When we work on pieces like these, it makes our rehearsal process really joyous.
We think great composers populate their music with a lot of details and a sense of realism, but they're all in the same framework of physics. Thomas and Beethoven employ a really crafted, structural approach to compositions, almost architectural. Each piece has a central, unifying motif that the entire piece sprouts out of. All of the pieces on the Appalachian program seem to sprout from a seed. Often we'll choose pieces that are structurally similar. From there, we tried to pick music that fits with those two works. At this concert on the 26th, we chose to play No. We are currently working through all of Hayden's Op. How do you go about choosing a program for a summer festival such as this one?įirstly, we pick music we like. This will be your first time at An Appalachian Summer Festival. You can set goals and enjoy yourself at the same time. Competitions and festivals are similar in that they are goal driven, but with festivals, there is a little less pressure and competitive spirit. At a summer festival, you spend quite a lot of time together and really hone what you're about. It's a similar place where you can get a lot of work done. Would you say it is a similar situation at a summer festival? They've gone through a similar scenario and it forces everyone to go through a state of hypergrowth. It forces you to constantly evaluate yourselves.Īlthough it's not a natural situation of any sort, it's beautiful to hear all these different people playing things they've prepared. Your ears are at an all-time high, as you come in contact with many other groups who have also pushed themselves to the brink. When you're preparing for a competition, you're super "in shape" musically. I understand their unique take on music." You also get exposed to audiences and presenters, and it's always good to just put yourself out there. You want a jury or audience member to walk away and say, "I understand what that quartet was about. Entering a competition forces you to craft an identity as a group, one that is so crystal clear. Regardless of the success, you grow as a group. How important do you think winning competitions is in regards to a quartet’s success? Creating experiences makes the tour feel a little more alive. The amazing meal you had together or the beautiful gallery you all saw will be the things that stick in your head. But what's also important is creating memories other than rehearsals and concerts. Of course, it's important to sound good, always.
What are your favorite parts of traveling together? Any tips for groups that are embarking on their first tour?Įxploring different food scenes is a fun perk for us! When you first start to travel in a group, it's easy to choose rehearsing over exploring a new place. Keep a clear head and see everything as an opportunity. Rather than get discouraged, look at the challenges as a springboard for the group's development.
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When you hit a few bumps in the road, figure out how to navigate them in a constructive way.
Build a social media presence as soon as possible. Make sure you are all on the same page about your commitment to that search and the philosophies that drive it. Agree upon a vision for the future of the ensemble.īeing a musician/artist means constantly searching for what can be done better. What are your most significant words of wisdom for up-and-coming chamber groups hoping to build a thriving career? This summer, after concerts at Canada's Elora Festival, they will perform a riveting program at An Appalachian Summer Festival on July 26. The Violin Channel had the chance to catch up with VC Artist Rolston String Quartet, to get their perspective on what it takes to be a successful string quartet.
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