Originally published on Tue September 18, 2012 4:41 pm
For New York Polyphony, it's location, location, location. The four-man vocal ensemble thrives on music from the Renaissance, much of it designed for cavernous, reverberant spaces. Think voices soaring through arched cathedrals. But madrigals by Flemish composer Orlando di Lasso, with their more intimate storytelling vibe, are suited for smaller venues — like, say, the living room of New York Polyphony bass Craig Phillips.
Originally published on Tue June 26, 2012 10:38 pm
Like the music of his good friend Béla Bartók, Scottish composer Erik Chisholm's two piano concertos rely heavily on folk sources. But in Chisholm's case, the influences come from Scotland and India rather than Bartók's beloved Eastern Europe.
Originally published on Tue September 18, 2012 4:44 pm
All this week, we've been exploring the ways families help kids learn to play music. Along the way, we've gleaned lots of great tips on everything from choosing an instrument to tantrum-free practice from our readers, as well as young musicians who have appeared on From the Topand their parents.
Originally published on Tue September 18, 2012 4:45 pm
When friends learn that my nearly six-year-old has been playing violin for three years, their voices shift a bit, especially if they also have a child learning an instrument. Two questions come in quick succession: "Does she like it?" and "How do you get her to practice?" There's a nervous energy to their queries, and usually a little laugh, too. Either they've been struggling with kids who have a hard time practicing, or they recall their own childhood boredom.
The four-man vocal ensemble New York Polyphony sings ancient music built for big resonant spaces. Since they can't just pop into St. Patrick's Cathedral any time they need to practice a renaissance mass, the group rehearses sometimes in the Jackson Heights home of bass singer Craig Phillips. There, in a modest-sized living room, they can hear every detail. "It's a very different experience rehearsing in a dry room and a small room," says tenor Geoffrey Silver. "You actually hear what you and your colleagues are singing, there's no watercolor wash over what you are doing."
It's tough to concentrate on the rigors of Beethoven with jackhammers pounding in your ears. So when they started demolishing the building next to Jonathan Biss, he moved his piano out of his apartment into a separate studio, away from the commotion. "I would get up in the morning, the piano wasn't there, and I had to leave my apartment to go practice and I've decided that's a much more productive way of working," he says. Biss needs a good working environment for his massive project.
Jeremy Denk has his own personal "piano boot camp." Actually, it's his cramped Manhattan apartment. Beside his beloved books, a trusty coffee pot and a laptop, there's not much to do except practice. Which Denk does, hours and hours a day on a Steinway wedged into his living room. On a good day, he brews pot of coffee number one at about 11, then plays for about five hours. Perhaps a run to the gym, then pot number two is brewed at about 6, followed by more playing — until the neighbors complain.