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Chamber Music

Brian Zeger & Friends to Paint ‘Portrait of Paris’ in Chamber Music Concert

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Brian Zeger

The second performance in this year’s Chautauqua Chamber Music Resident Artist Series, “Brian Zeger & Friends,” will feature pianist and guest voice faculty Brian Zeger alongside three School of Music faculty: violin instructor Nurit Pacht, chamber music coach and viola instructor Kathryn Votapek and cello faculty Tobias Werner. The performance begins at 4 p.m. Saturday, July 6 in Elizabeth S. Lenna Hall.

The performance will focus on French music and composers from the late 19th century. Zeger and Pacht will begin by playing two pieces by Claude Debussy: “Cortège (procession) from ‘Petite Suite’ ” and “La fille aux cheveux de lin (The Girl with the Flaxen Hair).” Then, Zeger will play two solo pieces by Emmanuel Chabrier: “Danse villageoise (Village Dance)” and “Feuillet d’album (Album Leaf).” Finally, all four musicians will play Gabriel Faure’s Piano Quartet No. 2 in G Minor, Op. 45.

All three of these composers lived and worked in Paris in the 1800s, and all the pieces were written in the same decade: the 1880s. By putting these pieces together, Zeger hopes to give the audience a musical portrait of Paris during that time.

“It’s marvelous to create a program with a lot of variety where you might have an American piece, a Russian piece, a French piece — but there’s also something, I think, that can be very seductive about just staying within one world,” Zeger said. “This program is very much like you’re being transported back into that world because all these pieces come from that same environment.”

The Debussy pieces are “charming and short,” Zeger said, each one only a few minutes long. Written when Debussy was a young composer in his 20s, they are relatively uncomplicated and serve as a lovely introduction to the French theme and style of music.

The Debussy(s) are very good curtain-raisers,” Zeger said. “They’ve got really good tunes, they’re really hummable.”

The solo piano pieces by Chabrier are not often played, but Zeger finds them to be catchy and charming.

“They’re disarming, always surprising harmonically and really fun to play pianistically,” Zeger said. “I love them.”

The concert will finish off with the much longer Faure piano quartet, which is the centerpiece around which Zeger planned the program.

I’ve known it all my life, and I really love it,” he said. “I think it’s undeservedly little-played.

Faure’s Piano Quartet No. 1 is better known, but this second quartet has more depth and range to it, Zeger said. He last played it in concert about 20 years ago, and is excited by the chance to perform it again.

“The thing I find really remarkable about it is the third movement — the slow movement — which for me is one of the most profound and haunting pieces for chamber ensemble that I know,” Zeger said. “It particularly features the viola, and the sound of a viola well-played has a very mellow, somber, dark quality, and I think Faure takes advantage of what the viola brings to the ensemble.”

Votapek, on viola, also has great affection for the Faure quartet, and hopes that if audiences don’t know Faure, they will discover and love his work for the first time; and if they do know Faure, they will connect with this, one of his lesser-known works.

“I want them to be moved, like when you go to a movie and you weep,” Votapek said. “I want people to be viscerally moved by this piece.”

Zeger and Votapek have played together once before, last season, but it will be Zeger’s first time performing with Pacht and Werner. However, the unfamiliarity is exciting to him, and he knows that given how talented and experienced they all are, they will have little trouble coming together very well in concert.

I know they’re all really accomplished professionals, so I look forward to that,” Zeger said. “I think it’s fun to mix it up with new people. … It’s wonderful to meet new colleagues.

ChamberFest Cleveland to Perform ‘Conversation’ of Classical Music

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ChamberFest Cleveland

The members of ChamberFest Cleveland are bringing three classical masterpieces back into conversation.

The group will perform “Precocious Virtuosity,” a set of three compositions at 4 p.m. today, July 1, in Elizabeth S. Lenna Hall. This recital focuses on composers who were catapulted into musical fame at young ages: Wolfgang Amadeus Mozart, Felix Mendelssohn and Moritz Moszkowski.

ChamberFest Cleveland is a yearly festival that features both new and returning members every summer. Their performance today opens with Mozart’s Piano Quartet No. 1 in G Minor, K. 478.

Jessica Bodner, a celebrated violinist, Harvard University faculty member and repeat performer with ChamberFest Cleveland, said the piece’s precise quality makes it perfect for chamber groups — especially for her group.

“The Mozart is a beautifully pristine, perfect piece of music,” Bodner said. “The group of people that I’m playing it with are wonderful musicians — it’s a total dream to play that pristine piece in that situation.”

ChamberFest Cleveland will also perform Mendelssohn’s Octet in E-flat major, Op. 20. Bodner said the popular piece is a key part of any chamber musician’s repertoire — and that its composer perfectly fits the theme of “Precocious Virtuosity.”

“Mendelssohn was a prodigy; he wrote this piece when he was 16 years old,” Bodner said. “It’s just this outpouring of a masterpiece from such a masterful mind.”

The last piece on ChamberFest Cleveland’s program is Moszkowski’s Suite for Two Violins and Piano, Op. 71. Itamar Zorman, an internationally acclaimed performer and three-time violinist with ChamberFest Cleveland, said Moszkowski’s piece is the least known on the program, but that its melodic, Romantic qualities make it another masterpiece.

“The piece that’s less well-known is the Moszkowski,” Zorman said. “This piece is very brilliant, first of all, and wonderfully melodic. Throughout, it has something of … this Romantic spirit; a somewhat gentle, personal sort of music-making.”

According to Bodner, that “personal sort of music-making” is not limited to one piece. Instead, it is a key quality of chamber music — a performance style that features a small group of musicians with individual roles.

“I think that chamber music performances can be one of the most dynamic performances, because there’s this personal energy that’s pulsing through the group when everyone is communicating well,” Bodner said.

Zorman agreed, describing chamber music as a form of conversation.

“From the audience’s perspective, part of the excitement is just watching (the musicians) interact — watching how they literally communicate with notes, with music on the stage,” Zorman said.

With a small group like ChamberFest Cleveland, Zorman said, unique personalities and styles can shine — and they can create something new.

“From a broader perspective, when you put a small group on stage, you put different personalities and playing styles (together),” Zorman said. “It’s like you’re putting together a dish. Sometimes things really don’t work well, but when they do, the sum can be larger than its parts. Something new and special can come out of it.”

To Bodner, chamber music is unique among performance types because every member performs an individual part.

“A soloist has the responsibility of just taking care of that one part, and in an orchestra you don’t really get an individual voice because you’re part of a larger section,” Bodner said. “But with chamber music, you have a soloistic element where you’re the only person playing your part, but then you get to play off of each other and have this great dialogue.”

According to new member and Juilliard School violinist, Nathan Meltzer, the festival filled a major gap in Cleveland when founders Franklin and Diana Cohen launched it in 2012.

“Most of the great chamber music festivals are in vacation areas,” Meltzer said. “There are some great ones in Florida, in Upstate New York, in California — and (the Cohens) wanted to bring high-quality chamber music to some areas that weren’t being represented fairly (in chamber music). They just wanted to bring some great music to the community of Cleveland.”

Alexander Gavrylyuk and Aaron Berofsky to Present ‘Introspective and Beautiful’ Chamber Pieces

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Alexander Gavrylyuk

Chautauqua School of Music’s Alexander Gavrylyuk, Heintzelman Family Artistic Adviser of the Piano Program, and Aaron Berofsky, violin faculty and chair of strings, will perform together at 4 p.m. Saturday, June 29 in Elizabeth S. Lenna Hall, in the first recital of the 2019 Chautauqua Chamber Music Resident Artist Series.

Gavrylyuk and Berofsky will play three pieces: Johannes Brahms’ Sonata No. 2 in A major, Robert Schumann’s Sonata No. 1 in A minor and Sergei Prokofiev’s Sonata No. 2 in D major.

They’re such introspective, beautiful pieces, and in a way they have that in common with each other,” Berofsky said. “At the same time, they’re stylistically very different.”

Gavrylyuk said the pieces are some of the most well-known violin and piano sonatas; both artists are familiar with them and have played them many times before.

“It’s like a friend you keep revisiting,” Berofsky said.

Brahms’ piece is about 20 minutes long, Berofsky said, and is probably the gentlest of the three pieces.

“It is a very philosophical work,” Gavrylyuk said. “It’s structured very much like a baroque building … with a very solid foundation but with a very delicate structure above the foundation. It is quite humorous at times; at other times it is very romantic and very lyrical. I think one hears the songs of love there, as well as prayers (and) intimate moments.”

The piece begins with the marking Allegro amabile, which essentially translates to “fast and friendly,” evoking a mood that continues throughout the piece.

It’s very kind and open-hearted, so I feel very close to that piece,” Berofsky said.

The Schumann piece is a bit shorter, around 17 to 18 minutes long. It is an unusual choice for violin, Berofsky said, and the violinist must be flexible with the pianist while playing.

“Schumann has led a very tormented life, and one can hear it in his music,” Gavrylyuk said. “It’s kind of a bittersweet first movement, followed by a very elegant and very tender kind of second movement, and the third movement is very dramatic and determined.”

The Schumann piece is an interesting companion to the Brahms, Berofsky said, because both pieces have thematic elements of love — and both men loved the same woman: Clara, Schumann’s wife. He described the piece as “crazed and kind of hyper” at times, but also as “a love theme.”

It’s very tender,” Berofsky said. “The emotions go from zero to 60, really quickly.
Aaron Berofsky

The Prokofiev piece is a bit longer than the others, clocking in around 25 minutes — standard timing of a sonata from the late Romantic-period, Berofsky said.

This piece is markedly different from the others in its overall tone.

“Prokofiev was a master in creating this kind of very sarcastic reflection of reality,” Gavrylyuk said. “This sonata is definitely not an exception to that. It’s a very ironic sort of piece.”

However, the piece fits well with the others in that it contains both the intimacy of Brahms and the storminess of Schumann.

Each piece has its own moments of repose and then moments of wildness,” Berofsky said.

This is the second year for the Chautauqua Chamber Music Resident Artist Series, which gives music faculty a chance to perform in a smaller setting, not just in concerts accompanied by an orchestra.

“Chamber music is just the most intimate and deep way of communicating through music,” Berofsky said. “It’s very personal. There’s no hiding. … (It’s) about communicating the deepest emotions and making people come together through music.”

Unlike solo recitals where the artist is alone with the audience, and concertos where the whole orchestra shares the music, chamber music is like a conversation between just a few musicians.

What happens often, without any discussion, is that you start finding a common language and start playing on the same radio wave,” Gavrylyuk said. “In fact, I find that the less discussion the better, because then you have to use your intuitive abilities to find each other and then merge together.”

Galician Bagpipe Player Pato, Quartet, to Open Chamber Series with Intercultural ‘Migrations’

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Cristina Pato Quartet

Cristina Pato has many different roles: New York University educator, composer, pianist and writer. But at Chautauqua Institution, she is best known for one role in particular: Galician bagpipe master.

Pato, who first visited Chautauqua in 2018 as part of Silkroad Ensemble, will perform with her quartet today and Tuesday with two programs based around intercultural conversations.

The Cristina Pato Quartet will perform “Migrations” at 4 p.m. Monday, June 24, in Elizabeth S. Lenna Hall as part of the Chautauqua Chamber Music Guest Artist Series. Seats are first come and require a free ticket, which can be picked up starting at 7 a.m. today at the Welcome Center Ticket Office. The quartet will perform “Latina” at 8:15 p.m. Tuesday in the Amphitheater.

Pato is one of the world’s most renowned  gaita players. In 1999, she became the first female gaita player to release a solo album, and she has continued developing her art as both a soloist and an ensemble member ever since.

While the gaita is a traditional instrument of her home region in Galicia, Spain, Pato’s performances incorporate elements from folk to jazz. Pato said her music begins with Galicia but incorporates elements from vastly different cultures.

“It will be a combination between Galician mediums and jazz mediums — a conversation of many different places,” Pato said. “Although I was trained in the Galician tradition, what I do onstage is now connected to my multi-cultural journey.”

That journey includes three other quartet members with their own voices, instruments and backgrounds: accordionist Julien Labro, bassist Edward Perez and drummer Mauricio Zottarelli.

The quartet members’ voices blend together in “Migrations” — an examination of how their individual journeys collide, Pato said.

“The four of us are coming from different backgrounds and different migratory journeys to meet in New York,” Pato said. “The program will travel the different ways of understanding the music of each of my quartet players.”

The members are trained in separate traditions, and Pato aims to bridge the unique musical languages. Together, she said, the whole music experience is greater than the sum of its parts.

“I am the one making the bridge between the other languages that I speak, from classical to folkloric music to their language,” Pato said. “And somehow we tried to create something that is unique, but is also connected to all the places that we come from.”

Last season, Pato performed both as part of the Silkroad Ensemble and as a soloist with the Chautauqua Symphony Orchestra. Silkroad, which was founded in 2000 by renowned cellist Yo-Yo Ma, is a music group that promotes collaboration among diverse musicians. This year, she returns as part of her quartet to share a program of their own making — a narrowing-in of storytelling, from a full ensemble to just the four members of Pato’s quartet.

To Deborah Sunya Moore, vice president of performing and visual arts, Pato exemplifies Silkroad’s message.

“This woman who plays Galician bagpipes, who plays piano, who is a jazz musician, who is a classical musician, who is lifting up and sharing music from her own culture — I thought that’s truly what Silkroad is about,” Moore said.

But, Moore added, Pato’s strong individual voice helped bring her back to Chautauqua for another two performances.

“She was such an engaging artist and person that I wanted to bring her back this year to focus on a program that she wanted to present,” Moore said.

Chautauqua Opera Company Celebrates 90th Anniversary With 2019 Season

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Deborah Sunya Moore, vice president of performing and visual arts

Amid the hustle of Chautauquans scurrying to get ready for the season, the Chautauqua Opera Company rolls out its program for the summer and its 90th anniversary.

With this celebration comes certain changes to the original structure of the season, bringing more opera productions as well as modern twists to classic stories.

The mainstage productions this season are a take on the Beaumarchais Trilogy, written by Pierre Beaumarchais in the mid-1700s. The play trilogy, consisting of The Barber of Seville, The Marriage of Figaro and The Guilty Mother, are the basis for the operas. Each story follows the Count Almaviva, Countess Almaviva, Figaro and Susanne as they confront love, loss and the social attitudes during the French Revolution. 

Chautauqua Opera will perform Vid Guerrerio’s ¡Figaro! (90210), an adaptation of The Marriage of Figaro, on June 28, 30, and July 7, 14 and 26. On July 5, 8 and 25, Chautauqua Opera will perform Gioachino Rossini’s Il Barbiere di Siviglia. The last opera in the trilogy, John Corigliano’s The Ghosts of Versailles, a take on Beaumarchais’s The Guilty Mother, will be performed on July 27.

¡Figaro! (90210) follows undocumented workers Figaro and Susanna in Beverly Hills.

The twist on the opera classic brings to the surface issues from 200 years ago that are still relevant today.

Deborah Sunya Moore, vice president of performing and visual arts, said Chautauqua Opera is trying to demonstrate that opera isn’t simply an old art form with no room for modern change.

“What we are trying to focus on is relevant current work for all generations,” Moore said. “I think there is a prevalent feeling that opera is something that is steeped in tradition and something that is old.”

Rossini’s Il Barbiere di Siviglia is to be performed traditionally, while The Ghosts of Versailles is a more deconstructed adaptation of the original score. Moore said the mainstage operas are a form of entertainment for all types of Chautauqua audience members.

“While it is certainly steeped in tradition, it’s intergenerational, alive and current,” Moore said. “What I love about this season is that we have masterworks in all of these categories.”

Steve Osgood, general and artistic director of Chautauqua Opera, knew this 90th anniversary season needed to be special.

“Ninety is a pretty big number,” Osgood said. “It was important to market somehow, to do something unique and special.”

Osgood revamped the entire season from the structure of past summers.

Audiences now have the opportunity to see more opera during their stay, with more than one opera being offered every week.

This season, four guest artists and 24 young artists in Chautauqua Opera are set to perform the different productions every week.

The artists, who are young professionals, are on their way to finishing master’s programs in opera or have just finished their higher education.   

To make the rigorous performance schedule a reality, the four guest artists have a prolonged stay at the Institution.

During Week Five on July 25, 26 and 27, Chautauqua Opera will perform the whole Beaumarchais Trilogy in story order for their very own opera festival.

Audiences can see three operas of the Beaumarchais Trilogy in three consecutive days, something that has not been done before, ever, according to Osgood.

Osgood and Moore hope to attract people to Chautauqua specifically for opera.

“One of the big things that we are hoping opera will do for Chautauqua is that we can attract new people to Chautauqua that have come just for the opera,” Moore said.

The weekly Opera Invasions are a piece of the opera puzzle here on the grounds, giving opera a platform to engage with audiences on a personal level.

Each week, the young artists who choose to participate, get off the stage and travel the grounds where they perform different musical pieces for less than an hour, with little to no rehearsal.

The first of these Opera Invasions, which will take place Sunday, celebrates the 90th anniversary of Chautauqua Opera and Norton Hall, by immersing audiences in the vast repertoire performed since 1929.

From the Beaumarchais Trilogy to the Opera Invasions, Moore said this is a more diverse opera season with much more to offer Chautauquans.

“I think we have an opera season that will be a springboard for thought and discussion, and I think that is what Chautauqua is all about,” Moore said.

Chamber Music Guest Artist Series to close with Sharon Isbin, Colin Davin’s Latin-American guitar solos, duos

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It’s difficult to over-emphasize the impact that Sharon Isbin has had on the classical guitar. She has all of the accolades of a top-shelf musician: Grammy Awards, plenty of studio albums, appearances in major motion picture soundtracks and praise from luminaries like Martina Navratilova and Michelle Obama.

But Isbin’s legacy as an educator might go even further than her personal achievements. She’s director of The Juilliard School’s classical guitar program, which she founded in 1989, and since then has trained many of the world’s most successful guitarists.

For example, Isbin’s student Bokyung Byun won the nearby Buffalo Philharmonic’s JoAnn Falletta International Guitar Concerto Competition this past June, and Tengyue Zhang — another student of Isbin’s — was runner-up. Last year at another prestigious international guitar competition, Zhang won first prize, and Byun took second.

At 4 p.m. Mon., Aug. 20, in Elizabeth S. Lenna Hall, Isbin will give a concert of Latin-American music in the final Chamber Music Guest Artist Series of the season.

The performance requires a complimentary ticket, which can be obtained on a first-come basis at the Main Gate Welcome Center Ticket Office, which opens at 7 a.m. If available, tickets can also be obtained at the Visitors Center, which opens at 9:30 a.m. Seats are held until 15 minutes before the start of the performance.

Sharon Isbin and Colin Davin

This afternoon, Isbin will be joined by another former student, Colin Davin, a successful guitar soloist in his own right.

“It’s always a great source of pride for me when they launch and they end up establishing their own very prestigious careers,” Isbin said. “(Davin) is teaching on the faculty of the Cleveland Institute of Music and is a beautiful player, and it’s really fun for me to be able to do duets with him because we’ve worked together for so long in one context or another that there’s a real symbiosis.

The two met when Davin was just 15 years old at a master class in Buffalo, and then a year later as student and teacher at the Aspen Music Festival and School. Eventually, Davin would go on to earn his master’s degree studying with Isbin at Juilliard.

When Davin got to Juilliard, he was already playing professionally and entering guitar competitions, so he was already at a high level of performance. But while studying at Juilliard, Isbin’s extreme attention to detail pushed him to the next level, Davin said.

“I recall in particular a lesson we had on a slow movement from a Bach sonata,” Davin said. “Technically speaking, it was the easiest movement of the piece, but that was one of the hardest lessons I ever had because she was so zoomed-in on in the exact shaping of every little micro phrase and how it might fit into the larger phrase.”

The concert will feature solos and duos from composers such as Isaac Albéniz, Leo Brouwer, Enrique Granados and Francisco Tárrega. For Isbin, one of the highlights will be Brouwer’s “El decameron negro” (“The Black Decameron”), a work for solo guitar that she said has quickly taken a central place in the solo guitar repertoire since its composition in 1981.

“It’s inspired by love songs collected from Africa in the 19th century by a German anthropologist, and there are three different ballads in this set,” Isbin said. “One is about lovers fleeing through the ‘Valley of the Echoes,’ another about a warrior who is much beloved by his tribe but is then banished because he plays the harp —  a good metaphor for many things —  and then, about a maiden in love.”

Davin will join Isbin to perform Howard Shore’s “The Departed Tango,” written for the Martin Scorsese’s Oscar Award-winning movie, “The Departed.” The piece was written for Isbin, and she recorded it as a duo with herself for the movie.

“When Howard Shore and Scorsese began to discuss music for the film, they landed on the idea of the tango, which would be evocative of the dance of death between the Bostonian police officer and the Irish mafioso figures in the film,” Isbin said. “The tango, I think, fits in nicely with the South and Latin American flavor of this program.”

Chautauqua Chamber Music Resident Artist Series finale to explore the history of Trinidad’s Freedom Fighters

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Caitlyn Kamminga’s bio begins as many do, with degrees from a prestigious music school. The next few items reveal her eclectic career as an international orchestral musician, with positions in the United States, Hong Kong, Wales and London — but the current item is probably the most surprising.

Caitlyn Kamminga

In 2009, Kamminga — a member of the Chautauqua Symphony Orchestra —  left her life as an orchestral player and moved to Trinidad to be on the faculty of the then-new Academy for the Performing Arts at The University of Trinidad and Tobago.

At 4 p.m. Saturday, Aug. 18, in Elizabeth S. Lenna Hall, Kamminga will share a slice of Trinidad with Chautauquans in a performance of “River of Freedom: The Journey of Black Freedom Fighters in the War of 1812,” a work with music by composer Adam Walters and words by Kamminga.

This concert will be the final installment of the Resident Artist Series, a chamber music concert series featuring CSO musicians and School of Music instructors.

When Kamminga and her family moved to Trinidad, they were only planning on staying for a few years. It was difficult to raise a family in the hard-working classical music scene in London, so they jumped at the opportunity for a change of pace — nine years later, they’re still there.

“It was just an opportunity to bring the family together,” Kamminga said. “We thought that even if we only had a couple of years there, it would be an amazing cultural experience. Then, we just started planting seeds, and those seeds started to grow, and now we’re just ensconced in the tapestry of Trinidad.”

As Kamminga became more entrenched in Trinidad, she also began to learn more about the culture and history of the island nation. In 2012, Kamminga and Walters came across the story of the Merikins, black Americans who fought for Britain in the War of 1812 in exchange for their freedom.

After the war, the British army gave some of those soldiers and their families land in southern Trinidad. “River of Freedom” is a interdisciplinary work of music and poetry that tells their story.

The “River of Freedom” story involves several different nations: the United States as the place where the black soldiers came from, Britain as the nation that offered them freedom, and Trinidad as the place where they would go. Because of that, Walters has included snippets of the national anthems of all those countries in the music, in addition to a variety of different hymns that one would hear in the spiritual baptist churches of Trinidad.

The land those soldiers received, according to Kamminga, was the heart of the Trinidadian jungle — not exactly habitable territory. But the soldiers persisted: their settlements survive, and are still named according to where each company settled (First Company Village, Second Company Village, et cetera). 

“River of Freedom” was premiered by Kamminga and others in those company villages.

“It was both scary and exciting,” Kamminga said, “because when you create a piece of art, then it goes out into the world and people get to have their own reaction to it. But we were delighted that the Merikin population loved it.”

Mia Gormandy

This performance of the piece will be its American premiere and will feature CSO musicians, Kamminga, her husband, Aidan Chamberlain (trombone), steelpan player Mia Gormandy, and Chautauqua Theater Company conservatory actor Elijah Jones as narrator.

The premiere also featured projections of artwork done for the project by Trinidadian artist Che Lovelace, but Kamminga said that this rendition of “River of Freedom” will not include those projections.

“I decided that this would be a great opportunity to make sure that the piece stands on its own as a narrated piece of music, and we know it does.”

This project is the next in a streak of interdisciplinary collaborations that Kamminga has been a part of. Some of that is due to her nature — Kamminga said she has always been interested in the intersections of the arts, reading Goethe alongside Beethoven and studying Manet while learning Debussy.

But another part of it, Kamminga said, is the culture on the island of Trinidad.

“Trinidad kind of reminds me of Paris in the Toulouse-Lautrec times, when you had all of these artists and musicians and actors and choreographers just in this little pool of artistic work. Because it’s so small, people do a lot of different things.”

-Caitlyn Kamminga, Co-creator, “River of Freedom”

Calidore Quartet to compare music of First, Second Viennese Schools in chamber music concert

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Monday, Aug. 13, will be the Calidore String Quartet’s first time performing at Chautauqua Institution, but violinist Ryan Meehan knows the grounds well. He came here with his family starting at age 14 to study with the famous violin teaching duo, Roland and Almita Vamos.

It was intense, Meehan said — the young violinist had a lesson every day, so he spent most of his time practicing while his sister was at Boys’ and Girls’ Club having fun.

That practice has paid off for Meehan. At 4 p.m. Monday, Aug. 13, in Elizabeth S. Lenna Hall, he and the other three members of the Calidore String Quartet — violinist Jeffrey Myers, violist Jeremy Berry, and cellist Estelle Choi — will give a concert of the music of Beethoven, Haydn and Webern.

Calidore’s program Aug. 13 is a comparison of the two Viennese schools, Meehan said. The First Viennese School generally refers to Mozart, Haydn and Beethoven, three composers who helped to establish the language of tonal music. The Second Viennese School, most notably represented by Arnold Schoenberg, Alban Berg and Anton Webern, were pioneers of atonal music in the early 20th century.

On this afternoon’s program, the First Viennese School will be represented by Hadyn’s String Quartet in G major, op. 54, No. 1, and Beethoven’s String Quartet in C major, op. 59, No. 3, “Hero.” The second will be portrayed by Webern’s Langsamer Satz (“Slow Movement”).

Langsamer Satz is unusual, according to Meehan, because it’s much longer than most of Webern’s works (the composer was known for incredibly short compositions), and also because it bears little resemblance to the atonal music that Webern is most known for. The piece, Meehan said, is actually more of a Romantic work, likely because the composer was young and in love at the time of its composition.

After Meehan’s time at Chautauqua, he attended the prestigious Colburn Conservatory of Music in Los Angeles, where he met Myers, Berry and Choi. The group formed to fulfill a class credit and is now a world-class touring string quartet.

There’s no one way for a young string quartet to become a professional ensemble, but many groups try to do so by entering chamber music competitions. Important ears will hear their work, and top prizes can include concert bookings and professional management.

The Calidore String Quartet went that route, and it was successful quite quickly. Within two years after its formation in 2010, the quartet won most of the major U.S. chamber music competitions, including the Fischoff, Coleman, Chesapeake and Yellow Springs competitions.

After that, the group had professional management and a regular concert schedule. It wasn’t an easy life, Meehan said — the group had to split concert fees five ways (four musicians and a manager), buy an extra seat for the cello on flights and cover New York City rent — but there wasn’t much point in continuing to do competitions.

That is, until the University of Michigan announced the M-Prize for May 2016. The $100,000 prize was the largest ever for a chamber music competition, and at 172 applicants, it promised to be the most competitive, too.

The quartet decided it was going to come out of “competition retirement” to take a shot at the competition, for obvious reason.

“Whether you know about the classical music world or not, something about a $100,000 prize seems to resonate with our culture,” Meehan said.

They won, and that victory took the musicians from a respectable chamber music career to a sky-high one. The group’s resume looks like a read-out of classical music’s top venues, and it continues to receive accolades — most recently, Calidore earned a 2018 Avery Fisher Career Grant.

That success has certainly come as a result of the M-Prize win, Meehan said, especially because they won the prize in its inaugural year. But while the prize helped the quartet’s career, it didn’t change its mindset, according to Meehan.

“Not much changed about our attitudes after we won the M-Prize,” he said. “It helped us get where we already wanted to go, just faster.”

In penultimate edition of Resident Artist Series chamber music concerts, Pearl Piano Quartet to play Mozart and Brahms

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  • Edward Arron

Saturday’s Chautauqua Chamber Music concert on Aug. 11 will be one of the few musical events of the week that doesn’t feature any current members of the Silkroad Ensemble — but there are still multiple connections.

First of all, cellist Edward Arron was one of Silkroad’s original members. Violinist Aaron Berofsky and violist Kathryn Votapek are both on faculty at the University of Michigan, where they are close friends with fellow faculty member and original Silkroad percussionist Joseph Gramley. The Pearl Piano Quartet’s ties with the events at Chautauqua this week are proof that the music world is a small one.

At 4 p.m. Saturday, Aug. 11, in Elizabeth S. Lenna Hall, the Pearl Piano Quartet — composed of Berofsky, Votapek, Arron, and pianist Jeewon Park — will perform Mozart’s Piano Quartet in E- at major, K. 493, and Brahms’ Piano Quartet No. 1 in G minor, op. 25.

Mozart’s Piano Quartet was originally meant to be the second of a set of three commissioned by a Viennese publisher.

“At that time, chamber music with piano was meant to be played by amateurs for their own pleasure,” Votapek said. “Supposedly, it wasn’t supposed to be written for concert performance, and the publisher wanted something he could put out there that people could buy and play for fun, and (the first piano quartet) was definitely too hard for that.”

Because the first one was so difficult, Mozart’s publisher ended up canceling the commission for the remaining two pieces. But Mozart composed a second piano quartet anyway, and that is the one that will be heard on Saturday’s concert.

According to Berofsky, this piano quartet is “delightful, charming, and pretty,” but also subversive in its structure. Unlike many heavily structured pieces of that time period, this work resembles a realistic conversation: sometimes themes or motifs are repeated for no apparent reason, and sometimes the piece goes off on tangents. These are all elements that improve the piece’s value, Berofsky said, but may have been edited out if the composer was writing under commission.

“Thank god he didn’t have an editor because there’s all of these things that you could have taken out, and it would have just been a pretty parlor piece,” Berofsky said. “But it’s much more intriguing this way because he was just so imaginative.”

Mozart would not go on to write a third quartet, but the other composer in Saturday’s program — Johannes Brahms — did complete three. For Votapek, they’re gems of the chamber music repertoire.

“Brahms’ three piano quartets, I think, are the most personal chamber music that he wrote, and also the most effective chamber music that he wrote,” Votapek said. “They’re more effective than his string quartets or anything else.”

The first piano quartet, she said, is so effective because it contains everything Brahms is known and loved for — the dark, brooding Brahms, the Romantic love song Brahms and the Hungarian gypsy music Brahms.

This concert will be the penultimate installment of Chautauqua Chamber Music’s Resident Artist Series. On Monday, Aug. 13, the Calidore String Quartet will complete the Guest Artist Series, and on Aug. 18, the Resident Artist Series will conclude with a program titled “River of Freedom: The Journey of Black Freedom Fighters in the War of 1812.”

Fry Street Quartet and School of Music faculty Kelly Markgraf to present afternoon of chamber music

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At 4 p.m. Saturday, Aug. 4, in Elizabeth S. Lenna Hall, the Fry Street Quartet will perform the music of Haydn, Bartok and Barber. For Barber’s “Dover Beach,” the quartet will be joined by School of Music faculty member and baritone Kelly Markgraf.

The Fry Street Quartet — named after the location of its first rehearsal space — was founded in 1997 in Chicago. The group discovered some success fairly quickly; just a few years after forming, they were one of three American ensembles invited to compete at the Banff International String Quartet Competition.

Although the quartet did not place in that competition, it was a watershed moment, said Rebecca McFaul, founding member. After the process of preparing for and performing in a big chamber music competition, two of the quartet’s members decided that they wanted to pursue chamber music more seriously, but the other two decided that they did not.

After adding two new members, the Fry Street Quartet would go on to win several chamber music competitions and establish a presence as a string quartet to be reckoned with. But before that success, the group embarked on a three-year “Rural Residency” fellowship, which McFaul described as “Peace Corps for chamber music.”

The fellowship, which was sponsored by the National Endowment for the Arts and Chamber Music America, pairs chamber ensembles with rural areas that would like to have an ensemble in residence as part of their community. The Fry Street Quartet was placed in Hickory, North Carolina.

It was a formative experience for the group, McFaul said. In addition to allowing for more rehearsal and performance time, the fellowship gave the members a new perspective on their craft.

“I think sometimes a life in classical music can be pretty rarefled. Leaving that bubble and interacting with audiences that are not seeking you out — there’s a lot to be learned from that.”

-Rebecca McFaul, Founding Member, Fry Street Quartet 

The program the group is presenting today includes string quartets by two innovators in the genre — Haydn and Bartok — and Barber’s “Dover Beach,” written for string quartet and baritone.

“Honestly, we wanted to do (“Dover Beach”) because it was an excuse to collaborate with our friend, Kelly Markgraf,” McFaul said.

The quartet and Markgraf have collaborated before on the opera As One, which they will perform with Chautauqua Opera Company at 4 p.m. Tuesday, Aug 7, in Norton Hall. They’ll need to draw on their previous experience working together: Barber himself said that “Dover Beach” is a challenge for all involved.

“‘Dover Beach’ is a very difficult piece because nobody is boss, so to speak,” Barber wrote. “Not the singer or the string quartet. It’s chamber music.”

The pieces by Haydn and Bartok will be familiar for the quartet — in fall 2016, the group began a concert series in which it paired each of the six Bartok string quartets with one of the six Opus 76 string quartets by Haydn.

Saturday afternoon’s concert will feature Bartok’s String Quartet No. 5 and Haydn’s String Quartet in G Major, op. 76. The piece by Haydn, McFaul said, will be a “life-affirming” exhibition in both joy and humor.

Bartok’s quartet, written more than 100 years later, has its own kind of humor. Like much of the composer’s music, the piece uses musical scales that weren’t standard to the Western classical repertoire at the time of its composition, McFaul said. Bartok received a fair amount of criticism for not using the standard musical scales of the time.

As a sarcastic response, near the end of String Quartet No. 5, Bartok writes in several major scales — the most standard scale in Western music — with instructions to play them “very mechanically and with indifference,” McFaul said.

“It’s him saying, ‘You want your major scales? Well, here you go.’ It’s a fabulous moment,” McFaul said.

Sō Percussion to present new music from Dennehy, Iyer, and Shaw in Chamber Music’s Guest Artist Series

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Sō Percussion

Jason Treuting’s musical mentors include the drummer for Steely Dan, a Balinese gamelan master, the timpanist of the Rochester Philharmonic, several renowned marimba players, a pianist and a jazz trumpeter.

That’s the kind of diverse training that Treuting and the other three members of Sō Percussion — Eric Cha-Beach, Adam Sliwinski and Josh Quillen — will bring to Chautauqua Chamber Music’s Guest Artist Series at 4 p.m. Monday, July 30, in Elizabeth S. Lenna Hall.

As a result of his diverse training, Treuting possess a wide range of skills — and as a percussionist, he said versatility is critical.

“Even in an orchestra, if somebody writes for a police whistle, they’re not giving it to the piccolo player,” said Treuting. “You know they’re going to give it to a percussionist. So we’re kind of always being called upon to do the other thing.”

Sō Percussion are experts in “the other thing.” When Sō performed at Chautauqua in 2016, the group played the expected drums and mallet instruments, but also used a trumpeted conch shell and the Chordstick, a newly invented instrument described on the group’s website as a cross between an electric guitar and a hammer dulcimer.

Founded in 1999, Sō Percussion has gained a reputation as the standard bearer of the percussion quartet genre. As the group’s career has developed, so has percussion music in general: The New York Times credits Sō with setting off an “explosive new enthusiasm for percussion music old and new.”

Treuting thinks the inherent nature of percussion instruments has something to do with the recent surge.

“I feel like percussion is a wonderful vessel for new things because the audience can relate, in a certain way, to the way sound is made. You can look at these objects on stage — whether it’s a drum, vibraphone or flowerpot — and everybody can imagine hitting them to make a sound. It’s very primitive in a wonderful way. But then the way these sounds and notes are put together makes something extraordinary.”

-Jason Treuting, Percussionist, Sō Percussion

The group will be playing several “new things” on today’s concert. “TORQUE,” a mallet quartet by jazz pianist and composer Vijay Iyer, was commissioned by Sō and premiered last month. Iyer’s music often explores the interconnectedness of music and human movement — fitting for Sō, as it has been praised for the choreographic quality of its performances.

Sō will also play Caroline Shaw’s “Taxidermy” and Donnacha Dennehy’s “Broken Unison,” both written specifically for the group. “Broken Unison,” also a mallet quartet, involves “crazy canons all over the place,” according to Sliwinski (a canon occurs when a melody is begun at different times by different players — think “Row Your Boat”).

Dennehy included many canons after attending a rehearsal of “Broken Unison” when the piece was still in draft form, and he saw that the quartet was particularly good at playing them. In a way, the piece is custom-made for the group’s specific strengths. “Taxidermy,” written for  the group in 2012, makes use of mallet instruments, flower pots and spoken word. Towards the end of the piece, according to the composer, the group repeats the phrase “the detail of the pattern is movement,” which comes from T.S. Eliot’s “Burnt Norton.” Shaw said she loves trying — and failing — to imagine that concept, which she describes as “a kind of whimsical existentialist mantra.”

In Sō Percussion’s mission statement, the group says that it aims to create and present “new collaborative works to adventurous and curious audiences.” The group is certainly doing its half: two of the works mentioned were premiered this year, and all were written in the past 10 years.

Resident Artist Chamber Music Series continues with pianist Jon Nakamatsu in collaboration with CSO members

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In May 1997, Jon Nakamatsu was a German teacher. By June, he was an internationally known concert pianist.

That’s because in June 1997, Nakamatsu won the prestigious Van Cliburn International Piano Competition. It changed Nakamatsu’s life forever. In addition to international notoriety, his winnings included a debut recital at Carnegie Hall, concert tours, two years of professional artist management and a record deal. His career as a concert pianist had officially begun.

“Getting to the competition was amazing. Winning was completely unexpected, but the next day I was on tour, and it hasn’t stopped since then. That was 21 years ago.”

-Jon Nakamatsu, Artist-in-residence, Chautauqua Piano Program

At 4 p.m. Saturday, July 28, in Elizabeth S. Lenna Hall, Nakamatsu will present an afternoon of chamber music by Mozart, Faure and Clementi as part of the Chautauqua Chamber Music Resident Artist Series. Nakamatsu will be joined by Chautauqua Symphony Orchestra members Vahn Armstrong (violin), Eva Stern (viola) and Jolyon Pegis (cello).

Nakamatsu would find his way to a performance career in circuitous fashion. He never went to a music conservatory — instead, he chose to attend Stanford, where he would earn degrees in German and education, making him an unusual victor for a major piano competition.

“(I went to Stanford because) I understood that a performance career may never happen, despite my best efforts,” Nakamatsu said. “It’s a business, and you have to break into it somehow.”

During his time at Stanford, Nakamatsu kept up his piano studies with his life-long teacher, Marina Derryberry. Derryberry, he said, was the kind of teacher that could teach a student their first notes at age 6, but also prepare a young concert pianist for a major career.

“That is, I think, the most rare kind of individual on the planet,” Nakamatsu said. “She was there at my first lesson, and she accompanied me to the Van Cliburn Competition 20 years later. It was an amazing journey.”

Now, as a artist-in-residence for Chautauqua’s Piano Program, Nakamatsu acts as a mentor for the next generation of pianists. He brings a unique perspective because of his non-standard path, and he tries to impart upon his students that there’s no prescribed path to a career, especially in the arts.

“The hardest part about what we do is that you feel so often that you’re alone on your journey because no one understands or has experienced your personal trajectory,” Nakamatsu said. “I think that’s partially true, and it’s partially not. … If you’re open to any possibility, then a career is probably on the horizon for you.”

Wilburs underwrite Phan’s performance as part of chamber series

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John and Margaret Wilbur pose, Friday, July 13, 2018, in their home on the grounds. BRIAN HAYES/STAFF PHOTOGRAPHER

Like many people, John and Margaret Wilbur first heard about Chautauqua Institution through word of mouth.

“We came and we started to figure out what it really was,” John Wilbur said, “just like everybody else who has some sort of brief description that never is quite adequate to what the whole place is about.”

One of the many facets of the Institution they discovered and grew to love was the Chautauqua Chamber Music Series. They began to look forward to the performances every season, and their years of enjoyment led them to underwrite a show in the series for the 2018 season.

They were especially motivated to sponsor a performance when they heard the series might have been discontinued following the passing of its former namesake patron, Kay Logan.

The Wilburs’ donation is underwriting the performance of guest artist Nicholas Phan at 4 p.m. Monday, July 23, in Elizabeth S. Lenna Hall. Phan has performed with San Francisco Symphony, Toronto Symphony, National Symphony Orchestra, Philadelphia Orchestra and the Chicago Symphony Orchestra.

The Wilburs’ interest in music goes back to their early adulthood. They enjoy many genres of music, including classical music, jazz and rock.

“My mother was very musical,” Margaret Wilbur said.

Growing up, her mother was a music teacher and played many instruments. Yet Margaret Wilbur was not very interested in music as a child.

“I had never heard an orchestra play until I was in college,” she said. “The first time I heard the orchestra was in Cleveland when I was in college. And, of course, we went to a lot of rock concerts in the ’70s.”

John Wilbur also discovered classical music in college.

“I got introduced to classical music mostly when I went to school at Case (Western University),” he said.

As a native of Cleveland, Ohio, he also enjoyed the Cleveland Orchestra, which he said ranks as one of the best orchestras in the world.

Although the music programs at the Institution stand out to the Wilburs, they also explore a variety of events — from lectures to the swan races during the CHQ Olympics. Their philanthropic investment expands beyond the Chautauqua Chamber Music Series, as they also have created a garden endowment in memory of John Wilbur’s mother.

Some of the couple’s most cherished memories at the Institution are the times spent with their families. For them, endowing a garden represents that the Institution is a gathering place for their family.

“Everybody does gather here at least once a year,” John Wilbur said. “That’s why we made the memorial gift. … As (our family) keeps coming and their children come, it becomes part of the family, and the family has a relationship to the space.”

For chamber series, tenor Phan to weave Baroque love stories into ‘A Painted Tale’

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Few things remain as constant throughout the ages as love — and the fact that people write songs about it. When tenor Nicholas Phan was learning Baroque love songs, he was surprised by how relatable they were given that they’re around 400 years old.

“The experience of falling in love with somebody is not really that different than it was 500 years ago,” he said. “As a teenager, I’m sure I could relate to the angst of it all, too.”

Phan will perform a selection of those songs in a program called “A Painted Tale” at 4 p.m. Monday, July 23, in Elizabeth S. Lenna Hall. He will be joined by flutist Michael Leopold and violist da gamba Ann Marie Morgan as part of the Chautauqua Chamber Music Guest Artist Series.

The trio recorded “A Painted Tale” for album release in 2015. The album received outstanding reviews and earned accolades from the Chicago Tribune and Gramophone Magazine. In addition to collaborating with renowned chamber musicians, Phan has performed and recorded with the world’s foremost orchestras and opera companies.

Today’s program consists of just under 20 songs from Baroque composers that Phan has selected and arranged to form a narrative about two young lovers. It begins with the song from which the program’s name is derived — “A Painted Tale” by Thomas Morley, which serves as an introduction to the story.

The tale then winds through a tale of unrequited (but consummated) love, complete with eroticism, longing, triumph, jealousy and ultimately, rejection. Phan modeled the program after Franz Schubert’s famous song cycle, Die schöne Müllerin, which explores similar themes. But composers in the Baroque era (which came before Schubert, a Romantic) didn’t weave their songs into 20-part cycles, so Phan researched the repertoire and put together his own cycle.

Phan said he discovered his love for Baroque songs when he was a student at Interlochen Center for the Arts. He was taking a class on early music and his teacher — Morgan, who will join him on stage today — had him learn a song by John Dowland, whose music will also be heard this afternoon.

“The first thing that grabbed me about it was the sheer beauty of the song,” Phan said. “I was fascinated.”

Those songs stuck with him, so when Carnegie Hall requested that Phan perform a concert of early music in the prestigious Weill Recital Hall, Phan put together “A Painted Tale.” Phan did many hours of research for the project, but he said the narrative that binds the songs together came to him naturally.

“This (program) is something that’s revealed itself to me through the song texts,” Phan said. “We tend to look at this music as if it were in a museum, when actually the reason we keep coming back to this stuff is because it still holds relevance today. There’s nothing timeless like a love story.”

Sacred Song Service to celebrate life and work of ‘West Side Story’ composer Leonard Bernstein

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The work of musician Leonard Bernstein illustrates a deep understanding of both classical music and musical theater. From West Side Story to Candide, Bernstein demonstrated his sweeping knowledge of the arts with each composition he wrote.

At 8 p.m. Sunday, July 22, in the Amphitheater, in honor of Bernstein’s 100th birthday, Jared Jacobsen and the Chautauqua Choir will present “Chichester Psalms and More: Celebrating Leonard Bernstein’s Centenary.” This Sacred Song Service includes excerpts from two of Bernstein’s most acclaimed works.

“I think Bernstein would have been tickled that in this American place, we are honoring him with these two pivotal pieces,” said Jacobsen, Chautauqua’s organist and coordinator of worship and sacred music.

Jacobsen, who first heard Bernstein’s music on the radio as a high school student, believes the musician was the ultimate “crossover character” who redefined musical theater. Though some of Bernstein’s music was not understood at the time, Jacobsen said, it has left a lasting impression on the musical community.

The first Bernstein piece the choir will perform is a portion from the Chichester Psalms, which were written in 1965 for the Rev. Walter Hussey.

“They’re very difficult because it’s Bernstein exercising his musical theater chops and also including mid-20th century dance rhythms,” Jacobsen said. “These are dance rhythms done by some of the greatest dancers in the world that Bernstein had envisioned would be doing his pieces on Broadway and in concert halls. That unusual rhythm also parallels the rhythm of the text.”

Jacobsen said the texts, originally written in Hebrew, were a welcome challenge for the choir. Though difficult to perform, they are enticing and represent the true purpose of worship music.

“Sacred music of all faiths is sort of an attempt to wrap ourselves around things we don’t understand,” he said. “Something magical happens when you put words and music together. You don’t even have to know what you’re singing about. If the music is good enough, it just takes you and it says, ‘Come with me.’ ”

Following the Chichester Psalms, Jacobsen and the choir will perform “Mass,” a large composition written in 1971 for the opening of the John F. Kennedy Center for the Performing Arts in Washington, D.C.

Mass” was composed after Bernstein was approached by Jacqueline Kennedy following her husband’s assassination. She requested a musical piece that both honored the former U.S. president and celebrated the arts.

“I think it’s fascinating that what she wanted, after he was assassinated, was for his memorial to be a center for performing arts, a cultural center in our nation’s capital,” Jacobsen said.

In the Catholic faith, the word “mass” represents a structured form of worship with necessary elements and, of course, a priest. Bernstein’s approach recognized this type of order, but also added a theatrical twist, Jacobsen said.

“There are certain things you would recognize from the Catholic Mass, but then around the edges, Bernstein puts his unique touch on everything,” Jacobsen said.

This composition guides the audience through a warm-up but picks up speed with a narrative about a priest slowly unraveling during a service.

“He just gets so mad at himself that he tips over the altar and hurls the Communion cup out into the audience,” Jacobsen said. “It is the most amazing piece of theater.”

Though Jacobsen first acquired a portion of “Mass” in 1971, he saw the composition live for the first time this past spring in Los Angeles. Seated near the front of the stage in the Walt Disney Concert Hall, he said the experience was an unforgettable moment, as a musician.

“It was overwhelming,” he said. “Now as somebody who makes his way through life working through the church and also educating people, it was everything I am. It was Chautauqua wrapped up in a nutshell.”

String quartet ETHEL to present program of varied devotional music

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People from all over the world admire the scope and achievement of the Western classical music canon. But cellist Dorothy Lawson said Western classical music can often seem condescending to those of other musical traditions. Lawson, co-artistic director of the string quartet ETHEL, is devoted to combatting that trend.

“We’ve worked very hard in various relationships over many years to overcome that, to detoxify that, to actually bare our own vulnerabilities to people from other places and learn from them,” Lawson said. “We want to use this beautiful equipment from the Western tradition to partner and dance with people who have their own perfectly authentic and deeply developed masteries — centuries and centuries of tradition — in other musical languages.”

ETHEL will be speaking many musical languages in its recital at 4 p.m. Monday, July 16, in Elizabeth S. Lenna Hall. The program, “Devoted,” features devotional music of a plethora of cultures, from South Asian Qawwali music to Native American Zuni chants.

ETHEL, formed in 1998, consists of cellist Lawson, violist Ralph Farris, and violinists Kip Jones and Corrin Lee. Each of the four began at prestigious music schools but would go on to have distinctly diverse artistic careers. Their cumulative resume includes Broadway shows, experimental folk music, Brazilian jazz and solo appearances in classical music’s hallowed venues.

In the group’s own words, ETHEL is a fusion of “uptown, conservatory musicianship with downtown genre-crossing,” making it difficult to tell whether ETHEL is a band or a string quartet. ETHEL’s exploratory spirit has led to collaborations with a menagerie of artists from around the world.

One of those collaborations was a 10-year partnership with the Native American Composer’s Apprenticeship Project. Each fall, the quartet worked with a group of high school students from the Navajo Nation, helping them to record and share their musical ideas with the larger world.

Lawson said ETHEL’s decade-long experience with those Navajo teenagers was transformational because it revealed a new way of relating to music.

“Music is an applied art among Native American communities,” Lawson said. “They don’t even really regard it as something for specialists, they regard it as a human birthright. Music is something that people do. They make songs when they need them, and then they share them with each other.”

By participating in that holistic approach to music-making, Lawson began to realize how intellectual Western classical music can be. She said she found herself wanting to go deeper — to search for a greater depth of emotion and spirituality in her own musical life.

The “Devoted” program, which will receive its first performance this afternoon, is a sampling of the many different ways cultures around the world engage music in worship. Lawson said she’s excited to premier “Devoted” at Chautauqua Institution because of the Institution’s reputation for exploring those themes.

“Devotion itself is such a beautiful human capacity,” she said. “We love to illuminate that, bring that into a concert environment and let the audience embrace it themselves.”

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