Flutist Sarah Paysnick delves into Grand Harmonie’s rollicking ‘March Madness’ concerts

For a musician, choosing the right instrument is the key to success.  For Grand Harmonie flutist and co-founder Sarah Paysnick, family and Sesame Street played a big part in her choosing the right one.  When a group of successful musicians got together to pursue something new and exciting, the innovative and eclectic music ensemble, Grand Harmonie was born.

Grand Harmonie group pic

Grand Harmonie in action Photo courtesy of Sarah Paysnick

Grand Harmonie will deliver March Madness, two exciting and inventive concerts that mixes a little bit of everything.  Featuring conductor Scott Allen Jarrett and soprano Jacquelyn Stucker with horn by Yoni Kahn, March Madness kicks off on Friday, March 24 at Arts at the Armory in Somerville, Massachusetts at 7:30 p.m.  On Sunday, March 26, March Madness will take the stage at the Second Church of Newton in West Newton, Massachusetts at 3 p.m.

Grand Harmonie Scott Allen Jarrett conductor

Grand Harmonie conductor Scott Allen Jarrett Photo courtesy of Scott Allen Jarrett

Sarah Paysnick discusses her music career, Grand Harmonie’s educational outreach, the excitement behind Grand Harmonie, and a closer look into March Madness.  Click here for more information and for tickets.

Jeanne Denizard:  What first sparked your interest in music and what inspired you to pursue it as a music career?

Sarah Paysnick:  In kindergarten, many of my friends started learning piano.  They would teach me what they were learning, so I begged my mom for piano lessons. I remember wanting to quit after a short time, but my mom told me I had to finish the year. A few years later, many of my friends started learning string instruments.  I have a cousin my age that played the violin and she’d teach me when we got together. When I told my mom I also wanted violin lessons, she said that I have two cousins who play the violin and I should pick something else. Watching Bob on Sesame Street and because another cousin was learning it, I decided on the flute.

In 4th grade, when asked what we wanted to be when we grew up, I said I wanted to be a cantor because Judaism and music were important to me.  I didn’t have proper training as a singer.  Something told me, over the next few years, it would exclusively become a music career even though Judaism is still important to me. I never really thought about doing anything outside of music, though my music path has taken me in a variety of directions.  Ultimately, it led me to historical performance on flutes and teaching piano to children.

JD:  How did you become a founding member of Grand Harmonie and what do you enjoy most about this group?

SP:  I knew Yoni Kahn, our horn player and soloist for this concert!  With Yoni Kahn and a couple of other founding members, we were interested in starting something new and exciting. Though my favorite music to perform falls a bit earlier than Grand Harmonie’s core repertoire, I am constantly inspired by my colleagues who push me every day to be a better musician and honored to be an organizing member of the kind of ensemble people enjoy working with. Everyone has such a positive, generous attitude and it’s infectious!

Yoni Kahn Horn

Yani Kahn, horn Photo courtesy of Grand Harmonie

JD:  Grand Harmonie is very versatile and can transform from a symphony orchestra to an opera orchestra, or even become a chamber ensemble.  Is the unexpected part of what sets Grand Harmonie apart from other groups?

SP:  Yes, Grand Harmonie is a bit of a moving target.  People attempt to put us into a box and we don’t fit into one.  Every performance is different, but it also makes anything possible!

JD:  Grand Harmonie will be touring through Somerville and Newton on March 24 and 26 for March Madness.  Is this Grand Harmonie’s first time performing March Madness?  Where did the idea come from?

SP:  This is our first time doing this performance as well as splitting up the movements of a symphony and sprinkling them throughout a concert. In the 19th century, performances were quite different than they are today. Maybe a full symphony wasn’t performed or it was performed in its entirety but not straight through.  Perhaps a small chamber ensemble gave listeners a break from the big symphonic sound or a soprano would delight everyone with her beautiful voice.

Grand Harmonie Jacquelyn Stucker Soprano

Jacquelyn Stucker, soprano for March Madness Photo courtesy of Jacquelyn Stucker

These concerts were a social event and audiences didn’t remain silent as they think they are expected to today. Grand Harmonie wants to break the tension and allow people to clap when they want to, explore the space around them, and enjoy the concert without fear of getting stared down if they clap at the wrong moment or make a noise during the music.

On Friday night, the cash bar at the Somerville Armory will be open all night. Through a generous donation from Aeronaut Brewing Company, the first 30 ticket purchasers will receive one free beer!  On Sunday in Newton, we encourage people to relax and enjoy themselves, but the concert will not include alcohol and will be a more traditional performance.

JD:  This concert will be a particularly intimate and uplifting concert experience since it will take place in-the-round. Additionally, Grand Harmonie will deliver classical pieces in an entirely unique and rollicking way. Putting something like that together must have been a lot of fun.

SP:  Friday’s show is a really exciting experiment in how to make a “classical” concert more accessible and we can’t wait to experience it with our audience! Sunday’s show will be more traditional with the audience in pews and the orchestra in front, but we still expect it will be a rollicking good time!

JD:  For March Madness, Grand Harmonie weaves Mozart, Beethoven, and Weber into one big concert.  You have a unique way of breaking up Beethoven’s First Symphony during this “in the round” concert experience.

SP:  It may sound unique to split up a symphony today but this was not unusual in the 19th century! Sometimes even a single movement was chosen for a particular program.

JD:  Grand Harmonie also participates in educational outreach.  Please tell me about that.

SP:  Grand Harmonie has given master classes at the Longy School of Music at Bard College, MIT, and Harvard, among others. We have also given informational lecture/demonstrations at MIT and Yale’s Lewis Walpole Library. We love sharing what we’ve learned with musicians and music enthusiasts young and old!  Audience members are very curious about our instruments and we are happy to engage with them.

JD:   A few Grand Harmonie concerts are coming up before the end of the season.  Please tell me about Grand Harmonie’s future plans.

SP:  March Madness is the official close of our season, but we have plenty coming up!  We will be performing Haydn’s The Creation with Edward Jones and the Harvard University Choir and Mendelssohn’s Symphony No. 2 Lobgesang with Edward Jones and the Harvard-Radcliffe Chorus. We have loved working with Ed at least once a year since we began and it’s fair to say we have a mutual admiration for each other.  In NYC, we will be partnering with On Site Opera to perform a wind octet Harmonie arrangement of Mozart’s The Secret Gardener by our own Yoni Kahn on horn and Thomas Carroll on clarinet. Also, keep an eye out for us during the Boston Early Music Festival the second week in June!

Grand Harmonie Group photo

Grand Harmonie group Photo courtesy of Hannah Shields

Click here for all of Grand Harmonie’s upcoming concerts and here for more on Grand Harmonie’s educational outreach.  Follow Grand Harmonie on Facebook and Twitter for upcoming events and more.

New England Philharmonic President Ann Teixeira talks anniversary concert, NEP’s future plans, & more

New England Philharmonic President Ann Teixeira is often encouraging music lovers to broaden their horizons.  From taking field trips to see the Detroit Symphony Orchestra to becoming the President of the New England Philharmonic (NEP), Ann became a music lover at a young age having been exposed to a variety of music throughout her life.  The NEP offers a unique blend of contemporary and traditional classical music, which has enraptured audiences for decades.

The New England Philharmonic has a great deal to celebrate.  Led by Music Director Richard Pittman, who is starting his 20th anniversary year, New England Philharmonic presents its 40th Anniversary Concert:   A Child of Our Time. This exciting concert, featuring a number of special guests, soloists, and musicians, takes place at the Tsai Performance Center at Boston University on Saturday, March 4 at 8 p.m.  Click here for more information and for tickets.

Ann Teixeira gives an inside look at the NEP orchestra, shares her music background, fond memories with the New England Philharmonic, and NEP’s future plans.   The New England Philharmonic thrives on the support of the community.  Click here to support the NEP, sign up for their newsletter for upcoming performances, and more.

Jeanne Denizard:  What first inspired your love for music and what led you to pursue a career in the music industry?

Ann Teixeira:  I was fortunate to grow up in a suburb of Detroit, Michigan with an excellent and well-funded school system.  We took field trips to Detroit to hear the Detroit Symphony, attend plays, and visit the art museum.  I participated in music and art classes at school and had friends who took piano lessons, ballet, and acting.  That gave me a great deal of exposure to the arts and I found myself attracted to music.

By the time I was in junior high school, I was part of a music club and we attended performances.  I also took piano lessons until my piano teacher told my parents it was not a good use of their money.  That didn’t dampen my interest in music, but it did puncture a hole in my balloon.  Growing up in the 1950s, I was always exposed to classical music and the only contemporary or popular music I heard was on the radio.

JD:  Please tell me how you first got involved with New England Philharmonic.

AT:  At intermission at the Boston Symphony, I often chatted with a man I worked with a number of years ago and he was on the NEP board.  Seeing me at Symphony, he thought I might be interested in joining the board of an orchestra and asked if I’d be interested.  He told me about NEP and the rest is history.

I had been a member of the Board of Overseers of Opera Boston which had closed down about a year before and was wondering how I might get involved with another music organization.  That was spring 2012, and the New England Philharmonic had distinctive programming like Opera Boston, so I thought it would be a good fit for me.

JD:  What is it like as President of NEP?  I’m sure being part of the arts everyday is an exciting venture with its share of surprises.

AT:  It is interesting, challenging, gratifying, and demanding.  Having a Composer-in-Residence program with a volunteer orchestra, a Call for Scores competition, and a Young Artist Competition, NEP is unusual if not unique.  In Boston’s rich music environment, NEP’s programming, which includes composers and compositions without wide-name recognition and premieres of new works during almost every concert, makes it a constant challenge to attract an audience.  Though reviewers laud the challenge, creativity, and interest of NEP’s programs, it is challenging to fill the hall with people willing to try something new.

The surprise has been the success of the Chamber Players small ensembles from within the orchestra who have been welcomed by major institutions in the area to present chamber concerts, such as the Boston Athenaeum, the Peabody Essex Museum, the Children’s Museum, King’s Chapel, the Newton Library, and the Harvard Business School Chapel among others.  These ensembles are greatly expanding the audience for the NEP, and the musicians love the opportunity to prepare pieces written for quartets, quintets, and septets.

JD:  Do you have any exciting or memorable stories over your time in NEP that you’d like to share?

AT:  Several experiences stand out.  In April 2013, the NEP played former Composer-in-Residence Michael Gandolfi’s Chesapeake: Summer of 1814 which culminated with The Star Spangled Banner which was written in the summer of 1814, a piece just written that summer.  The chorus sings the verse we are know very quietly, and then sings three unfamiliar verses, rising in volume along with the orchestra for each subsequent verse.  It still gives me goose bumps.

Gunther Schuller, a good friend of our Music Director, Dick Pittman, whose music the NEP often played, continued to attend performances throughout his life.  In 2014, he was named NEP Composer Laureate.  The last time he attended a concert and spoke with the audience, he was in a wheelchair and quite weak.  His appearance at our concert may have been his last public appearance.  He died six weeks later.

I remember their fondness for the NEP and the generosity of former Composers-in-Residence who contributed compositions, fanfares to start the three principal concerts this season.  Robert Kyr, the first Composer-in-Residence, wrote a lovely tribute to the longevity of the NEP, its commitment to contemporary music, and the fact that there is only ‘one music.’

I am also so proud  for the NEP that The Boston Globe recognized NEP’s 2012 War Requiem by Benjamin Britten as the ‘best classical performance of 2012’ and ArtsFuse called NEP ‘best local musicians’.

The NEP Chamber Players emerged as a new component of the NEP, enthusiastically supported by musicians who already hold full-time jobs outside the NEP, play in the NEP and sometimes in other orchestras as well.  They have families and are still willing to take on new music in new ensembles playing in new venues, all for NEP’s benefit.

JD:  I understand part of what sets NEP apart from other orchestras is it is an all-volunteer orchestra with a composer-in-residence.  The NEP sets great stock in original, contemporary work and commissions a new work each season from its resident composer.

AT:  Yes, NEP is one of a few all-volunteer orchestras.  Ours is made up of trained musicians, many of them from major university schools of music and nationally-known conservatories who make their living in another profession including research scientists, physicians, a pilot, sales people, music teachers, and many other professions.  Dick Pittman’s challenging music programming requires substantial personal practice between orchestra rehearsals and sometimes section rehearsals.  Their time commitment to the NEP is mind-boggling and impressive.

The Composer-in-Residence and Call for Scores programs were established in 1985. The Call for Scores is an open competition.  Composers are invited to submit a recently composed work without regard to any theme or other programmatic criteria. The Composer-in-Residence writes a new composition each season to be premiered by the NEP, and he judges the compositions submitted to the Call for Scores competition, selecting finalists for review by the Music Director and their joint decision on a winner.

The winner almost always attends and speaks to the audience about the winning piece, when it is performed during the following season.  Thus the Composer in Residence program ensures a minimum of two premieres each season, one a world premiere and the other a Boston or U.S. premiere.

However, it is not unusual for each program during the season to a premiere of a recently composed piece.  Consistent with the NEP’s tagline: ‘Innovation and Tradition in Concert,’ every program includes several contemporary classical music and typically one lesser known or less frequently performed traditional classical piece.

JD:  Please tell me what other works you are looking forward to this season and what are NEP’s future plans?

AT:  Our final concert of this season is on April 29.  We are particularly looking forward to Concertmaster Dani Maddon’s annual performance as soloist for a violin concerto.  This year, it will be the world premiere of Current Composer-In-Residence David Rakowski’s Violin Concerto No.2 written for her to perform on this occasion.  Andy Vores and Bernard Hoffer also have written pieces for Dani to perform.

We also look forward to performing the Boston premiere and Call for Scores 2016 winner, Liliya Ugay’s Oblivion.  Former Composer-in-Residence Peter Child is also contributing a world premiere fanfare to open the concert.

The program is rounded out by Aaron Copland’s Orchestral Variations, Sebastian Currier’s Microsymph and Zoltan Kodaly’s Peacock Variations.  This program should be a wonderful end to the 40th Anniversary season.

New England Philharmonic presents the 40th Anniversary Concert:  A Child of Our Time at the Tsai Performance Center at Boston University on Saturday, March 4 at 8 p.m.  Click here for tickets, how to become a subscriber, and more.

Jessica Lang Dance, Broadway star Kristin Chenoweth, Alvin Ailey, and Stave Sessions part of Celebrity Series of Boston’s extraordinary season

With close to an 80-year history of bringing inspirational and highly acclaimed national and international live entertainment to Boston, Celebrity Series sets the stage in 2017 with an extraordinary lineup that includes Broadway star and actress Kristin Chenoweth, the return of Alvin Ailey American Dance Theatre, the annual Stave Sessions, and much more.  Click here for more information and for tickets.

celebrity-series-of-boston-2017-season-alvin-ailey-odetta-photo-mike-strong

Alvin Ailey’s “Odetta” Photo courtesy of Mike Strong

Making its spectacular Boston debut, Celebrity Series of Boston presents Jessica Lang Dance from Friday, January 27 to Saturday, January 28 at the Bach Center Shubert Theatre.  Winner of the 2014 Bessie Award, NY-based dance troupe, Jessica Lang Dance, based on Jessica Lang’s award-winning choreography, weaves classical ballet with stunning, contemporary artistry.

celebrity-series-of-boston-2017-season-jessica-lang-dance

Jessica Lang Dance “Spectrum” Photo courtesy of Celebrity Series of Boston

After a sold out 2013 recital, the Danish String Quartet returns to NEC’s Jordan Hall for an unforgettable evening of innovative, powerful music featuring works by Beethoven and Schnittke.  The Danish Quartet performs for one night only on Saturday, January 28 at 8 p.m.  Single tickets are available.

celebrity-series-of-boston-2017-season-danish-quartet-by-caroline-bittencourt

Danish String Quartet Photo of Caroline Bittencourt

On Saturday, February 4, award-winning soprano Susanna Phillips will make her Celebrity Series of Boston solo debut at NEC’s Jordan Hall at 8 p.m.  Accompanied by pianist Myra Huang, Phillips is a captivating singing-actor and recitalist.

celebrity-series-of-boston-2017-season-susanna-phillips

Award-winning soloist Susanna Phillips Photo courtesy of Celebrity Series of Boston

Celebrating the works of legendary jazz singer, Ella Fitzgerald for her 100th birthday, jazz violinist Regina Carter performs Simply Ella on Friday, February 10 at the Sanders Theatre.  Carter’s album, Simply Ella is coming soon.

celebrity-series-of-boston-2017-season-regina-carter

Jazz violinist Regina Carter pays tribute to Ella Fitzgerald Photo courtesy of David Katzenstein

Click here for the full list of performances and for tickets. Subscriptions and gift cards are also available.  Celebrity Series of Boston thrives on support from the community. Click here for a variety of ways to support Celebrity Series of Boston.