Ensemble Epomeo

String Trio

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On the skis, at the top of a new run, Part II

Reblog from Kenneth Woods- A view from the podium

On tour with Ensemble Epomeo, Day 2 and 3

We set off early for New Brunswick, with over 300 miles to cover. We’d never done such a big trip as a trio before (the previous record was more like 2 or 3 hours), but it was a pleasant drive in good company. Somewhere along the way, we stopped for lunch for a rather disappointingly ordinary meal at what had looked like a cute old-timey diner. While David and Caroline paid their checks, I made a few frantic business calls before we crossed the border.What a border crossing it was- we were in line for a long, long time going up, and when we returned we actually had to park the car and go in for extra questioning, even though we’re all US citizens. Why the drama? It’s Canada- we’re all brothers and sisters!

The weather in New Brunswick was rather foul- we got to our hosts around 5 then had a “sound check” at 6. The university hadn’t quite explained what it was a sound check for- it turns out they wanted to film and record our children’s concert the next day. It was a good thing we did have a sound check- the hall had HUGE acoustic problems and we decided we need to mic the speakers, something we almost never do. We hadn’t had a minute to look at the children’s music this time, but we muddled through before adjourning for dinner with Ron, our host. After dinner, I think we were all too tired to rehearse productively.

The next morning, Monday, we had a lot of work to do, starting with a stack of emails about schedules and contracts and other nitty-gritty details. The kiddie concert was at 12, so we had about 2 hours once we’d driven to the college to put together Ferdinand the Bull, Kile Smith’s “Bremen Town Musicians,” David Yang’s “Lubin from Chelm” (in which I have a great speaking role as Lubin’s nagging mother) and Martin Kutnowski’s “How Toad got his Spots.” Martin’s piece was the newest for us, and we wanted to get it extra right, since he was our connection for the visit to Fredericton, where he teaches composition at St Thomas University.

All too soon, the kids started filing in, as they do. We always start with Ferdinand, which is great- all the rest of our pieces are for violin, cello and narrator, but I’m not involved with Ferdinand, so I can go in the audience to marvel at Caroline’s jaw-dropping virtuosity and get a sense of how the audience is responding to David’s shtick. This was a once-in-a-long-while audience, and they were almost immediately howling with laughter to almost everything David said, which brought out David’s sharpest comedic instincts. After a roaring ovation, I joined my colleagues for the rest of the performance- great fun, and a great bunch of kids.

After lunch, we had more music to learn. We had two more new pieces to look at- one was Martin’s marvelous new clarinet quintet. David had commissioned it for his festival, so he knew it, but Caroline and I had just managed to print our parts out before leaving our homes last week. I was relieved after lunch to find that it was quite playable- don’t ask what I would have done if it had been extraordinarily difficult. Our originally planned tour program was to have been the one we played in Newburyport- Kile Smith’s Thrice Blest, Gal Serenade op 41, Strauss “das Deandl is harb auf mi” and Beethoven op 9 no. 1. Things got slightly more complicated when our presenter for Wednesday asked for the Schnittke Trio. The Schittke is one of the greatest masterpieces of modern chamber music, and it was the first thing David and I did in the trio with our original violinist, but we’d never played it with Caroline, and it is a big piece to dust off after a 2 year break. We were thrilled to have an excuse to work it up, but more repertoire means more do do in less time.

So, Monday afternoon, we had a trio sectional on Martin’s quintet and a first look at Schnittke. After dinner, we met our 2nd violinist, Nadja, and Wesley Ferreira, who had to take on Martin’s formidable clarinet writing. The quintet,  ”En la Mar Hay un Torre,” is a sweet, tender and very beautiful piece with hints  of tango and a final coda that Ernest Bloch would have loved in its Hebraic defiance. After quintet, we wanted to rehearse, since there’d been no time to look at the trio rep since Saturday, but instead we all adjourned to a wonderful meal. A better choice, in the end- it’s nice to get to know who you’re playing with and the composer whose music you play! It was a nice day- wonderful kiddie concert with an audience to die for, a new work to discover and an old favorite to re-discover, and lots of nice new colleagues to meet.

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PS- you can follow Ensemble Epomeo on our Facebook Page here.

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Kile Smith- Thrice Blest with Ensemble Epomeo

From kilesmith.com. Read the original here.Ensemble Epomeo has performedThrice blest a few times since last Spring, and is bringing it to Philadelphia this Friday, October 1st. They’re playing at the First Friday Concert Series at Christ Church in Old City, on 2nd Street just above Market. The free concert starts at 8 pm.Read about the work here.Ensemble Epomeo is violinistCaroline Chin, violist David Yang, and cellist Kenneth Woods. Click on the names to read about the vast experience each brings to the group. Ken is also an excellent blogger.Here’s a recent post of his about playing on a borrowed cello. I love reading inside-baseball stuff from musicians. Things I’d never consider play such a big part in the lives of those who make the music for us.Caroline, David, and Ken play with many different people and ensembles, and they each run groups of their own. They are busy as can be, so I’m delighted that they’ve taken on this little work. I’m writing a companion to it, but it’ll have to wait until after Friday.In David’s kitchen a week ago I heard part of a recording of Thrice blestfrom a recent performance, and David was telling me how much the piece has come together and how much they’re enjoying it. I think I nodded but I really wasn’t listening; the lentils and sausage he was cooking grabbed all my attention. Sure enough, “cooking” is in his bio, but you can take my word for it: he’s the real deal.Hans Gál, SerenadeKile Smith, Thrice blestRichard Strauss, Variations on “’s Deandl is harb auf mi”Ludwig van Beethoven, Trio in D Major, Op. 9, No. 2

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Newburyport Arts Journal- Caroline Chin, the”new guy”in Epomeo

By JC Lockwood, Newburyport Arts JourntalRead the original here.Got so wrapped up in the Ensemble Epomeo’s program for “Music and the Manse” and our new appreciation for the Italian language, that we forgot to talk abut the new guy. And the old guy. But it turns out that the last time we saw Byron Wallis — during Ensemble Epomeo’s Port debut last year, when the trio rolled out, among other things, a magical performance of Schnitke’s String Trio, the piece that brought the group together in the first place — will likely be the last time we ever see him. The Paris-based violinist is no longer performing with Epomeo. He’s been replaced by Carolyn Chin, a rising classical star who with a packed resume that includes leading the conductorless String Orchestra of New York City, performing as concertmaster with the Paragon Orchestra and touring the United States and Japan with the tap dancer Savion Glover.No, there’s nothing particularly nasty going on. Just the usual “creative differences,” which often, just below the surface, are about personalities, plus the fact that working with someone who lives and performs thousands of miles away from the Center of the Universe — that would be New York — makes the whole trio thing just a little too complicated. Wallis, who frequently performs with the Orchestre Nationale d’lle de France, “is a terrific guy, one of the sweetest and gentlest guys I know,” says Epomeo violist David Yang. “We just had different approaches. We are still good friends so I think I can say the parting was mostly mutual”Yang, who is also artistic director of the Newburyport Chamber Music Festival, performed with Chin a couple of years ago at the Norfolk Chamber Music Festival, always liked her and her playing. “In addition to being a truly impressive musician with outrageous chops she is also an unusually honest person, and that is important,” says Yang. “She has a core of steel, too. By this I mean she is a real leader — a strong personality in the group. A trio is so small that everyone needs to hold their weight, but even in the more democratic form of a trio (versus string quartets, in general) you need a violin who likes to lead. So personality is really important. I mean, look, we just spent two weeks together rehearsing, I kid you not, eight hours a day. You think that is going to work for very long if we don’t know how to get along? You don’t have to like one another, but you have to respect one another. We have had disagreements, but the amazing thing is how non-personal it is.“The stakes, while they may seem small outside, can feel enormous in a group,” says Yang. “Differences in interpretation, in pitch, timing. A small disagreement can feel very personal – can you play that note a little higher? No, why would you want that? It sounds terrible? Well I think your way sounds terrible? Who are you calling terrible? How dare you? And so on. It is important to me to play with people I admire as players and also as people.”Epomeo, which also includes Kenneth Woods, founder of the Taliesin Trio and the Masala String Quartet as well as principal guest conductor of the Stratford-upon-Avon-based Orchestra of the Swan, takes its name from the non-active volcano that dominates the landscape of the small, sun-drenched Italian island of Ischia, where the trio is currently holed up. The group is the resident ensemble of the island’s Festivale d’alla Musica da Camera d’Ischia‚ a 10-day chamber music festival and intensive study retreat. They’ll have little time, just four days, between Ischia and the Port performance, which, itself, is part of the Newburyport Preservation Trust’s weeklong festival. The program will include “Thrice blest,” a world premiere by Kile Smith that is based on music by 17th-century Newbury composer John Tufts that came from a hymnbook discovered by NCMF executive director Jane Niebling. Also on the program will be the Sitkovetsky transcription of Bach’s Goldberg Variations for string quartet and Beethoven’s String Trio in D major, which Yang says is the “core” of the program for the trio.JUST THE FACTS, MAN: Ensemble Epomeo will perform at “Music and the Manse,” a benefit for the Newburyport Preservation Trust, May 21 at the 18th-century Henry C. Learned House, 190 High St., Newburyport. The program includes the Sitkovetsky transcription of Bach’s Goldberg Variations, Beethoven’s String Trio in D Major and “Thrice blest,” a world premiere based on music by West Newbury composer John Tufts. The event, which runs from 5:30 to 9 p.m., also includes a tour of the historic home and a wine and hors d’oeuvres reception. Tickets are $75. Reservations are required. For more information, call 978.463.9776.

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Newburyport Arts Journal: Epomeo: Now, that’s Italian

Reblog from Newburyport Arts JournalBy J C LockwoodOur Italian vocabulary word of the day is “aliscafo,” as in “Oggi David Yang e a cavallo di un aliscafo.” And, you may well ask, just what is David Yang, the artistic director of the Newburyport Chamber Music Festival, and a fellow comfortable enough with Italiano to order, properly, insalata, fusilli con formaggio e piselli and prosciutto crudo e mozzarella di bufala, doing in a hovercraft? Answer: Barely touching the surface of the Mediterranean in a mad dash to the island of Ischia, home of the Festivale d’alla Musica da Camera d’Ischia in Italy, a weeklong chamber music festival where he has been a resident coach for years and where Ensemble Epomeo will be settling in for its second year as the festival’s ensemble-in-residence. That’s what he’s doing. And he’s getting a just a little sick to his stomach (solo un po ‘malato al suo stomaco) from the choppy seas as he blasts across the Sea of Napoli, taking questions about Epomeo’s May 21 show at the historic Henry C. Learned House, a benefit for the Newburyport Preservation Trust. We see the sea sickness as a kind of penance for totally blowing off a certain arts writer a couple of days earlier. No, no, no. E solo uno scherzo. Just joking.No, Yang’s a tough guy to get ahold of under the best of circumstances. In addition to playing with Epomeo, he’s a member of Auricolae, a Philadelphia-based storytelling troupe, as well as a performer with Poor Richard’s String Quintet. He’s also director of chamber music at the University of Pennsylvania and coach at Swarthmore and, well, you get the idea. And this time of year, with Epomeo doing its usual globetrotting spring schedule, with tours on the East Coast, including a live radio broadcast, as well as shows in England and Wales, before retuning to Ischia, its home-base — and, four days after they put the lid on the intense Italian music festival, parachuting into Newburyport for “Music and the Manse,” as the program is being called.The ensemble will also have a new look, with Caroline Chin, leader of the String Orchestra of New York City and artistic director of Musica Reginae, replacing Byron Wallis on violin. Cellist Kenneth Woods, another guy with a resume — Taliesin Trio and the Masala String Quartet, principal guest conductor of the Stratford-upon-Avon-based Orchestra of the Swan, and author of the entertaining and informative View from the Podium blog — returns on cello.They’ll will be taking a comparatively lighter program around the block: Instead of piling on, emotionally, with Krasa’s “Tanz,” which opens with a waltz and ends with oblivion; or Hovhaness’ mournful, ethereal Trio, they’ll be playing Sitkovetsky’s transcription of Bach’s Goldberg Variations for string trio, Beethoven’s String Trio in D major and “Thrice blest,” a world premiere based on music by Newbury composer John Tufts.The Variations, of course, were written for keyboard by Bach and forever seared into the collective musical imagination by the admittedly idiosyncratic performances by Glenn Gould, much to the dismay of purists. Yang confesses to sacrilege, saying the piano version is, well “a little, um, boring” … and is immediately rewarded with the crash of a huge wave against the aliscafo, raising a collective moan from passengers.) “I think what is so interesting about this piece is its hybrid nature. It is a period work but played on modern instruments Also, since we can sustain with string instruments vs. a harpsichord (no sustaining) or a piano you can get a very different effect so that harmony, instead of having to be implied can really be just, well, played,” Yang says. Because of time restraints, the trio will be doing only two-thirds of the variations.The Beethoven is “the core of the repertory for us,” says Yang. “What is neat about this is the slow movement which is written in an Italian feeling style (Yes, of course, affettuoso). By that I mean it is less contrapunctual, with parts playing off one another and more… like an opera, with arias and accompaniment. But since it is Beethoven it is incredibly beautiful but also complex, although I hope you don’t hear the complexity as much as just feel it deep down in the animal part of your brain.”The final piece will be a world premiere by Kile Smith, who is a bit of a classical star in Philly. He has his own radio show and runs the legendary Fleisher Collection of Music. He’s also been resident composer for the Jupiter Symphony in New York. Yang asked him to do something based on a local hymnbook that Newburyport Chamber Music Festival founder Jane Niebling found. He used a melody from Tufts who was from 17th-century Newbury. The composition has three sections — the hymn, then an agitated quick and rhythmic middle section and then back to the hymn. “The piece, I am sure, will be very popular with the audience,” Yang says. “It is lovely, the kind of stuff people will ask for again.”Road warriorsFrom Newburyport, Epomeo will pack up and head north to Portland before calling it a wrap — a hectic time that has the favor of a rock tour. “Well, it has felt a little like that recently,” Yang says. “But I stay in one place usually for a few days. I like traveling but am torn, as I really miss my little daughters. When I am home I spend as much time with them as I can. I also really like my home. Philadelphia has been good to me, and I live on a leafy little city street where all the neighbors know each other and have dinner together and stuff like that. It is a treat to be home. (And now we are rolling side to side – oooh nooooo! I really have to stop now.)”JUST THE FACTS, MAN: Ensemble Epomeo will perform at “Music and the Manse,” a benefit for the Newburyport Preservation Trust, May 21 at the 18th-century Henry C. Learned House, 190 High St., Newburyport. The program includes the Sitkovetsky transcription of Bach’s Goldberg Variations, Beethoven’s String Trio in D major and “Thrice blest,” a world premiere based on music by West Newbury composer John Tufts. The event, which runs from 5:30 to 9 p.m., also includes a tour of the historic home and a wine and hors d’oeuvres reception. Tickets are $75. Reservations are required. For more information, call 978.463.9776.

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Yang on Epomeo

Hi Everyone-I’m frantically packing for Ischia (and trying to get my cello chops back after a busy few months of stick waving and not  much practice), and internet access in Ischia is unpredictable. New blog posts may be scarce for a while, we’ll see. Meanwhile, my colleague in Ensemble Epomeo, David Yang, has some wise and funny words about the program we’re touring with this spring. These were written for the paper in one of the cities we’re playing in in June. KW

Ensemble EpomeoByron Wallace, violinDavid Yang, violaKenneth Woods, violoncelloHans Krasa – Tanz (Dance)Alan Hovhaness – TrioGideon Klein – “Variations on a Moravian Theme” from his String TrioZoltan Kodaly – IntermezzoAlfred Schnittke – Moderato from his String TrioLudwig van Beethoven – Rondo from String Trio, Opus 9, No. 3I’m writing this while on the airplane en route to Roma via Frankfurt. There is a large German man to my left slumbering peacefully. I have to say there sure is a difference between a plane full of Germans from a plane full of Italians. There is always a bit of a festive atmosphere when Italians are headed home from vacation. But this flight is all business. Speaking of which, I guess I should write a little about the program my group, Trio Epomeo, is performing in June in the USA. Actually, the first performance will be in Ischia, the small volcanic island in the Bay ofNaples in Southern Italy where Mount Epomeo sleeps in the blue seas off Naples, and where the trio was formed. Then we fly off to England where we are performing in Bath (having already tested out part of the program in Hereford). In June we’ll play in New York City in a concert and on Columbia University‘s radio station before heading to Philadelphia for two concerts and then up to Newburyport and Exeter, MA. Actually, the travel seems quite relevant because this program is very much a journey from country to country. Specifically, most of the the program has deep roots in the folk music of the various composers’ cultures which, more than usual, gives these pieces their ethnic flavor.The program is short – about an hour and a half – and we go right through without pause. It is based on old-time programs from the turn of the last century where someone like Kreisler or Elman would do selected movements instead of huge pieces. I find this a nice change for the audience, a bit like a taster’s menu. We sometimes call it a “Tapas Concert.” We’ll be starting with Hans Krasa’s “Dance” which is a driving work that conjures up images of some demon train hurtling towards oblivion. It takes on added meaning when you learn that Krasa, a Czech Jew, died in Auschwitz at the hands of the Nazis shortly after completing it. I’m not sure I can break down exactly what the sound of bitterness and sarcasm is but, for sure, it is in this piece from the first notes.The next work heads to Armenia for a work by Alan Hovhaness. Hovhaness actually lived inAmerica but this looks to his roots using ethnic scales and techniques to make these standard Western instruments create sounds utterly unlike anything one would normally hear in a classical setting. The piece is strange, lonely and oddly sparse. The romantic image it conjures up in my mind is of a shepherd on some barren mountain with his charges, out for weeks at a time without seeing another human.After that we move into the central movement from Gideon Klein’s great string trio “Based on a Moravian Theme.” I actually have a recording of the theme which is sung in, well, I don’t know – Czech? or is there a language called Moravian? – and IDa’ll play it  before we perform. As otherworldly as the Hovhaness was, this piece goes through a huge range of tangible emotions in just 10 minutes of variations. It starts impassioned but swings to playful, sardonic, uncertain and fearful, not necessarily in that order. Klein was a great piano virtuoso and rising musical star in Weimar Germany. Alas, he, like Krasa, did not survive the camps.Continuing with the folk music angle, we jump into a terrific early little trio by the great Hungarian composer, Zoltan Kodaly (who, happily, lived out a full life, much of it spent collecting folk tunes with his best friend, Bela Bartok.) I’m not sure how to describe it except listening to it you can practically taste the  bits of paprika and potatoes stuck in the thick white beard of the man sitting across the room slurping at his goulash.After that we go right to a hard, ice-cold bottle of vodka. Alfred Schnittke was the “other” great Russian composer of the 20th Century after Shostakovich. He had a fascination with medieval music and his works reflect that at the same time having the angularity of the mid-20th Century combined with that passion that is so distinctly Russian. Actually, you know, it’s strange how Russian music is so romantic in the way a warm fireplace is comforting with a blizzard raging outside. This is very different from, for example, the hot-blooded passion of Italian opera or the earnestness of so much early 20th Century American music (think Appalachian Spring). Of course, you have to be careful about making silly national generalizations but at the same time, there is something that makes us different from each other. And it is the joy in sharing those differences that can lead to some very interesting things, indeed.After the Schnittke sneaks in, yells for a while, and then skulks out, we finish with a quick and airy movement by the Maestro himself. Beethoven wrote his C Minor Trio when just a lad in his 20s (it is Opus 9) but this is a fully formed mature work. We’ll be playing the last movement, a Rondo, that whizzes and whirls and then disappears like a puff of smoke. What better way to end a concert? Of course, if everyone keeps applauding we might just have to keep on playing. But we’ll see about that.David Yang5 May, 2009Rome, Italy