Sound of Charlotte Blog
Making music isn't like listening to music. It isn't like anything else in life. It is something very special for all musicians. It's our life, our call, and our love. Experiencing the power of playing on stage is unlike any other experience or feeling. There is so much meaning in the melodies and harmonies we play; it's a world of constant discoveries of the human's state of mind, heart, and soul. Once we've been on stage, we can never forget it, and we keep doing it no matter how many challenges we might face.
It all starts in our childhood. At first we're curious and excited about the instrument we pick. We learn a couple of songs and then some harder songs, and it's all good and still exciting. Later on, when we are ready to play not just songs, but some classical repertoire, the real challenge appears. Sometimes practicing seems tedious, tiring, and frustrating. Many times it felt like we would never get it right, no matter how hard we tried. Day after day, after hours of practicing, we would find out how much perseverance, patience, and determination we would need to achieve a higher level of understanding and perform the music we love. The more we played though, the more difficult it got and the more we knew that our love for music would take us to an unimaginable beauty. Before we learned any piece of music, we would have to study the different styles, forms, and structure of the music.
Once we were in college we continued to learn how to practice efficiently and wisely; what to do to avoid the sore muscles and physical pains from over practicing. We would continue with even more patience and would keep pressing on, since the professional auditions are tough. We had to compete with hundreds of fellow musicians for one spot in the orchestra. We had to stay healthy emotionally after we failed an audition and learn how to deal with it.
The more challenging it got, the more fascinated we were, and the better we understood the incredible genius of the composers. Every chord, every harmony is there for a purpose. The complicated works by composers like Brahms, Mahler, or Tchaikovsky are difficult not only technically but also musically. A performer needs to be experienced and mature to understand the music and perform it the way it's meant to be performed. The simple melodies of the classical composers like Mozart or Beethoven are even harder to perform because it takes a world to achieve the lightness and simplicity of their music. Every note is so exposed, every slip of the finger can be heard. It all takes a practice-until-perfection approach. And even though we can't be perfect, we continuously aim for it. There is no other way to play an exceptional work of art.
"The more we played though, the more difficult it got and the more we knew that our love for music would take us to an unimaginable beauty."
So, we do whatever it takes to bring to life the amazing music that influences people's lives; because we understand what a great privilege it is to perform works written by some of the most extraordinary minds born on this earth.
The artistic collaboration features Charlotte Symphony violinist Jenny Topilow, violist Alaina Rea, cellist Sarah Markle, and harpist Andrea Mumm Trammell performing works by Arvo Pärt and Caroline Shaw in front of Summer Wheat's contemporary work of art in the Mint's Robert Haywood Morrison Atrium.
We welcome you to experience the power of women in art presented at the intersection of art, architecture, and music.
This special presentation is brought to you by Wells Fargo, The Private Bank.
By CSO Clarinetist Allan Rosenfeld
As a 34-year veteran of the CSO, I am often asked what music I particularly like. With that in mind, I've devised a list of my top ten favorite orchestral clarinet solos. Come listen to the orchestra in our performances and you will hear many more examples of great musical passages featuring the clarinet!
10) Respighi: Pines of Rome (end of Pines of the Janiculum)
Respighi effectively highlights the tremendous ppp (pianississimo, or "very very quiet") capabilities of the instrument. As the clarinet sound floats away, a recording of a nightingale can be faintly heard.
9) Tchaikovsky: Francesca da Rimini
I love Tchaikovsky for his truly memorable melodies. This one especially shows off the expressive qualities of the instrument.
8) Brahms: Symphony No. 3 (opening of second movement)
Gorgeous! You can hear in this solo with woodwind chorale that Brahms had a particular fondness for the sound of the clarinet, and he knew just how to make it sing.
7) Puccini: Tosca (Act III, "E Lucevan le Stelle")
One of the greatest clarinet solos in opera literature, from one of the most readily recognizable Italian arias.
6) Gershwin: Rhapsody in Blue (beginning)
Anyone who has ever seen Woody Allen's film "Manhattan" knows there's no way I could leave this showstopper off the list.
5) Bartok: The Miraculous Mandarin Suite
There are three big clarinet solos spread throughout this suite. And they are big: erotic, wild, frenzied cadenzas with lots of notes!
4) Beethoven: Symphony No. 6 (middle of second movement)
The clarinet solo Beethoven wrote here really allows the sound of the instrument to soar above the orchestra.
3) Rimsky-Korsakoff: Cappriccio Espagnol
A dazzling display of clarinet bravura and technique.
2) Sibelius: Symphony No. 1 (beginning of first movement)
Another great lyrical solo for clarinet, especially showing off the instrument's ability to taper sound into nothingness.
1) Rachmaninoff: Symphony No. 2
This solo is one of the most romantic lyrical melodies ever written for the clarinet.
This solo and cadenza seem perfectly suited to the clarinet, full of gypsy character and technical pyrotechnics.
Below, we hear from CSO violinist Jenny Topilow, educator/artist/social activist Ricky Singh, and Charlotte-based artists on how the collaboration was conceived, their reactions, and what comes next.
"We have been referring to the project as CLTSymphony X Beatties Ford Strong" Ricky says. "The X is intentional, for we feel that a title that is purposefully not combined respects each entity as having its own identity, and also allows for either side of the equation to be replaced or modified as the project evolves to encourage further community engagement."
"I've always been enamored with public art," Jenny shares, "murals and such that everyone can enjoy by simply being a member of the community; beautiful pieces by talented artists that become interwoven throughout the landscape and make a place more vibrant and colorful."
In February of this year, a quartet of CSO musicians played Jessie Montgomery's Strum for a CSO Off the Rails concert at Snug Harbor. According to Jenny:
Excited about the idea, I reached out to a muralist friend of mine, who got me in touch with Ricky Singh. Ricky is an artist, educator, community leader/activist, and one of the founders of the Beatties Ford Strong/Historic West End Project, an initiative to beautify neglected areas of the city through public art paired with community ownership, brought about as a reaction to the June 19, 2020 massacre on Beatties Ford Road, where four people were killed and several others injured.
My introduction to Ricky was the catalyst for the project to really take flight through intentional collaboration. We communicate well and ended up making a good team; we are mutually intent on the vision and are invested in being proactive and bringing the best of what we know to the table. All that being said, there is no way for me to truly express how grateful I am to Ricky. He is a beacon within the Charlotte community, and I feel incredibly fortunate to have formed a partnership with him.
There are so many artistic circles throughout Charlotte that are too often separated by class and race. The purpose of this project is to bring some of those circles together; not for one to overshadow another, not for one to do the other a favor, not for one to mold to the other, but for local creatives to do what they love all within the same space. We are committed to having more multi-faceted performances throughout Charlotte, through the lens of all art being accessible to all people, and with the ultimate objective of limitless circles overlapping to create a more connected city.
"My experience with the project was nothing like I ever experienced before," Artist Michael Grant shares. "This project captured both classical art and visual arts simultaneously. As an artist this project made me feel valuable and appreciated. It was such an honor to be a part of this moment of history and to collaborate with great artists as well."
Artist Makayla Binter also shares that "[the project] was just so pure and enjoyable because of the connection between artistic forms, and just the positive energy that creating makes. It was a great experience to live paint and also meet some very talented artists in music that I had never met before."
Ricky and Jenny plan to unveil the finished video at an event on a large screen, where they would also auction off the pieces of art created during filming. It is not finalized, but they are hoping to utilize a space like Camp Northend, where people can come to a beautiful outdoor area and celebrate in a Covid-safe way. All proceeds would go to provide local youth programming tied to the arts.
Organized by Ricky Singh and Jenny Topilow
Michael Grant (@infamous_kiddo)
Makayla Binter (@mkay_15)
Ricky Singh (@mrrickysingh)
DJ Pauly Guwop (@djpaulyguwop)
Lord Phly (@lordphly)
Lute West (@lute_west9)
Dancer: Jessica Thompson (@babyhairprincess)
Spoken Word: Hannah Hasan (@iamhannahhasan)
CSO Musicians: Jenny Topilow, violin; Lenora Leggatt, violin; Ben Geller, viola; and Sarah Markle, cello
Videographer/video & sound editor:
When Music Director Christopher Warren-Green returned to Charlotte in October, it had been more than 7 months since he stood at the podium. "It's like a great big hole in your life," he said about the lengthy break from performing. "It's forced me to slow down and reevaluate what's important."
One thing that's important to Maestro Warren-Green is getting back to work with the musicians of the CSO. "When you have an Orchestra that's played together for 80 years, it becomes like its own instrument a well-oiled machine with its own developed sound. If they go too long without playing together it can cause problems, not to mention that we'd all have nervous breakdowns! At the end of the day, we all live, eat, and breathe music. You wouldn't do this job if that wasn't true."
While concerts this season -- Warren-Green's eleventh with the CSO -- might be a bit different, the Maestro is looking forward to the opportunities that it will bring. "Because of social distancing, we've had to scale down from our full symphony orchestra. What that does, strangely enough, is give us the opportunity to explore repertoire that we wouldn't normally be able to share with our audience."
"We are living in a technological revolution, and maybe something good comes out of this."
CSO on Demand -- the Symphony's virtual concert series -- includes two concerts conducted by Maestro Warren-Green this fall, including works by Brahms, Dvořák, Grieg, and Tchaikovsky. He's been pleasantly surprised by the success of virtual concerts during the quarantine. "As a musician watching the BBC Proms from my living room this year, it was almost like the concert was happening just for me. And knowing that there were thousands of other people in their houses feeling the same thing; it really got into my heart. I thought, 'Wow! There is something really special going on.' We are living in a technological revolution, and maybe something good comes out of this."
His advice for you? "Get dressed, go into your living room, have a glass of wine, sit down and make sure no one interrupts you. Do that and watch our virtual concerts, and you'll get something extraordinary from it."
A Purchaser's/Subscriber's Guide to Accessing CSO Virtual Concerts
We are thrilled to offer you the best seat in YOUR house to our new virtual concert series this season. If you're tuning in for the first time or coming back to watch again, keep reading for more information on how to enjoy the concert from the comfort of your own home.
How to Access CSO Virtual Concerts
After clicking the access link, enter the username and password provided in the email. Important: The username and password are case sensitive. Copy and paste when possible to avoid mistakes.
You're in! After successfully entering the login credentials, you will be able to view the concert on our website. Press the play button and enjoy! Important: The concert video will appear exactly at the stated start time. You may need to refresh the page (This icon next to your address bar) for the video to appear.
Your access to each concert lasts for seven days, so feel free to watch again and again!
For more information about how to access the virtual concert from a variety of devices, including your computer, phone, or smart TV, please click here.
If you have any issues accessing the stream, please contact Patron Services at 704.972.2000 or email@example.com.
- A Composer to Know: Jessica Meyer
- Behind-the-Scenes at a Virtual Performance
- Representing Project Harmony
- A Composer to Know: Jessie Montgomery
- Time Traveling with A Little Night Music
- Clarinetist Allan Rosenfeld’s Top 10 Orchestral Bass Clarinet Solos
- The Classical Series: Reimagined
- What I have learned (and am learning) as a professional musician
- Playing for the Panthers
- Make an Impact TODAY!