Anyone who thinks that classical music is strictly an antiquarian affair has obviously never attended an Alias Chamber Ensemble concert.

On Wednesday night, Alias was at the Blair School of Music’s Turner Hall, presenting a program consisting largely of 21st-century music. Cellist Matt Walker was quick to point out one of this performance’s most salient features.
“I am really happy about this concert because all of the composers on our program are still alive,” said Walker, who found the “alive” part of that equation to be especially appealing, since he was both one of the composers and was also – by all accounts – “still alive.”

Walker’s contribution to the proceedings was a piece called Yo-Yo Joe, a cello duet written last year for Yo-Yo Ma and Toronto Symphony principal cellist Joe Johnson. The piece opens with short, bluesy music and quickly segues into a section filled with vibrant Latin jazz dance rhythms.

Ma and Johnson played a shortened, “Minute Waltz” version of this piece as an encore in Toronto last season. On Wednesday, Walker and cellist Sari DeLeon-Reist presented the world premiere of the work in its “Five-Minute Fandango” incarnation, playing the music with energy, good humor and joy.

Wednesday’s concert also featured the world premiere of Chris Farrell’s String Quartet No. 1 “Three Portraits.” The portraits in this case were the work’s three movements, each probing the genre of the quartet from a different perspective. The first movement seemed almost Brahmsian – the flowing, lyrical music built up layers of rhythmic and harmonic intensity over time. The slow second movement, surely the heart of the piece, was a meditative song without words, while the finale was a vibrant dance that had something of a folksy feel.

The players – the composer on viola, violinists Alison Gooding and Jeremy Williams and DeLeon-Reist – gave the music a memorable premiere, tossing melodies back and forth with chatty spontaneity, playing every note with sensitivity and style. The success of the piece suggests Farrell should consider becoming one of Alias’ regular house composers.

Gooding and harpist Licia Jaskunas have teamed up at several recent Alias concerts to present duets for violin and harp. On Wednesday they played an especially appealing piece called Night Time by Sebastian Currier. This was a substantial, five-movement suite brimming with sensuous violin melodies and sparkling harp accompaniment. Gooding and Jaskunas played with polish and deep feeling.

Michael Daugherty’s Diamond in the Rough for violin, viola and percussion was the evening’s most unusual offering. The work’s title seemed odd, given that Daugherty wrote the piece as a tribute for Mozart – far from being rough, Mozart was a precision-cut jewel. But that didn’t make Daugherty’s music any less of a gem.

The first movement, “Magic,” glistened with bright glockenspiel notes that paid homage to The Magic Flute. The second movement, “Fifty-Five Minutes Past Midnight,” alluded to the mysterious hour of Mozart’s death and featured a percussionist playing, among other things, tuned water glasses. “Wig Dance,” the finale, included music that seemed almost bluegrassy. Violinist Zeneba Bowers, violist Chris Farrell and percussionist Chris Norton gave the music its due, playing with color, nuance and imagination.

Bowers, Alias’ founding artistic director, seemingly aspires to be the k.d. lang of classical violin – she likes to play barefoot. So she appeared shoeless in both the Daugherty and the concert’s final selection, Peter Schickele’s Quartet for clarinet, violin, cello and piano.

Schickele is best known for his comic character P.D.Q. Bach, but he also composes bona-fide concert music. His clarinet quartet is among his most legit and well-made pieces. The work’s four movements overflowed with melodies that were alternately bluesy and folksy. Dauntingly difficult passages abounded, but the Alias quartet – clarinetist Lee Levine, pianist Melissa Rose, Bowers and Walker – tossed off this music with precision and panache. The performance brought the concert, a benefit for the Nashville nonprofit group Moves and Grooves, to an appropriately joyous conclusion.

ALIAS is proud to announce the new co-chairs for the fourth annual Arts & Flowers: renowned celebrity chef Miss Daisy King and noted art expert George Clark. George presided over the Metro Arts Commission their first full year and served with the Tennessee Arts Commission. Miss Daisy’s expertise in culinary delights has been featured on Nashville’s Talk of the Town, in her popular cookbooks and as a caterer and food consultant for some of Middle Tennessee’s most prominent cultural events.

Why do you think Arts & Flowers has become one of Nashville’s most popular arts events?

Miss Daisy:

I think Arts & Flowers is the first event that pairs visual artists and floral artistic talents together. It’s a unique undertaking to combine two entities that work so well together. And of course we have the glorious music of ALIAS to enjoy at the party! I think it is thrilling to have all of these elements combined in one event. It’s a unique opportunity to see some of the best talent in Nashville – and it’s a donation to a great cause. That’s what makes it such a popular event.

George:

Arts & Flowers is just – unique. What makes it interesting and different is the pairing of the floral arrangements with the paintings. And the food is always good and the W.O. Smith Music School is a unique location. It’s a chance to hear ALIAS play and socialize with other arts-music lovers. It’s just so different than other arts events.

What made you decide to co-chair this year’s Arts & Flowers?

Miss Daisy:

I’m such a big fan of ALIAS that for the last three years I have helped provide catering and other assistance to Arts & Flowers. When they asked me to co-chair, I didn’t hesitate to say yes. ALIAS brings so much pleasure to the ears of Nashville that I want to do everything I can to help them.

George:

Miss Daisy’s enthusiasm drew me into serving as co-chair. She and the ALIAS board asked me to help, and I said yes. I’m a long-time fan of ALIAS and I have been attending their concerts for many years. I think I’m the one who helped make Miss Daisy an ALIAS fan!

What makes this year’s event so special?

Miss Daisy:

Well, once again we’ll have numerous hors d’oeuvres and libations, with a special “sweets station” with coffee. Who can resist that? And there will be even more art offerings this year – at reasonable prices.

George:

As a long-time collector of art, I am really looking forward to the offerings at this year’s Arts & Flowers. We are going to have several new artists this year. Anyone who appreciates art or is a collector is going to love this year’s event. And of course it’s a chance to hear ALIAS play and enjoy great food and drink.

You can become a part of Arts & Flowers…

How would you like to become part of this signature fundraiser for GRAMMY nominated ALIAS Chamber Ensemble? Now celebrating its fourth year, Arts & Flowers has become one of Nashville’s most successful and best attended benefit events. Magical things happen when you pair artists and florists to create the “Best of Show”. Top that with a live performance by ALIAS. What more could you expect in one evening?

Sponsorship opportunities are available at all levels. Reply before June 17th to be included in an exclusive Preview Party. Contact Ron York at jronaldm1@comcast.net or Jim Robert at jimgrobert@comcast.net for details.

Call for Arts & Flowers volunteers…

How would you like to attend Nashville’s hottest summer arts event for free? Volunteers are needed for 2-hour shifts for event set-up on Friday, July 19th, noon-4 p.m. and for 2-hour shifts at the event on Saturday, July 20th, 5:30-9:30 p.m. This is a GREAT opportunity to attend the event for free, while helping ALIAS. For more information, contact Kathy Masulis at kathymasulis@comcast.net.

Sponsors:
Media Sponsor – Nashville Arts Magazine
Click here to learn about sponsorship opportunities

ALIAS’ Arts & Flowers blossoms into its fourth year…

Now celebrating its fourth year, Arts & Flowers has blossomed into one of Nashville’s most successful and best attended cultural events. Benefiting GRAMMY nominated ALIAS Chamber Ensemble, this sizzling arts party is coming Saturday, July 20, to the W.O. Smith Music School.

“I think something magical happens when you pair visual art and floral design,” says Jim Robert, ALIAS Executive Director. “This year we’re pairing 20 featured artists with 20 featured floral designers, for a colorful collage of unique pieces that will compete for Best of Show. There’s also a new gallery area with 10 additional artists, jeweler Ruthie Cherry and a floral arrangement by OSHi.”

New artists to this year’s event include Birmingham’s David Nichols and Vicki Denaburg, along with local talent Maribeth Wright, WJ Cunningham, Brian Nash, Michael Manly and Geppe Hernadez. Returning floral designers and florists include Tulip Tree, OSHi, Emmas, Lynne Wallman, Connie Baird and Phillipe Chadwick.

Ron York, who has worked behind the scenes to make Arts & Flowers a success, is once again a featured artist. Also back by popular demand are Jennifer Padgett, Amanda Norman, Charlotte Terrell, Kathleen Sparkman, Jade Reynolds, Jann Harrison, Michael Bush and Rhonda Wernick.

All of the artists have generously agreed to donate at least 40% of each sale to ALIAS. The floral arrangements will be part of the silent auction, with 100% going to the chamber ensemble. Once again, ALIAS will perform a small selection from their latest innovative repertoire.

Some of Nashville’s top culinary talent will provide heavy hors d’oeuvres and spirits, including Music City Flats, The Chef and I, assorted chocolates from Southwestern/Great American, Belcourt Taps, Whitfield’s Restaurant, the Daily Dish and West Meade Wine & Liquor Mart. A new “sweets & coffee station” has been added this year, along with a photo booth for attendees to enjoy getting their pictures made while at the event and a copy to take home.

Celebrity art judges include Senator Thelma Harper and Ann Pope from the Tennessee Arts Commission, Meryll Rose from Channel 5, Perri Crutcher of OSHi International and Jane Offenbach MacLeod of Cheekwood. Renowned celebrity chef Miss Daisy King will serve as this year’s Arts & Flowers co-chair, along with co-chair and noted art expert George Clark. Honorary chairs are Judith Hodges and Jan van Eys.

Q: Matt, tell us about your World Premiere. What excites you the most about this piece?

Matt: I wrote it for a friend, Joe Johnson, who is the principal cellist in Toronto. It was performed as an encore by Joe and Yo-Yo Ma, hence the name, Yo-Yo Joe for two cellos. They played about half of it. Now I get to play it in its entirety. I like to joke that if they had played it fast enough, I wouldn’t have had to shorten it!

Like a lot of the pieces I write, this one has sort of a Latin jazz feel with some blues thrown in. It’s pretty characteristic of how I compose. I love this piece because the idea of Yo-Yo Ma playing anything of mine is kind of fun. It’s a fairly short piece that’s very light and fun, with a little improvisation thrown in there.

Sari DeLeon Reist will be playing the piece with me. She’s a great cellist and a terrific musician. I enjoy playing with her, because in addition to being a great classical performer, she has a good feel for non-classical style like jazz and blues, so we’re having a good time playing it.

Q: What else do we have to look forward to at the Spring concert?

Matt: There will be a lot of variety in this program, including works by Michael Daugherty and Sebastian Currier – a violin/harp duo, and Peter Schickele’s Quartet for clarinet, violin, cello and piano, which ALIAS performed at the historic Schubert Club in St. Paul.

And of course we will be featuring another World Premiere by violist Chris Farrell, String Quartet No. 1. We played a small portion of it at last year’s Arts & Flowers and it will be featured in some of our Education and Community Program (ECP) performances this year.

Q: Chris, tell us more about your World Premiere.

Chris: String Quartet No. 1 is my first multi-movement piece of music. I‘ve written some smaller pieces, but I have to say it’s a pretty accessible piece. What I mean by “accessible” is that it is a little more traditional than some of the more modern pieces I’ve played with ALIAS. This piece will show my love for Brahms. But what it will really show is something I wanted to hear in a piece that isn’t being heard by most audiences. At the same time it is something I wanted to listen to, and that hopefully other audiences will want to hear.

Q: What sparked the idea behind this piece?

Chris: It started as an experiment, where I started writing the second slow movement first. I wanted to write something that was thick. That is, there are only four players, but it’s written in a way that it sounds like a lot more than four players. You can’t just start out with a bunch of notes. There needs to be contrast when you add another player and another idea.

I brought in half of the second movement to an ALIAS rehearsal. After Matt and the rest of the group played it, I decided I could work with it. That summer I wrote another movement I thought I could pair with it.

Basically, I took a melody from the slow movement and put it into the last movement. Then I thought I was finished, and I started another quartet piece. But before I knew I knew it, I had written the first movement, so I sort of did it in reverse.

Q: Are you just a bit nervous about performing a World Premiere?

Chris: Performing a World Premiere is a little intimidating because Matt’s already performed his own Premieres and he’s such a great composer. And of course you sort of just put yourself out there for potential criticism. But I tried to compose this piece while thinking in terms of the listener. I didn’t want it too extended. I think it’s accessible.

Q: Matt, the Winter ALIAS concert was almost a full house. Why do you think the ALIAS concerts have become increasingly popular?

Matt: I think it’s because our concerts are always so varied. We don’t usually have a theme, other than we’re all playing music that we love to play. The intent is if musicians are doing something they really love, that enthusiasm will carry over to the audience. It’s rare that someone comes to one of our concerts and doesn’t like at least something we’re playing. It’s a pretty safe bet you’re going to enjoy something, if not everything.

And I think our nonprofit partners contribute supporters to our audience. Our nonprofit partners are keeping 100 percent of the ticket sales, so they really do a great job of getting the word out for each concert. It’s really a great partnership that brings in a diverse audience.

ALIAS Spring Concert
Wednesday, May 22, 2013, 8 p.m.
Turner Hall, Blair School of Music, Vanderbilt University
Visit TicketLeap for more ticket information.
• Sebastian Currier – Night Time for harp and violin (1998)
• Matt Walker – Yo-Yo Joe for two cellos (2012) *World Premiere*
• Michael Daugherty – Diamond in the Rough for violin, viola and percussion (2006)
• Chris Farrell – String Quartet No. 1 (2012) *World Premiere*
• Peter Schickele – Quartet for clarinet, violin, cello and piano (1983)
• Nonprofit partner: Moves and Grooves – www.movesandgrooves.org

Q: Tell us about the upcoming ALIAS/Nashville Ballet collaboration and what the audience can expect from the Macbeth performances?

Paul: We are SO happy to again be working with the wonderful artists of ALIAS. This all started when I heard them play “Drift” by Kenji Bunch, last year. I started to get interested in his music and as I got further in Zeneba, Matt and I decided it would work to collaborate once again, using an arrangement of Kenji’s music for the score of Macbeth. So ALIAS will be providing the music for this production. I’m hoping to bring another level to the story of Macbeth, that is, dance and music can bring a whole other level of feeling to the work beyond what is expressed in the play. So it’s really not the play, because if I was going to try to literally reproduce that, then one may as well go see the play. I want to expand on the themes of power and betrayal.

Q: Are there any musical parts or instruments that specifically relate to the characters in Macbeth?

Paul: Not exactly. It’s piano with strings only, so the instrumental themes will represent different characters at different times. Although the choreography is not started yet, I imagine the instruments and their specific voices will end representing different emotions over a range of characters, but that said, Lady Macbeth’s big sections are important solos for the violinist. One of these pieces is called “Sarabande” and it is only a solo for violin. Lady Macbeth is an amazingly rich character—she’s, sexy, ambitious, blood thirsty and eventually really crazy! And all of that will be represented in the violin!

Q: What is the most challenging part about putting something like this together?

Paul: Right now, I’d say arranging the score, as I had to find existing pieces by Kenji and edit them together to form a whole that feels like it works and is at least somewhat cohesive with the story of Macbeth. Later, when I really get into it in the studio (which happens much closer to performance time than people would expect—six weeks out), I think I will feel that the making of the movements and connecting them together with be more challenging. It is definitely a layering process, so my challenges are spread over time…

Q: What was it like working with the ALIAS musicians?

Paul: The musicians of ALIAS are fantastic—open and curious about what we are doing and very willing to take part in something that is different from their everyday performing. They’re also top notch artists. My favorite perk of working with them is that I get to go to rehearsals and sit right next to them while they work on the music for the ballets. In those moments, when the music is washing over me, and I can literally feel it, they’re rock stars to me!

Macbeth
May 16-18, 2013
The Martin Center for Nashville Ballet
Visit Nashville Ballet for ticket information.

ALIAS Board Member Ron York, owner of York & Friends Fine Art, held his 2nd Anniversary & Gallery Expansion celebration on March 9th. More than 600 art lovers attended and were treated to a solo performance by ALIAS cellist Matt Walker, who featured an excerpt from Three Portraits for string quartet (composed by ALIAS’s Chris Farrell). Ron, who has also served as the ALIAS Arts & Flowers Chair, generously donated 25% of the proceeds from his anniversary celebration. Catering and flowers were provided by several ALIAS supporters, including Miss Daisy King, West Meade Wine & Liquor Mart and OSHi Flowers.

This year even more of the area’s top floral designers will collaborate with some of Middle Tennessee’s most renowned artists to produce unique pieces. Guests will have the opportunity to vote for their favorites, while enjoying a delectable array of hors d’oeuvres, drinks and desserts.

How would you like to attend Nashville’s hottest arts party for free?

Volunteers are needed for 2-hour shifts for event set-up on Friday, July 19th, noon-4 p.m. and for 2-hour shifts at the event on Saturday, July 20th, 5:30-9:30 p.m. This is a GREAT opportunity to attend the event for free, while helping ALIAS. For more information, contact Kathy Masulis at kathymasulis@comcast.net.

An important part of the ALIAS mission is to reach out to different types of audiences who might otherwise not have access to classical and chamber music performances. Through the ensemble’s Education and Community Programs (ECP), ALIAS performs for children and adults at schools, libraries and other organizations, such as a recent performance at Park Center South.

“These really aren’t concerts. We bring an interactive program where we talk about what we’re playing, what it means and how we do it,” says Chris Farrell, ALIAS’s talented violist and composer who also develops the performances for the ECP.

“Most importantly, we give the audience opportunities to ask questions. Hopefully this builds an audience likely to attend chamber concerts in the future. Normally, these audiences would not have access to this type of classical chamber music. And it’s great when the audience asks questions!”

One of the goals of ECP is to give audiences a better idea of how to listen to all types of music. Chris says we’re all taught how to read: how to look for characters and how to recognize how sentences are put together.

“Yet there’s an assumption that everyone knows how to listen to music,” says Chris. “But classical music can be intimidating if you don’t know how to listen to it. I want the audience to learn there are specific aspects that will enhance their listening experience.”

This year’s ECP performances included interactive sessions where the audience learns first-hand how music is put together. Chris is using movements from his composition Three Portraits for string quartet (which is one of two World Premieres being performed at the ALIAS Spring concert on May 22nd). At each performance, Chris gives a brief overview of how the music is composed, giving the audience a better understanding of how all the parts fit together.

Each ECP performance also includes an excerpt from John Zorn’s Cat o’ Nine Tails for string quartet that ALIAS played at the Winter concert.

“It’s really sort of the opposite of the melody idea,” adds Chris. “It tells a story and is more of a narrative of sound.”

This approach was well-received by the audience at Park Center South, where ALIAS performed on March 8th. Park Center provides support services for adults recovering from mental illness. During the show, Chris invited the audience to listen to a piece of music that he wrote that has a beginning, an ending, and six short segments that are interchangeable. He then divided the audience into three groups and gave each group a choice of two segments. In this manner, the audience decided how the piece was played.

“It was awesome! It’s just mind-blowing how ALIAS got the audience to help create music on the spot,” says Park Center’s Mark Horn, who is a psychiatric rehabilitation practitioner at the center’s South facility on 12th Avenue. “They gave everyone plenty of chances to ask questions. And what’s really exciting is that we got to have this experience with world class musicians.”

Chris says the point to this activity is to show audiences how musicians can make a choice at any point during composition of how the musical pieces will fit.

“Those decisions can change how the finished piece comes together,” he adds. “Each segment has a different idea behind it. At each turn, the way the segment unfolds will make the music different.”

In addition to the recent Park Center performance, ALIAS will conduct its Education and Community Programs for several Middle Tennessee schools and libraries. Many of these audiences are in low income areas, where they might otherwise not have the opportunity to experience chamber and classical performances. Led by Chris Farrell and Board Member Michelle Lin Doane, the ALIAS musicians shared their talents with 550 students and adults during the 2012 season.

With the exception of this year’s performance at the Goodlettsville Branch of the Nashville Public Library, ECP performances are not open to the public (school performance audiences are only students and teachers).

ALIAS is proud to list the following schools and organizations for its 2013 ECP season:
• March 8th – Park Center South
• April 3rd – Park Avenue Enhanced Option Elementary
• April 5th – Hume-Fogg Magnet
• *April 6th – Nashville Public Library (Goodlettsville branch) *This performance at the library is open to the public!
• April 9th – Virtual School at Vanderbilt

ALIAS invites you to join us in welcoming aboard our new Board members:

William K. Norton
Associate, Baker Donelson

Richard Stone
VP Commercial Relationship Manager, Avenue Bank

Georgeann Burns
President, Health Facilities Planning Partners, LLC

Learn more about our Board of Directors here.