winter 2018/19
ISSUE 09
Classical Gives Back
Contributors
CRYSTAL HAMMON
is a corporate storyteller, frustrated golfer and devoted fan of classical music and opera. She loves to play “the bump game” for free travel vouchers and blogs at DressedHerDaysVintage.com.
SPECIAL THANKS TO NOTE MAGAZINE COMMUNITY ADVISORY BOARD AND CONTRIBUTING STAFF:
Crystal Hammon
CONTRIBUTING EDITOR
NICHOLAS JOHNSON, PH.D. is an assistant
Amy McAdams-Gonzales DESIGNER
professor of musicology at Butler University, the musicology director of the Vienna Summer Music Festival, and a local musician.
Richard Allen Lisa Brooks, D.M.A. Rob Funkhouser Kyle Long Jen Rodriguez Anna Pranger-Sleppy Eric Salazar Michael Toulouse
CHANTAL INCANDELA
ON THE COVER: Anne McCafferty is the organizer of Classical Revolution. She recently retired as a cellist with the Indianapolis Symphony Orchestra (ISO). Zachary Mowitz is cellist with the ISO.
is marketing coordinator for Lincoln’s Symphony Orchestra in Nebraska. She also plays double bass and frequently writes about music and musicians.
C G B
Classical Gives Back
02 Editor’s 03 04
A NEW, STUDENT-RUN RECORD LABEL
PROMOTES MUSIC FOR A CAUSE.
08 The
A LOCAL JAZZ TREASURE GIVES
CHAMBER MUSIC THE SPOTLIGHT.
A Good Morning
ANGELA BROWN’S FOUNDATION WOOS FUTURE
OPERA FANS AND CULTIVATES NEW TALENT.
For the Love of the Music
MICHAEL SCHELLE AND MIHO SASAKI
18
My Music. My Story.
MASTER KA LEUNG CHING
20
Music Unites Artist
22
For more information contact us at info@classicalmusicindy.org or 317-788-3291.
Odd Couple
16
To subscribe, visit www.classicalmusicindy.org/program/note-magazine/
On Air Records for a Reason
13
NOTE magazine is a publication of Classical Music Indy, Inc.
Note
FROM ROCK & ROLL TO HEAVY METAL, MUSIC UNITES ARTIST JOHN ALVARADO DOES IT ALL.
Classical Pairings
LET THE DIVINE COMBINATION OF
CHOCOLATE AND GREAT MUSIC MELT
AWAY YOUR HOLIDAY STRESS.
24
Unsilent Night
AN UNCONVENTIONAL BOOMBOX
CAROLING PARADE
Dear Classical Music Fans and Friends, It’s the time of year when giving is top of mind. You might volunteer your time, make a gift to a local charity or sponsor a family in need. In this issue of NOTE, we celebrate the giving spirit first by sharing how classical music gives back to its community in extraordinary and unexpected ways. Next, get a fresh take on the importance of new classical music from a local couple whose relationship inspires their avant-garde compositions. Then, in My Music. My Story., see how the power of music can fulfill lifelong dreams, bring people together and enrich our community. In each issue of NOTE, we feature a Music Unites Artist. These are local, professional musicians who perform for Classical Music Indy’s Music Unites community outreach programs. In total, Classical Music Indy has a roster of 35 local independent musicians who perform for Music Unites. Of these, 12 are invited to be Music Unites Artists, classical musicians who bring the highest level of performance and program quality to Music Unites. Classical Music Indy is proud to support the vibrant creative culture of classical performers in Indianapolis, and it’s a pleasure to introduce these artists to you. Finally, this issue’s Classical Pairings features chocolate delights that will satisfy your cravings from the holiday season to Valentine’s Day. Enjoy getting to know a Fountain Square chocolatier and the perfect classical music to accompany her creations. As we come to the end of 2018, I hope you’ve enjoyed what NOTE offers. If you like what you’ve read, why not give NOTE as a gift? Gift subscriptions, past issues and ways to donate are available at www.classicalmusicindy.org. May you always enjoy classical music on-air, online and in the community.
Jenny Burch
President & CEO Classical Music Indy
02
On Air
The Washington Saxophone Quartet pushes classical music boundaries. ____
by Michael Toulouse WHEN YOUR JOB IS TO SHARE MUSIC WITH AN AUDIENCE, MUSIC FINDS ITS WAY TO YOU. IT DOESN’T MATTER WHETHER YOU’RE BROADCASTING IT OVER THE AIRWAVES, UPLOADING IT TO A STREAMING WEBSITE, OR CONDENSING IT INTO A PODCAST. ONCE WORD ABOUT YOUR PLATFORM GETS OUT, MUSIC MAKERS INEVITABLY COME, BEARING DISCS, LINKS AND EMAIL ATTACHMENTS. Although I’m happy to consider unsolicited recordings, it’s even better when I am the one making first contact. That happened recently, courtesy of someone else’s music-sharing platform. The announcer on one of my favorite stations introduced a beloved piece by Sir Edward Elgar with few details, aside from a warning that it would be unusual. He was right: I had never heard Nimrod (the climax of Elgar’s Enigma Variations) played on saxophones. It was my first encounter with the Washington Saxophone Quartet, and I definitely wanted to hear more. After I tracked down the disc and ordered it for our collection, I got a friendly email from a colleague. It turns out that Rich Kleinfeldt, a radio host whose work I have long admired, also happens to be a professional saxophonist. In fact, he is one of the quartet’s founders. A former soloist with the United States Army Band, Kleinfeldt plays tenor sax for the group. His bandmates include Reginald Jackson on soprano; James Steele on alto; and Rick Parrell on baritone. Kleinfeldt was only too happy to fill out our WSaxQ holdings once I supplied him with a street address. Not long after the shipment arrived and I started sampling it, I began to understand one of the group’s primary
frustrations: listeners have so strongly associated the saxophone with jazz that they can’t imagine it playing anything else. The thinking is so ingrained that when people hear a fine performance of something that is not jazz (basically everything that Kleinfeldt and his colleagues play), they can’t believe they’re hearing saxophones. In certain cases, such as the quartet’s recording of the Toccata and Fugue in D Minor, by Bach, I had a little trouble myself. I kept thinking that their splendid sound, reverberating through Washington Immanuel Presbyterian Church, was coming from an organ. The quartet pushes boundaries not only of genre, but also of time. Looking Bach, their most recent release, features music written by Thoinot Arbeau nearly half a millennium ago. Devotees of the “period instrument” approach might find it a daring program choice. After all, the saxophone has only been around since 1840. Yet in this context, where Arbeau’s early theme is juxtaposed with Peter Warlock’s Capriol Suite (a modern work that incorporates it), the ensemble takes authenticity to the next level. For many listeners, this release will be a revelation—a discovery just as thrilling, but not nearly as overdue as the one I made when I first heard the Washington Saxophone Quartet on my radio.
03
Records for a Reason A NEW, STUDENT-RUN RECORD LABEL PROMOTES MUSIC FOR A CAUSE. ____
Photo by: Brandon Gick
by Crystal Hammon
If you follow the local music scene, you probably know about Tonic Ball, a one-night, fivevenue concert of 65+ local bands and musicians who unite to raise money for Second Helpings. The sold-out event yields up to $150,000 a year for a community kitchen that feeds hungry children and adults, reduces food waste, and trains people for jobs in the culinary industry. Now the success of that charitable effort (and possibly many others) is being amplified through Beneficence Records, an experimental record label founded at Ball State University (BSU) last year. In November the student-run label releases the physical edition of its first album, Records for a Reason: Volume 1, featuring 12 bands/artists that performed at the 2017 Tonic Ball. The LP includes classical clarinetist Eric Salazar, who performs his own arrangement of Simon & Garfunkel’s Bridge Over Trouble Water. The album’s digital version was released on major streaming platforms last April. Beneficence Records is the brainchild of Dan Porter, an instructor in the Music Media Production Department at Ball State University. Like many great ideas, the label’s birth came by instinct. In 2016 Porter was teaching most of his BSU classes in an online format. He felt drawn to use his free time in a communityfocused way that offered more human interaction. Volunteering as a delivery truck driver at Second Helpings filled a personal need and made him an eyewitness to the organization’s impact.
Photo by: Max Dena
Porter is an avid musician and fan of central Indiana’s music scene, and his next step was inevitable: he joined Tonic Ball’s planning committee. “Fortunately, at Ball State, I’ve been in a position to focus on things that are going on throughout the state and to bring our students in music media production close to all the professional touch points that are here,” Porter says.
A WINNING FORMULA FOR STUDENTS, MUSICIANS AND COMMUNITIES He wanted to show students how to pursue a career in Indiana’s thriving music industry without being a professional performer. With its established audience and network of movers and shakers in the region’s music business, Tonic Ball became a perfect conduit for giving students an immersive learning experience. “We were thinking about ways to use the resources at Ball State University—the expertise, the equipment, the recording studio—in a student-driven project that draws musical talent from central ➤
LEFT: Indianapolis funk/rock band, Birdmen of Alcatraz. ABOVE: Ball State University students visit Second Helpings.
05
Photo by: Max Denari
Records for a Reason
Indiana and distributes it throughout the state, and even regionally or nationally, through recorded music.”
06
The concept materialized as Beneficence Records, an educational initiative that also creates wins for musicians, for music fans, and most of all, for causes that strengthen communities. For now, the record label is a pilot project funded through grants, including one from the Virginia B. Ball Center for Creative Inquiry at Ball State University. Porter received a 2018 fellowship that permitted him to work on the new record label, using the Tonic Ball album as a trial. His home department granted access to BSU recording studios that made the project possible. Records for a Reason: Volume 1 is produced and promoted by an interdisciplinary team of BSU students who receive credits for their work. Tonic Ball musicians who donate time for the album see an opportunity to generate more revenue for
Second Helpings. After covering business expenses, 90 percent of the proceeds go to Second Helpings. “Everyone has the common goal of helping relieve hunger in central Indiana, using the talents they have,” Porter says. Beneficence Records also introduces the artists to new audiences by marketing the album to a wide network of possible buyers, including BSU alumni and students, Tonic Ball’s substantial audience, and each band’s following.
LEARNING WITH A COMPETITIVE EDGE For students like Max Denari, a junior majoring in magazine journalism at BSU, the project reinforces what he learns in class. His role included interviewing the artists for a documentary film about Tonic Ball, Second Helpings and the founding of Beneficence Records. He has also been taking pictures, writing and
ABOVE: Eliot Bigger is an Indianapolis based indie rock band.
editing scripts, and creating awareness of Beneficence Records through public relations and social media. “I was really happy that I made the decision to be involved,” Denari says. “I feel like I’m getting good experience compared to my peers. Being in class with someone who knows what they’re talking about is important, but if you’re not going out and doing it, you’re missing out.” Porter says 15 students recruited for the project’s spring 2018 semester got 12 to 15 educational credits in their respective majors—marketing, sales, audio production and music media production. Graduating seniors say their experience with the startup label helped them get jobs right away. “It’s a little different than an internship because students are working with a community partner—not
for a community partner,” he says. “We’re very much our own entity. The students take total ownership and feel like this is their startup company.” After BSU reviews the sales data from producing the first album, Porter hopes Beneficence Records can expand the idea, producing additional albums that encourage collaboration among musicians and benefit other Indiana charities. ■ Interested in buying Records for a Reason: Volume 1? Visit BeneficenceRecords.com to learn more, or follow them on Facebook, facebook.com/ beneficencerecords or Instagram @beneficencerecords. Continued support for Beneficence Records is made possible by BSU School of Music, the BSU Music Media Production Department, the BSU Office for Immersive Learning, and the Ball State Innovation Corporation.
an indyhub signature series
PASSPORT to the ARTS SEASON 11
PRESENTED BY
AN ARTS SAMPLER FOR INDY’S 20- AND 30-SOMETHINGS: ENJOY 3 EXCLUSIVE, BEHIND THE SCENES ARTS EXPERIENCES INCLUDING FOOD & DRINKS, ALL FOR JUST ONE PRICE OF $99 Learn more and purchase your Passport at indyhub.org/passport
The
Odd Couple A LOCAL JAZZ TREASURE GIVES CHAMBER MUSIC THE SPOTLIGHT.
____
Words by Crystal Hammon • Photos by Wil Foster
08
David Andrichik is indifferent to jabs about the well-worn interior of The Chatterbox, the Mass Avenue bar he bought in 1982 and transformed into one of Indy’s most popular jazz clubs. “The building is 120 years old,” he says. “We fix things as they need it, but the focus has always been on the music.” The Chatterbox has its own shabby charm, drawing regulars who love the neighborhood-bar vibe, but most people come for the music, which is jazz and/ or blues six days a week. “The only day we diverge from jazz is on Tuesdays,” Andrichik says.
teach music and play gigs professionally. Occasionally, a highly-gifted amateur musician will join them, too. Anne McCafferty, a retired ISO cellist who serves as C-Rev’s organizer, fondly recalls one such violinist, a full-time research physicist who worked in West Lafayette. He has since moved away, but when C-Rev was just starting, he drove to Indianapolis every month to play with them. “He owned every bit of chamber music known to man, and he would bring it by the bagful,” she says. “One night Zach [De Pue, former ISO concertmaster] asked him why he drove all that way every month, and he said, ‘Are you kidding? This is like shooting hoops with The Pacers.’” ➤
The biggest departure happens on the first Tuesday of the month, when an ad hoc band of classically-trained musicians gets down on chamber music. They’re members of the Indianapolis chapter of Classical Revolution, an international organization founded in 2006 to share chamber music in unconventional spaces.
GRASSROOTS AND GROOVY In local parlance, Classical Revolution is known by a slightly hipper name, C-Rev. Their collective passion for bringing classical music into the mainstream makes them a perfect partner for Classical Music Indy, which promotes the group. Most C-Rev musicians are professionals who play with the Indianapolis Symphony Orchestra (ISO) or the Indianapolis Chamber Orchestra. Others
09
The Odd Couple
When C-Rev musicians appear at The Chatterbox, the money they earn is returned to local organizations that develop young musicians and support professional musicians in need. “The Chatterbox gives us a stipend, and we pass a tip jar to help cover the bar bill for the musicians who participate,” McCafferty says. C-Rev uses proceeds from their performances to make annual donations to the ISO’s Metropolitan Youth Orchestra, the New World Youth Orchestras, Inc., and the Distressed Members Fund of the Indianapolis Musicians’ Local 3 of the American Federation of Musicians.
10
THE C-REV BACKSTORY The catalyst behind C-Rev was Juliette Javaheri, now on trial as principal violist with the Pennsylvania Ballet Orchestra. Javaheri knew about Classical Revolution from living in San Francisco, where the international organization was founded.
In 2011 she was living in Indianapolis, freelancing as a violinist and teacher. Javaheri loved playing chamber music and wanted to start Classical Revolution locally. She approached Andrichik about making The Chatterbox their regular venue. Hosting C-Rev one night a month is a no-brainer for Andrichik. “The whole concept of C-Rev that we’ve become advocates of is to bring classical and chamber music to people who either can’t afford it or have never experienced it live before, and to spread the word about our city’s incredible musical talent of all styles and types,” Andrichik says. “That is what we [The Chatterbox] do every single day. As contributors, we have these tremendous, classically-trained musicians.”
LEFT: Chris and Lesley Conrad BELOW: Brian Presnell and Andrea Haydon
VIRTUOSOS IN JEANS Andrichik loves the diversity of the crowd that gathers to hear C-Rev on the first Tuesday of the month. “We’ve always been the kind of space where all are welcome,” he says. “Jazz kind of sets that standard, and I think we add the jazz reputation for inclusivity to Classical Revolution.” C-Rev draws a mix of regular customers, random walk-ins, business tourists, music fans and musicians of all stripes. When they’re in town, Lesley and Chris Conrad, diehard classical music fans and ISO subscribers, never miss C-Rev at The Chatterbox. “We grew up on this music,” Lesley says. “These musicians are like rock stars to us.”
“I did this double-take, and I saw Zach De Pue sitting in The Chatterbox. I was like, ‘What? No way. This is the concertmaster at the ISO. What is he doing in here?’ He was wearing a baseball jersey and a backward baseball cap,” Haydon says. “I thought it was so cool because it was so not what you would expect, right? It was just so fun to see ➤
The Odd Couple
It also reaches its targeted sweet spot with devotees like Andrea Haydon and her friend Brian Presnell. They’re young professionals who appreciate hearing live classical music in a casual environment. “It’s a great way for couples to do something artsy and fun together without spending a lot of money,” Presnell says.
Haydon played violin as a child and loved it, but after she graduated from college and got a job, music took a backseat. A couple of years ago, she started looking for ways to play and to make music a bigger part of her life. Walking down Mass Avenue one evening, she heard chamber music floating out of The Chatterbox.
11
four or five classical musicians sitting there, just jamming out and drinking beer. I’ve been addicted every since.” If the crowd is eclectic, the music may be even more so. Traditional chamber music is performed side-by-side with unusual instruments (think percussion played on bowls) and/or original compositions. On a rainy Tuesday in October, the first set featured a string trio playing renowned classical composers such as Bach. During the second set, the trio was replaced by a bassoon quartet. They nailed an original composition by Mark Ortwein, assistant principal bassoonist with the ISO.
environment really frees us to experiment and make mistakes, and sometimes that really connects us to the audience,” McCafferty says. “The idea is to communicate—not to impress.” “I think for people who come, their expectation of a classical musician is kind of put aside,” she says. “They see us in our jeans, playing music that we have a passion for, and it’s up-close and personal. I think it makes a difference and adds texture to the life of the city.” ■
For musicians accustomed to reaching for perfection in concert halls, participating in C-Rev can be a liberating experience. “Playing in this non-judgmental Join us for C-Rev at The Chatterbox on the first Tuesday of every month at 8 p.m.
12
Photo by: Roni Ely
A Good Morning ANGELA BROWN’S FOUNDATION WOOS FUTURE OPERA FANS AND CULTIVATES NEW TALENT. ____ by Crystal Hammon Traveling the world as an international opera star, Angela Brown noticed something about audiences. “I would see very few people who looked like me,” says Brown. On the surface, it looked like a racial divide, but when Brown performed at school outreach programs across the country, she realized the gap was bigger than race. “Students just aren’t being exposed to opera in schools,” she says. Brown’s concern led her to create Opera from a Sistah’s Point of View, a 40-minute program that demystifies opera for audiences
who would otherwise have no exposure to it. Historically, she delivered the program in underserved communities where she was already engaged to perform with a symphony or opera company. During the question and answer sessions that followed, Brown learned how much she enjoys talking to young people. She wanted to do more of it. There was just one problem. “Lots of schools wanted to book the program, but it was too costly as a stand-alone program when I wasn’t already coming to the area for a performance,” ➤
13
Brown says. Her solution: Morning Brown Foundation, a 501(c)(3) non-profit she founded in 2016. (Morning is code for her initials: a.m. or Angela Marie.) Through fundraising activities and grants, Morning Brown allows the Indianapolis native to plan speaking engagements, master classes and innovative performance opportunities for youth nationwide.
A Good Morning
WITNESS THE POWER OF STORYTELLING
14
Stimulating excitement around opera and classical music is one of Morning Brown’s top priorities. “Opera audiences are dwindling,” Brown says. “Every singer has the responsibility to get out, shake the weeds and bring people into the fold.” In Opera from a Sistah’s Point of View, the charismatic soprano makes operatic stories come alive with relatable storytelling that grips audiences. The show mixes opera with blues, jazz and popular music.
When Brown hears people humming operatic tunes on their way out of the theatre, she knows she has hit her mark. “I give them the feeling that they have actually been to an opera,” she says. “They’re able to experience it because they feel comfortable in their own skins and welcome, free from old, archaic thoughts about opera.” In her earliest post-show Q & A sessions, Brown learned as much as the teens. She could see that her story had inspirational clout with young people in difficult circumstances. In response, she added yet another program to her repertoire. Nothin’ Beats a Failure But a Try is a TED-talk style program aimed at building self-esteem and encouraging a can-do spirit. It’s mainly for fourth-grade students and above, but it could benefit anyone who needs a lift. “I concentrate on the dream cycle of my life, how I’ve gone from place to place, and the things I’ve done from childhood on up to foster my character and my career,” she says.
A DESTINY BECOMES REALITY
MOTHERING NEW OPERA FANS
If you only consider her commanding presence or her exotic voice, Brown’s ascent in the opera world might seem like the fulfillment of an obvious destiny. To the young woman who owned the voice, however, the path wasn’t so clear. In fact, the opera seed wasn’t planted until she was in her 20s.
Whether she is with students at Shortridge High School in Indianapolis or a group of single moms in Chicago’s suburbs, Brown handles questions with grace and compassion. When a high school student asks how to achieve her dreams as an overweight youth, Brown responds as if speaking to a daughter. “Your weight should never be a barrier to anything you want in this world. You have to make sure that when you show up, you walk confidently and make everyone know you’re there in a positive way.”
At the time, Brown was grooming herself to be the next Aretha Franklin—a gospel singer who would use her voice to glorify God. As a student at Oakwood College in Alabama, she got a foundation in classical music and languages. She also fell into the hands of expert voice teachers who recognized Brown’s rare gift and encouraged her to pursue opera. The decision to set aside her original plan in favor of opera was full of angst. She made peace with it, but never forgot what it was like to be uncertain about the future. Her circuitous journey to the top is a story that resonates with people who don’t bloom in traditional ways—and she knows it. “The Lord gave me a bigger pulpit than the church house to spread the love of Jesus Christ,” she says. Indeed, he did.
“I try not to make classical music or opera strong meat, you know what I’m saying?” she asks. “A lot of times, classical music is presented in such a stuffy way that you don’t know if you can scratch your face or adjust in your seat because you’re so tense about the whole thing. I just want to love people into this art form.” ■ Explore what’s going on at the Morning Brown Foundation at morningbrown.org. Angela Brown’s artist website is angelambrown.com.
A Good Morning
After graduating from the Jacobs School of Music at Indiana University, Brown moved to New York and started her career, winning vocal competitions, appearing as a soloist and performing with large and small opera companies. At the age of 41, she caught a big break when the Metropolitan Opera asked her to replace a singer who was sick and couldn’t perform the lead in Aida. Brown’s performance that night was a defining moment, distinguishing her as one of America’s great sopranos.
These days, the 54-year-old opera star is beginning to think about her legacy. She hopes it will be rooted in love. “Because I’m having fun, relaxing and being myself, they have fun,” she says of her Morning Brown audiences. Sometimes she offers slivers of education about when to give applause, but for the most part, Brown lets people just be.
15
For the Love of the Music
MICHAEL SCHELLE AND MIHO SASAKI ____
For the Love of the Music
Words by Nicholas Johnson, Ph.D. • Photos by Esther Boston
16
If you met local avant-garde composers Miho Sasaki and Michael Schelle on the street, you might not guess they are married. Sasaki jokes about their generational and cultural differences. “We have nothing in common except music, cats and Indian buffets,” she says. “Most importantly, we love tiny little things together in daily life. It’s all we need, and nothing else.”
They brag on each other as the source of motivation, work-ethic and passion for new music. “We do what’s right for us, not jumping on bandwagons, or what’s going to make us more money, or what’s politically correct, or what the audience wants to hear,” says Schelle, a professor of music at Butler University. “Nobody needed The Rite of Spring until it was written. Now everybody needs it.”
Sasaki and Schelle were married in 2008 in the United States, and again in a Shinto ceremony in Japan in 2012. Both had long been composers, but their marriage has given them new inspiration.
Sasaki credits Schelle’s wind ensemble Guttersnipe (1994) with changing her life by opening new musical possibilities and means of expression. Likewise, Schelle admits that it was Sasaki’s brilliant
End of Al Capone (2014) will receive its Eastern European premiere in Warsaw, Poland in May 2019. For her part, Sasaki has had pieces performed in New York, Texas, Mississippi, Washington, Japan and Córdoba, Argentina in the last year alone.
piano playing of Beethoven, Chopin and Brahms that made him reconsider past musical styles and elements. Both composers, however, are committed to the avant-garde and their own musical visions. Schelle is concerned that audiences today are treated too cautiously. Instead, he wishes orchestras and chamber groups would embrace newer musical ideas that might better communicate the emotions of living in the modern world. He is sympathetic to the fundraising needs of performing organizations—within certain limits. “Bernstein said 50 years ago that most orchestras are museums, and the conductor is the curator,” Schelle says. A lack of mainstream attention does not discourage either composer’s compositional goals. Schelle points to a negative review when the Detroit Symphony performed one of his pieces. The reviewer hated it so much that he said so numerous times throughout the review. Schelle saw it as a victory. “He’s never going to forget me, so I succeeded.” Sasaki shares his attitude. “We have to be true to our hearts,” she says. Whether their work is loved or not, they are unfazed. Judging from the numerous regional, national and international performances of their respective compositions, the Schelle/Sasaki joint inspiration seems to be working. Schelle’s one-act opera The
Locally, there are several opportunities to hear their music. On March 19, 2019 at the Eidson-Duckwell Recital Hall at Butler University, Hell’s Kitchen-based guest artist Thomas Piercy (clarinet) will perform several of their pieces as part of his 12-year U.S./Japan touring concert series titled Tokyo to New York. Sasaki’s The Soul of Lights Freeze (2017), a piece premiered by Piercy in New York City last fall, will be on the program. Written after the death of her father, Sasaki’s work uses floating colors and small idiomatic gestures that attempt to capture the emotions of processing his death. At the same concert, Schelle’s Chords That Rhyme with Your Eyes (2017) and Godzilla Brillante (1997) will be performed. Schelle says the Godzilla piece was written shortly after he rediscovered post-bop experimental jazz, and he wanted to explore different musical fusion possibilities. Combined with his lifelong fascination for all things Japanese, the work is meant to depict Godzilla stomping around the globe, destroying musical styles of all types. Another opportunity to hear Sasaki’s music will be in Fort Wayne on March 10, when the Fort Wayne Philharmonic Youth Orchestra performs her Ryuki: The Earth is Alive. This piece was written in remembrance of the Japanese tsunami of 2011. It uses musical storytelling to bring the work alive with moments of tonality, impressionism and even “dissonance for the kids.” ■ Explore the works of these fantastic local composers at their artist sites, sasakimusic.com and schellemusic.com.
17
Master Ka Leung Ching is the founder of the Indianapolis Chinese Orchestra. Known informally as Teacher Ka, he is a self-taught musician who plays 20 to 30 musical instruments. His immigration to the United States in 2000 is the fulfillment of a lifelong dream and a gift to central Indiana’s music scene, where Ka has stimulated an interest in sharing music drawn from worldwide cultures.
My Music. My Story.
Teacher Ka ____
by Crystal Hammon
Classical Music Indy extends special thanks to Jarvis Ka for translating during our interview with his father.
Photo by: Esther Boston
TELL US A LITTLE ABOUT YOUR MUSICAL BACKGROUND.
I was born in China during the Cultural Revolution. It was a very difficult environment, and somehow, I think God gave me a love of music and opportunities to learn and study it. From a very early age, I could pick up any instrument and learn on my own. I always had the desire to come to the United States. I’m so grateful that I was able to realize my dream, and that I continue to have opportunities to play music. Within six months of coming to Indianapolis, I connected with people who were interested in Chinese music. The formation of the Indianapolis Chinese Orchestra in 2010 just happened naturally as more people joined our group. WHAT ARE SOME OF THE ORCHESTRA’S BIG MILESTONES?
During the past eight years or so, we have performed more than 100 times at schools, senior living apartments, various festivals, The Children’s Museum of Indianapolis and churches. Those are all very meaningful performances that allow our group to bring some happiness. One of the performances I will always remember was the one we did at the Sidney & Lois Eskenazi Hospital, where I was treated for cancer. After my surgery, I wanted to give back to the medical staff and nurses. We gave a concert for patients as a way of saying thanks. Even though many in our group have full-time jobs, they supported me by making room in their schedules. For me, it remains one of our most memorable concerts. CAN YOU GIVE US AN APPRECIATION OF CHINESE INSTRUMENTS AND WHAT MAKES THEM UNIQUE?
All instruments can produce very beautiful music. The beauty comes from how a performer interprets the music. Our group intentionally mixes Western and Eastern instruments. Chinese instruments have a longer history and probably a greater variety of instruments and sounds. The way of reading and writing Chinese
music notations is also quite different. In my opinion, the Chinese style of notation is easier to understand and makes it easier to move between keys. WHAT IS YOUR FAVORITE MUSIC TO LISTEN TO FOR YOUR OWN PLEASURE?
When I am home, I love listening to regional music from the many ethnic groups in China. It’s the equivalent of folk music. Each region has a very distinct sound based on cultural tastes. WHAT ROLE DO YOU THINK MUSIC HAS IN CROSS-CULTURAL COMMUNICATION?
Music is a universal language that brings people together. It can make you forget language barriers or religious beliefs that divide people. I’ve had students from Russia and the United States. I don’t speak much English, and they don’t speak Chinese, but somehow, I can teach them how to read and play Chinese music. Music helps me express myself and communicate with people from all cultures. TELL US HOW THE ORCHESTRA WORKS.
Through the years, we’ve had perhaps 50 or 60 people involved. Our numbers rise and fall, but we currently have 20 musicians. Many of them have family engagements and are working professionals who do this in their spare time. The majority of the group meets every Sunday to practice and prepare for performances. We don’t have auditions. It’s an open group. We’re more about sharing an experience and our love of the music. We welcome anyone who has an interest in Chinese music or wants to learn. We’re also open to opportunities to perform in the community. We just want to share the music as much as we can. To learn more about the Indianapolis Chinese Orchestra (ICO) or request a performance, visit the Indianapolis Chinese Community Center Inc. website, www. indy-chinese.com. You’ll find the ICO page under Community>Activity Groups. You can also reach them through Stan Jacobs, stanton.jacobs@gmail.com or 317.777.1155
19
music unites artist
John Alvarado FROM ROCK & ROLL, TO HEAVY METAL, MUSIC UNITES ARTIST JOHN ALVARADO DOES IT ALL.
____
by Chantal Incandela
Growing up in Indianapolis, classical guitarist John Alvarado always had a guitar nearby. “My dad played guitar, and he was heavily influenced by Bob Dylan, Joan Baez, Peter, Paul and Mary, and that sort of stuff,” Alvarado says. “So that was a big influence growing up.” Whenever their dad wasn’t around, Alvarado and his siblings would find his guitar and pretend to play it. “He’d be really mad when he found out, but I think, after a while, he figured, ‘Well, if he is going to knock around on the guitar, he might as well play,’” he says. Alvarado started learning guitar on his own with encouragement from his dad, but classical music was nowhere on his radar at the time. “When I got to junior high and high school, I started playing in rock bands and really got into harder stuff,” he says. “I became a big heavy metal fan and started playing that, as well.” As a high school student, Alvarado had no intention of going to college, but his parents were desperate to change his mind. “They found out you could play the guitar at the university level; you just had to audition on classical or jazz guitar,” he says. With the possibility of studying guitar as bait, Alvarado began classical guitar lessons to prepare for college auditions, never suspecting that he would fall in love with it. His conversion to classical music isn’t as uncommon as one might guess. “If you scratch the surface of a lot of American classical guitarists, there’s a heavy metal fan underneath,” he says. “They’re drawn by the virtuosic playing in heavy metal, and they reach a point where they wonder what more they can do—how it can get even harder and more interesting. The complexity appealed to me.” Alvarado auditioned and got into DePaul University in Chicago for his undergraduate studies in guitar. There, he got very interested in contemporary music. After moving to Arizona State University for a graduate degree, Alvarado became intrigued with flamenco guitar. “It took the things I loved about rock music—the energy of it, and also the complexity, intricacy, and history of classical—and mixed things up in a nice way.”
When Alvarado’s wife got a job offer in Indianapolis, the couple packed up their home in Phoenix and moved back to Indianapolis. In 2013, he was awarded a two-year Creative Renewal Arts Fellowship from the Arts Council of Indianapolis to study the roots of flamenco guitar music. For a while, he taught as an adjunct instructor and played gigs. Eventually, he became a senior lecturer of guitar in the Department of Music and Arts Technology at Indiana University-Purdue University Indianapolis (IUPUI). Teaching classical and jazz guitar brings Alvarado close to an exciting mix of classical music that incorporates technology, electronic music and electric guitar. “We have so many people with different backgrounds here, which pushes me, too,” he says. In addition to teaching, Alvarado is busy raising a family. His two children (ages 10 and 8) are starting to show an interest in visual art and piano. Alvarado is also president of the Indianapolis Society of the Classical Guitar, which hosts five concerts a year. As one of Classical Music Indy’s Music Unites Artists, he enjoys sharing classical music with a broad audience of music lovers throughout the community. “We hear all these stories about how classical music is dying,” Alvarado says. “I don’t think people dislike classical music; I think some people dislike what they perceive the classical music experience or setting will be like. When people hear classical music in environments where they feel relaxed and comfortable, they love it.” ■ You can hear John play flamenco guitar on the first Thursday of every month at Sangrita Saloon in Broad Ripple. His performance schedule can also be found at his artist website, johnalvarado.weebly. com. For more information about Indianapolis Society of the Classical Guitar concerts, visit www.indianaguitar.org.
21
Classical Pairings LET THE DIVINE COMBINATION OF CHOCOLATE AND GREAT MUSIC MELT AWAY YOUR HOLIDAY STRESS.
____
by Nicholas Johnson, Ph.D. • Photos by Esther Boston
SUZANNE LITTERAL HAS BEEN CRAFTING DIVINE CHOCOLATES FOR OVER A DECADE. USING LOCAL INGREDIENTS, THIS LITTLE SHOP IN FOUNTAIN SQUARE WHIPS UP SOME FANTASTIC TREATS. SUZANNE IS ALSO HAPPY TO CHAT ABOUT MUSIC OF ANY TYPE. SWING BY LITTERALLY DIVINE CHOCOLATES THIS HOLIDAY SEASON AND PICK UP A BOX OF TRUFFLES.
Smokin’ Blackstrap Truffle
Appalachian Spring by Aaron Copland
Bacon in sweets is nothing new. It’s as hip as electric scooters and hashtags, but have you had a chocolate truffle with smoked bacon lard from Smoking Goose? I have, and my life is better for it. This truffle’s robust earthiness blends with a refined sweetness drawn from blackstrap molasses. While tasting this heavenly combination, I learned that Suzanne is first and foremost a dancer, and then a chocolatier. Aaron Copland’s masterful ballet Appalachian Spring immediately came to mind. It’s approachable and homey, but sophisticated in a sneaky way. This chocolate tastes like the home I wish I had. Appalachian Spring sounds like a place where I belong.
Almond Toffee
Piano Quintet No. 2, Op. 81 by Antonín Dvořák
Toffee is great. Almonds are great. These are facts. Why not take a batch of toffee and coat it in crunchy almonds? Well, maybe because it is a little tough to bite into. So are many of life’s good things. This one is worth the effort. The toffee is made of just four ingredients, and the almond coating adds a fifth. As a parallel, listen to this Dvořák quintet, written for string quartet plus piano. All four movements of this quintet are gorgeous, but the third movement stands out. It is a furiant—a type of Bohemian folk dance. It’s as playful as this toffee/almond treat, alternating perfectly between bite and tenderness.
Butterscotch Tea Truffle Hymn to St Cecilia by Benjamin Britten
The aftertaste on this truffle is something special. The initial flavor is fudgy, butterscotchy and chocolaty. Three minutes later, an intense dark tea aftertaste emerges—shades of a British teahouse, pinkies out, crumpets on the way. Had I been sipping coffee with this truffle, I probably wouldn’t have noticed. Be sure to let this one linger. Hymn to St Cecilia is the perfect work to enjoy as the aftertaste slowly dwindles next to warm tonal painting, luxurious harmonies, and a sublime text by W.H. Auden in honor of the patron saint of music. Britten wrote this piece in the chaos of World War II. He actually had to rewrite it after English customs inspectors confiscated the manuscript, fearing it was a military code. Each stanza ends with a plea for Cecilia to inspire musicians confronted with the horror of a broken world: “Blessed Cecilia, appear in visions / To all musicians, appear and inspire: / Translated Daughter, come down and startle / Composing mortals with immortal fire.”
23 Litterally Divine Chocolates | 1114 Prospect St | Indianapolis, IN 46203
mark your calendars for
Unsilent Night AN UNCONVENTIONAL BOOMBOX CAROLING PARADE ____
by Eric Salazar
If you’re looking for an unforgettable evening of holiday spirit, mark your calendar for December 8 at 6:30 p.m., when you can be part of an international music phenomenon like none other: non-denominational, boombox caroling in the heart of the city. The open event, led by the Indianapolisbased ensemble Forward Motion, is free to the public. This isn’t a passive sport; you’ll be playing Phil Kline’s Unsilent Night, a 45-minute composition made to be performed outdoors with a band of boomboxes, portable music devices, portable Bluetooth speakers and cell phones. (What’s a portable music device? Any electronic device that can use the Unsilent Night app, or play a CD or cassette tape.) To participate, arrive at Monument Circle at 6:15 p.m. with your own music-playing device. Watch for signage that marks where you’ll connect with members of Forward Motion. There, you’ll get a tape, CD, MP3 or learn how to download and use the Unsilent Night app. Promptly at 6:30 p.m., there will be a countdown of five beats, and everyone in the group will press their device’s play button simultaneously. We’ll take a 45-minute walk, ending at Rhythm! Discovery Center, where Forward Motion will perform a concert featuring Reflect & Release, a new work by local composer Rob Funkhouser. For more information on the event, visit www.forwardmotionnewmusic.com or the Forward Motion Facebook page. For more information on the music, visit www.unsilentnight.com.
25
Celebrating 50 years of classical music on-air, online and in the community. PLEASE JOIN US FOR THE FOLLOWING UPCOMING EVENTS: Classical Revolution TUESDAY, DECEMBER 4 8 P.M. Chatterbox Jazz Club
Unsilent Night
SATURDAY, DECEMBER 8 6:15 P.M. Monument Circle
NOTE Magazine is made possible by:
Classical Revolution TUESDAY, FEBRUARY 5 8 P.M. Chatterbox Jazz Club
