to live a big life as a quiet and painfully shy child and she discusses simple ways that educators can help their exceptional students rise about the pressures associated with achievement and perfectionism. For more information about Tricia, including links to some of her amazing work with the Solera Quartet, the Music IC Organization or her other projects, visit triciapark.com or check out the shownotes at smallactbigimpact.com for all of the related links to her performances and work. Praised by critics for her "astounding virtuosic gifts" (Boston Herald) and "achingly pure sound” (The Toronto Star), concert violinist TRICIA PARK enjoys a diverse and eclectic career as soloist, chamber musician, concertmaster, educator, and festival curator. Tricia is a recipient of the prestigious Avery Fisher Career Grant and was selected as one of "Korea's World Leaders of Tomorrow" by the Korean Daily Central newspaper. Since appearing in her first orchestral engagement at age 13 with the Baltimore Symphony Orchestra, she has performed with the English Chamber Orchestra, St. Paul Chamber Orchestra, Frankfurt Radio Symphony Orchestra, and National Symphony Orchestra of South Africa; the Montreal, Dallas, Cincinnati, Seattle, Honolulu, Nevada, and Lincoln Symphonies; and the Calgary, Buffalo, and Westchester and Naples Philharmonics. She has also given recitals throughout the United States and abroad, including a highly acclaimed performance at the Ravinia Rising Stars series. As First Violinist of the Maia Quartet from 2005-2011, she performed at Lincoln Center and the 92nd Street Y in New York and Beijing’s Forbidden City Hall and was on faculty at the University of Iowa. Other career highlights include Tricia’s recital debut at the Kennedy Center, appearances at the Lincoln Center Festival in Bright Sheng's The Silver River, her Korean debut performance with the Korean Broadcasting System (KBS) Orchestra and collaborations with composer Tan Dun, Cho-Liang Lin, Paul Neubauer, Timothy Eddy and Steven Tenenbom. An appearance with the Metamorphosen Chamber Orchestra at Jordan Hall garnered a glowing review from the Boston Herald that stated, "If you see the name Tricia Park in any future programs, buy a ticket." Recent season highlights include a performance of Lalo Symphonie Espagnole with the South Bend Symphony; a recital at Carnegie Hall with Ensemble Peripherie; a performance of the Brahms Double Concerto with the Notre Dame Symphony; a collaborative performance with violist Daniel Avshalomov; and a recording of works by Per Bloland on the TZADIK label with the ECCE Ensemble. Tricia is also the founding member of the Solera Quartet, the new Quartet-in-Residence at the University of Notre Dame. Tricia maintains an ongoing interest in new music and non-classical styles. She has performed with jazz musicians Matt Ulery and Zach Brock, has appeared with the rock band, Another Dead Clown and performs duo violin recitals with fiddler-violinist, Taylor Morris. Passionate about arts education and community development, Tricia is the co-founder and artistic director of MusicIC, a summer chamber music festival that takes place in downtown Iowa City. MusicIC presents free concerts and events focus on music for small ensembles inspired by works of literature, both prose and poetry. Tricia received her Bachelor and Master of Music from the Juilliard School where she studied with Dorothy DeLay. She is a recipient of the Starling-DeLay Teaching Fellowship at the Juilliard School. She has studied and performed chamber music with Felix Galimir, Pinchas Zukerman, Cho-Liang Lin, Michael Tree, Gary Hoffman, Paul Neubauer, Robert McDonald, and members of the American, Guarneri, Juilliard, and Orion String Quartets as well as the new music group, Eighth Blackbird. Other former teachers include Cho-Liang Lin, Donald Weilerstein, Hyo Kang and Piotr Milewski. Currently, Tricia is full-time Violin Faculty and Artist-in-Residence at the University of Notre Dame. The New Yorker Article Tricia Mentioned...by Malcolm Gladwell https://www.newyorker.com/magazine/2008/10/20/late-bloomers-malcolm-gladwell Tricia Park Founding member, Solera Quartet Founding Artistic Director, MusicIC Violinist and Fiddler, Tricia and Taylor - Violin and Fiddle duo www.triciapark.com www.soleraquartet.com www.musicic.org www.triciaandtaylormusic.com

In my interview with violinist Miki-Sophia Cloud, we talk about her former life as a strolling ‘gypsy violinist’; playing by ear versus playing from sheet music; her musical studies and mentors at Harvard, Yale, and the New England Conservatory of Music; and how she answers the question: “why am I doing this?” and what motivates her to make music. Learn more about the stuff we talk about! MUSIC IN THIS EPISODE is from Mendelssohn's String Quartet, Op. 80, from the Solera Quartet's debut album, EVERY MOMENT PRESENT (featuring Miki on first violin): https://open.spotify.com/album/1PLFnRJl78gChw3O6eQIEe?si=n3doDFc_RA2g1RzvFDHaAg Miki: http://www.soleraquartet.com/miki-sophia-cloud/ Miki is a core member of the Grammy-nominated ensemble, A Far Cry : http://afarcry.org Miki and I play in a quartet together: http://www.soleraquartet.com/the-soleras/ Robert Levin, Professor Emeritus, Harvard University: https://en.wikipedia.org/wiki/Robert_D._Levin Ronda Cole, Director of NVSMS , Violin Teacher, Teacher Trainer for the Suzuki Association of the Americas (SAA): https://www.suzukiviolinschool.com/our-faculty.html Ricardo Cyncynates, Assistant Concertmaster of the National Symphony Orchestra: https://www.ricardocyncynates.com/biography Ani Kavafian, Professor of Violin, Yale School of Music: https://www.chambermusicsociety.org/about/artists/strings/ani-kavafian/ Miriam Fried, Professor of Violin, New England Conservatory of Music: https://necmusic.edu/faculty/miriam-fried Donald Weilerstein, Dorothy Richard Starling Chair in Violin Studies, New England Conservatory of Music: https://necmusic.edu/faculty/donald-weilerstein