Dagenais Smiley and Susan Lamb Cook in Conversation with Christian Baldini

On February 17, 2024, I will have the pleasure of collaborating with violinist Dagenais Smiley and cellist Susan Lamb Cook bringing to life together the beautiful Concerto for Violin, Cello and Orchestra by Brahms. This will be in Sacramento with the Camellia Symphony Orchestra. After intermission, we will perform  Bruckner’s 5th Symphony. Here is a conversation we had with Susan and Dagenais, in preparation for our performance.

Christian Baldini: Welcome, Susan and Dagenais, it will be a real treat to do this double concerto with you. Please tell me, what are some of your favorite features about this piece? Why is this such an important piece in the repertoire, and what do you love about it?

Susan Lamb Cook:  I have always been a fan of the music of Brahms and have studied and performed much of his chamber music repertoire, from the wonderful cello sonatas, to his string quartets, quintets, sextets, piano trios, quartets – the list goes on.  So, having the opportunity to perform the Double Concerto is truly a highlight for me, especially with my dear friend and colleague Dagenais Smiley as well as with you, Christian, and the Camellia Symphony Orchestra.  So often, concertos begin with a long orchestral introduction but in this case, Brahms launches immediately into a cello cadenza, similar to the opening of the Elgar Concerto which I had the pleasure of performing with you and the CSO last season.  In Brahms’ opening cadenza, he soon has the violin join in, creating a conversation between the two instruments which gives a preview of what is yet to come.  The Brahms Double is an expansive work containing technical and musical challenges not only for the soloists but for the orchestra as well.  This was Brahms’ final symphonic composition, and one can hear the luscious textures which Brahms is so famous for throughout this monumental work.

Dagenais Smiley: As a violinist, I always love playing the works of Brahms, from the symphonies to the string quartets, and his violin concerto is one of my favorites. He always writes incredible melodies, and intense textures, which is thrilling to perform.  I haven’t had the pleasure of working on the Double Concerto before now and it’s been an incredibly rewarding undertaking.  It’s a unique experience to share a concerto with another instrument, especially the rich voice of the cello, and as Susan already mentioned, it’s like having a conversation with a colleague.  It is technically demanding while still presenting beautiful, soaring melodies.  It’s interesting to note  that it wasn’t immediately a hit upon its presentation, but it has now become a favorite amongst both cellists and violinists.  I am extremely excited to be performing this work with Susan and with you, Christian, and the Camellia Symphony!

Christian: As you know, composers (and especially followers in their circles) had rivalries, and this was also the case between Brahms and Bruckner. Constantin Floros states that “In the last third of the 19th century Brahms and Bruckner were regarded as antipodes.” For different reasons, this was also the case at times with performers. Brahms and the famous violinist Joachim (for whom the Double Concerto was written, together with cellist Hausman) had had a fallout. Brahms offered this concerto as an olive branch to Joachim. In fact Clara Schumann wrote in her diary that after Joachim, Hausmann, and Brahms had tried out the piece for friends, “The Concerto is a work of reconciliation. Joachim and Brahms have spoken to one another again.” - My long related questions to both of you are: What does music mean to you? Is it possible to alter/affect the human spirit through music? Which kind of atmosphere does it communicate, or which kind of spirit inhabits this particular concerto?

Susan:  The world of music, and specifically the cello, has been a part of my life ever since I can remember, so I feel as though the cello is simply an extension of who I am.  My cello and I spend so much time together – in the practice room, in the teaching studio, on the concert stage – that I really can’t imagine my life not being filled with music and the art of music making.  As to whether or not music can possibly affect the human spirit, my answer would be absolutely, yes.  It is interesting how we each seem to be drawn to different styles or genres of music, composers, artists etc., and sometimes we can all listen to the same piece of music but each has a completely different reaction to it.  Our reactions can include joy, excitement, sadness, despair, but the fact is that we react or respond to the way in which the music touches us emotionally.  I do hope that, through our performance of the Brahms Double, we will be able to stimulate reactions from the audience members, perhaps a feeling of excitement from the powerful opening statements of both the first and last movements, as well as a sense of affection and joy from the gloriously optimistic melody of the second movement.  This monumental work leaves me breathless, so I hope it will do the same for our audience members.

Dagenais:  My relationship with my violin and with music is much like a relationship/friendship with a fellow person.  Sometimes it’s filled with joy and humor, sometimes sadness and even a bit of frustration, but it’s always there and as Susan has already stated, I can’t imagine a life without playing music. I had the opportunity to play Mahler 4 recently and during some of the rests, I looked out into the audience and saw how rapt the audience was, and some attendees were even in tears, so yes, I do believe that music has the ability to affect our spirit.  I have favorite pieces I gravitate towards when I’m in a certain mood, as I’m sure we all do, and part of why I love performing (any type of music), is the connection with the audience.  It’s very rewarding to bring the joy, beauty, emotion, sadness, etc. of music to new people.  I’ve talked to some who have never attended a concert before and they were so excited and moved by what the music made them feel.  I look forward to sharing this great piece with the audience and I also look forward to hearing the Bruckner!

Christian: You are both wonderful educators, and colleagues of mine at the University of California, Davis. What are some of your favorite things about working with young people and helping them grow as musicians and human beings?

Susan:  Teaching brings me great joy - I really love working with my UC Davis students as well as my adult and my pre-college students.  Many of my students at UC Davis have chosen fields of study other than music, like animal sciences, engineering, environmental science, etc., but they truly love and value their connection to music through their cello. I am pleased and honored to assist them in becoming better players so that they will have the life-long ability to continue expressing their passion for music through their cello playing.  I continue working with pre-college students through my Rising Stars of Chamber Music Program which takes place each year over the winter holiday.  The students in this program are advanced players who are passionate about chamber music and are totally committed to their music making,  As these students study some of the great works in the chamber music repertoire, I can see them develop as musicians through their understanding of musical lines and phrases, and more importantly, I can see them develop and use tools of cooperation and collaboration while working with their group members, which ultimately allows for wonderful friendships to be formed.  This is one of the greatest benefits of being a musician. 

Dagenais: As Susan mentioned, many of the students we have are majoring in other challenging disciplines yet they want to maintain that connection to music and their instruments.I help them with time management and give them suggestions on how to practice efficiently with limited time and I love seeing the excitement in my students’ eyes when they realize how much progress they’ve made over the quarter.  I am very proud of my students when they are able to master a new technique or play a piece they never thought they would be able to before through their hard work and diligence.  It’s rewarding seeing how important music is to them despite how busy they are in their other fields and I am grateful to have the opportunity to work with them on their musical journey.

Christian: Lastly, what would be your advice for young musicians? We have all felt challenges in life. Most people have thought about quitting, multiple times in many cases. What advice would you give to someone who is struggling with their musical development?

Susan:  There is no doubt that succeeding in music takes a great deal of time, effort, and commitment, and I can certainly remember that, when I was younger, there were periods of time in which I simply wanted to give up.  I was fortunate, though, to have had wonderful teachers along the way, not to mention my parents who were always encouraging me to continue practicing and not be discouraged if things did not always go as I had hoped (in performances, competitions, etc.).  As musicians, we are always putting ourselves on the line, baring our souls to the listener and opening up an often intimate and very personal part of ourselves. Not an easy thing to do.  I always tell my students, though, that every performance is a dress rehearsal for the next performance, with the thought that we are always practicing, doing our best to improve and, of course, always striving for the perfection that we may never achieve.  Some great advice that I received early on was to surround myself with those who were better than me so that I could always continue learning.  This advice has served me well, not only in the area of music. 

Dagenais:  My approach to teaching is to be encouraging, but also realistic and understanding.  One of my students was struggling with the motivation to practice,  so we had a chat about it and I acknowledged that student’s feelings (we’ve all been through that struggle in our life) and gave them some advice on how to move forward. I think it’s important to recognize when something is a struggle and to accept and acknowledge those feelings rather than try to erase them. I try to teach my students to have patience with themselves (something that I struggled with in school). It’s ok to take a day off practice when you’re in a negative head space and return the next day feeling refreshed and excited to begin again. It’s easy to get stuck in the cycle of trying to achieve perfection and the rat race of gigging so much that we can sometimes get frustrated and lose the joy of performing. It’s important to take the time to remember what music means to us. Sometimes it can be a wonderful change to attend a concert rather than performing in one to remember how powerful it can be to experience live music.

Christian: Thank you both very much for your time, and especially for your wonderful musicianship that I will be delighted to share with our audience in Sacramento!

Dagenais Smiley, a Northern California native, earned  her bachelor’s degree from the Oberlin Conservatory  under the direction of Milan Vitek and her master’s of music from the USC’s  Thornton School of Music, studying with Ms. Kathleen Winkler. An active orchestral and chamber musician, Dagenais performs with the Sacramento Philharmonic and Opera, and is currently acting Associate Concertmaster with the Modesto Symphony, often stepping in as Concertmaster. She recently became Assistant Concertmaster of the Reno Philharmonic and also performs with the Stockton Symphony, the Monterey Symphony, the Fresno Philharmonic, and other various Northern California  orchestras. Ms. Smiley currently teaches violin at UC Davis and maintains a private violin studio. She enjoys skiing, hiking and playing Pokemon Go in her spare time.

Susan Lamb Cook is Lecturer in Cello and Chamber Music at the University of California, Davis, and holds degrees from the University of Iowa and the Hochschule für Musik in Vienna, Austria.  She is a member of the Sacramento Philharmonic & Opera and the Sacramento Choral Society and Orchestra and is director of the VITA Academy’s Great Composers Chamber Music Series at the Harris Center in Folsom. Her solo performances include those with the Sacramento Philharmonic, the UC Davis Symphony Orchestra, the Reno Philharmonic, the Cairo Symphony (Egypt), the Paradise Symphony, and the Camellia Symphony.  In Addition, she was featured as soloist in a Gala Concert in the Esterhazy Palace, Eisenstadt (Austria) with the Classical Music Festival Orchestra. As an active performer and educator both nationally and internationally, Susan has completed five concert and teaching tours of China, has performed and given master classes at San Francisco State University, Scripps College, Harvey Mudd College, Marshall University in West Virginia, Austin College in Texas, and Utah Tech University, and her performances have been featured on National Public Radio and Austrian National Television. She has served on faculty at the Saarburg International Music Festival in Germany, the Vianden Festival, Luxembourg, and on the artistic staff for the Classical Music Festival in Eisenstadt, Austria.  As member of the Kismarton Trio, she has performed at the Hungarian National Museum and the Petöfi Museum of Literature in Budapest (Hungary).  Susan performs regularly for the UCD Shinkoskey Noon Concert Series, the Westminster Music At Noon Series, and the Crocker Art Museum’s Classical Concert Series, and her past performances can be found on YouTube at Susan Lamb Cook, Concerts and Conversations, and the UC Davis Music channel.

Trey Makler in Conversation with Christian Baldini

Christian Baldini: I am thrilled that young composer Trey Makler has written a new work that we will perform with the Camellia Symphony Orchestra in Sacramento, in a program that includes Shostakovich's Symphony No. 6 and Korngold's Violin Concerto with Kinga Augustyn. Working closely with a composer on a world première is always a very exhilarating experience. In this case, we have had the luxury of having Trey in several rehearsals, which was very helpful for a work of the nature of "false starts, missed connections", in which Trey has orchestra members inhabit quite a different world from what they are usually asked to do in more 'traditional' settings. Trey, in this work you ask orchestra members to sing, play in unsynchronized ways, and you also make unusual and beautiful requests with regards to character and/or sound production, such as "flickering", "stutters", "a mobile with many parts", etc. Please tell us, what is behind this work? How did you come up with these beautiful and very free ideas?

Trey Makler: Thanks, Christian. It's been an exciting journey working through this piece with everyone. I commend the orchestra on all of their efforts, especially with the new techniques! In many ways, this work was made as a joke with myself. I've been writing quite a bit of music over the past year, and this is actually the second piece for orchestra during that time. Writing for orchestra is daunting—there are so many moving parts, and I feel it's really important to try and give every player something interesting to do so that everyone can feel that their role is valuable in bringing the music to life. This final version of false starts, missed connections is actually my fifth or sixth attempt at the piece, so pushing through my initial block became the impetus for the entire piece: gestures will burn bright and quickly die out, or players will have quasi-unisons that never seem to align. All of my decisions were channeled into writing a piece about how hard it is to write a piece, and finding some joy and playfulness in that situation. 

     As for some of the techniques and free gestures, I go back and forth between writing fixed and free music. I have only ever written really tight, heavily notated music for orchestra, but my chamber music has gotten far more open. So, I wondered what it would be like to give a large ensemble a more open approach that isn't so reliant on rigorous precision and virtuosity; in many ways, I turn precision and virtuosity on their heads in this piece, and reimagine them in radically different contexts. With this approach, I get to be a little bit more involved in rehearsals, too, and I think that's extremely important, that I'm not just a random person dropping off a score and parts and then circling back to hear the result at the end. 

     And finally, I spend an incredible amount of time determining the language I use in the score. Notes are rarely enough, and in the whole creative process I will discover these tiny bits of phrases, descriptors, or images that act as mental placeholders for the music, so that I can quickly recall ideas. We're all people with rich and varied lives, so I like to think that precise and colorful language allows the players to more fully imagine the music, whether it be melodies, textural gestures, or the full narrative unfolding of the piece.

CB: What should people know about your music in general? What are your main goals, and what defines you as a composer?

TM: I try to always take a risk, and to treat every piece as an opportunity to grow. Recently, nearly all of my music has featured the voice, despite there rarely being a vocalist. There is so much beauty in hearing a person's normal, everyday, singing-in-the-shower voice, and it always brings me back to memories of my grandma working around the house and singing or humming under her breath. I think we can all relate to each other through singing. 

     Formally speaking, I keep accidentally stumbling into writing pieces that are essentially in two, mostly unrelated, parts. false starts, missed connections is like this, too! I think this has something to do with imagining a before-and-after in a narrative, with some sort of rupture that occurs and changes everything. If a main "theme" comes back, it's often quite disfigured and fragmented, like a memory that keeps getting further away. 

     I'm defined by a desire to write serious music that doesn't take itself too seriously. My music is always playful and has a sense of humor, and I think it's important that everyone involved is able to enjoy themselves through the music—the audience can always hear if the players are in it, or if they're just playing the notes, and I think this responsibility is in part on the composer to curate a positive experience. The world is a really scary, challenging place sometimes, so I try to resist replicating that darkness in my music. It's just not interesting to me; I'd much rather imagine a sparkly utopia that shows hope on the horizon. 

CB: Who are some composers from the past that you love, and why?

TM: Stravinsky always comes to mind immediately. Everything he did was so bold, and no matter what "style" he wears, be it Russian, neoclassical, serial, etc., it sounds like Stravinsky. He is one of the first composers that I spent considerable time with when I began formal study in college, and I have made so many meaningful relationships through his music. Lully is really fabulous, it's such bouncy music with lots of frills and ornaments, which have absolutely rubbed off onto me. Ligeti has been deeply impactful, too, particularly his approach to color, texture, and gestural freedom. 

Sort of a "hidden gem" for me is Henning Christiansen, who was a Danish composer associated with the Fluxus and New Simplicity movements. I did a research project on his music when I first began my PhD at UC Davis, and I was blown away by the clarity of his vision, and his concern for making music that didn't seek to emotionally manipulate the audience. Plus, some of it is really wild! There's a great story about his dismissal from the Royal Danish Academy of Music that I won't recount here, but find me after the concert and I'll share it with you! I think my gravitation towards musical mobiles comes in part from his music. 

And while not a composer per se, I also heard a lot of oldies growing up; my grandma had an Aretha Franklin greatest hits album that she would play constantly. I love the declarative melodies, extended harmonies, and high-energy rhythms, and they creep into my music every now and then. 

CB: Who are some living composers that you admire, and why?

TM: Hans Abrahamsen is definitely one of my favorites. Another Danish composer and a student of Ligeti, he composes with such intention and restraint. Schnee, Let Me Tell You, and his wind quintets are such incredibly intense pieces, but it's a different intensity, really unlike the typical approach. Often quiet, really delicate.  His music is always evocative to me, conjuring mental images of vibrant, snowy landscapes.  Plus, he interacts with the past in really interesting ways that draws attention to the constructedness of composition; composers can wear all sorts of styles, and sometimes more is more.

     Gloria Coates, particularly her String Quartet no. 9, is stellar. She detunes half the quartet by a quarter tone, and repeats these haunting melodies over and over again until they're eaten up by glissandi to create a Shepard's tone. It's otherworldly and I can't get enough of it. 

     Steve Reich is another go-to of mine. I think I have a bit of a minimalist urge when I'm writing, and I blame his music! It's infectious, and if you keep listening these gorgeous hidden melodies start to reveal themselves from the repetition, even in his early tape music. If I had to pick a favorite piece of his, it would probably be Tehillim.

     I have to also mention that I was absolutely obsessed with Japanese Role-playing Games (JRPGs) as a kid, so the music from video games like the Final Fantasy series (Nobuo Uematsu, and others more recently) and Chrono Cross (Yasunori Mitsuda) has a deep impact on me. Also, all of the cute little melodies from the early Pokemon games (Junichi Masuda). When you're playing a game of this genre, there is all of this musical repetition, and tons of themes. It's almost like a Wagner opera! But you will hear them so often that they become a part of you, and to this day I can recall so many emotional narrative arrivals from these games that are really uplifted through their scores. 

   Talking composers can turn into purgatory because it will never end, so I'm exercising some restraint, but of course this list can go on and on and on.

CB: Tell us a bit about your education. You and I met at UC Davis, where you are now completing your Ph.D. in composition. You came with a very strong background having studied at the Juilliard School in NYC. What are some of the most important formative experiences you've had? Are there any mentors that were particularly positive in your early stages?

TM: Well, I grew up on ten acres off a gravel road in rural southeast Missouri, and fell into music by accident. I played oboe and a bunch of other instruments in concert/jazz/marching bands throughout middle and high school, and then joined choir towards the end of high school. I was a little scared of going too far away from home for college, so I ended up at the University of Missouri (Mizzou) for my undergraduate study, which is another hidden gem. It has an incredibly well-supported new music initiative, plus was the first music school in the country to offer a certificate in music entrepreneurship. Of course, I had no idea what any of this really meant at the time—I didn't really know anything from the "canon" as we think of it in classical music, nor did I have any concept of what a professional life in music looked like outside of teaching high school band, which was my initial calling. I just liked making music, and I had twiddled my thumbs in Finale, a music notation software, for several years. The first mentor that I shared this secret hobby of mine with was my high school choir director, Sue Bauche. She encouraged me to apply to the composition program at Mizzou, and helped record and premiere my very first piece, which was for choir, so that I could have at least one real recording for the application. She unfortunately passed away from cancer the summer after my freshman year of college, but I think of her often. She is a huge reason why I am on the path that I am. It's worth noting that after I realized how I would approach false starts, missed connections, I got very emotional on a drive home thinking of her, and that inspired me to include the singing at the end of the piece. 

     During undergrad, I had two composition teachers who were really impactful: W. Thomas McKenney, and Stefan Freund. Tom was so sweet and supportive, which I really needed to get over my imposter syndrome. I think any young artist has to face those demons, and it's so much easier to do it when you have a mentor with a lifetime of experience who recognizes that you really can make your dreams come true through hard work and dedication. Stefan was really important in linking me up to the greater "new music scene," as he is a member of Alarm Will Sound and that gave me a glimpse of the long term new music life. Plus, he guided me through some dark mental health struggles, particularly during my graduate auditions, which can be such a grueling process.

     I did my Masters at Juilliard, where I studied with Pulitzer Prize winner Melinda Wagner. She was absolutely the best part of my experience in New York City. She pointed me towards John Waters movies, deepening my appreciation of camp, and showed me the joy of taking inspiration from things that might not be so serious. In one lesson, she explained how she was inspired by cartoons from her childhood in writing a piece of hers, Wick, that I really love. She also told me to take risks, because when one puts their neck on the line, the universe recognizes that and responds. She's such an amazing composer, too; I just recently heard a relatively new piece of hers, Dido Reimagined, performed by Brentano String Quartet and Dawn Upshaw in San Francisco, and it was one of the most powerful pieces of new music I've heard in a long time. 

     Mindy was also the person who recommended UC Davis to me, and now, here I am in year four of my PhD! We have five composers on faculty, and they all bring something different and vital to the table. I've had the luxury of working with them all in some way or another, and they've done an excellent job of creating a wonderful, welcoming, and supportive environment. Mika Pelo instilled in me some work ethic strategies, like approaching composition twice a day: in the morning with a clear goal to achieve, and in the evening with no expectations, just presence and curiosity. Pablo Ortiz offered a flood of support during Zoom-school, which was a really challenging time for everyone, and was a period of trying new things for me, with some successes and some failures. He has this really poetic way of approaching music that resonates with me, and he's also really fun and brilliant. Sam Nichols is currently shepherding me through improving my electronic music chops, which has been arduous, but he's a really patient and attentive pedagogue with a great sense of humor. It really helps to be able to laugh off the things that I find really challenging, and I find myself always revisiting his metaphors. Laurie San Martin was my guide through my qualifying exam, and I deeply respect her directness. There have been moments where she helped me reorient and find my path forward, and probably didn't even realize she was doing it. We're always sharing little laughs and chatting about pieces (if only there was time to listen to all that music!). My current teacher and dissertation advisor is Kurt Rohde. He has helped me understand what my process is, why my process is, and truthfully pulled me back from an edge where I wondered if composition was really the path for me. I am grateful to have a mentor with whom I can be fully vulnerable and transparent, which has direct implications for my dissertation project, too. I couldn't have embarked on this final journey in my education with just anyone because it's so deeply personal. Through our work together, I have found who I am as a composer in a way that feels intentional and honest, which is really important to me, yet has always felt difficult to articulate. Kurt is truly my safe space, which is absolutely invaluable for a young composer.

CB: Lastly, what is your advice for young composers, what has been most helpful to you?

TM: We are often told that our careers are advanced through luck. I don't buy it. It is through dedication, relentless overcoming of obstacles (some of which we erect ourselves), nurturing relationships, and showing up for yourself. Composition has this mythology of being a purely isolated, lonely activity, but when I look back on my life as a musician, I see a kaleidoscope of friends and near-strangers who have helped me clear hurdles when I felt that I couldn't, and who believed in me whenever I found it hard to believe in myself. Make the music you want to make, and find joy in what you do, and never back down. If making music brings you joy first, it will radiate out and bring joy to those who play and hear your music. I know it's cheesy, but I believe that music transforms lives, and it has transformed mine. 

CB: Thank you for sharing your wonderful insight; I very much look forward to conducting your beautiful music in Sacramento!

TM: Thank you, Christian, and I'm looking forward to hearing the orchestra bring false starts, missed connections to life!

BIOGRAPHY

The music of composer Trey Makler explores the human situation of musicking while imagining alternative worlds and bonds.  Melodies and other musical objects are conceived almost as people, with their own socio-musical interactions and identities shaped by circumstance and environmental influence.  These objects are woven together playfully, and often rest within hyperactive mechanisms that are activated through dense counterpoint, rhythmic vitality, and long, expressive lines. 

Trey’s music has been performed by Alarm Will Sound, Berlin PianoPercussion, Empyrean Ensemble, The Great Noise Ensemble, Juilliard Orchestra, NEO Sound Orchestra, The University of Missouri Philharmonic Orchestra and Opera Workshop, and members of the St. Louis Symphony; he has received commissions from Left Coast Chamber Ensemble, the Mizzou New Music Initiative, the New York Choreographic Institute, Camellia Symphony, and Vallejo Symphony.  Notable presenting venues have included Alice Tully Hall, Areté Venue and Gallery, the Empress Theatre, National Sawdust, Sheldon Concert Hall, and the Jewel Box in Forest Park (St. Louis), among others.  Trey has been the recipient of the Arthur Friedman Prize in Orchestral Composition (The Juilliard School) and the Sinquefield Prize (University of Missouri), and was selected as the winner of the first annual Boston New Music Initiative Young Composers Competition.  His dissertation research on the aesthetics of AIDS and the lived experience of musical form has been generously supported by a Bilinski Educational Foundation Dissertation Writing Fellowship.

Trey is a PhD candidate in Music Composition and Theory at the University of California, Davis.  He holds degrees from The Juilliard School and the University of Missouri.

Trey Makler (courtesy photo)

Composer Profile: Laura Schwartz in Conversation with Christian Baldini

On November 6th 2021, I will conduct the Camellia Symphony Orchestra in Sacramento in a program that includes the world première of Laura Schwartz' work "Figment". Below is a brief interview with this very talented young composer. 

Christian Baldini: Laura, it will be a pleasure to conduct the world premiere of your new piece "Figment", which you wrote for the Camellia Symphony Orchestra. Tell me, how did you approach writing this piece? In your program notes you affirm that "During this piece you hear the bones of an acoustic x-ray." Could you develop further on this very intriguing idea? 

Laura Schwartz: In my process of writing Figment, I chose a few string techniques that already have a tendency towards “noisiness”. I write music that enhances the noise elements of sounds. Examples of compositional techniques I used in Figment that have noise as an integral part of their structure are the sound of the bow hairs striking the stings, the sound a very high note that gently wavers as the player changes their bow position, and the sound of a bow bouncing in a controlled an uncontrolled manner against the strings of an instrument. I consider noise to be the bones of a sound. Noise gives a listener an awareness of space and place, as the noisiness of the piece intermingles with the noisiness (mechanical hums, fans, or wind) of a performance venue. 

CB: What are some of the things you care about the most when it comes to music (both new and old)? 

 LS: In my music composition, form is a primary way I think about my taste in music. As a composer, I care about creating a piece that teaches the audience its internal logic and boundaries. It creates a sonic environment that becomes apparent through listening. For me, it is okay if the technical nuances or musical references are lost in the first or second listen. If the form is communicated, such that a sense of expectation and subversion of expectation is generated, then it is something I find musically attractive. For instance, Haydn’s String Quartet in Eb “the Joke” and Kate Soper’s “Only the Words Themselves Mean What They Say” are examples that capture this characteristic for me. 

CB: You studied at UC Davis (that's how we met, when you were still an undergraduate student), and you've developed a remarkable career already. Can you tell us about some of the most important or inspiring experiences and/or people that you've had so far? What has helped you or inspired you to continue growing and excelling as an artist? 

LS: At UC Davis, the support I had from my friends Cindy, Liz, and Kristina inspired me to continue in music. All three of them, who were not music majors, would go with me to experience the Empyrean Ensemble concerts (the new music ensemble at Davis). It became known as going to see the “weird music” with Laura. It helped me understand how a general audiences can view contemporary music, what could be picked up easily in a piece, and what would be lost. For me, learning how they listened shaped the “who” in the audience I write my music for. I strive to write music that captivates non-music specialists. In my music career, the support from my family has been immense. My mother is probably the person next to myself that has heard most of my pieces live. She is not a trained musician. She is a lover of music. Having one person who is always on my team and who is willing to take notes during a performance so that she can try to understand the conceptual nature of the piece better is a wonderful blessing. I excel because I am part of a network of support. 

CB: What would you recommend to someone who doesn't know your music yet. How should they approach it? Is there anything in particular that they should listen for? 

LS: For someone who does not know my music yet, I would recommend a short exercise. You will need your favorite piece of music, speakers, and an electric fan. Play the music while the electric fan is running. The interplay between the fan noise, the wind, and your music is what I write as my music. In approaching my music, I think of it like a logic puzzle or a mystery novel. An intriguing concept is introduced at the beginning of a piece. It is both deadly serious and mischievously lighthearted. The mystery is explored and elaborated on as clues during instrument dialogues are hinted at. How do the parts fit, blend, or contrast? Are all questions that I answer throughout the piece. I would recommend listening to the instrumental dialogues and how silence is shaded through noise. 

CB: To end this brief interview, I'd like to ask you to dream of a music festival for which you'd be the artistic director. What would you program? Which guests would you invite? Which orchestras and/or ensembles would be featured? (to make it even more difficult: you'd have unlimited funds!) 

 LS: The experience that I enjoy the most from creating music festivals is creating an immersive experience for an audience. At my dream festival, I would create a 8-week site specific event in collaboration with a local marching band, a video projection studio, and an octet that was a combined saxophone quartet and percussion quartet. I would commission four composers and four video artists to create music for this open air project. Bi-monthly would be a new premiere in the same space. As an artistic director, I strive to create scenarios that pose compositional conundrums that bridge artistic disciplines. 

CB: Thank you for your time, we look forward to performing your music! 

LS: Thank you to Christian Baldini and the musicians of the Camellia Symphony for the opportunity to write a new work for your ensemble. I look forward to listening to it.

Laura Schwartz (Photo by Natalia Banaszczy)

Laura Schwartz is composer and video projectionist. Her music explores written notation as a

facilitator of a performer’s own creativity and self-formation. She blends elements of

traditionally notation scores, verbally notated scores, and illuminated manuscripts situating the

participant in a space of their own curiosity and creativity. Schwartz uses cellphones, combs, and

cut flowers to highlight everyday technologies as shapers of our lived sound environments. She

performs guided improvisations on amplified electric fans and graphing calculators.

For more information visit www.lauraroseschwartz.com

Roger Xia in Conversation with Christian Baldini

Pianist and violinist Roger Xia will be our soloist for Clara Schumann's Piano Concerto on Saturday, February 22 with the Camellia Symphony Orchestra in Sacramento. I had the opportunity of asking Roger some questions, and below are the answers.

Christian Baldini: Roger, it is a pleasure to welcome you back once again with the Camellia Symphony Orchestra. Some years ago, you were our featured "Rising Star", performing concertos on both the violin and the piano. It is so nice to see how much you have developed since those days, and what a mature musician you have become already. Please tell us, what is special to you about performing in the Sacramento and Davis region, where you grew up?

Roger Xia: The Sacramento/Davis region is where I feel most at home and I always love performing for friends and family. I frequently reconnect with old friends, both musicians and non-musicians, at my performances and it’s a joy to catch up with them about our busy lives and future plans. Most of all, I absolutely enjoy inspiring younger children to play classical music, just as I had been inspired and supported by the community.

CB: Tell us about the Clara Schumann Piano Concerto. What is inspiring to you about her? What are some of the features and musical elements that you like the most about this concerto, and what should people listen for while you play it?

RX: For me, the most inspiring element of Clara Schumann’s Piano Concerto is her boldness in incorporating a variety of styles. Some lyrical passages resemble Chopin, while other feisty, technical passages remind me of Liszt. I also like the attacca between the 3 movements of the concerto; the continuation gives the piece a nice flow and creates an unfolding storyline. I hope the audience will enjoy the affirmative and lyrical solo lines in the first movement, the intimate duet with the cello in the second, and the improvisatory, gypsy-like flair in the last movement.

CB: At your young age you've already collaborated with and worked with many wonderful musicians and teachers. Are there any experiences or people that have been particularly inspiring to you?

RX: I’m very fortunate to have started piano lessons with Linda Beaulieu when I was five, and to have continued to study with Dr. Natsuki Fukasawa and professor Richard Cionco for ten years. I’m also grateful to Dong Ho for starting me off on violin when I was six and William Barbini for teaching me during the past seven years. I’d also like to thank Maryll Goldsmith and Michael Neumann for their guidance when I was in the Sacramento Youth Symphony. Many thanks to teachers and staff members at the San Francisco Symphony Youth Orchestra and San Francisco Conservatory of Music Pre-College for continuously helping me develop my artistic potential. I’m also very thankful to Susan Lamb Cook’s continued support in my chamber music learning, Angelo Moreno at my school orchestra coaching. All of these mentors and supporters have inspired me to pursue my lifetime music-making journey.

CB: Why is art important? What is the role of music (and specifically, classical music) in today's world?

RX: Art is something that is unique to humans; it cannot be replaced by robots or AI. It is the most direct expression of the human soul, incorporating kindness, pain, tenderness, ecstasy, and more endless emotions. Music serves as a universal language, an outlet for all these kinds of emotions. As the only audible art form without words, music helps to connect people across the globe with all sorts of backgrounds and portray relatable experiences. Classical music is very unique in the way that it developed alongside music theory and incorporates sophisticated forms like symphonies and operas.

CB: Please tell us about your plans, dreams and wishes for your future. You have managed to continue your remarkable development on both the violin and the piano. What other passions do you have? And now that you will soon embark on your college career, what would you like to do?

RX: In addition to violin and piano, I really enjoy playing tennis and practicing Kung-Fu. moving my body around and breaking a sweat is also a great way for me to clear my mind and serves as a nice break from the academic and musical grind. Every winter, I also go to Lake Tahoe to ski as a mini-vacation with friends and family.

In college, I plan to continue playing piano and violin and participate in chamber music and orchestra ensembles. I’m also really interested in science and would like to simultaneously study academics at a university. Ultimately, I hope to combine music with science to help others.

CB: Thank you so much for your time, and we wish you all the best in your future, which will undoubtedly be remarkable. We look forward to sharing your astonishing talent with our audience very soon.

RX: Thank you Maestro Baldini and the Camellia Symphony Orchestra for inviting me back, and I’m looking forward to another great collaboration and performance!

Roger Xia, Photo by Carlin Ma

Roger Xia, Photo by Carlin Ma

Roger Xia, age 17, a senior at Davis Senior High School (DSHS), is also a San Francisco Conservatory of Music (SFCM) Pre-College scholarship student.                                                                                                                                  

         Roger started piano studies at age 5 with Ms. Linda Beaulieu and continues with Dr. Natsuki Fukasawa and Professor Richard Cionco.  He took violin lessons at age 7 with Mr. Dong Ho and continues with Mr. William Barbini.  At age 10, Roger made his Carnegie Hall debuts as first prize winner of the American Fine Arts Festival (AFAF) Golden Era of Romantic Music International Competition and the American Protégé International Music Talent Competition.  He won top prizes in Pacific Musical Society (PMS), Music Teacher Association of California (MTAC), United States Open Music Competition (USOMC), CMTANC/USIMC International Youth Music Competition, Diablo Valley College Competition (DVC), Sylvia Ghiglieri Piano Competition, and Classical Masters Music Competition, etc.  As the youngest participant in all three age groups, Roger was awarded the memorial scholarships sponsored by the MTAC Sacramento branch (2010, 2014, and 2017).  He also performed at the Junior Bach Festival, Bear Valley Music Festival, Orfeo International Music Festival, InterHarmony International Music Festival, and joined the National Youth Orchestra (NYO-USA) in the summer of 2019.  Roger won the 2015 Mondavi Young Artist Competition Pianist and Bouchaine Young Artists Prizes and was featured on the 2016 From the Top show 322.  He is also the National Young Arts Foundation merit award winner (2018) and honorable mention winner (2020) of Classical Music.  Roger played as a soloist with the Merced Symphony Orchestra (2010), Sacramento Youth Symphony (SYS) Premier Orchestra and Central Valley Youth Symphony (CVYS) Orchestra (2014), UCD Symphony Orchestra (2016), as well as the Palo Alto Philharmonic and Camellia Symphony Orchestra (2017). He was the winner of the DSHS Concerto Competition in 2018 and performed as a violin soloist with the DSHS Symphony Orchestra at Carnegie Hall in the summer of 2018. Roger is also the winner of the 2019 San Francisco Symphony Youth Orchestra (SFSYO) Concerto Competition and played as a piano soloist at Davies Symphony Hall with the orchestra in the fall of 2019.

         Roger has also been studying chamber music with Susan Lamb Cook, William Barbini, Natsuki Fukasawa, Aenea Keyes, Doris Fukawa, Gwendolyn Mok, Temirzhan Yerzhanov, and Angelo Moreno.  He is a violinist and founding member of the SFCM Pre-College Division ensemble Locke Quartet, which won second prize in the 2019 ENKOR competition.  Roger has also attended the prestigious Boston University Tanglewood Institute (BUTI) Summer String Quartet Workshop in 2017.  His chamber music groups in the Davis-Sacramento area won top places at USOMC (2013), Classical Masters Music Festival (2013), and VOCE competition of MTAC (2013 and 2015).  These groups have been frequently invited to perform at senior residences in the Sacramento and Davis area.  Roger has been the concertmaster of SFSYO for the past three seasons and the Europe Performance Tour in the summer of 2019.  He is the current concertmaster of the DSHS Symphony Orchestra.  He was also the concertmaster of the Holmes Junior High (HJH) Orchestra (2014-2017), the California Orchestra Directors Association (CODA) Honor Symphony Orchestra (Nov. 2016), and the SYS Premier Orchestra (2013-2015) and Classic Orchestra (2010-2011).

         Aside from music, Roger enjoys science, math, reading, and movies.  He also likes swimming, skiing, and Kung-Fu, as well as playing tennis, Ping Pong, and soccer.  Most of all, he loves sharing music-making experiences with friends in the community.