Have you ever noticed how art can thrive in the darkest of times? Struggle is a common theme in the history of influential musicians and composers. Russian composer Dmitri Shostakovich wrote his famous 7th Symphony, also known as the Leningrad Symphony, during the German invasion of the Soviet Union in 1941. The war stricken country was devastated and desperately needed a voice of the suffering people to feel united. Shostakovich recalls working on the Adagio movement, “I kept working day and night. There were times when the anti-aircraft guns were in action and bombs were falling, but I kept working.” Despite his desperate circumstances, he was able to complete not only his 7th Symphony, which premiered in Samara on March 5th, 1942, but he continued to be a “voice” of the people through operas, ballets, film scores, and symphonies until the year of his death in 1975.

I was first introduced to EmmyAward-winning composer and musician John Wineglass in 2019. It was at rehearsals for the premiere of his orchestral work, Cityscapes: The Sights and Sounds of Stockton, that I first experienced the fresh melodies and vivacious rhythmic patterns that embodied the heart of Stockton. Little did I know this would be one of the last times that I would be able to perform on stage with a group of musicians in person for an indefinite amount of time. I recently reached out to John  wondering how the composing world has been affected by these strange new times. I was encouraged to not only hear about his ability to overcome the challenges of the  pandemic, but also how war, conflict, and isolation have inspired his newest compositions. 

His latest symphonic work, Unburied, Unmourned, Unmarked: Requiem for Rice, is dedicated to the lives and contributions of African and African-American forced laborers who cultivated the expansive rice economy in the Lowcountry. Read his interview below to learn about upcoming works and how music has helped bring musicians together. 

What age did you start playing the viola? 

I started playing the viola when I was about 6 years old. My sister used to play the piano and I would listen to her play the Moonlight Sonata. I picked it up by ear on piano first. My mom came down and thought, “You should get started with some lessons”. Thank God she didn’t start me out on piano lessons, she got me started in the DC youth orchestras. I went through several instruments. I started on the flute and my arms weren’t long enough. I tried a clarinet and my embouchure was not very strong. Everybody played violin so I settled on viola. This youth orchestra would travel every year and I wanted to do that. I practiced really hard going through all the levels and then when I was 11 I started touring with this youth orchestra. We went to the former Soviet Union, China, Spain, and Korea. That began my career as a young person in the orchestra. 

Who was your favorite music teacher?

My favorite music teacher was my last viola teacher, who was Maragret Ward. She played with the Washington Opera in Washington DC and would sub for the National Symphony Orchestra. She was very instrumental in my life as a mentor and a teacher. She sold me my first viola ever, that I still have here.  She suffered from dementia and had a studio of 80 students. She started really practicing keeping up her craft and she kind of overcame the ahlzeimers and dementia. We celebrated her 80th birthday 10 years ago and played the Brandenburg 6 together. That was magical because she didn’t succumb to it and overcame it. She later passed away, but was an instrumental person in my life. 

How did you discover your love for composition?

I always had a love for composition. When I was 6 years old I formed a little orchestra and would write out the parts and have my cousins come over and play. The composition voice was there from day one. Later on I applied for conservatory and at age 16 I got tendonitis. I had to stop playing for 9 months, which was disastrous. I thought, wow, if this hurts like it does now when I’m 30, thinking 30 was old, I probably want to fall back on composition. I went through a couple of hoops with business school. I started at American University as a scholarship student in finance. I was a double major in finance and music. I was taking lessons with Osman Kivrak, from the Baltimore string quartet and then continued with Margaret Ward at the Kennedy Center. I ended up dropping the business degree and getting my composition degree at American. Then I decided to start a MBA at John Hopkins. In the summer of ‘96 I took a cost accounting course and decided, this is not for me. I looked at schools and decided the conservatory route is not where I wanted to go because of the technology I wanted to learn in the film world. I wanted a program that had a film scoring component. NYU had a consortium where I could take lessons with Norman and Justin Dello Joio at Juilliard or Corigliano at Lehman College in the Bronx. I moved to NY and the rest is history. 

What would you consider your foot in the door for film scoring?

Success is when opportunity meets preparation. I had an opportunity with a friend of mine in LA that gave me a number to an obscure studio in Manhattan that was a television show. I called that day and turned in my resume the very last day. That guy, Terry Walker, ended up being my music supervisor for my first television show for 15 years. The show was All my Children. After that [I wrote for] shows on CBS and NBC. I started doing music for commercials [for companies such as] Texico and Pizza Hut from that one decision. 

What is your writing process for concert hall compositions?

Typically in my residencies, I request a place to stay. Big Sur land trust has been great and they give me a ranch of about 5000 acres in Big Sur. It’s just me and Jim, the ranch hand, who has been on the property for 45 years. There’s two donkeys and two horses. I have another place in Yosemite, going towards Groveland, that is a 20 bedroom place I use by myself. That has been a great thing to do; to get away and focus. It’s 16 hour days of going in [to compose]. That’s all I’m there to do. There’s no place to hang out. I’m there to focus on the craft and get it done. It’s painstaking. The process of what I call “downloading”, because I’m basically just a scribe. I download from the divine. It’s a process of basically transcribing what I hear in my head. That takes a lot of focus. I take pen and paper and a piano, if there is one there, and after a while I start inputting it in Sibelius to make it easier for my copyist to not have to read my chicken scratches. I have tons of voice memos of singing harmonies and melodies, talking about intervals that accompany the melodic lines. I have a piece of staff paper that I have and write lines out. I catalog all that and when it comes to writing I will regurgitate all that stuff in my writing process. 

Where do you draw inspiration for your compositions?

Nature is huge. I also draw a lot of inspiration from current social issues. I also have sinethestesia, so I associate colors with tonalities. A lot of my works are equivalent to key centers I hear or colors. Usually the primary and secondary colors are represented. I realized this when I was six years old and wrote a piece called, “The Rainbow Song”, that was a basic I-4-5-6-1 song with arpeggios. The key of C was white, the key of F was orange, the g minor was purple, d minor was red. That corresponds a lot when I compose. I composed a piece about Big Sur and a lot that is in the key of C for the white crest of the breaking of the waves.  There is also b-flat for the color blue of the ocean.

What are a couple compositions you are working on now?

The Monterey Symphony just announced that I am the composer in residence. Monterey has pivoted to smaller works. One of the pieces I am working on is for solo violin and electronics with Christina Mok, Concertmaster of Monterey Symphony. She asked me to write a work for solo violin for her. This piece is called “Alone.” The next one is a co-commision with 4 different symphonies in California: The Pacific Symphony with Carl St.Claire, Monterey Symphony,  Fresno Philharmonic with Rei Hotoda, and Barbara Day Turner with San Jose Chamber Orchestra. That work is called, “Alone Together,” for strings and 2 percussion. It is written for orchestras and artistic organizations coming together in unity and creating a work. We are doing a big virtual video component as well. 

-------------------------------------------------------------------------------------------------------------

It goes without saying that 2020 has presented a challenge for musicians, composers and artists alike to discover new avenues of not only performing, but also connecting with each other as a community. The path for artists is narrow, but artists are forging new ways to find these types of connections our souls crave. It is clear that despite the struggles around all of us, music is a resilient language that is communicable through all people and all times in history. Be encouraged that there will again be a time that we experience live music together in the same room. In the meantime, I anticipate the creators of the arts will have plenty for us to listen to and learn from. 

My favorite part about performing is talking to the audience after the concert and learning about their reactions to the music. I am always curious to hear what their favorite piece was, what it made them think, and how it made them feel. Many concert-goers longingly recall how they desire to play the piano, or other various instruments, but have not had the opportunity to take lessons. I often respond with the suggestion to start learning music now. A common response is that they are unsure  about starting to learn music now because they feel it’s too late to start or they question if they can even make a pleasurable sound on an instrument. The truth is that everyone starts  at the same point and a person’s age does not represent their talent, it’s the hours  spent practicing the instrument everyday that is a true representation of one’s ability.

Today, most professional solo artists began their musical journey as early as early as 3 or 4 years old. The structure of learning for toddlers is much different, as you can imagine, than for an adult. Children often start learning by listening to specific songs and singing. The ability to play an instrument is built up by consistent daily practice of dexterity games and listening exercises that slowly contribute and transform into complex coordination and interpretation. Adults may feel a little silly learning how to play “Twinkle Twinkle Little Star,” but building a foundation on a familiar musical tune you can sing is a good place to get started. 

Students that begin taking private lessons as an adult are often faced with the unfamiliar territory of learning something completely new. I explain to my students that learning an instrument is like making a new friend, the more time you spend time with that person, the better you get to know them and understand them.  Over time, music becomes a life-long friendship of joy and commitment that is a part of your life.

If you’re interested in starting music lessons, consider the questions below.

Question 1: What are your musical goals?  

Perhaps you are interested in writing your own song, playing in a band, participating in an orchestra, or just being able to sing your favorite tune. Setting musical goals will guide your journey, even if the final destination is undecided.  Most popular music  can be arranged for beginners with basic chord structures and simplified rhythms. A private music teacher can help find these arrangements and give you the technique and tools necessary to reach your goal. There is an exciting array of music composed and arranged for beginner and intermediate students learning a variety of instruments, such as guitar, piano, strings, and flute.

Musicians eventually develop advanced techniques to be able to play a song how it is recorded. Music can become  even more exciting when you learn how to make a popular song your own style by adding variations that are unique to your specific taste! The possibilities are endless and your musical goals will forever evolve and grow.    

Question 2: Do you have at least 30 minutes, 3 times a week to practice? 

One of the world’s  most beloved painters, Bob Ross, said, “Talent is a pursued interest. Anything you are willing to practice you can do.” 

There is no secret to achieving your music goals. Regular daily practice builds  a foundation that will grow into new possibilities. If you don’t have enough time to play everyday, then start with just 30 minutes, 3 times a week. You will begin to see progress and reach your goals faster than you might imagine. Each moment spent with your instrument is like an investment in a relationship that can be lifelong and worth every minute.   

With helpful instruction and regular practice, there is no limit to what you can achieve.  

Just as a professional athlete needs to stretch to keep their muscles flexible, strong, and healthy, musicians should also consider adding stretching as a part of their daily practice routine. Whether you play guitar, violin, or sing, establishing a 10 minute stretching routine may open the doors to a world of benefits.

Benefits of daily stretching may include:

• Improvement of joint range of motion

• Improvement in performance of physical activities

• Decreased risk of injury

• Increased flexibility

• Improvement of muscle efficiency
  
  

It is a popular belief that one should stretch before starting physical activity. However, new research has shown that stretching cold muscles may actually cause damage to muscle fibers. Blood flow allows the muscle to be more pliable. Both Mayo Clinic and Harvard Medical Center recommend at least 10 minutes of light activity to get muscles warmed up before stretching. Musicians can try warming up their fingers and body by practicing a few scales before starting a stretching routine.

While practicing, it is also important to focus on posture. Good posture keeps the body balanced and allows the muscles to be supported properly so not one structure is over-stressed. The body should be tall with the shoulders back, stomach in, and straight spine with the chin parallel to the floor. Good posture also promotes optimal spinal cord function and allows the brain to communicate efficiently to nerve endings.

 Here are a few stretches to try adding to your routine.

Shoulder Roll:

Stand with feet shoulder width apart and arms to your sides. Rotate shoulders in a forward direction making big circles and then rotate them backwards.

Cow Face:

Stand with feet shoulder width apart. Reach your right arm up and bend at the elbow so your hand touches your back. Stretch your left arm down and bend at the elbow so your hand touches your back. Try to clasp your hands if it is comfortable. Hold pose for 4 breaths and gently release. Repeat steps using the opposite arm.

Cross-Body Shoulder Stretch:

Outstretch your right arm and bring it across your chest and left shoulder. Hook the left forearm over the right for support. Hold pose for 4 breaths and gently release. Repeat steps for the left arm.

Want to learn more stretching positions? Join our Yoga for Musicians Workshop at Sayla Music Academy. Instructor, Angelina Gervasi, will lead a 60 minute workshop designed especially for musicians in our outdoor courtyard! The workshop will get you started with new ideas to implement into your stretching routine. The class takes place on Saturday, September 26th, 2020, 9:30-10:30 am in Sayla’s outdoor courtyard.

Sign up today at www.saylamusicacademy.com/yoga 

“There is almost no better way to get to know a person than to be in a (chamber) group with them,”

— Cellist from 2019 Grammy award-winning Attacca Quartet, Andrew Yee

Think about taking the first bite of an orange. The sweetness of the juice, bitterness of the rind, and perhaps the surprising sour taste of fruit not yet ripe fills a familiar experience with a multitude of unique possibilities. This everchanging unique occurrence is what Pulitzer Prize winning composer, Caroline Shaw, and Grammy award-winning ensemble, Attacca Quartet, want you to experience when listening to Orange. The album consists of 10 pieces that range from a 16 minute movement, “Ritornello 2.sq.2.j.a.,” to the shortest movement, “Plan and Elevation IV: The Orangery”, at just under two minutes.  Orange was met with wild success, and the Attacca Quartet was awarded a Grammy in 2020 for Best Chamber Music/Small Ensemble Performance.

After listening to this album, it was obvious this group was the perfect choice to bring  Caroline Shaw’s music to life. The imaginative forces behind Attacca Quartet exhibit sharp textures, shades of vibrant colors, and rhythms re-imagined by unabandoned performers. The ensemble performs as one mind and body. Breathing and execution is unified as if a single person was playing an uber-string instrument. The violin becomes indistinguishable from the cello that transports the listener to a garden of ethereal bliss, joy, and vibrancy. The spirit of this music alludes to Bartok folk songs with a dash of adventurous Ravel, bonded with rhythmic chordal patterns reminiscent of Phillip Glass. The experience is unique and truly resembles the music of the spheres.

Orange is introduced in the first piece, “Entr'acte,” with rhythmic pulses. The strings’  lack of vibrato lends to an almost organ-like texture. Shaw  explores a playful use of sound and silence with textures of harmonics, brushing bow technique, and pizzicato. The introduction vibrates youthful energy with a contentment of joy in the present moment. A new section is introduced and full of mystery with steady, light pizzicato and creeping violin . Wild pizzicato jumps across the room and then erupts in bariolage  like colored rays of bursting light. The contrasts keep the listener constantly in a state of perplexity and anticipation. Faint whale songs melt into the original rhythmic pulses that initiate the piece, then dissolve into oblivion.  “Entr’acte” ends with angelic harp-like pizzicato. Perhaps this piece represents the violent conception of a seed? A simple small bead is completely destroyed when it sprouts. It then has the potential to grow into life that brings oxygen and sustenance.

Listen to Orange now!

Meet Andrew Yee: Cellist of Grammy  award- winning ensemble, Attacca Quartet

1. When did you start playing the cello and what inspired you to choose this instrument?

   I started playing the cello when I was 10 years old in the public school system. I wasn't intending to be a cellist when I was 10. The strings teacher came to the classroom and played all of the instruments. She was a violinist and played something really beautiful on the violin and played something really beautiful on the viola, and then she was a really bad cellist and played the theme from Jaws. That's when I knew I wanted to be a cellist.
   

2. Who was your favorite music teacher and why?

   My middle school / high school orchestra teacher, Kathy Dow (now Kathy Borgezanni) was really influential to me because she brought a lot of joy to music and she made it seem really fun. That was something I identified about her before I was even in her class. I just knew she was really cool and really fun. That sort of rubbed off on me especially now. I think about what my job is as a musician? My job as a musician is to make sure people have a good time and forget about the days they've had and sort of relax into the music. I think the more us musicians can project that atmosphere, the better.

3. What did your practice habits look like growing up?

   I was diagnosed early on with ADHD. I had a lot of trouble concentrating. What I never had a hard time concentrating on was making art. Whether it was drawing or playing cello for fun, that was always great. It was when I had to buckle down and do really hard work that was always an issue. When I was a kid I tried to practice a lot. I had my teacher and parents that helped me keep on track. As I got older I realized the feeling of not being able to stay on track for a very long time didn't go away. I started to think: What problems do I need to solve today? When I practice (I ask) : What can I not play? How can I go from  this point to this point and can play it in 15-30 minutes? Practicing smart is more important than counting the hours.

4. How would you describe the album, Orange?

   To us, as a quartet, it is about the pure joy of loving music. Not wondering about  will it be received as serious or passionate, or worrying about any of those things. This is our feeling; If you like us and trust us, we promise you'll like this.

5. Why is the album called Orange ?

   We went back and forth about what we wanted people to feel when they listened to it. We hadn't named the album until after we had recorded it. We were all in Boston when we recorded it.... There was this sense of exploration and joy that pervaded the whole experience. I think Caroline had been thinking about the concept that something as simple as a supermarket valencia orange, something you have handled, a thousand times, but the first bite is something always special and you can always find something new about it. I think that is how it came to be.

6. Describe the relationship dynamic of Attacca Quartet.

   The interpersonal dynamics of the quartet are impossible to describe unless you've been in a quartet for 18 years. In the same way you ask a married couple how their love has evolved over the last 20 years, it is a really complicated answer. Even if the couple is very much in love, it evolves. The thing about a quartet is that it's not a romantic relation, it's a business relation, but you need to have the same interests in each other that you do in a romantic relationship. There's a disconnect. It's a unique experience to be linked to a human being in that sort of relationship.

   There is almost no better way to get to know a person than to be in a (chamber) group with them, you learn, are you listening to me? Are you funny? Sensitive? Flexible? Self-Centered? You learn these things instantly when you start to learn a piece with them. When you sit down in a room with someone who really gets you and is listening to you and makes you sound better than you normally do, that is an incredible feeling, of being held up by somebody. That is the intoxicating feeling. That is the reason why I've been in a quartet for 18 years. My quartet mates make me a better cellist than I would have been without them

7. Many of the upcoming Attacca Quartet performances have been canceled or postponed. Has your ensemble been able to practice or record in the meantime?

   We are going to be recording a follow up Caroline Shaw Vol. 2 album soon. Then another album of electronic music in December. We have a busy recording schedule ahead of us.

8. You have been a wonderful advocate for new composers and musicians during this time with National Sawdust and Mindful Minutes. Do you have any other projects or performances in the works?

   I have a solo project I'm working on called “halfie” that is a solo cello self discovery project. I'm mixed race and non-binary: playing music of composers that share a certain aspect of my life with me and putting on a whole show is a way I am learning about my past, my future, and my present. I also co-run an organization called ChamberQueer, that programs the music of great composers of different times periods and implies queer musicians around that.

9. What hobbies do you have outside of performing music?

I've gotten back into visual art. I started focusing one year at a time on different aspects. I did a year of charcoal, and then I did a year of pastel, and now I'm beginning a year of watercolor. I'm learning the basics of each art as they apply to me. And I cook a lot!

10. What advice would you give to musicians today?

The one piece of advice I have to to be nice to your colleagues. Not only is it good manners, but they are going to be the people who hire in the future. If you are mean to somebody, they're probably not going to call you. It also just doesn't hurt to be nice.

The Attacca Quartet currently consists of  Amy Schroeder and Domenic Salerni on violin, Nathen Schram on viola, and Andrew Yee on cello. Check out the following resources if you are interested in learning more about The Attacca Quartet or Caroline Shaw. 

Attacca Quartet Website: www.AttaccaQuartet.com

Attacca Quartet Facebook Page: www.facebook.com/attaccaquartet/

Caroline Shaw Website: https://carolineshaw.com/

Even better! Buy the album or get involved in a chamber music ensemble. Chamber music ensemble classes will be offered at Sayla Music Academy in September 2020. Check it out!

About the Author

Carol Ann is the co-owner of Sayla Music Academy where she also teaches cello. With a passion for music and collaboration she can be seen performing in many local orchestras and ensembles. Through this blog she communicates her ideas, opinions, and fantastic interactions with musicians and artists from all over the world!

Sayla Music Academy is dedicated to the cultivation of strong communities through quality music education and engaging music performances. We offer one-on-one private lessons that improve cognitive skills, build responsibility, enhance dedication, and relieve stress. Students have the opportunity to participate in group ensembles that promote positive social interactions and builds self-confidence through regular solo and group performances.  By providing a music school to the local community they continue to promote and encourage people of all ages and walks of life to participate and experience music!