4th blog: Fellows Chamber Ensemble
This edition of the Franck Quintet Blog visits the last two coached sessions for the ensemble: the first, again, with faculty artist Toby Appel again at the helm and, the second, welcomed another faculty artist, violinist Ayano Ninomiya.
(Ninomiya arrived a few days after the festival convened, in time to prepare for and play a superb part in the second Faculty Artist Concert from the past Saturday:
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Could you turn pages for me?
I was knocked a bit off balance when pianist Anthony asked me to help him out in anticipation of a runthrough of the Franck’s first movement. The last time I took on that task was when pianist/conductor Lawrence Leighton Smith and the Veronika String Quartet were rehearsing in my living room over 20 years ago. My skill set remains woefully insufficient.
Luckily, after a few minutes, festival fellow and assistant conductor Elias Miller walked in and I happily retreated to my pen and paper. The end of my new career.
There was a notable advancement in what was being played. To me, the overall sound was more cohesive; Anthony was fitting in his sound seamlessly with the strings; and it felt like all players were sharing their hearts.
Toby was more relaxed as a listener. “That was good,” he said with a smile. He brought up what he thought would be a touchy subject.
“I think people listen with their eyes.” The message was clear: performers are not just responsible for playing the correct notes and making music with them, but also how they move and appear on stage. The list keeps growing.
Toby’s coaching continued:
“Nina, keep playing louder until they (the ensemble) tell you it’s too much.”
“Anthony- so much better. I think it’s fine.”
“Anne-Marie- let’s check some of your fingerings.”
“Make sure you‘re all accommodating one another.”
“When you have a melody and finish make sure you pass the baton on.”
“I love it when you’re taking time, but your recoveries aren’t so good.”
Anne-Marie had to leave a bit early for another rehearsal, so Toby asked if I had any questions.
It always seems to me to be so sad, even wasteful to work so hard and usually get only one performance of work.
Some thoughts from the ensemble:
There is post-recital depression.
It’s like leaving a part of yourself.
It will be sad to leave this piece.
We get to go on to the next piece.
There was a great discussion about the inevitability of being nervous in performance. Everyone acknowledged that it was an issue. Toby suggested they learn how they get nervous.
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“Where are you at? Do you want to play through the first movement?”
Violinist Ayano Ninomiya had taken the “conn” for this next coaching session with the Franck Quintet ensemble. I learned later, after asking the fellows, that the appearance of a new coach in mid-stream like this is fairly common. Indeed, Ayano brought new perspectives to the process.
The band played on.
“Bravi. Wow. So symphonic. Love the passion.” And then Ayano directed a question to Anthony: “Do you usually play with the lid down?”
No– a curious oversight that caused Ethan who sits close to the piano to quip “No wonder I could hear myself. (The piano) is almost like a whole other quartet.”
Ayano: “You all probably know this better than I do- such a big work.”
Whether that was true or not, her questions and suggestions unearthed new possibilities for the sounds they were making, and the ensemble was loving it.
Ayano:
“With piano and the strings there are two masters. How does the quintet contend with that?”
“Still need to hear more of the chromatic line.”
“It’s as if you’re crying but also laughing at the same time.”
She had Anthony reverse parts with Isabel during her first solo to explore some alternative approaches. “I loved that I felt the trajectory,” said Ayano. She even went on to have Anthony sing the string lines. “Yes!” and she laughed. “So be impacted by his line and come down.”
With Anne-Marie taking the lead, they tried out this new approach. “That was amazing. Did you hear that? It gives me shivers.
“Keep asking questions, keep finding new answers,” suggested Ayano
“It’s so, so good,”
The group was quick to opine that they truly appreciated Ayano helping them out. It afforded an extra lift as the Franck “Quintet” headed toward their first public performance on Wednesday for Music at Midday.