Concertmaster Profile: Chase Spruill in Conversation with Christian Baldini

Meet Chase Spruill: The New Concertmaster of the Camellia Symphony Orchestra

Christian Baldini: Chase, it is my pleasure to welcome you to the Camellia Symphony Orchestra family as our new concertmaster. It was a real pleasure to work with you last season as one of our guest concertmasters, and based on the wonderful feedback we received, I know I speak for our orchestra members as well when I welcome you with open arms into your new position.

Chase Spruill: Thanks, Maestro-- it's really a joy to be joining you all this season.  It was a pretty special feeling stepping in as a guest last season.  There's always a little bit of nervousness for me when I'm doing something like that because you feel like you're walking into somebody else's home, but everybody was so warm and open during that time, and so committed to joyful music-making and doing their best...when you see something like that, it's hard to pass up the opportunity when you're given a reason to stay with that community longer!

CB: After having developed a fruitful career in the East Coast, you recently returned to the Sacramento region, and it's wonderful to have you with us sharing everything you bring into your position from your experience as a seasoned chamber musician and orchestral musician. What are some of the experiences you remember most fondly from your time working with folks like Philip Glass, Steve Mackey and the Kronos Quartet?

CS: Always the rehearsals.  Performances should stand out for me, but it's the rehearsals which stick out in my mind.  There's so much dialogue and conversation in the rehearsal, and the endeavor to draw something out of the music we were playing felt so shared, I don't think I knew when I first started working with those kinds of artists that it was okay to be human and spirited and inquisitive.  In my musical life, I grew up listening to and admiring those artists, and in my imagination, I thought playing with them would mean I had to walk some kind of ultra-prepared, uncompromising line, and that they would somehow like me more if I did things the way I assumed they were used to other musicians doing them, and I couldn't have been more wrong.  They knew I respected their work and wanted to be with them and learn from them, yet they never implied that I should be quiet.  I was always shocked at the amount of times questions would come my way about what I was hearing or thinking, or whether I could think of any new approaches.  Working with them really solidified in my own spirit the kind of human being I wanted to work to be in the music world.  

CB: Tell us Chase, how did you begin your musical path? Was there a person or a few people that were particularly influential and inspiring to you?

CS: Like a lot of young people, I started music in public schools when I was 10 years old.  I'd always been drawn to film music, so when the offering came around, I chose violin, and I was getting pretty serious about it.  Unfortunately, when I was 12, I suffered a pretty life-altering injury which left me bedridden, wheelchair-bound, and in-and-out of surgeries for the next two years, which also meant I had to come in-and-out of school.  I have a very close relationship with my parents, and they don't know the meaning of the word "Quit."  During that time, getting me back to health and while supporting my rehabilitation, they were the ones who tried to create as much normalcy for me as possible, and they saw that I was serious about violin and music, so they figured out a way to get the arms off my wheelchair, got me set up so I could play and practice, hired a private music teacher named Matthew Grasso whom I still learn from and play music with to this day, and the rest is history.  I've never stopped.  I'd have to say if there were people who were particularly influential and inspiring to me, it'd have to be my parents.  Musically, Matt continues to inspire me, my other longtime teacher and friend Anna Presler, the lot of people from the Philip Glass camp such as longtime director of the Philip Glass Ensemble Michael Riesman, and my good friend Richard Guerin.  I knew of them long before they knew of me, but I'm really happy we know about each other now.

CB: What are some of your musical dreams, ideals or plans?

CS: I've had a longtime, healthy obsession with British composer Michael Nyman.  I've wanted to play in the Michael Nyman Band for as long as I can remember--like the same way David Bowie knew he wanted to play sax with Little Richard's band.  The good news is that it seems closer as a possibility now than it ever has before.  I keep asking Nyman if I can pay my way to play just one show with them.  Just one!  I think he thinks I'm being flattering and borderline ridiculous, but occasionally when we talk, he hints that maybe that dream will get to come true for me soon.  I keep hoping!  And practicing.

CB: In your opinion, what could we change or add to the concert experience to make it more inclusive, more welcoming, and even more special than it currently is?

CS: That you and the Orchestra are even asking that question I think makes a world of difference to the community you're serving.  Discovering the best functions for what Camellia Symphony Orchestra does for the immediate and surrounding community is huge.  Keeping the transparency and presence of the orchestra in places where more people have access.  I'm blown away and love the idea that the orchestra occasionally plays concerts on a rooftop.  I love that schools and young people and their families have access to live performances.  Staying in that gear and doubling down on those efforts goes such a long way, and I'm looking forward to joining in those efforts while we're together.

CB: Thank you so much for sharing all this about yourself. We look forward to wonderful collaborations together with you and the Camellia Symphony Orchestra.

CS: Maestro, this is great, thank you.  I love what the orchestra's been doing.  I'm excited to get to work!

Violinist Chase Spruill is forging unique paths connecting contemporary chamber music, music education and public service. He was an artist-in-residence and founding violinist of Sacramento State University’s contemporary chamber music ensemble before accepting a residency at the Nationally celebrated not-for-profit organization Community MusicWorks in Providence, RI where he served as a core faculty member and resident musician from 2012-2017, and was appointed a visiting professor of violin at Wheaton College in Norton, MA from 2015-2017. He’s performed with and collaborated closely alongside notable artists in the field such as Kronos Quartet, Emmanuel Ax, Steven Mackey, Johnny Gandelsman of Brooklyn Rider and the Silk Road Project with Yo-Yo Ma, and currently tours as a duo alongside pianist and longtime director of the Philip Glass Ensemble Michael Riesman. Spruill’s Philip Glass recordings can be found on the composer’s label Orange Mountain Music, where he will be featured on Riesman’s forthcoming album Philip Glass Soundtracks, volume 2 available May 24, 2019.

In 2018, he joined the independent record label Supertrain Records alongside a roster of artists including William Bolcom, Dennis Russell Davies, and Zbigniew Preisner. His first release with the label celebrates the violinist’s ongoing collaboration with award-winning British composer Michael Nyman (notable composer of such films as The Piano, Gattaca, and The End of the Affair...) whom turned 75 in March of 2019. YAMAMOTO PERPETUO is a beautiful, fiery marathon of a score written for a fashion show in Paris during a collaboration with lauded designer Yohji Yamamoto. It is the first widely-available recording of the 12-movement virtuoso work in its intended form (it later became the entirety of the first violin part for String Quartet no.4, a basis for Strong on Oaks, Strong on the Causes of Oaks written for chamber orchestra, and his Violin Concerto no.2) and is the violinist’s solo debut album. Nyman raves that Spruill’s recording,”...is played with fierce dedication...” In the summer of 2019, Chase Spruill was appointed as the new Concertmaster of the Camellia Symphony Orchestra in Sacramento.

Wonderful Review for the Camellia Symphony Orchestra, Er-Gene Kahng & Christian Baldini

"It’s a challenging proposition for an orchestra to put forward a whole program of not-very well-known music, and the Music Director Christian Baldini, and the Camellia Symphony are to be applauded for their bold programming and excellent artistic execution."

"It all took great skill for the orchestra to navigate, and Kahng’s violin offered clarity and warmth of tone, as well as brilliant precision in the technical demands.  It was a completely thrilling performance, and I joined the audience in an energized ovation."

"the orchestra navigated the surprises of this new work with great skill, and it was definitely a thought-provoking piece."

"The orchestra’s performance was brilliant and energetic, and I completely enjoyed hearing it.  I am so thrilled to have been able to attend this wonderful concert by the Camellia Symphony Orchestra – and I look forward to hearing more from this orchestra!"

Liane Curtis, a musicologist and the President of the Women's Philharmonic Advocacy, an organization "leveling the playing field for women composers" has written a glowing review of the Camellia Symphony Orchestra's last performance celebrating Black History Month. Kudos to everyone involved in making this concert such a success!

Click here to read the entire review.

Violinist Er-Gene Kahng in Conversation with Christian Baldini

In preparation for our performance of Florence Price's Violin Concerto No. 2 in Sacramento with the Camellia Symphony Orchestra, I had the pleasure of interviewing Er-Gene Kahng, concertmaster of the Arkansas Philharmonic and Fort Smith Symphony, and Professor at the University of Arkansas, who will be our soloist for our performances.

Christian Baldini: Er-Gene, it is a real pleasure to have you with us for this beautiful work by Florence Price. You were instrumental in the rediscovery and recording of this piece. Can you tell us how this project came into being? How did you first become acquainted with the compositions by Florence Price?

Er-Gene Kahng: I would be remiss if I didn't mention that it has been the collective work of our librarians who rescued the manuscripts, our historians and musicologists who have been researching, writing and thinking about Price's life and work since at least the 1970s, the archivists who continue the work to bring her legacy to the fore, and also the many performers before me who were already performing her compositions before we came to discover the lost manuscript of her violin concertos. It has been the combined efforts of a strong community over the course of many decades. 

I first performed Florence Price's String Quartet in G major (1929) at the Florence Price symposium at the University of Arkansas in 2015. After that introduction, my initial curiosity manifested into increasing levels of passion and commitment. One day, while at our special collections library, I found myself looking at Price's violin concerto manuscripts thinking, "this would be really great if someday, somebody recorded these works. Could that person be me... maybe?"


CB: What is so special about Florence Price's music? You bring a very beautiful sound and shape to every phrase in this concerto. Why is this music so special to you?

EGK: Thank you! It *is* beautiful music. And by that, I don't simply mean that it is pretty or pleasing, but that it holds a truth that is deep, layered and impactful. I hear the homage to the classical tradition in which she was trained (and a mastery its language), but also an homage to her Southern roots (even as she came to live the majority of her adult life in Chicago). The very tradition she honored and mastered was also the tradition that limited her opportunities. She questions this tradition without destroying its basic framework. Her answers to these artistic polarities (innovation vs. preservation of tradition) are manifested in the rich world she creates for her listeners, and the language she confidently develops and owns. She holds a space that generously houses classicism and modernist instability in a manner that is searching and assertive, all the while inviting us to respond to these polarities and clashes in our own way. I deeply admire her artistic vision.


CB: In this concert you are also playing the world premiere of Chris Castro's work "Sing High". I know Chris is very excited to have written this piece for you. What can you tell us about this piece?

EGK: I am very excited to share Chris's piece! It is an evocative work with a cornucopia of musical allusions and references, past and current. Despite it being a short, single movement work, it deals with big ideas which always circle around - it seems to me - the question of defining, elaborating and questing the very essence of 'music'. I find that so much of music is actually philosophy. Chris's piece really reminded me of this.


CB: How do you feel about having been so important in this great revival and interest in the music by Florence Price? Did you imagine it was going to have such a positive impact when you started your project?

EGK: I am genuinely surprised, elated and humbled. I had no predictions to its reception; in the beginning, I was simply consumed with the fear and anxiety that the project - for a number of reasons - would fail to finish. When we finally finished, I was overcome with a feeling of relief and gratitude, possibly even a moment of disbelief. As you know, any kind of recording project of this scope is dependent on many, many elements to come together at the right time, not to mention the strong faith, morale and dedication of each team member. Even the most carefully constructed plans cannot guarantee successful completion. I feel lucky and fortunate to have had the right elements in place at the right time with the right people.


CB: You are also a Professor, and have surely had many wonderful students over the years. Are there any tips you would give to aspiring musicians?

EGK: I really like and appreciate my students, not only as artists, but as people; and yes, I've had wonderful students over the years! The tips I would offer aspiring musicians are the same ones I aspire myself: actively creating an environment and attitude of learning; additionally, strengthening and utilizing all available resources for critical self-reflection.
Creating an environment for optimal learning might be something as literal as creating a good practice schedule, or making sure one gets enough sleep so that one isn't tired the next morning. Or, it might mean attending as many live concert performances as one's schedule might allow, or finding time in the day to discuss musical ideas with friends. At the core, it hinges on the idea that successful results require successful processes and that certain environments are more conducive to encouraging that success to surface than others; therefore, we should strive to set the stage for success, whatever this stage might look for you, whatever success means for you.
Bringing an attitude of learning means setting one's ego aside so that the challenges to artistic mastery aren't driven by our ego's need to personalize everything or preserve itself at the cost of truth-seeking or objective/unbiased observation.
Finally, over the years, I have found that keeping in touch with my mentors and role models, and allocating time to write regularly in my practice journal has vastly aided in clarifying my musical values and thinking process. I constantly work toward expanding my musical conceptions, keeping an open mind, and developing my musical empathy. I understand I still have a long way to go, and many, many more things to learn.

CB: As a performer, which answer would you give to folks that normally don't go to the concert hall and that might wonder: why is music still relevant or important in society nowadays?

EGK: I would encourage people to take a chance and enter that special space of live music-making. I more than understand that classical music and traditional concert hall culture may not be for everyone, and that sometimes it may only be successful in capturing the imagination and attention of a few. I also understand its challenges to aural accessibility. However, I do believe that the world of classical music, despite its cultural specificity, represents a very profound world, and creates/maintains a compelling connection to our shared history. It is a powerful anchor in affirming our humanity.


CB: Er-Gene, thank you very much for your time, and for sharing your immense talent with us. We can't wait to share your beautiful playing with our audiences in Sacramento!

EGK: Thank you so much for the invitation and the opportunity!

Er-Gene Kahng

Er-Gene Kahng’s performances have been described as possessing a “caressing sense of phrase” and “an honest musicianship[which] translates the music into a meaningful discourse few virtuosi accomplish”; her recording of Florence Price’s Violin Concertos (Albany Records, 2018) has been cited and praised by The Wall Street Journal, The New Yorker, and The New York Timesas an important contribution to American classical music, and has aired on programs like NPR’s Songs we Love, and APM’s Performance Today.  Alex Ross described the recording as “Price’s best outing on disk to date… Kahng plays the solo parts with lustrous tone and glistening facility.”

Er-Gene currently serves as Concertmaster with the Fort Smith Symphony, who has also completed a Florence Price preservation project by recording her symphonies no. 1 and no. 4 (a world premiere). Er-Gene also serves as Arkansas Philharmonic Orchestra’s concertmaster, where she premiered Florence Price’s Violin Concerto no. 2.  Previously, Er-Gene has held title positions with the North Mississippi Symphony Orchestra, SoNA (Symphony of Northwest Arkansas), Baton Rouge Symphony Orchestra, the Civic Orchestra of Chicago, as well as section positions with the Lancaster Symphony, New Haven Symphony Orchestra, Eastern Connecticut Symphony and the Artosphere Festival Orchestra.

Er-Gene co-curated a new music series “Fuse” (2015-16), at Crystal Bridges Museum of American Art featuring the works of American minimalism, indeterminacy, and postmodernism. Her A/V collaborations include working with animator Wilson Borja, whose work, “Cheré” explores themes of forced and voluntary migration of the African diaspora. Other collaborations include those with the Texas Ballet Theater, and the Hong Kong Arts Academy, performing an original score “Crash” by choreographer Jonathan Watkins.  

Er-Gene was a Visiting Wolfson Fellow at the University of Cambridge in Cambridge, UK in 2016-2017. She received degrees from UCLA, Yale and Northwestern.  Her primary teachers include Mark Kaplan, Erick Friedman, Syoko Aki, the Tokyo String Quartet and Almita and Roland Vamos. She isProfessor of Violin and the Director of Graduate Studies at the University of Arkansas in Fayetteville.  Her students have gained admission to some of the top music schools in the country, including New England Conservatory, University of Southern California, Peabody Conservatory/Johns Hopkins University, University of Minnesota, University of Michigan-Ann Arbor, as well as being prizewinners of the MTNA regional and national level competitions.