Six Alumni to Compete in Van Cliburn Competition

It is with excitement that we report that six From the Top alumni have been named among  30 competitors in the Van Cliburn Competition, May 24 – June 9 in Fort Worth, Texas, one of the world’s most prestigious piano competitions.

The Van Cliburn Competition was founded in 1962 to recognize the great pianist Van Cliburn, who passed away in February 2013. In its 50-year history, the Cliburn has identified and ushered a host of exceptional artists to international prominence, including From the Top host Christopher O’Riley.

Meet the From the Top Van Cliburn competitors who represent six of eight U.S. contenders:

Sean Chen, Age 24, From the Top Show 134
Van Cliburn Profile

Sara Daneshpour, Age 26, From the Top Show 15
Van Cliburn Profile

Lindsay Garritson, Age 25, From the Top Show 19
Van Cliburn Profile

Steven Lin, Age 24, From the Top Show 157
Van Cliburn Profile

Alex McDonald, Age 30, From the Top Show 9
Van Cliburn Profile

Eric Zuber, Age 28, From the Top Show 7
Van Cliburn Profile

We’ll be reporting from the competition once it begins. So stay tuned as we follow these alumni.

Show 270: Listening Guide

From the Top’s broadcast for Show 270 was taped at the University of Georgia’s Hugh Hodgson School of Music in Athens, GA on Sunday March 3, 2013. We asked our performers to tell us more about their experience on the show…

Maria Ioudenitch, 17, violin
Scherzo-Tarantelle, Op.16
By: Henryk Wieniawski

The Scherzo-Tarantella merges precision, tenderness, and passio to create a masterpiece of virtuosity. I have neither a favorite nor least favorite part, as all aspects contribute to an incredible entity, which has no boundaries of emotion. This piece begins with grandeur, and technique, flows into a graceful middle section, and continues to bring the brief “Cantabile” of lighthearted yet passionate excitement. Finally, the Scherzo-Tarantella ends back at “Tempo I”, reiterating the brightness of the beginning.

This piece is special in it integration of various points of the emotional spectrum. Unlike some other pieces in my repertoire, the Scherzo-Tarantella brings out my still (thankfully) youthful energy to the maximum, with no need to suppress it. This piece highlights the difficulty of control, in regard to technique. However, by working on this control, I gain ability to structure the masterpiece and hopefully pass on to the audience the great love that it brings out in me.

Post-Show Reflection: my favorite moments were being backstage with my fellow performers, and then walking out onto the stage and looking at the warm, accepting audience. Of course, the performance itself was the best experience. I was shaking, my hands were cold, my heart was beating irregularly…the nervous aspect coalesced with the excited. When I started to play, my mind was in technique, but after about 12 seconds my heart overcame and joined the music.

Music has the power to affect others.

Wickliffe Simmons, 19, cello
“Kaddish”
By: Maurice Ravel

Well there is a story behind this piece. In January, a good friend and I put together a memorial benefit concert at our school for the victims and families of the Sandy Hook Elementary School tragedy, Each piece was put in the program for a specific reason. We chose this piece because in Judaism, a Kaddish is the prayer for the dead. The idea we had in mind was that some things are beyond verbal description, so through music we could reflect and reach out to the Sandy Hook families, and faith or no faith, we wanted this piece to honor the students and teachers who were lost that day.

It has a very vocal or cantor-like quality. When I play it, I feel like I am solemnly pacing through a morphing, impressionistic atmosphere. This piece was written originally for voice and piano. Since the cello, in my opinion, is the closest string instrument to the human voice, it’s pretty cool that you can sing this piece without words. My teacher says that I should imagine that I am a Jewish cantor singing this prayer. I guess the hard part about playing this piece is making it have the same natural rise and fall of the human voice – just making it sound authentic and knowing the pacing you want to take before playing it.

Post-Show Reflection: It was great t meet all of these new, amazingly talented people, and realize how we all seem to know a lot of the same people. The rehearsals got rid of a lot of my anxiety before the show. When I walked onto the stage, the thought wasn’t to panic, but instead to just let go.

Music can speak as a language of its own, and draws out an emotional response.

Bokyung Byun, 18, guitar
“Recuerdos de la Alhambra” (Memories of the Alhambra)
By: Francisco Tárrega

The last two chords of the piece always confuse people. They often start clapping when the first chord is played because they think it is the end of the piece. In fact, the last chord often doesn’t get the chance to be heard. A friend of mine suggested that if audiences start clapping after the first chord, instead of bowing, I should wait until people stop clapping and play the last chord.

When I play this piece, I imagine a guitarist accompanying a singer singing the melody. I found it challenging to make the melody sing on the guitar, while making the accompaniment interesting at the same time. When I tried to listen to the melody, the accompaniment became too boring. When I tried to make the accompaniment interesting, the melody was not singing anymore.

Post-Show Reflection: My favorite memory was the pizza party! I loved how the staff members were so nice and supportive of us all the time. Also, it was nice to meet everyone for the first time. The performance itself was very relaxing. The audience was amazingly cheerful, and I really enjoyed performing for them.

I believe that music has the power to describe things that words cannot.

Ariela Bohrod, 17, piano
Andante Spianato and Grande Polonaise Brillante, Op.22
by Frédéric Chopin

Post-Show Reflection: I loved taking the quiz for my on-air interview! I learned some hilarious new things about the food preferences of famous pianists, and even though I only answered one of the three questions correctly, it still was a hoot. For the show, I thought I would be anxious to perform, but I was having too much fun to feel nervous.

Music is a universal language – something everyone can understand. It’s something that can connect people, help us to put aside our differences, and come together. I believe music has the power to change the world. 

Hartman-Warren-Doyle Trio
I. Moderato Assai from Piano Trio in G minor, Op.15
By: Bedřich Smetana

Luther Warren, 17, violin

In me, this music awakes images of the vase, rolling Czech countryside. Although I’ve never visited the Czech Republic, these images are vivid and tangible. This piece was written immediately following the death of Smetana’s daughter. As a result it conveys and enormous amount of grief, suffering, and poignancy. This is the mist important aspect to communicate to the audience.

Post-Show Reflection: My favorite memory was sitting in the Green Room with the rest of my trio while the show was starting. Only when we heard the crowd begin to cheer that what we were about to do really sank in for me. Performing on the stage at the show was about what I would imagine being in a 1950s live-broadcast TV show would be like. There was a rush of inherent and exciting energy about it all.

Music has the potential to bring beauty to a person’s life on a level far deeper than most other things can reach. 

Nora Morrissey Doyle, 16, cello

This piece is one that is filled with grief. Our coach told us about how Smetana wrote this trio after his daughter died from an illness, and I think that you can hear those emotions of grief throughout the piece. It speaks to his sorrow and frustration, but there are also fond memories, like when you hear the beautiful cello melody. My favorite part of the piece is in the beginning, when the cello joins the violin as the violin repeats its descending line and the cello plays an ascending one.

There are some places with tricky rhythms, and we had to work hard to get those places together. But those rhythms also add to the tension and the emotion of the piece. As with any ensemble, the blending of the different voices for just the right combination is a challenge. In this piece the dominant instrument changes around at times, and so we must listen carefully.

Post-Show Reflection: My favorite memory was meeting all of the performers and production staff at the pizza party. For the show, I was more comfortable than I’d expected. Having done the dress rehearsal in the morning, playing on that stage wasn’t as scare anymore. In fact, the only thing different from the dress rehearsal, to the performance was having a live audience, which was totally energizing.

Music can do basically anything, I think. It can transcend time, culture, distance, and bring people together. It allows people who don’t even necessarily speak the same language to communicate fluently.

Derek Hartman, 15, piano

This piece explores many different emotions, all of which transition between each other in a matter of seconds. My favorite part is the long violin solo, where Luther hits a high B flat. My least favorite part is the section where the strings are playing triplets while I play loud, C major chords, which lasts for several measures. I fell like the storyline follows different paths of pain and sorrow, as many emotions run through us at once when we experience that.

This piece has a strange piano part. Unlike most romantic piano trios, the pianist doesn’t have too many virtuosic parts; however, the part is surprisingly difficult. The chordal and octave passages make it a tough piece.  The hardest thing to nail is the right amount of “portato”.

Post-Show Reflection: In addition to performing (obviously), I enjoyed going out for dinner with all the “talent.” It was fun to get to know everyone. I didn’t think the performance was stressful at all – it was one of the most lighthearted, fun experiences I have ever had in a performance; very inspiring and invigorating.

Music has the power to bring people together for a common cause. It is also entertaining and provides a purpose, something to work for – it inspires, and provides hope. 

From the Top Alumni Selected to Tour with National Youth Orchestra

Eric Goldberg, age 16 (Show 244, Kalamazoo, Michigan)

From the Top wishes to extend warmest congratulations to all of the young performers, including eleven From the Top alumni, who were chosen to be part of the National Youth Orchestra this summer! Each summer, Carnegie Hall’s Weill Music Institute brings together 120 of the nation’s top young classical musicians to tour some of the world’s musical capitals as musical ambassadors. These young performers were accepted into this prestigious orchestra after a challenging and comprehensive audition process. Led by James Ross, the associate director of The Julliard School’s conducting program and director of orchestral activities at the University of Maryland, the National Youth Orchestra of the United States of America will tour from July 11 to July 22, 2013, performing in Washington D.C., then Moscow and Saint Petersburg, and finally, London. Congratulations and best of luck to our remarkable alumni!

Annika Jenkins, age 16 (Show 234, Virginia Beach, Virginia)

Erika Gray (Show 262, Greensburg, Pennsylvania)

Nora Doyle (Show 270, Athens, Georgia)

Amy Semes (Show 239, Ocean City, New Jersey; Show 246, Pittsburgh, Pennsylvania)

Annie Wu (Show 263, Davis, California)

Eric Goldberg (Show 206, Dallas, Texas; Show 244, Kalamazoo, Michigan; Show 271, New Albany, Ohio)

Annika Jenkins (Show 234, Virginia Beach, Virginia)

Demi Fang (Show 239, Ocean City, New Jersey)

Sean Byrne (Show 252, Chattanooga, Tennessee)

Elizabeth Sperry (Show 240, Boston, Massachusetts)

Jacob Mezera (Show 214, Iowa City, Iowa; Show 238, Chicago, Illinois)

Tanner Jackson (Show 214, Iowa City, Iowa)

Show 269: Listening Guide

From the Top’s broadcast for Show 269 was taped at the McCoy Center for the Arts in Mesa, AZ on Tuesday February 19, 2013. We asked our performers to tell us more about their experience on the show…

Austen Yueh, 16, clarinet
IV. Molto Allegro from Sonata in E-flat for Clarinet and Piano, Op.167
By: Camille Saint-Saëns

This movement is all about contrasts. One moment all you’re hearing are flashy, fast runs and scales, and the next moment it’ll be completely calm. It reminds me of a really exciting flight full of twists and turns, diving low and shooting back up in the technical passages. I think Saint-Saëns really knew how to exhibit the many personalities of the clarinet in this piece: the slightly show-off-y, attention-seeking, playing child; the shy and innocent girl; and the more mature romantic, which appears in the closing section. That’s definitely my favorite part, since it’s like a breath of fresh air when coming home after a long time away. Not to mention, the melody is essentially a beautiful love song without words.

Ultimately this movement represents life in a nutshell to me. We’re often very jumpy and eager, ready to dive into everything that comes our way. The main portion of the movement is bold and fast-paced, punctuated by moments of anxiety and breaks. However, settling into the legato, cantabile melody in the closing reminds us that at the end of the day, we need to just sit back, chill, and enjoy the simple pleasures of life before we miss them and they’re gone.

My first time hearing this piece was on a CD of Ricardo Morales at my teacher’s house. The sonata’s first movement has the same theme which appears in this movement’s closing, and I fell in love with it immediately. But what makes it more meaningful to me is that I performed this melody after the eulogy at my grandfather’s funeral in China. Seeing everyone’s faces soften despite the grief and the gravity of the situation was truly touching for me, and I think that was the moment where I realized music isn’t just about playing the right notes, having the best technique, or making a successful career. It’s about communicating and relating to people on a deeper level.

Post-Show Reflection: I really enjoyed all of the experiences with the performers outside the concert hall, especially the outreach events with the students from Archway Veritas and Rosie’s House. I was so thrilled to watch all of the other performers play onstage and interact with the students as well – the diversity and energy they brought were truly inspiring and I feel very fortunate to have been a part of that. Plus, I loved collaborating with Christopher O’Riley and getting to know the rest of the staff! And making a Harlem Shake video with everyone at the end of the arts leadership forum was a hilarious way to finish off. All in all, this has been one of my favorite musical experiences — it’s been both humbling and inspiring.

Music has the power to soften people’s hearts and to connect them in a way that is much deeper and closer to the core of what makes us human. As musicians, it’s so easy to get self-absorbed in your own actions and achievement, but music really is about humanity and communication. It is hope.

Adé Williams, 15, violin
IV. Presto agitato from the Sonata No.3 in D minor for Violin and Piano, Op.108
By: Johannes Brahms

The first time I played this piece was in Ludlow, VT City Hall when I was 11. It was my first time playing an entire sonata, which was really exciting. But since this movement is the last, I was so SO tired and exhausted. It felt like I had just run a marathon! I really love this piece; it’s my favorite Brahms sonata. Each movement is so different and awesome. The movement that I play is my closest second favorite to the first movement. It’s so exhilarating and fun to play, which is definitely my kind of music!

This movement is really unique. I can’t say that I’ve heard anything like it before. There are lots of pieces that are exciting in different ways, but I think this piece portrays certain wildness and intensity that you might not find in others. It’s also really mysterious in a way, but like a roller coaster at the same time! You’re always on your toes, and wondering what’s coming next!

Post-Show Reflection: This time being on From the Top was absolutely FANTASTIC! From playing the Brahms with Chris, to talking about how amazing Mr. Friend was, to hanging out with amazing other performers backstage, and doing hilarious things (Harlem Shake?) with them was soooooooo so so much fun. The staff is always wonderful and fun. Leading the bow was also really fun J It was an AMAZING experience and I can’t wait to come back.

Peter Eom, 17, cello
III. Allegro Molto Vivace from Sonata for Solo Cello, Op.8
By: Zoltán Kodály

Kodály wrote his solo cello sonata after visiting a bunch of tribal villages in Europe. He was inspired by the sheer number of cultures he was introduced to, and wrote the piece to express his culture shock. This is why you might notice some very unconventional sounds in his piece – virtuoso pizzicati, accentuated rhythms, harmonic shouts – in addition to the simplistic folk tunes. When hearing the sonata, you can almost imagine the villagers in their rustic dances and rituals – the music recreates their whoops and shouts, and their barbaric grunting and howling. This rural flavor to the piece makes it very schizophrenic because Kodály mixes it with very traditional, Hungarian composing – he frequently quotes the aristocratic (and very non-rustic) style of Hungarian concert music: nationalistic, proper music ful of pride and symmetry. By switching from this traditional Hungarian tone to lower-brow, folksy music, and then constantly back and forth, Kodály makes this piece an exciting creature indeed. I encourage audience members to listen for these different styles – it really helps in structuring the piece in your mind, and that’s always important when you want to keep yourself involved in the music. Another cool thing about the solo sonata is that it was the first thing written for solo cello since the Bach solo cello suites. Nobody knows why Kodály chose the cello, considered then as a long-forgotten instrument combo, to express how he felt about the different cultures. All I know is that: 1. Through his piece, Kodály gave the solo cello form new life, and composers from then on really started to contribute to the solo cello repertoire.  2. Every non-cellist wishes that Kodály wrote something like this for his or her instrument – this is not even an opinion. It’s a fact – that’s just how cool this piece is.

The Solo Cello Sonata is considered one of the most difficult compositions ever written for cello – so in just that sense, Kodály’s piece is already very unique. However, as mentioned before, it introduces a lot of colors that are not found elsewhere in different pieces, and it is this flavor that really makes Kodály’s Solo Cello Sonata a special piece to enjoy. In no other majors piece are pizzicato, accentuated rhythms, and exotic solo cello chords so prominent. In addition, the piece requires that the cellist tunes his or her strings different from the traditional tuning of fifths (A, D, G, and C) – instead, the cellist tunes the G and C strings a half-step down, to F# and B. Through his use of scordatura to create a much less stable cello, now centered around a definite k (b minor), Kodály paints a polyphonic situation where the cello rings beyond its natural resonance and makes both the playing and the listening experience truly out of this world.

One really hard thing about this piece is that fact that it expresses something very simple – the pure emotion and feeling that is folk culture. As an artist, my job is to show this simplicity to the listeners; however, this is difficult to do due to the technical challenges of the piece, and how all over the place it is with its various special effects. I’ll try my best to emphasize the themes of the movement in the midst of everything, but will acknowledge that keeping it simple is one of the most challenging aspects of the piece.

Post-Show Reflection: From the Top was a beautiful experience for me – and all of us, I’m sure. I can’t believe that we were only together for 2 days! It’s a testament to the power of music – as we drove together, ate together, and listened to each other, something magical happened and we all found it so easy to relate to each other. It was as if we had grown up together. Ultimately, I found my time here and experiences have definitely given me new insight into the great things I can do for the future.

Christopher Son Richardson, 14, piano
III. Allegro con brio, ma non leggiere from Sonata No. 4 in C minor, Op. 29
By: Sergei Prokofiev.

I think that this piece is extremely fun to play. It is quite humorous, in my opinion, but it has its lyrical moments. I imagine a circus whenever I play this movement. For example, the very first few measures seem like someone doing a trapeze act. My favorite part to play is the climax. My brother tries to copy many times while he is practicing from another room during my practice, but he can never make it as fast, no matter how many times he tries – we always laugh about it.

Compared to the other piece that I have played, this piece requires a lot of energy from the performer. The hardest thing to nail, for me, is building the excitement, especially towards the big climax. I also have to make the dynamics very contrasting. The rhythm has to be precise. Another thing that makes this piece unique is its combination of lyricism, dynamism, sarcastic humor, and classicism.

Post-Show Reflection: My favorite memory from my FTT experience was when the students from Rosie’s House came backstage while everyone was eating (for a meet & greet session with the performers). I was less nervous that I thought I would be, and I thought it was really fun. The piano was great!

Music has the power to change people.

Trey Pernell, 18, composer
Performed by the Phoenix Children’s Chorus
(Ron Carpenter – artistic director)
“O Captain! My Captain!”
By: Trey Pernell

I wrote “O Captain! My Captain!” with the image of a massive funeral procession in mind. I imagined a solemn spectacle befitting the death of such a revered figure (Abraham Lincoln) and tried to sound like the collective voice of the crowd, as they watched the casket pass by. Above all, you could say that I wanted to depict the emotions around a single scene, more than tell an entire story.

“O Captain! My Captain!” was my second choral composition and I wanted to get it right. I hadn’t been in choir for more than 3 months when I tried to write my first choral composition, inspired by all of the gorgeous music that I’d been introduced to. It was composed in the fervor of having discovered something new and exciting. Writing my first choral composition was like taking a brand new car out for a ride, or painting after discovering a new color. I hadn’t really written music for the voice before so I was thinking to myself, ‘Let’s see what I can do with these new tools.’ The first piece ended up being sloppily written and hastily finished. Several months later, however, when I began writing “O Captain! My Captain!,” I was determined to keep it from collapsing. “O Captain!” is special to me because ever since I’d joined choir, I wanted ot write a substantial choral piece, and it represents my success. There’s nothing like completing your first composition, and completing “O Captain!” brought a little bit of that feeling back.

Post-Show Reflection: A favorite memory for me was the the dinner we had all of the producers and musicians; the initial eat-meet-greet. I really enjoyed listening to my piece as it was performed by the Phoenix Children’s Chorus, and watching the emotion they put into it – they sang beautifully.

Music has the power to promote change within even the most immobile groups of people. It is a force to be reckoned with.