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Arranging the Goldbergs

There’s a reason why the Goldberg Variations do what they do.

But what – exactly – is it?

I can’t say that that was the specific question on my mind when I first proposed this project to the members of A Far Cry. But it wasn’t far off, either.

The Variations are such an amazing study in creativity; in the power of mathematics, in the use of memory in music. They conjure up worlds, one by one. Big ones, small ones, profound ones, funny ones, cathartic, tragic, egotistical, jazzy, pastoral, you name it, JSB has it warmed up and waiting for you.

That’s why arranging them is such a pleasure. So many different things are possible – and the greater the forces at your disposal, the further down the rabbit hole you can go. The thing is: each variation is perfect for keyboard but also holds little clues within it that open up more possibilities. Is it evoking a trio sonata? A French overture? Or is it channeling a jazz bar with a perfectly swinging bass line? What about that Quodlibet?

But that sense of possibility also opens the door to a danger: in releasing – or evoking - the spirit inhabiting the variation by re-arranging it, you’ve now produced a perfectly nice… arrangement. Well, that’s great. But why not simply stick to the keyboard version and let the listeners create their own evocations for themselves? Why mess with it?

This is exactly why we knew that one of the most important things we’d have to do to make this meaningful would be to partner with an exquisite keyboardist who loved the Goldberg Variations as much as we did. I still can’t believe Simone Dinnerstein said yes to us when we approached her with this idea… but she did. And that made all the difference.

With Simone’s presence in these arrangements, we can actually combine what Bach wrote with what he implied. Sometimes, it’s as simple as having a variation played by the strings repeated by the piano, or vice versa. (Those repeats are really, really necessary – they make the piece three-dimensional! And we exploit most of them; it’s rare that we won’t explore new territory on a repeat.)

But really, that’s just the beginning. It can be just as fun to have the piano and strings intermingle, and there are a million ways to do that, tracing Bach’s different figures and pulling them apart, looking at them from every possible direction.

Fundamentally, what I love about arranging with these forces is that I never feel as though I’m arranging the Goldberg Variations “for” anything. Instead, I simply feel that I’m arranging the Goldberg Variations. It may seem like a small difference, but it puts you in a place defined by possibility and creativity, instead of restriction. If anything, as these variations continue to evolve and to grow, I hope that they move beyond anything I’ve imagined so far… into a new realm of creative purpose.

We’ll see how it goes!

- Sarah Darling

Introducing Zenas Hsu!

A new Crier! This might be our favorite part.

Zenas played with A Far Cry for years as a guest before joining the group in the way that every single new member does - by unanimous vote. And not just that; in the process, we also changed the number of violins in the group from 9 to 10! That’s like a thumbs-up that turns into an ice cream sundae that turns into a rainbow that turns into a Mozart melody.

And the truth of the matter is, Zenas was a Crier way before we ever voted. Last year when we were doing a program at the Gardner museum featuring Crier compositions, we extended an invitation to all the guests playing that set as well. Next thing we knew, we were playing a lovely piece by Zenas called “Books of Isabella.” On our most recent recording, Visions and Variations, Zenas doesn’t just play the violin - he’s also on the editing team. His curiosity, deep thinking, and joie de vivre have been making our rehearsals better since the very first time he played with us.

Also, his beautiful sound has DEFINITELY been making our rehearsals better. Most definitely.

Welcome on board; let’s see what we can create together!

The Goldberg Variations Program Notes

Within our musical vocabulary, there are a handful of pieces whose nicknames conjure up a wealth of emotional and intellectual wonder, visceral electricity, and pure, joyful adoration. “Tchaik 5” (or 6), “Hammerklavier,” or “Winter Wind,” for example, and “the Goldbergs.” Memorably, the Goldberg variations’ debut to modern society occurred in 1955, when a young, eccentric, Canadian pianist named Glenn Gould stepped into a recording studio. There, he made what has since become an iconic and legendary recording of the work (Pablo Casals did something similar for Bach’s Six Suites for Solo Cello in 1936). Since then, they have been recorded hundreds of times. Far from being redundant, each new rendition recaptures the imagination with seemingly endless nooks and crannies for exploration (aptly described in one NPR article as a “Rubik’s Cube of invention and architecture”). Like the dialogue of a fiercely witty movie, the interplay of relationships between the notes of the variations reveal themselves to the listener on a deeper level with every listen. There are even inside jokes, if you know them (and you will, by the end of this annotation).

Aria mit verschiedenen Veränderungen, “Aria with Diverse Variations,” was the original title for BWV 988. The nickname Goldberg comes from an account of events that has been revealed to be apocryphal due to lack of compelling evidence. That said, the compelling story has had such an impact on the music that it bears a brief re-telling. It originates in 1802 with Johann Nikolaus Forkel, Bach’s first biographer, who related an anecdote about Johann Gottlieb Goldberg—reportedly one of Bach’s students: “The Count [Hermann Carl von Kaiserling of Dresden] was often sickly, and then had sleepless nights. At these times Goldberg, who lived in the house with him, had to pass the night in an adjoining room to play something when the Count could not sleep. The Count once said to Bach that he should like to have some clavier pieces for his Goldberg, which should be of such a soft and somewhat lively character that he might be a little cheered up by them in his sleepless nights.” Thus, so the story goes, Bach wrote the Goldberg variations.

More likely, Bach wrote the variations as the culmination to his Clavier-Übung (“Keyboard Exercise”), a collection of harpsichord and organ works published in four parts from 1731-1741. Part I included the six Partitas, Part II consisted of the Italian Concerto and the Overture after the French Manner, Part III is a master compendium of organ works, and Part IV is the Goldberg variations. As a whole, the Clavier-Übung traverses every style and skill set a keyboardist would need to know.

The opening theme in the Aria owes its harmonic structure to one of Bach’s contemporaries, whom he admired greatly: George Frideric Handel. A side-by-side comparison of Handel’s Chaconne avec 62 variations (HWV 442) reveals an identical base in the first eight bars between the two works. One of the marvels of the Goldberg variations is the beautiful symmetry of the entire work. The thirty variations are divided into two “sections” of fifteen: Nos. 1-15, and Nos. 16-30. Including the Aria that appears both at the outset and the conclusion, Goldberg consists of thirty-two parts total. This macro piece structure is reflected in the microstructure of each variation, most of which are either 16 or 32 measures in length. There are only three minor key variations, the first being No. 15—the last variation of the first part. Variation No. 16 is marked “Overture” to herald the beginning of the second half. Every third variation is a canon at an increasing interval (i.e. No. 3 is a canon at the unison, No. 6 a canon at the second, No. 9 a canon at the third, etc.) up to the ninth, and culminates at No. 30 with a quodlibet—a combination of counterpoint and popular song. Here, towards the end of this lengthy musical journey, is where Bach’s sense of humor shows most prominently. The quodlibet includes popular melodies from Bach’s day, the words of which translate to “I have been away so long from you” and “Cabbage and turnips have driven me away (had my mother cooked meat, I’d have opted to stay).” After meandering through all the musical possibilities, staying almost entirely in the major mode and home key of G, the variations come to an end, and return home to the Aria once again.


Legacy program notes

Pyotr Ilyich Tchaikovsky (1840-1893) :: Andante cantabile

By the time Tchaikovsky died in November of 1893, he was a famous man, not only in his homeland, but internationally as well. Just two years before, in 1891, he had been invited to be the shining centerpiece in the grand festival of concerts kicking off the opening of America’s first major orchestral concert space, Carnegie Hall. With six symphonies completed, plus multiple instrumental works (Serenade for Strings, 1812 Overture, etc.), operas, chamber music, and ballets, Tchaikovsky had firmly cemented his spot in history as one of the greatest Russian romantics.

He came to music a little late, since his parents never imagined he would become a musician. Soon he realized that music was his true passion, and so he left to begin studying at the Saint Petersburg Conservatory.

One characteristic that we appreciate and remember Tchaikovsky for is his great talent for melody. During his student days he became familiar with the works of Mozart—who is also remembered for his beautiful tunes—and would later exclaim, “I don’t just like Mozart, I idolize him.” Melody and emotion were Tchaikovsky’s hallmarks from the start, and that trait shone like a rare jewel catching and embracing the light in the slow movement of his String Quartet No. 1, Andante cantabile, that would later become a freestanding work of its own.

Its beauty famously captivated one legendary personality—Leo Tolstoy. Tchaikovsky recorded the following in his dairy: “Probably never in my life have I been so moved by the pride of authorship as when Leo Tolstoy, sitting by me and listening to the Andante of my Quartet, burst into tears.”

Antonio Vivaldi (1678-1741) :: Concerto No. 10 for 4 Violins in B minor, RV 580

Italy has been home to virtuoso string instruments, players, and composers for hundreds of years. Among them, Arcangelo Corelli (1653-1713), Francesco Geminiani (1687-1762), and Antonio Vivaldi. Each of them had a profound influence on music of the Baroque, and on composers such as Handel and J.S. Bach.

Vivaldi has contributed a vast amount of literature in the concerto form (totaling around 500). Some of these were written for solo instruments, while most were written in the Baroque concerto grosso format of concertino (or a small group of soloists functioning together) contrasted against the ripieno (the whole large ensemble). His first collection of concertos entitled L'Estro Armonico, or “harmonic inspiration,” was written in 1711. Included in L'Estro Armonico were twelve concertos for various combinations of two to four solo violins (like No. 10) with some including solo cello. These were written during Vivaldi’s tenure as master of violin at the Ospedale della pieta, an orphanage in Venice. Therefore, amongst the first musicians to perform L'Estro Armonico would have been the exceptional girls who formed the ensembles at the Ospedale.

Wolfgang Amadeus Mozart (1756-1791) :: Violin Concerto No. 4 in D major, K. 218

In the years after Mozart’s tours of Europe as a child prodigy, he became a prolific teenager/twenty-something. Before moving to glittering Vienna to launch his adult career as a superstar, he was back in his hometown of Salzburg unhappily employed by the Archbishop, yet as productive as ever. During this time, he penned a list of compositions that reads like the lyrics to the holiday song, “12 Days of Christmas”:  sixteen minuets for orchestra, eight minuets for piano, six piano sonatas, five violin concertos, four symphonies, two church sonatas, two masses, and an opera. That’s not even half of his output during the decade, for included are a smattering of divertimentos and serenades—nearly one of each per year.

In his adulthood, Mozart primarily performed on the piano, but he was also exceptionally talented as a violinist (amazing his father at the ripe age of seven with his prowess on the instrument)—which is evident in the virtuosic demands of his concertos. In all, he wrote only five concertos for the violin. All of them were written in Salzburg, and all but one were written in 1775.

Franz Joseph Haydn (1732-1809) :: Symphony No. 44, Trauer”

We refer to Haydn as the “father” of the symphony, not because he invented the genre, but because he helped (along with Mozart, and Beethoven, his later contemporaries and successors) bring the form to its fullest potential and maturity. This was, in part, the luck of being born at the right time in history. The widespread establishment of equal temperament (tuning instruments so all pitches were equally spaced) in the 18th century was leading to broader possibilities of modulation between tonal centers, and as a result sonata form (the main building block in a symphony) was blossoming. As a master of form and structure, Haydn foresaw the possibilities.

It was in 1761 he went to work for the Esterházy family at their private estate—a stroke of fortune and opportunity. Up until then he had made a living as a freelancer, and then briefly as Kapellmeister in another court. Most of Haydn’s musical education had come from years of training in a Vienna choir school (until his voice broke, apparently embarrassingly in front of Empress Maria Theresa, herself), then self-instruction through books, and some formal training. The Esterházy family kept an orchestra comprised of some of the best instrumentalists in the region, which was a tremendous gift to Haydn (the more talented your musicians, the more interesting and challenging music you can write). At its largest point, the orchestra included between 22-24 members. Haydn not only wrote for them and directed them, but also enjoyed a close relationship with his colleagues. James Webster notes, Haydn “had full authority over the musicians, both professionally and in terms of their behavior; but he was close to many of them personally as well, often serving as godfather to their children.”  

Charles Rosen notes in his book The Classical Style that “what is most exceptional, not what is most usual, has often the greatest claim on our interest.” What made Haydn remarkable, and why we remember him, was his ability to explore the exceptions to the “rules” of form and style that were prevalent during his lifetime. He was constantly finding a way to modulate to a key that was unexpected, for example, and a sense of drama, humor, and dialogue seems to pervade his works even though the music is completely abstract.

Symphony No. 44, “Trauer” (“mourning”), which was completed in 1772, represents a work composed during Haydn’s “Sturm und Drang” (often translated as “storm and stress”) period—a kind of precursor to the more fully romantic style symphonies to come along with the next generation (including Haydn’s pupil, Beethoven). The transcendently beautiful slow movement of the symphony was apparently a favorite of the composer. He requested that it be performed at his own funeral.

Program Notes by Kathryn J Allwine Bacasmot. Kathryn is a pianist/harpsichordist, musicologist, music & cultural critic, and freelance writer. She is a graduate of New England Conservatory, and writes program annotations for ensembles nationwide.

Contemplating a Legacy

Some thoughts from Jesse Irons on the two mentors celebrated in this weekend’s concert - Pamela Frank and her teacher in turn, Shirley Givens. The following has been published by the Boston Musical Intelligencer here!

When I first met Pam I was a freshman violin student at Peabody Conservatory, and my dear teacher Shirley Givens was so excited that her star pupil Pamela Frank was coming to solo with the Baltimore Symphony. Miss Givens had her ways and she finagled the entire studio to come to a dress rehearsal where Pam performed the Beethoven Violin Concerto and then had a chat with us directly after. It was a stunning performance and Pam had a incredible ability to to weave in and out of the orchestra texture: to soar above when needed, and to almost embed and strengthen the orchestra when that's what the part called for. It was an entirely egoless performance all about Beethoven's intention and the music was just alive and moving. 

About a year after that I had my first lesson with Pam. Miss Givens was away for the week, and had arranged for a very special guest teacher for all of us in her studio. I was extremely nervous but pulled out the concerto I've been working on: Mozart's 4th Violin Concerto in D Major. I remember playing through the first movement and being out of breath. Pam with a smile asked "how do you feel?" I said I was tired. And Pam looked at me and said, "You better not be tired, you have two more movements to play!" I was instantly smitten. After the lesson I bought her recording of the Mozart violin concertos and I've probably listened to her recording of the fourth concerto 100 times. In fact I used to tune my violin to it!

Eventually I ended up studying directly with Pam for 3 years. It was a dream come true. Every week new delights, new laughter, new insights, and my entire musical personality was fostered and nurtured and blossomed with her help.

Since helping to start A Far Cry in 2007, I made a habit every few years of checking in with Pam to see if she would play a concerto with us. Many of the Criers have personal connections with Pam, and when, a year and a half ago, Pam said "Yes!" we immediately got to work.

When I asked Pam what she was most excited to play with A Far Cry she said, "Well I just can't wait to play with you guys! With my old students!" Approximately a year ago, Pam and my mutual teacher Shirley Givens passed away, and commiserating about that and continuing discussions about what to play together, the program gained a new depth and richness. We're calling it Legacy and dedicating it to Miss Givens, but unlike many A Far Cry programs, there's no profound insight behind this this collection of pieces. It's really a chance to celebrate our favorite people, our favorite music, and the bonds - indeed the legacy - of teachers through generations. Miss Givens's favorites composer by a mile was Mozart - she once kicked a student out of her studio when they insisted they did not like Mozart - so Mozart figures prominently. Miss Givens was the consummate performer, always putting the audience fully at ease through her own obvious joy at being on stage. This is perhaps the most important lesson I learned from her, and I believe it's part of her legacy that AFC audience members often comment after concerts, "it looks like you Criers are having so much fun."

At the end of each year in Pam's studio, we would have a final studio class that would end with a bunch of multi-violin concertos all played together for fun. This Vivaldi concerto for four violins in b-minor was one of the ones we played. The four violin soloists will be Pam, two Crier violinists who are her former students, myself & Omar Chen Guey, and a wonderful current New England Conservatory student named Sophia Szokolay. In fact we're featuring young people throughout the orchestra from not only New England Conservatory, but NEC Prep School, as well as Project STEP. One of the most important things we Criers can do is work to pass on her own legacy to the next generation of string players, one of which I was shocked to learn has been attending AFC concerts since she was 5 years old.

This video is a treasure - Shirley Givens appearance on Chance of a Lifetime!

Legacy's generational guests

We’re thrilled to welcome an array of musicians from the next generation(s) to the stage to join us for Legacy this weekend! Our NEC Fellow, Sophia Szokolay, our Project STEP Fellow, Mateo Vidali, and our two NEC Prep Competition winners, Katherine Feng and Julide San, all came to this concert as a result of slightly different AFC programs and paths - and now, we’re all making music together.

Canadian violinist Sophia Anna Szokolay (pictured above) made her international solo debut in 2013, touring with the Győr Philharmonic Orchestra and giving recitals in Hungary. She has since performed throughout Canada, the United States, and Europe, and as a soloist with the Toronto Sinfonietta, Etobicoke Philharmonic, Laurentide Festival Orchestra, Taylor Academy Chamber Orchestra, Scarborough Symphony, Toronto Symphony Youth Orchestra, and Boston Philharmonic Youth Orchestra. A passionate chamber musician, Sophia is a founding member of the Ivani Quartet, first prize winners at the Plowman International Chamber Competition and Bronze medalists at the Fischoff Chamber Music Competition in 2017. Festival appearances include the Taos School of Music, Juilliard String Quartet Seminar, Orford Musique, Holland Music Sessions, Bowdoin String Quartet Fellowship, Toronto Summer Music, and Banff Masterclasses. In her spare time, Sophia enjoys working with organizations in Boston such as the New England Conservatory Preparatory School as an orchestral coach and student manager, and the Eureka Ensemble as co-concertmaster.

Hailing from a multi-generation family of musicians, Sophia began her violin studies at the age of 3. At 13 she was invited to study with David Zafer, Professor Emeritus of the University of Toronto. Sophia graduated from the Royal Conservatory of Music Taylor Academy under the tutelage of Barry Shiffman and Victor Danchenko in 2015, and is currently pursuing a Bachelor’s Degree at the New England Conservatory, studying with Miriam Fried. Sophia plays on a 1679 Giovanni Grancino violin and Émile Ouchard bow, on generous loan from Tutti Violini.

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Katherine Feng began her violin performance and music studies at the age of 5 at New England Conservatory Preparatory School. Since 2011, she has studied under Magdalena Richter. Previously, she studied under Susan Jarvis. She is currently a senior at the Lincoln Sudbury Regional High School.

Throughout her musical journey, Katherine has earned many accolades, including 1st Prize Bay State Competitions and 2nd Prize NEC Concerto Competition. She was the concertmaster for the Eastern District Orchestras, as well as numerous NEC Orchestras, including STO, SRO, JRO, and YRO. In 2016, Katherine's trio was invited to play in the Boston Chamber Music Society at MIT.

She is currently a member of NEC’s Youth Philharmonic Orchestra, and will be attending their upcoming tour to Central Europe this summer. In the past, she has toured with the Rivers School Orchestra to Venice and Croatia, and with the Youth Symphony to Ireland. This past summer, Katherine played alongside the Vienna Philharmonic Orchestra as the youngest member of their summer program in Austria.

In her free time, Katherine teaches violin at the Lincoln Middle School and plays in many community performances. In addition to her passion for music, Katherine has a love for the sciences and is working towards her black belt in Krav Maga.

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Julide San is an 18-year-old Turkish-Singaporean double bassist. In 2017 Julide won second prize in the New England Conservatory (NEC) Concerto Competition, and went on to win the 2018 and 2019 A Far Cry / NEC Prep Competitions consecutively. She has performed in concert halls such as Carnegie Hall, New England Conservatory's Jordan Hall, Harvard University Sanders Theater, Oslo Konserthus, Grieghallen, and Stavanger Konserthus.

Julide was born in Singapore. She started learning the piano when she was six, and then progressed to playing the drums after she moved to Tokyo, Japan when she was eight years old. Her interest in the double bass came three years later, when she moved to Victoria B.C., Canada. Under the tutelage of Mary Rannie, the principal of the Victoria Symphony and Gary Karr, world famous double bassist, Julide discovered her passion for the double bass. In 2014, Julide joined Gary Karr's Karr Kamp as the youngest student ever to attend, at the age of 13, and returned to the camp again in 2016. In 2015, Julide was accepted to the prestigious Walnut Hill School for the Arts and moved to Natick, MA, from Toronto. She began her studies with Pascale Delache-Feldman at the NEC Preparatory Program and she currently studies with Lawrence Wolfe, NEC Studio Faculty and Assistant Principal of the Boston Symphony Orchestra. Julide has been a part of the Greater Victoria Youth Orchestra, Toronto Youth Wind Orchestra, and has been the principal bassist of NEC’s Youth Philharmonic Orchestra since she was 15 years old. Julide attended the Perlman Music Program in 2018. Julide’s hobbies include traveling, scuba diving, community service, writing for the International Society of Bassists Magazine and her school’s newspaper, as well learning new languages and busking.


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Mateo Vidali is a 9th grader at Wachusett Regional High School in Holden, MA.  He is a member of the Honors Quartet at Project Step and also plays in a quartet at NEC Prep.  Mateo is in the Boston Philharmonic Youth Orchestra under the baton of Benjamin Zander. He studied for five years with Timothy Terranella at the Joy of Music in Worcester and currently is a student of Emmanuel Feldman at NEC Prep.  Mateo spent a year living in Madrid, Spain where he studied with Eduardo Palao, Artistic Director of Cfest, an international cello festival in Puebla, Mexico. Mateo’s passion is playing chamber music and his home away from home is Greenwood Music Camp where he has been a camper for the past five summers.  In his free time he loves to play ping pong, drink bubble tea, play Super Smash Brothers and spend time with friends. Mateo is extremely honored to be participating in this concert with A Far Cry!

Visions, Variations, GRAMMYS

We woke up this morning to a wonderful surprise! Visions and Variations has been nominated for TWO GRAMMY Awards, in the “Best Small Ensemble” and the “Best Engineered” category that highlights Jesse Lewis’s and Tom Caulfield’s outstanding work on the album.

Today has been a wonderful whirl of congratulations flying back and forth, musicians and groups going out of their way to recognize each other and wish each other well in the next stages. (Boston did beautifully in the nominations stage, and we’ll be heading to LA alongside members of the Boston Symphony and Boston Baroque in their respective categories.)

The feeling of instant validation is - let’s face it - hard to beat. It’s especially meaningful in this case because Visions and Variations is a stand-alone project; dreamed up by the Criers as an album that would really feature the orchestra as itself. 100 percent A Far Cry playing, frankly, some of the hardest music we’ve ever attempted. 45 different variations on this album. Perfectly wrought miniatures that we had to turn on a dime and execute, one after the other.

We were sweating blood by day three! There were snowstorms swirling and and stomach bugs flying as we shuttled to and from Worcester’s beautiful Mechanics Hall. We just kept going. Show up, drink some tea, rustle up some chocolate, warm up the fingers, make a plan, break’s over, time to tackle Variation 7. Alex made a habit of making up little poems to remind us to put our phones in Airplane Mode. Then Jesse’s voice would crackle over the speaker and we’d be on.

Funding was all accomplished through a Kickstarter project and we are so so SO grateful to everyone who stepped up in that process and became “a part” of the album. Without you, this project would never have come to pass. Thank you, thank you, thank you!

It’s the beginning of an adventure; now let’s see what happens at the awards in February!

Chamber Music with the Criers, Mary Berry, and Informality

I’ve been mulling on the concept of informality lately, spurred, I think, by an episode of The Great British Baking Show (original cast) in which a comment, delivered by Mary Berry on a contestant’s pastries - “they look a bit… informal” - was the most cutting critique I’ve witnessed in a while. In certain circumstances (or with a certain tone of voice) there can be nothing worse than to be informal, and a typical concert of classical music might be an apt example. Happily, then, the works on this program serve to push back against that premise, all intended for informal contexts, even as they exhibit consummate ingenuity and craft.

There’s an important informality about chamber music in general, in both its process and content. Particularly in the context of A Far Cry, there is a certain intensity of experience that comes with the full group dynamic, in which we must, by necessity, measure our words and take in others’ input a great deal more. Those skills of restraint serve us well in rehearsing chamber music, but we can also let loose a little more. Consequently, I’ve always looked forward to these opportunities as they allow me to see my AFC colleagues in a new light.

For composers, too, chamber music is often a step back from the big orchestral and operatic stages; not that the music is any less great, rather it’s a chance to get to know them on a sort of first-name basis. This was partially how we chose the works on this program, to have a chance to acquaint or reacquaint ourselves and our audience with some of these composers whose larger-scale works are upcoming in our season.

Grażyna (Bacewicz) [bah-TSEH-vich] was 34 when she wrote her Suite for Two Violins and already a superstar in the European musical scene, an extremely gifted, multi-faceted musician who had studied both violin (with André Touret) and composition (with Nadia Boulanger) at the Paris Conservatory. She was later scouted to be the concertmaster of the Polish Radio Symphony, a position which not only featured her playing, but also several new compositions. Of her pace of work, she said:

“I think to compose one has to work very intensely. One has to pause between composing different works, but interruptions shouldn’t be made when you are in the middle of writing a piece. I’m capable of working on one composition for many hours daily. Usually I take a break in the middle of the day, but even during the break my brain keeps on working. I like to get very, very tired. It’s sometimes then that I suddenly get my best ideas.” 

Grażyna’s burgeoning career was significantly curtailed during the occupation of Poland. The Suite for Two Violins was one of the few pieces written and premiered during that time, first performed in 1943 at one of the many underground concerts Grażyna took part in, in cafés and people’s homes. AFC will play her Concerto for Strings next month, a piece written in 1948, during a period of bursting creativity that followed the war.

Mozart en Route (or, A Little Traveling Music) by Aaron Jay (Kernis) was the piece written immediately following his Musica Celestis (which AFC will perform in April), representing a necessary and proverbial ridiculous to its predecessor’s sublime. Both pieces were a departure from Aaron Jay’s norms in that they were both inspired by Classical elements, in the case of Musica Celestis, by classical form, and for Mozart en Route, by classical content, as it quotes a section of W.A. Mozart’s Divertimento, K. 563, for string trio. The piece was inspired by a letter, written by Mozart, that describes a rough ride in a stagecoach: “for two whole stages I sat with my hands dug into the upholstery and my behind suspended in the air.” Now imagine that stagecoach had a mix CD in its stereo system that skipped from track-to-track at every bump and that pretty well sums up Mozart en Route.

Joseph (Haydn) published his Op. 20 string quartets in 1772, the same year as the “Trauer” Symphony that AFC will perform in January. Joseph became known to many as “Papa Haydn,” a reflection of his reputation as a teacher and an archetypal figure in the music world. He is also regarded as the father of the string quartet, and Op. 20 is often considered to be its official birthday, experimenting as it does with fully conversational interactions between the instruments. While the “birth of an art form” moniker puts the Op. 20 quartets on something of a pedestal, it’s important to remember that these quartets were not written for public performance in the concert hall, but for amateur performance in the home. Mind you, sometimes these amateurs were professionals, most notably, the quartet that featured the four composers Johann Vanhal, Karl von Dittersdorf, W.A. Mozart, and Joseph Haydn, who must certainly have played these quartets. The G Minor quartet, Op. 20 No. 3, is very much cut from the same cloth as the “Trauer,” severe and dark with a slow movement in the modal major (ie. G Major to the surrounding G Minor). 

Wolfie (Amadeus Mozart) was a kind of musical mercenary; the original self-made freelancer, he rebelled against his father and made his own way as a composer outside official church or court positions, writing music on his own terms with debonair swagger and audacious beauty. Anton Stadler, the clarinetist for whom he wrote both the Clarinet Concerto and Clarinet Quintet was a bit of a scoundrel himself. His first mention in Wolfie’s letters is as one of the “poor beggars” who performed his Wind Serenade, K. 375, and Wolfie later gave him the nickname “Notschibinitschibi,” which essentially means a folly-prone dunce. The quintet is a fair reflection of this chummy dynamic, predominantly warm and friendly, but giving way to more lighthearted hijinx in the later movements.

A Far Cry will perform these works with special guest clarinetist Rane Moore on Saturday, November 3, 3pm at St. John’s Episcopal Church in Jamaica Plain.

Meet Grace Kennerly, A Far Cry's Executive Director!

A Far Cry Announces New Executive Director Grace Kennerly

The former Director of Admissions and Artistic Planning at Boston University Tanglewood Institute starts on November 5.

Boston’s Grammy-nominated string orchestra A Far Cry has announced Grace Kennerly as its new Executive Director. Kennerly, who begins her new position on November 5, has been Director of Admissions and Artistic Planning at the Boston University Tanglewood Institute, where she led the development and implementation of all BUTI summer season programming and admissions.

After spending one year as a program administrator at BUTI, Kennerly rose quickly to a director role. A violist by training, Kennerly has taught at the Dedham School of Music as well as an El Sistema-inspired program in Durham, North Carolina. She reveals her entrepreneurial spirit through her past work as co-founder of Vinyl Records, a student-run record label at University of North Carolina at Chapel Hill, her undergraduate alma mater.

Befitting A Far Cry’s democratic model, Kennerly met with all members of the orchestra, board, and staff during the search process. Throughout the interview process, both A Far Cry and Kennerly recognized how clearly her experiences fit the unique needs of AFC. During her time at BUTI, she worked closely with a large number of well-established teaching artists, distilling many visions into a well-integrated curriculum by bringing the focus back to BUTI’s central mission. AFC Board Chair Thomas Novak lauds Kennerly’s administrative experience, and also her “sincere appreciation for the unique democratic nature of this organization.”

Kennerly’s experience working successfully with a wide variety of artistic leaders will be invaluable to A Far Cry. AFC founding member and violinist Annie Rabbat says:

“We are excited to welcome Grace as A Far Cry’s Executive Director. Grace’s philosophy and grounded personality are a great match for our collective artistic leadership model. We know we are in excellent hands.”

GRACE KENNERLY
Grace Kennerly is thrilled to join Boston’s A Far Cry as Executive Director. In her previous role as Director of Admissions and Artistic Planning at the Boston University Tanglewood Institute, Kennerly was responsible for the recruitment of more than 400 of the world’s most talented young instrumentalists, singers, and composers. Coordinating with the Boston Symphony Orchestra and Tanglewood Music Center, she also oversaw the development and implementation of artistic programming of 23 individual curricula and related personnel for each summer season.

Kennerly continues to perform as a freelance violist in the Boston area and formerly served on faculty of the Dedham School of Music. While living in North Carolina, Kennerly regularly subbed for the North Carolina Symphony Pops and North Carolina Ballet, as well as performed widely as a member of the Amazon Quartet. She was also a violin and viola teacher for the launch of KidzNotes, North Carolina’s first El Sistema-inspired program. As a performer and administrator, Kennerly feels equally at home outside the classical music genre. A versatile session musician, her playing can be heard on tracks by indie artists, such as Lost In The Trees’ album A Church That Fits Our Needs, or on stage with folks like blues guitarist Reed Turchi. Fueling her enthusiasm for discovering new artists, Kennerly cofounded Vinyl Records in 2007, signing and promoting student bands in Chapel Hill, North Carolina. She holds degrees in viola performance from Boston University School of Music, University of North Carolina-Chapel Hill, and University of North Carolina School of the Arts.


A FAR CRY / SEASON 12
Boston’s Grammy-nominated string orchestra A Far Cry’s twelfth season lives up to its “reputation for top-drawer playing, engrossing programming, and outstanding guest artists” (Boston Musical Intelligencer). The season includes nine Boston-area concerts as part of the group’s own series (with performances at St. John’s Episcopal Church and New England Conservatory’s Jordan Hall), and three pairs of concerts as part of A Far Cry’s long-standing residency at the Isabella Stewart Gardner Museum. Continuing on the ongoing success of their recent release, Circles, which debuted at #1 on Billboard’s Traditional Classical Chart and was a NPR darling, A Far Cry and pianist Simone Dinnerstein perform together both in Boston and on the road.

A Far Cry Selected for the Barr-Klarman Massachusetts Arts Initiative

We are pleased to announce that A Far Cry was selected to participate in the Barr-Klarman Massachusetts Arts Initiative – as announced earlier today on the Barr Foundation’s blog. A partnership between two Boston-based foundations - Barr and The Klarman Family Foundation – the initiative is a $25 million, six-year investment in 29 arts and cultural organizations from across Massachusetts. Participating organizations receive flexible, multi-year operating support grants, in addition to training and technical assistance from TDC, a nonprofit consulting and research firm. A Far Cry’s engagement in the initiative begins with two grants totaling $300,000 from Barr and the Klarman Family Foundation over three years - a ringing endorsement of the organization’s work and potential.

“A Far Cry is honored to have received a grant from the Barr-Klarman Massachusetts Arts Initiative. Such support has significant impact for our organization, as we continue to grow and develop, and we are deeply grateful for such generosity,” said Tom Novak, Chair of the Board of Directors at A Far Cry.

“Organizations like A Far Cry are the cultural hearts of their communities,” said San San Wong, Director of Arts & Creativity for the Barr Foundation. “They are sites of public assembly and dialogue, often working to foster understanding and connection across cultural differences. It is our privilege to support A Far Cry in this journey to further strengthen its financial health and capacity to adapt to change – that it might deepen and continue this work for years to come.”

“Arts organizations, including A Far Cry, play a critical role in the health of our communities,” said Laura Sherman, Director, Greater Boston Grantmaking for The Klarman Family Foundation. “We are committed to strengthening this cohort of 29 arts organizations across the Commonwealth that have the ability to connect and enliven communities through culture, tradition and creative expression, and we are proud to be a part of this initiative.”

Representing diversity across artistic disciplines, geographic reach, stages of organizational development, and budget sizes, the 29 organizations participating in the Barr-Klarman Massachusetts Arts Initiative are:

·      Academy of Music Theatre (Northampton)

·      A Far Cry (Boston)

·      Barrington Stage Company (Pittsfield)

·      Boston Chinatown Neighborhood Center (Boston)

·      Boston Modern Orchestra Project (Malden)

·      Cape Ann Museum (Gloucester)

·      Community Access to the Arts (Great Barrington)

·      Community Art Center (Cambridge)

·      Community Music School of Springfield (Springfield)

·      Company One Theatre (Boston)

·      The Dance Complex (Cambridge)

·      Design Museum Boston (Boston)

·      Double Edge Theatre (Ashfield)

·      Eliot School of Fine & Applied Arts (Boston)

·      Featherstone Center for the Arts (Martha's Vineyard)

·      Fitchburg Art Museum (Fitchburg)

·      Mahaiwe Performing Arts Center (Great Barrington)

·      Merrimack Repertory Theatre (Lowell)

·      New Bedford Art Museum/ArtWorks!(New Bedford)

·      New Bedford Symphony Orchestra (New Bedford)

·      Norman Rockwell Museum (Stockbridge)

·      Now + There (Boston)

·      Payomet Performing Arts Center (North Truro)

·      Provincetown Art Association and Museum (Provincetown)

·      Raw Art Works (Lynn)

·      The Record Co. (Boston)

·      SpeakEasy Stage (Boston)

·      Worcester Art Museum (Worcester)

·      Zeiterion Theatre (New Bedford)

A Far Cry and each participant in this initiative will receive multi-year, unrestricted operating grants. Additionally, through a grant to TDC, a nationally recognized nonprofit consulting and research group, organizations will also receive customized training and technical assistance, and be eligible for supplemental funds for targeted research, capacity building, and/or pilot projects. Last week, the foundations made the first set of three-year grants under the new initiative, marking the beginning of what is expected to be a six-year journey of learning, collaboration, and growth.

For more information about the Barr-Klarman Massachusetts Arts Initiative page, including the ideas underlying the effort, key elements of the experience for participating organizations, selection criteria, and evaluation findings, visit:

https://www.barrfoundation.org/what-we-do/barr-klarman-massachusetts-arts-initiative

“At a time when the arts are ever more important to healing our world, we are deeply grateful to the Barr Foundation and Klarman Family Foundation for once again demonstrating how deeply they care about and understand the needs of arts organizations. Thanks to the BKMAI, A Far Cry looks forward to working with the foundations and with our fellow cohort members to become even more effective in making a difference in our community.”
-Dr. Lisa Wong, Interim Executive Director, A Far Cry


About A Far Cry: A Far Cry is an 18-member Grammy-nominated string ensemble in Boston. Founded in 2007, the self-conducted orchestra operates as a democracy in which decisions are made collectively and leadership rotates among the players (Criers). Its mission is to increase the public’s understanding, appreciation, and enjoyment of classical music. A Far Cry has broadened the canon of music for string orchestra through new arrangements and commissions. To date, AFC has played over 20 world premieres. Equally committed to interdisciplinary collaborations, AFC has performed with artists from the worlds of dance, art and song. The core of A Far Cry’s work lies in its Boston programming, which, for the 2018/19 season, is comprised of a neighborhood series in Jamaica Plain and formal residencies at the New England Conservatory and the Isabella Stewart Gardner Museum. A Far Cry takes its programming on tour, performing this season in New York City, Los Angeles, Santa Fe, and at Cornell, Wellesley and Yale Universities. It also operates its own record label, Crier Records, which brings the ensemble’s acclaimed performances to a wider audience. For more information, visit afarcry.org.

About the Barr Foundation: The Barr Foundation’s mission is to invest in human, natural, and creative potential, serving as thoughtful stewards and catalysts. Based in Boston, Barr focuses regionally, and selectively engages nationally, working in partnership with nonprofits, foundations, the public sector, and civic and business leaders to elevate the arts, advance solutions for climate change, and connect all students to success in high school and beyond. Founded in 1997, Barr now has assets of $1.7 billion, and has contributed more than $838 million to charitable causes. For more information, visit barrfoundation.org or follow @BarrFdn on Twitter and Facebook.

About The Klarman Family Foundation: The Klarman Family Foundation seeks to identify areas of unmet need and advance solutions to addressing them. Underlying all of the Foundation’s work is a passionate belief in the promise and importance of creative thinking, strategic leadership and strong organizations to help bring about change. As a way to learn and create greater impact, the Foundation values acting in partnership with other funders. Its work spans regionally, nationally and internationally and focuses on advancing understanding of the biological basis of health and illness; supporting the global Jewish community and State of Israel; expanding access to vital services and enrichment opportunities in Greater Boston; and ensuring a healthy democracy. Established in 1990 by Beth and Seth Klarman, the Foundation is located in Boston, MA. For more information, visit klarmanfoundation.org.

A Far Cry Media Contact

Ali Fessler

Marketing and Development Coordinator

ali@afarcry.org

617-553-4887

Barr Foundation Media Contact:

Stefan Lanfer

Director of Communications

slanfer@barrfoundation.org

617-854-3404