Sound of Charlotte Blog
What I have learned (and am learning) as a professional musician
December 22, 2020
By Violinist Jenny Topilow
As an orchestral player and violinist, like all musicians, I have a long list of compositions that I turn to time and time again for emotional and aesthetic fulfillment on a personal level; works that are particularly beautiful and/or satisfying to me. These pieces include the late Beethoven Quartets, Stravinsky's "Petrushka," Prokofiev's "Romeo and Juliet," Shostakovich Symphony No. 10, the Bartok Quartets, Debussy's "La Mer," Caroline Shaw's "Partita for Eight Voices," and Andy Akiho's "21," to name a few.
It's funny to think, however, that the most memorable and important moments that I have had as a member of the Charlotte Symphony really have nothing to do with my list of favorite works. The most poignant experiences of my tenure as a musician are exactly that, experiences; experiences that have deeply moved me, changed my perception, taught me, connected me to those around me, and have brought me closer to my community.
Major side note: I'm not a huge fan of the term "classical music" as I feel that "classical" is simply a descriptor of a specific era in Western music (i.e. Mozart, Beethoven, and Brahms). I would never discount the absolute brilliance of those composers, yet the breadth of what is coined as "classical music" encompasses so much more than what the antiquated term has to offer. Maybe "orchestral music" and "art music," etc., could serve our purposes better.
But, I digress, because even if I personally believe it's outdated, I still call myself a "classical musician," since the label itself is the most recognized tag for what I do -- interpret and play music written by other people. In that sense, we are more like actors; we are not creators, we are not artists (in my opinion), but we have devoted ourselves to creators and artists. So at its core, even though it is vast, every orchestra on the planet plays music from a finite pool of works. That being said, what I have learned is that it is not the music (alone) that makes an orchestra, but the community that it is part of. The Charlotte Symphony belongs to all of Charlotte; every member of the community should feel ownership of the organization and all arts organizations throughout the city. It's this sense of ownership that builds commitment, connection, and those beautiful, profound experiences through music that are transcendent, beyond the notes on the page. All art for all people.
It would be remiss of me to not give personal examples of music plus circumstance making for meaningful experience. Here are two:
- The CSO accompanied the Morehouse College Glee Club in a performance of Atlanta based composer Joel Thompson's "Seven Last Words of the Unarmed," a work that uses the liturgical format of Haydn's "Seven Last Words of Christ" to honor and humanize black men unjustly murdered, namely Michael Brown, Trayvon Martin, Oscar Grant, Eric Garner, Kenneth Chamberlain, Amadou Diallo, and John Crawford. It is a sobering piece that reminds us of how powerful art can be when inspired by, and dedicated to, relevant and pertinent issues. The experience of the performance connected everyone in the room through a shared understanding of the necessity of the message and the emotion of that message being delivered through song by those directly affected by the theme of the work.
- Last season the CSO started a series called CSO Off the Rails, where smaller ensembles curate programs to be played at Snug Harbor, a local club/bar/music venue and Charlotte staple. Essentially standing room only with a small stage about three feet off the ground, these shows are really an immersive and interactive experience, bringing what we do to an audience that wouldn't necessarily seek out music at a concert hall. The success of the series, the energy surrounding it, and the electric atmosphere in the room during performances has solidified in my mind that "classical music" is completely accessible to everyone when we remove the formality and actively engage with the community.
Playing for the Panthers
December 15, 2020We got a kick out of opening this Sunday's Carolina Panthers game with a rousing rendition of The National Anthem. The game may have been a loss for the Panthers, but it was a win for Byron Johns (French horn), Alex Wilborn, Jonathan Kaplan (trumpet), Thomas Burge (trombone), and Scott Hartman (bass trombone), who didn't fumble a single note. Go team!
The path to playing professionally, by CSO Violist Viara Stefanova
November 30, 2020
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.... Read more
Celebrating the Power of Women in Art
November 24, 2020A special collaboration between the Charlotte Symphony and The Mint Museum
In celebration of The Mint Museum's new installation, Foragers, the Charlotte Symphony and The Mint partnered with Wells Fargo to create a short film that unites the visual and performing arts.
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.
... Read more
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.
Clarinetist Allan Rosenfeld’s Top 10 Orchestral Clarinet Solos
November 19, 2020
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.
... Read more
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