This fall’s electronic music class is off to a great start! We’re using Logic to remix Bach cello suites for the upcoming Bach Festival.

Final remixes will be posted in a few weeks! Stay tuned.

Read below for details about a couple of local events featuring live and recorded music by CMW's own Laura Cetilia. 

Sara's cellists participating in PRONK (Providencehonkfest) on October 8.

CMW's Bach marathon concert on November 10 was originally inspired by an annual Bach
marathon that happens in New Orleans. Hearing the story from a friend of mine
who was at that concert recently really excited me, and I thought that we can
and should do this in Providence.

And since this is happening in
Providence, and organized by CMW, it is going to be
something more special and unique than any other Bach marathon in the
world. The marathon will be a mix of performance of Bach's music (primarily for solo instruments) by CMW's resident musicians, students, and friends, as well as open interpretations of Bach's music by experimental musicians from Providence and other nearby
cities. I've already been asking these experimental musicians that would
be perfect for this, and everyone I've talked to so far has said "yes!" with
no hesitation.

See photos from CMW's November 2010 marathon Bach concert here.

-Sakiko Mori, Bach marathon concert curator

On Friday afternoon, CMW musicians and ten Sistema Fellows crowded into CMW's third floor meeting space. It felt a bit like a family reunion, with shared core values and aspirations instantly creating the glue to bind together people who had not previously met.

Over several hours together, the group engaged in a discussion of what it means to be a teaching artist in an organization–such as CMW–with a mission of social change. How do your core values manifest in your teaching practice? The conversation was guided by the incomparable Eric Booth.

Trivia quiz: Can you identify four former CMW Fellows in this photo? (Click on the photo to enlarge.)

-Heath Marlow, Managing Director

Dear friend,

I’m writing to let you know that after nearly five amazing years as
the Executive Director of New Urban Arts, I will be returning to New
York to join the senior staff of the Queens Museum of Art where I will take on the position of Director of Education.

In this role I will oversee all of the museum’s education programs
which include teen, after-school, school, family, teacher, access
programs and more. Like New Urban Arts, the Queens Museum of Art is
nationally recognized as a leader and innovator in using the arts to
bring together and engage diverse communities. I am very excited to
build on the work I’ve done at New Urban Arts at this cutting-edge
museum.

I will start my new position on December 17, 2012 and my last day at New Urban Arts will be December 7th, the day of our annual Artist Mentor Exhibition opening.
This is fitting as being an artist mentor remains the most important
position I have ever had and is what sparked my long relationship with
New Urban Arts…

Continuing reading Jason's letter on the New Urban Arts website by clicking here.

Norwegian pianist Knut Erik Jensen will visit Providence later this month to offer a solo recital at the Bell Street Chapel. Many CMW concertgoers met Knut when he spent two weeks in residence at CMW last March, rehearsing and performing works by Grieg, Mahler, Schubert, and Shostakovich with the CMW Players. He is such a wonderful musician; we hope to have him back at CMW during a future season!

Information about Knut's October 30th solo recital is here.

On a sunny afternoon in the middle of September, a CMW Players quartet, composed of Ealain, Chase, Annalisa, and myself went to the nearby home of Linda Daniels and Bill Hopkins to play Beethoven's string quartet, opus 18, No. 1. The afternoon sun brightened their open living room, and the musical set-up was accompanied by a variety of delicious homemade snacks and beverages. While the house concert was advertised as starting at 3 pm, I found myself mingling and just enjoying the company of the people around me until about 3:30. At that point I looked at Chase and asked him, “So, do you think we should play something” Chase’s response echoed my own thoughts: “Oh, yeah, I forgot that we were going to perform!” 

It is rare for me, as a classical musician, to walk into a performance situation and immediately feel so comfortable and at home. I am used to the conventional performance rituals; studying at Peabody Conservatory and Northwestern University, I have been taught that a performance involves many months of preparation leading up to one singular defining moment. During this defining moment, the performer makes contact with his/her audience by playing his/her instrument, “speaking” only through the music. This approach places the art of music-making on a pedestal, separating it from the types of interactions that we all have on a daily basis.  

Our afternoon with Beethoven was not at all like that! People sat all around us snacking on delicious desserts and, during our introductions, we joked about my ryhming job title (I am CMW's “Cello Fellow"). And when we started to play, I could feel that same level of comfort and safety from my colleagues. There was a new level of trust between us; we were listening more closely, taking more risks, and generally just making better music than I had anticipated!
  
After our performance, conversations continued, and mixed in with other chatter, now there were discussions about Beethoven and the inspired nature of his composition. For me, the highlight of the afternoon, and the greatest satisfaction that we could ask for, was the sound of young CMW students practicing upstairs as the party started to die down. 

More recently, I can't help but think how our performance in Bill and Linda’s home was more successful than when we had presented the same work in a more formal concert hall setting. Simply by moving the performance to a more intimate and comfortable environment, we were more able to connect with the sense of exploration and joy that Beethoven felt when composing his early works. 

I’m not advocating for the removal of the concert hall experience; the tradition and ritual surrounding those performances allow both performers and audience members to focus in ways that may not be replicated in other settings. But, I do ask that musicians think about why we have chosen this specific career. For me, the end goal has always been to gain a deeper understanding of beauty, and to share that beauty with others. This sharing of beauty should not occur only in our sacred concert halls. Our Beethoven concert proved to me that this music also belongs within the very structures that define our everyday lives: our homes, our schools, our workspaces and community centers.   

-Lauren Latessa, Fellow

Read the October edition of The Ensemble, Tricia Tunstall and Eric Booth's
monthly publication about the growing El Sistema-inspired movement in
the United States, by downloading it here.

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