Alina Kobialka in Conversation with Christian Baldini

On November 6th, 2021 I will have the pleasure of conducting the Camellia Symphony Orchestra in the rarely performed Violin Concerto by Carl Nielsen with a wonderful soloist that I've known for many years, and with whom I've collaborated several times. Alina Kobialka comes from a distinguished musicians' family, in fact both of her parents were (her mother still is) key members of the San Francisco Symphony, an orchestra with which Alina made her solo debut at age 14, for their 100th anniversary. 

Christian Baldini: Dear Alina, it will be such a treat to collaborate with you once again. I remember fondly our previous performances with you as our soloist, whether it was the Sibelius, the Beethoven, or the Waxman Fantasy, you always bring so much to the table, so much commitment and talent, and it is always very beautiful to work with you. Tell me, how are you feeling about this upcoming concert, and what can you share with people about the Nielsen Violin Concerto? What makes it so special, and why do you think it is so rarely performed?

Alina Kobialka: I am incredibly excited for this upcoming concert and the opportunity to play with you and the Camellia Symphony again, especially with such a special concerto! I have the best memories of collaborating with you, and all those performances we did together really helped me grow and develop into the musician I am today.

The Nielsen concerto has two movements, with both consisting of a slower beginning leading into a faster section. In addition, he was quite particular about the concerto being virtuosic and dazzling without turning superficial. This turned out to be a challenge that he struggled with for quite some time, but I believe he ultimately succeeded in fulfilling his goal. 

Although the concerto is greatly loved by many musicians, it is rarely performed, as you mentioned. I believe a reason for this is because Nielsen’s music takes time to digest with all its harmonic twists and turns. A passage can seem to be going one way but then he writes something that goes a completely unexpected way. Part of the fun of his music is the more you listen to it, the more you discover. This takes time but is extremely rewarding. 

CB: You come from a very musical household, so this question might be pretty straightforward to you. As a violinist, what/who would you say have been the most inspiring experiences in your life? When did you decide/realize you would make this commitment of becoming a professional violinist? 

AK: I am very grateful to my teacher Ilya Kaler for being an inspiring and influential figure in my musical growth, as well as my former teachers Robert Lipsett, Danielle Belen, Wei He, and Li Lin.

In terms of inspiring musical experiences, I would say joining the San Francisco Symphony Youth Orchestra really fostered my love for classical music and ultimately led to me deciding to become a professional musician. It was so special for me to play great music with wonderful and inspiring peers every Saturday. We were also so lucky to be coached by San Francisco Symphony musicians and meet incredible guest artists that would be in town playing with the SFS. Even a decade later, I often fondly reminisce that special time in my life. 

CB: Can you recall two or three examples of people that you've loved working with, and why?

AK: First and foremost, I had such an incredible time working with conductor Michael Tilson Thomas. His support and guidance were so inspirational, and I often find myself thinking of his advice during my practice sessions. 

During my time at the Marlboro Music Festival, I had the immense honor of working with pianist Mitsuko Uchida. I looked so forward to every rehearsal, as she would have fun anecdotes and was such a sincere and joyful person to work with. She truly puts the music first and foremost, and I find that so inspirational. 

Finally, I had an amazing time working with violinist Vadim Gluzman. Not only is he a fantastic musician, but he is also immensely kind and quite hilarious! We performed a double concerto together, and I felt that he really brought out the best in my playing. Working with these three incredible artists has been so influential for my musical growth and development. 

CB: Why would you say performing music is important? What does it bring or add to our everyday lives?

AK: Music is such a wonderful and essential form of expression. We encounter it all the time, whether it be at concerts, in movies, or even in the elevator. It can touch people in wonderful and mysterious ways, and it adds so much value and color to our everyday lives. For myself, I find it immensely therapeutic and grounding to take my violin out of my case and play, rain or shine. 

CB: What would be your advice for young musicians? What was helpful to you? How do they stay motivated, on track, and always in a growth mindset?

AK: I would say to be critical but also remember that we are only human. Self-compassion is an important skill to have, both with music and life in general. Mistakes are inevitable, and sometimes they will be the most valuable experiences we draw on. 

I would also say play for and collaborate with other musicians when possible, attend concerts and masterclasses, and most importantly, enjoy the ride. Even if this doesn’t end up being your profession, learning music can really change a person’s life for the better.

CB: Lastly: what are three or four things that people should listen for in the Nielsen Violin Concerto? What would you say to someone who has never listened to a work by Nielsen?

AK: In the Nielsen concerto, be ready for some fun harmonic twists and turns! In addition, he wrote this with a Neoclassical melodic structure, so see if there are any melodic lines that you can grab onto and listen for in future sections. For someone who has never listened to a work by Nielsen, I would say the elements I mentioned above also apply. Many of his works contain unusual tonal structures, and it is always quite an interesting journey for both the listener and performer. 

CB: Thank you very much for your time Alina. I very much look forward to our performance on November 6!

AK: Thank you so much, Christian! I can’t wait!

Alina Kobialka (courtesy photo)

Alina Kobialka has been praised as a remarkable violinist due to her beautiful

tone, effortless precision, and musical maturity beyond her years. After her first guest

solo appearance with orchestra at the age of ten, she has toured and performed with many

ensembles throughout the world. The San Francisco Classical Voice described her as a

“jaw-droppingly assured” soloist, who “made present and future converge.” The Las

Vegas Review Journal wrote, “Watch for her name. She appears to be bound for

greatness.”

Alina began her studies at the age of five with Li Lin. She continued on to the

San Francisco Conservatory Preparatory Program, where she studied with Wei He.

Leaving San Francisco at age 16, she attended the Colburn Music Academy in Los

Angeles, where she studied with Robert Lipsett and Danielle Belen. Most recently, Alina

graduated from the Cleveland Institute of Music with her Master’s in Violin

Performance, under the tutelage of Ilya Kaler.

At age 14, Miss Kobialka made her solo debut with the San Francisco Symphony

at their 100th Anniversary Reunion Concert in Davies Symphony Hall, where she has

since returned three times as a soloist. Soon after, she was featured live on the nationally

acclaimed radio show NPR’s From the Top. Since then, Alina has performed with

various American orchestras, including the Las Vegas Philharmonic, ProMusica

Chamber Orchestra, California Symphony, the Colburn Academy Virtuosi Orchestra, and

others.

In 2015, Miss Kobialka made her performance debut in Asia with the Macau

Youth Symphony for their New Years’ Concert. She returned in 2016 to tour Japan with

the Kagawa International Youth Orchestra, and in 2017 to perform in the Shanghai

International Arts Festival gala concert.

Alina was awarded second prize as the youngest competitor of the 2017 Elmar

Oliveira International Violin Competition. Other competition accolades include being a

laureate of the 2016 Irving M. Klein International Competition and receiving the Grand

Prize at the Mondavi Center National Young Artists Competition.

Recent concert highlights include performing with world-renowned conductor

Michael Tilson Thomas and the San Francisco Symphony and making her debut with

Vadim Gluzman and the ProMusica Chamber Orchestra. She also performed a guest

artist recital at Southwestern University in Texas and Brahms Double Concerto for Violin

and Cello with the California Symphony.

An avid chamber musician, Alina has been an artist at the Marlboro Music

Festival for the last few years. This past summer, she had the great honor of performing

with acclaimed pianist Mitsuko Uchida. Other celebrated musicians she has worked with

include pianist Jonathan Biss, violist Kim Kashkashian, cellist Peter Wiley, and violinist

Scott St. John. Future concerts include embarking on a Marlboro National Tour and

returning to the Marlboro Music Festival next summer.

Soloist Profile: Boxianzi Vivian Ling in Conversation with Christian Baldini

Boxianzi (Vivian) Ling is joining us with the Camellia Symphony Orchestra to kick off our Season 57, performing the Tchaikovsky Violin Concerto on a program that also includes Borodin's Symphony No. 2, and Nicole Lizée's Zeiss After Dark. 

Christian Baldini: Hello Boxianzi, it is a real pleasure to have you with us as our featured soloist for this concert in Sacramento. Please tell us about the Tchaikovsky Violin Concerto and why it is an important piece to you personally. What is so special about it that captivates you?

Boxianzi Vivian Ling: The Tchaikovsky violin concerto to me has always been my favorite violin concerto. I can remember the first time l heard this concerto, as soon as the opening violin theme comes in, I was instantly drawn into the music. The first recording that I listened to was actually played by one of my older studio mates while I was still in the second grade. The piece seemed so difficult that I thought it would be impossible to play. The concerto then became a major goal for me in my development as a musician. When I started to learn the piece, I felt like it was so familiar as if I already knew how to play it. Out of all the major violin concertos (Brahms, Beethoven, and Mendelssohn), the Tchaikovsky to me has the most beautiful melodies. I also really love the orchestration because it interacts with solo violin throughout the whole piece, especially at the end of the finale when the dialogue reaches a climax. As an artist, this piece offers me amazing amounts of freedom to express multiple emotions and feelings. I feel like this is one of those pieces that allow for a wide array of interpretations. 

CB: Please tell us about your background and your childhood. When did you become interested in music, and where did you grow up? Did you ever play another instrument besides the violin? Was there someone who was particularly important in your upbringing, who was an inspiration to you and helped you become a musician?

BVL: I was born in Changsha, which is the capital of Hu' nan province in China. My dad was a big fan of classical music and my mom would bring home lots of DVD recordings of the Berlin philharmonic, Vienna Phil concerts. So from an early age, I was constantly listening to symphonies. Before my fifth birthday, my dad asked me what I wanted for my birthday. I asked him for a little violin and he got it for me. I started taking group lessons on the very next day. Both my parents would come with me to lessons and my dad basically learned violin for the first year. I remember he would be the metronome and tuner at the same time while he practiced with me. My dad has great ears and would always tell me when something didn't sound right. My parents were very strict. If I didn't practice for my lesson my dad would not come with me to the lessons and it would only be my mom driving me on her motorcycle. Soon after changing a couple of teachers, I then decided to move to Shanghai to continue studying at the primary school affiliated with the Shanghai Conservatory. My parents were left behind in Changsha because they needed to work, so it was my Grandma that came with and lived with me in Shanghai. I spent the next seven years there learning, studying and practicing. I met my teacher Wei He who was a professor at SFCM and he offered to teach me in the US while I finished high school in Marin county. While growing up I also taught myself how to play the piano, which comes in handy when I study accompaniment parts. My favorite violinist when I was a little girl was Hilary Hahn.  

CB: What are some of your favorite past times or hobbies? What do you do outside music?

BVL: Ping Pong. I was really good when I was a little girl. I was an absolute machine. It was either violin or ping pong. I haven't played since I quit years ago. Now I enjoy spending time with my two cats, eating amazing food all around SF and photography and yoga. 

CB: What are those pieces that you would take to a desert island? And perhaps more generally, who are your favorite composers?

BVL: The big concertos that I love are Tchaikovsky, Brahms, Beethoven and Mendelssohn. If I had to pick one composer's works to bring to a desert island it would be Mozart's.

CB: You have obviously accomplished a lot already, playing chamber music, as a soloist, as concertmaster of the SF Youth Orchestra, and developing your own voice. And where would you like to be in 5 or 10 years? What would you like to be doing, or where?

BVL: I would love to be playing in a major orchestra. I currently sub for the SF symphony. I recently played Mahler 6 with MTT and it was a very special experience in my career. I also learn a lot and enjoy teaching. So I can also see myself having a violin studio wherever I am based. If I am lucky enough I would love to continue playing solo concertos with orchestras. 

CB: What would you recommend to a young musician starting out? What is some good advice for someone who would like to become a professional musician?

BVL: I would tell a young musician to push yourself and work hard but not any harder than it needs to be to achieve your goals. And never lose your own voice when playing music. because the beauty of music exists within your own interpretation. 

CB: It's been really wonderful to have the chance to know more about you and your upbringing. Thank you for sharing your wonderful talent and dedication with our audience, and I very much look forward to our performance together!

BVL: Thank you so much! It is such an honor and pleasure to work and perform this concerto with you and the Camellia symphony Orchestra.

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Boxianzi (Vivian) Ling,  Violin

Boxianzi was born in Hunan, China. She started playing violin at age 5, and was accepted into the prestigious Elementary School Affiliated to Shanghai Conservatory of Music at age 9. She was featured on China National TV broadcasting playing Mendelssohn violin concerto when she was 12. She has also soloed with Shanghai Philharmonic Orchestra. Entering the professional spotlight,  Boxianzi made her debut with the San Francisco Ballet, with Maestro Martin West, on April 2017, performing the Prokofiev violin concerto. She currently subs with the San Francisco Symphony, performing alongside MMT and other sf symphony members.

Other notable accomplishments of Boxianzi’s career has been winning the Young Artists Concerto Competition with Oakland East Bay Symphony Orchestra in 2012,  winning the Parnassus Conservatory Youth Competition in 2016, and claiming first prize in the 2018 San Francisco Conservatory of Music violin concerto competition.

She was the concertmaster of San Francisco Symphony Youth Orchestra from 2014-2016 and participated in the SFSYO European tour where she played in the Berlin Philharmonie and the The Concertgebouw in Amsterdam. She is currently a Junior student studying with Professor  Ian Swensen and Chen Zhao at the San Francisco Conservatory of Music. She previously studied with Professor Wei He at San Francisco Conservatory.