Watch: The Annual Fred Kelley Scholarship ConcertEnjoy a midsummer musical treat featuring the dynamic duo of violinists Jesse Holstein and Ealaín McMullin!
This year’s online offering of the Fred Kelley Scholarship Concert presents an eclectic program in support of the fund to send CMW students to summer session at Apple Hill Center for Chamber Music.
The Fred Kelley Scholarship was established to support the initiative to send CMW students to Apple Hill in Nelson, New Hampshire. There, CMW’s young artists experience a nurturing and immersive deep dive into the world of chamber music, together with participants from all over the world, within in the majestic beauty of rural New Hampshire.
Since 2007, CMW and Apple Hill have awarded over 50 scholarships to young CMW musicians, made possible by generous donors to the Fred Kelley Scholarship fund.
Make your donation by clicking below, and typing “Fred Kelley” into the comments box:
https://communitymusicworks.org/29may_/donate/ Also, mark your calendar for March 20th, 2022 for the next Fred Kelley Scholarship concert featuring members of the MusicWorks Collective and the fabulous American tenor, Frank Kelley in a performance of Schubert’s incredibly moving song cycle, “Die Schone Mullerin.” The program, featuring violinists Jesse Holstein and Ealaín McMullin, was recorded at Bell Street Chapel in Providence, and at the Apple Hill Center for Chamber Music in Nelson, N.H. THE ANNUAL FRED KELLEY SCHOLARSHIP CONCERT Ishirini Duets on Folk Themes A Tale for Two Violins Ferdinand the Bull for solo violin and narrator
MUSICIAN BIOS: Jesse Holstein, violin Jesse Holstein graduated from Oberlin where he studied with Marilyn McDonald. He then received his Master’s degree with James Buswell at the New England Conservatory. Prior to Oberlin, he studied violin with Philipp Naegele in Northampton, Massachusetts. Jesse would be remiss if he did not send a huge thank you to his wonderful Suzuki teacher Diana Peelle who started him at age 5 and was extremely patient with his posture for years. An active recitalist, orchestral and chamber musician, Jesse is currently concertmaster of the New Bedford Symphony. In recent summers, he has performed at the Bravo! Festival in Vail Colorado, the Montana Chamber Music Festival in Bozeman, the Bay Chamber Concerts in Rockport, Maine, and the Apple Hill Festival in Sullivan, New Hampshire. Jesse also has attended the Violin Craftsmanship Institute in Durham, New Hampshire, where he learned about instrument repair. Since 2013, he has been on the faculty at the Greenwood Music Camp at the foot of the Berkshires in Cummington, Massachusetts. Greenwood is where he himself was bitten by the chamber music bug as a teen. While an undergraduate, Jesse taught for the Oberlin Preparatory Program in the Lorain, Ohio public schools. Also at Oberlin, he served as Assistant Concertmaster and later as Music Director of the Royal Farfissa Disco Juggernaut. Currently, Jesse is a teacher and resident musician for Community MusicWorks and was a founding member of the Providence String Quartet, With the Quartet, Jesse performed with the Muir, Miro, Orion, and St. Lawrence Quartets, as well as pianist, Jonathan Biss; cellist, Matt Haimovitz; Cleveland Orchestra Principal Oboe, Frank Rosenwein, and violist Kim Kashkashian, among others. Community MusicWorks is a youth and family-mentoring program that provides free instruments, lessons and a variety of programs for youth in urban neighborhoods in Providence. Jesse has been a Violin Professeur at L’Ecole de Musique, Dessaix Baptiste in Jacmel, Haiti. He is currently on the faculty at Brown University. One of his interests is how Buddhist mindfulness practice and meditation intersects with teaching and performing music. In the fall of 2013 he was granted a sabbatical from Community MusicWorks to attend the Plum Village Monastery in Bordeaux France. He has a cat, Lord Nelson. Lord Nelson is an ordained on-line minister (this is true) and is available for weddings and services (this is probably not true). Ealaín McMullin, violin Inspired by the opportunity to blend chamber music with education and community building, Ealaín co-founded the Newport String Project (Rhode Island) in 2012. The project is anchored by the community based residency of the Newport String Quartet. Alongside a concert series that takes place in diverse venues throughout Newport, the quartet provides free lessons in violin, viola and cello to forty young students (K-6) in a dynamic youth mentoring program that aims to engage youth who experience economic or other barriers to participation in the arts. Ealaín was first introduced to chamber music through concerts given by the Apple Hill Chamber Players near her home in Donegal, Ireland. This led to many happy summers studying at the Apple Hill Center for Chamber Music in New Hampshire and since 2014, Ealaín has served on the faculty at Apple Hill’s summer festival. She studied at the Boston Conservatory, where she was a member of the Bricolage String Quartet, the Conservatory’s honors ensemble. She has performed with members of the Apple Hill, Brooklyn Rider, Lydian and Miro String Quartets and has performed at the West Cork Chamber Music Festival (Ireland) and Music From Salem (New York). A graduate of Trinity College, Dublin and the Boston Conservatory, Ealaín’s principal teachers have included Michael D’Arcy, Elise Kuder, Mike Kelley and Lenny Matczynski. PROGRAM NOTES: Ishirini is the Swahili word for “Twenty.” It is also the title of American composer Alvin Singleton’s short fanfare for two violins that was commissioned in 2003 to celebrate the 20th anniversary season of the Music from Angel Fire Chamber Music Festival in New Mexico. The two violins do their best to imitate snare drums and a brass band in the opening with both violins playing tremolo chords with tremendous force. A sudden break leaves a descending lyrical snippet atop a lone distant snare drum before returning to the boisterous opening. A quick oscillating chatter and an insistent rhythmic pounding are other principal characters in this pithy but highly dramatic and effective fanfare.
Grazyna Bacewicz was an important Polish composer and violinist whose life was cut short by a heart attack in 1969, one month shy of her 60th birthday. She composed prolifically in her brief life and rose to prominence as a violinist and composer under the specter of the 2nd World War and the Nazi occupation of Poland, but also during the post-war rebuilding of Europe. Her musical language bridges classicism with its reliance on conventional scales and key signatures, and modernism which embraces harmonic dissonance. Also, as a superb violinist, she wrote in a virtuosic style with propulsive rhythmic drive, but also with a lyricism inspired by both the violin’s vocal quality and by folk song. Her Duets on Folk Themes from 1946, like their Hungarian cousins the 44 Duos for Two violins by Bela Bartok, were intended for pedagogical use to not only expand a student’s technique, but to celebrate the folk song, albeit filtered through a more contemporary language. They are a combination of folkloric simplicity of melody, dancing rhythms, deft and organic writing for the violin along with subtly applied harmonic dissonance. They are superbly written for the violin and contains many of her own fingerings and bowings in the parts. They just “lie well in the hand” and are an absolute joy to play. While not as well known as the Bartok duos, they certainly deserve to be.
Written to commemorate the 100th Anniversary of the Armenian genocide, A Tale for Two Violins by the young Armenian American composer Kristapor Najarian is a 7-movement suite that, like the Bacewicz, is heavily influenced by folkloric material. Here are Najarian’s own words about his compositional process and particularly about the Tale for Two Violins. “I wouldn’t say I have any particular philosophy or ‘modus operandi’ when I compose. To me, at this moment, composition feels very spontaneous. If an idea comes to me honestly, in the moment, then I haven’t much need to criticize or change it. Of course, composition is a long process, with much editing and orchestrating involved. However, I feel that every cell of a piece must begin with an honest and spontaneous energy. Just as many streams flow into a single ocean – each with its own natural energy – a composition for me represents thousands of spontaneous instances, woven together to create a piece more meaningful and comprehensive than each of its individual parts. ‘A Tale for Two Violins’ represents this philosophy. The piece is heavily influenced by Armenian, Turkish, and other music from the Middle East, both folk and classical. Two movements are based on traditional Armenian melodies, two on Turkish ones, and two are original.” Indeed, Najarian’s suite is a pastiche of textures, colors, evocative atmospheres and distinct rhythmic grooves that seem intuitive and improvisatory rather than pragmatically planned. The narrative often vacillates between deeply felt lyrical yearning and powerfully driven dance rhythms, though not dance steps we are accustomed to in the West. Another feature heard towards the works opening is a passage that is tuned in quarter tones and not on western classical music keys and scales. It may seem, “out of tune,” but this is a very specific mode of tuning and requires great precision. As Najarian, like Bacewicz, is a violinist, he knows the instrument intimately and uses the full pallet of sound from the violin to great effect.
Finally, a retelling of Munro Leaf’s classic children’s tale, Ferdinand the Bull told through a narrator and a violin with music by the British composer, Alan Ridout. The story will literally speak for itself, but the violin provides the “soundtrack,” as it were, with motifs, melodies, and virtuosic displays representing the drama and characters of the story. On a personal note, in 2019, I was able to perform this at the Apple Hill Center for Chamber Music with my friend, composer and bassoonist John Steinmetz and Munro Leaf’s son was in the audience. I had added quite a few theatrical embellishments to the performance, with snorts, pawing at the ground, leaps and other shenanigans so there was a bit of trepidation as to what Mr. Leaf would think of my additions. Thankfully, he was thrilled and thought that his dad would have loved it! Phew…. -JH Performance videography by Dave Jamrog and Rich Ferri
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