Musings from the workbench of violin maker Andy Fein on makers, instruments, bows, musicians, and the joys of a life in the world of stringed instruments.
Cameo appearances by the musicians on staff at Fein Violins.
It feels like it's been just a couple days, but Brevard "week 0" has come to an end. I jumped on a plane in Minneapolis, flew to Charlotte, took a shuttle (...Honda mini van) to the quaint Asheville Airport a couple hours away, and boarded a school bus to complete the sojurn to Brevard, NC, just seven days ago. Here I was greeted by a phenomenal collegiate student body and faculty (high school students and pianists didn't arrive until yesterday).
What do you call someone who is classically trained as a violinist, an innovator in using electronics with the violin, a multi-instrumentalist, and can whistle nearly anything? Well, besides 'incredibly talented,' you call him -
A native of Chicago, IL, Andrew actually began playing the violin, at the age of 3, with the Suzuki method. Years later, he went on to Northwestern University and graduated with a bachelor's degree in violin performance. Yes, our Mr. Bird is an actual, real live performance major! The same year he graduated (which was 1996),
In February, I was comfortably seated in my chemistry lecture when I felt my phone buzz. I glanced at it quickly, trying not to miss the finer points of organic intermolecular interaction and polarity, but the text caught my attention. My teacher and quartet coach from home, Ray Shows, a generally enthusiastic though not alarmist individual, left me a message saying, "cakl mw imnediatuly". I did some code-breaking and realized that he wanted me to give him a call as soon as possible. Hoping that something hadn't happened to him or his wife, Nancy, I ducked out of class after being informed that we were learning about colloids for the novelty of it, even though they wouldn't show up on any test. I dialed him up and was relieved to hear an anxiously excited Ray instead of a morose Ray. He ordered me to write down a phone number and call it as soon as I emerged from the Stevenson Center basement, which is irritatingly void of reliable cell service. He told me I'd be discussing a valuable summer opportunity with someone he ran into earlier that day, and that I would be a fool to ignore it.
The extent of the day's chemistry education: milk is an organic colloid
I called the number, not knowing what to expect, and it rang through to voicemail. Having taken my fair share of orchestral auditions, I'd listened a lot to a recording by William Preucil, revered concertmaster of the Cleveland Orchestra and former member of the Cleveland Quartet, which outlines the objectives of commonly requested orchestral excerpts (Don Juan, Brahms' 2nd, etc.). When that same voice came spilling out of my phone, I was dumbstruck and so speechless that I hung up without leaving a message! After I collected myself, deciding how to concisely and intelligently introduce myself via voicemail, I tried again. After one or two rings, I was talking to the man himself:
"This is Bill Preucil, I'm sorry I missed you the first time, may I ask who's calling?"
"This is Matt Lammers, Ray Shows suggested I give you a call" (in my head: "whoa, whoa, whoa, wasn't planning on this, what business does he have answering his phone? How is someone too busy to answer and then free five minutes later?")
"Ah yes, I spoke with Ray about you this morning, thanks for getting in touch. Has he told you about the situation?"
"No, I'm sorry--"
"No worries, no worries. I'm on faculty at the Brevard Institute, and the spots in my studio are usually spoken for by this time. This year, though, I have one opening left, and after my chat with Ray I'd like to give you the opportunity to claim it."
"Oh, that would be fantastic! I'll certainly take you up on it." (in my head: "surely not, what's Ray up to? Who did he find that sounds just like Preucil?")
"Don't you want to check your summer schedule?"
"No, to be honest I'd cancel anything that conflicts regardless."
"Alright, then I'll call admissions and have them put you on my list. Glad to have you round out the studio."
"Great, thank you. I'll email you and be in touch as we get closer to the summer."
"Sounds like a plan. By the way, I think applications and tapes are officially due tomorrow."
"Okay, no problem. I'll talk to you later."
It was a problem. They were due tomorrow. Thank you to Dorothy in admissions for the extra week.
Bill Preucil in Severance Hall
Concertmaster Bill Preucil at the helm of the Cleveland Orchestra
After throwing together recordings of the first movement of the Mozart A Major Concerto, the first page of Mendelssohn's Midsummer Night's Dream, the infamous page of Brahms' 2nd symphony, and the Allegro of Beethoven's 6th symphony, I was accepted to the college program.
Now, after working at Fein for the last month and a half, I will be flying out to the Brevard Music Center for six weeks of musical immersion. Armed only with my violin, some resilience, and a computer to continue blogging about it (I'll be posting updates every week or so) I will be taking on all that the Institute's College Program has to throw at me; the Brevard Orchestra will perform full programs on a weekly basis, I've opted into a violin-clarinet-piano trio, private study with one of America's leading concertmasters, which is by no means something to be taken lightly, and scholarship obligations will consume the energy I have left after performances, rehearsals, practice, and parts-learning. I will be rubbing shoulders and learning from some of the best chamber, solo, and orchestral musicians and students in the field, which will stretch my technique and musicianship like bow hair on a pea-soup humid day.
My teacher at Vanderbilt, Chris Teal, and I decided that I would let the Mozart simmer until Brevard to use it in a concerto competition. Mozart will also be an interesting topic with Mr. Preucil, given the blend of orchestral and soloist playing required to play it effectively. It would be a shame not to pick the man's brain for some words of orchestral playing wisdom, so I've also prepared excerpts from Strauss' quintessential Don Juan, Beethoven's 6th and 9th, a couple of Mozart symphonies, and the Mendelssohn and Brahms once again as well. As far as additional solo repertoire goes, I will be bringing Bruch's Scottish Fantasy to audition for orchestral section placement, and the Brahms G Major Sonata, at Mr. Preucil's request. On top of this, the Brevard Orchestra's concert calendar is significant (see Brevard Orchestra repertoire). I've also opted into chamber music and will be studying Bartok's Contrasts for violin, clarinet, and piano with a fellow Vanderbilt student and pianist to be determined.
Bartok Contrasts for Violin, Clarinet, and Piano
So, it is with excitement that I bid Minnesota adieu for six weeks. Keep an eye out for my updates from the BMC where I'll share and discuss the trials, tribulations, terrors, vices, victories, and virtues of one of the great national music festivals.
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I recently purchased a copy of Norah Jones' new album, "Little Broken Hearts." While I was looking at the cover (yes, I still buy actual, physical copies of CDs....I like to know who is playing what on each track), I noticed that there was a list of musicians who are billed as 'co-stars' of sorts. One name caught my eye.......the Sonus Quartet.
The Sonus Quartet
The Sonus Quartet is comprised of Caroline Campbell (violin I), Kathleen Sloane (violin II), Neel Hammond (viola), and Vanessa Freebairn-Smith (cello). Each one of these musicians is phenomenal in their own right -
Classical music has had an image of being mainly white people's music. Unfortunately, this has been fostered by Euro-centric orchestras and organizations for hundreds of years. But that image is not entirely true and never has been. This blog post will feature some of the finest historical musicians of color, a few contemporary musicians of color, and a commentary on the current of racism that has damaged classical music for far too long.
"Juba" by Florence Price, featuring- Gabriela Diaz, violin
Mina Lavcheva, violin
Ashleigh Gordon, viola
Seth Parker Woods, cello
"Vienna Philharmonic is an orchestra of white men playing music by white men for white people"
- Werner Resel, former Vienna Philarmonic Chairman
The Vienna Philharmonic, or Wiener Philharmoniker, has been an ambassador of musical greatness since its first concert of March 28, 1842. In recent years, however, the orchestra has been no stranger to controversy on an international scale. Their former policy that outrightly prohibited women from membership brought ongoing attention to the ensemble's race and gender demographics.While the media delights in its idiosyncrasies, the Vienna Philharmonic is an interesting case study in orchestral politics and ethics.
The Vienna Philharmonic playing Radetzky March, their signature piece, at the annual New Years Concert this past January
By Matt Lammers and Andy Fein, Luthier at Fein Violins
Many years ago I (Andy) was visiting the old Jacques Francais violin shop in New York and examining an Annibale Fagnola violin with the famous restorer and violin expert Rene' Morel. He held the violin up, looked directly at the scroll and exclaimed, "Isn't it remarkable how much the Italian makers learned from the French?"
