Category Archives: classical music

GILDA BARSTON – A Tribute.

 

To all the skinny girls, this was a woman “of size”.
Birkenstock sandals held solid feet, the kind that bore the frame of a woman focused entirely outside of the body which carried her. Her movements were slow; her mind, constantly active, always engaged by whomever was nearest to her at any moment. And, that one was almost always a student.
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 It didn’t matter if you were already in the room, or just entering; Gilda Barston was already in the chair. And, once seated, she became who she was: a master teacher.
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 Gilda was a Juilliard trained cellist, a mother, and an educator devoted to the Suzuki philosophy. You didn’t call her Dr. Barston; she’d spent her energies as Chairwoman of the Suzuki Association of the Americas (SAA),  presiding over numerous Board sessions planning and revising the pedagogic literature and, I believe, ultimately founding what I am remembering to be the Music Center of the North Shore in Chicago. I first met her at Ithaca College in the early 90’s where, attending only my second Suzuki Summer Institute, I was lucky enough to be among the teacher trainees in her class.
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 That year, my being a relative newbie, most of the SAA teacher trainees were seasoned, having either attended multiple summer institutes or been established in communities where the Suzuki philosophy enjoyed a thriving presence. And, the institute clinicians were, to my narrowly informed observations, a mix of New England blue bloods, liberal Jews, and lesbians. I was totally outclassed.
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 Up until the year before, I had been a pupil of the traditional studio mentality – averted by endless etudes, practicing the day before my lesson, and squeaking through each weekly session with negligible progress under the stern standard imposed by critique of my every shortcoming. Gilda was different. She actually wanted to know her student.
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 For her, the process was all about recognition. She regarded each of us teacher trainees with the same dedication she gave to her private students. Earnestly and keenly observing – watching, listening – really learning everything about us, she looked for strengths and, when she found them, always told us what they were. And, each of us was as important as the next; there were no stars in her firmament shining any brighter than the rest. But, whenever they shone, she eagerly sang their praises to all around.
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 Gilda was completely selfless. She always drew attention to the needs of the student, and taught by example what it meant to respect each one. Never once did any of us ever hear her talking about anybody in anything but a positive, supportive context; this woman was inherently incapable of spreading anything but good will.
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 I can still see so vividly the smile as she spoke, hear the youthful vitality in her voice, and watch the eye contact that sparked between her and the young player having the lesson. She related to everyone with equal enthusiasm, be they parents, students, or teachers; hers was an agenda of nurture, nothing less. And, the nurture didn’t end when the lesson was over; time after time, I’d follow her out of the room and down the hall and outside toward the dining hall, listening to the continuing conversation she was having with, you guessed it: her student.
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 That summer, I learned so much about myself. In one week, I discovered that I could be both enthusiastic and encouraging, and get results without ever pointing out a single flaw simply by modeling after her. Most importantly, after struggling in the public schools with every aspect of the profession, Gilda made me believe that I could be an effective teacher.
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 Over 20 years have elapsed since that summer yet I cannot count how many times, during private sessions in my studio, she would come to mind. Whenever a particularly successful lesson would unfold, I would always find myself thinking: “I wish Gilda were here, right now. I hope she would be proud of me.” This actually became a recurring fantasy – Gilda Barston, watching me teach. I realized that she had set the standard; in my heart and mind, she was the Queen.
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 Rachel Barton Pine just posted news today that Gilda had passed away. When I saw the words, my heart started. I realized that I had missed my final opportunity. I had missed my chance to express to her my gratitude, for being the beacon in my firmament, the guru of my graces, the all time best, most dedicated professional – the most beloved teacher.
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 Thank you, Gilda. Thank you for recognizing me, for wanting to know me. Thank you for nourishing us all with your remarkable gift for truly loving.
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 Earnestly,
your student, Ruth Ann.
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 © Ruth Ann Scanzillo  6/26/16    All rights those of the author, whose name appears above this line. Thank you for your respect. Please note Gilda Barston’s bio, below:
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 *From the SAA page:  GILDA BARSTON – dean emeritus of the Music Institute of Chicago, artistic director of the Chicago Suzuki Institute, and CEO of the International Suzuki Association. She has served as board chair of both the ISA and SAA. A student of Leonard Rose, Gilda received BS and MS degrees from the Juilliard School of Music. Gilda received a Distinguished Service Award from the SAA for her work with the SAA Cello Committee, and was the recipient of the American Suzuki Institute’s 2005 Suzuki Chair Award. A registered teacher trainer of Suzuki pedagogy, Gilda has taught at institutes and workshops throughout the country and in Canada. She was a faculty member and soloist at the International Suzuki Teachers’ Conference in Matsumoto, Japan, taught at the World Conference in Edmonton, AB, the Pan-Pacific Suzuki Conference in Adelaide, Australia, the Melbourne Autumn Festival and at the Korean Suzuki Association Winter Camps. In 2006 she was an honored guest and faculty member at the 14th Suzuki Method World Convention in Turin, Italy. In 2010 she and her daughter Amy were the guest master class clinicians at the 14th SAA Conference in Minneapolis.

The Voice of My Generation.

The Chinese boy’s name was Doonk. Or, at least that’s how he pronounced it when I asked him who he was. And, he’d done everything humanly possible to make my take out buffet dinner as delectable, if gluten and soy free, as he could.

But, sometimes,  we’re just in the right place at the wrong time.

I brought my dinner home, alright. Got it all set up on the sofa, and turned on the TV.

There he was.

Catching the tail end of the finale of his live one at PBS’ Austin City Limits just a day or two before, I’d heard enough to know that James Taylor and his band of back up singers and musicians had been one of the all time best that series had ever known. The collective light in everybody’s eyes told that tale.

And, this night, the time on the clock said 7:06 p.m.; with my carefully selected repast laid out before me, I’d be able to enjoy nearly the whole hour of his concert! This was more than the old single girl had bargained for, on such a Sunday evening in early summer.

Eagerly, I dug in to my meal, glancing up every so often at the radiant face of the man who had clearly come out the other end of a life that had borne its depths with what could only be termed a riding high. Smiling broadly as he sang, segueing from one song to the next with that rare fluency that only comes with the perfect band, the perfect night, the perfect scene, the perfect moment…..he was the perfected artist. As attuned to him as if they were inside his head were the flush, back up vocals, a wailing sax, Jimmy Johnson’s solo bass, and the subtle drumming of Steve Gadd always just under the lead of his clean, smoothe tenor.

To the innocent, Taylor seemed uncontainably happy.

But, I’m old, now. Just old enough. Old enough to know most of the stories – about people, and places, and things. There’s rarely a newsbyte or a bit of sound that comes across the ticker that doesn’t, in some way, trigger an associated memory. My fascination with the pure joy emanating from Taylor’s face was informed. His was a story of triumph.

In the early years of his fame, James Taylor was our lead balladeer. When we were down, or troubled, or we just needed a helping hand, that song……..that song brought it all home, for us. We didn’t know until the next decade that his own life would rise to the heights and plummet to the pit of despair; he would come out to us, eventually, not as a spokesman, but as a confessor of sorts for the rest of the bi-polar community.

And so, as I sat over my Chinese take out, I soaked up James Taylor in his finest hour, feeling the celebratory relief of a life that had come up out of its own troubles, coasting in conquering mode.

But, as if to gently prod my sensibilities, my taste buds started talking back. How audacious of them, really, in the midst of a perfect sensory evening. What was that bitter residue that seemed to be saturating every mouthful of my banquet?

Choosing my buffet meal with alleged care for only protein sources and clean nutrition, one fleeting, personal moment of weakness had permitted two small squares of red jello to pile on before I’d closed the styrofoam container. These had, in the emerging summer heat, decided to melt. Liquified, this red stream had meandered under the whole dinner, soaking up the rice, the noodles, the cheesy potatoes, the shrimp; and, worst part was, this was the artificially sweetened variety. The whole meal had been tainted by an alien chemical; it tasted awful.

Now, everybody knows – at least, anybody who reads a nutritional report produced by health conscious experts – that artificial sweeteners are, in large part, toxic. There is a larger point, here.

My generation is in that rare place: still comparatively lucid, and able to connect vast amounts of information from the past to the present. We are in the decade of now or never, the one that nobody has to tell us is our moment. What’s important, here, is that we go beyond realizing and actually do something with it.

We can look back, while we still have perspective; we can look ahead, while we still have our health. We can make ourselves available to any and everyone who seeks to benefit from our various wisdoms, and we can do even more: we can change our course completely without any concern for the judgments of others. We can break brand new ground, with far more than the idealistic notions of our youth; we now have the freedom to make sound decisions born of  the vision that comes with the experience of knowing.

Had I been some twenty years younger, that melted red jello, that faux food would have ruined my entire evening. I would have brooded at the injustice of it all, maybe even written a letter to the restaurant owner berating his choice of dessert options.

But, James Taylor’s voice was still there, its beauty and clarity undiminished, to teach me everything I needed to know. There was a bigger picture, finally, even if I had needed almost a lifetime to see it. There would be another Sunday night, more Chinese take out to be had. Duke, as his name turned out to be, would greet me cheerily the next time, with added recognition.

And, there didn’t have to be any more melting jello embittering anything. We could all rejoice with the voice of our own, small triumphs.

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© Ruth Ann Scanzillo   6/18/16  All rights those of the author, in whole and/or in part, whose name appears above this line. Thank you for your respec. Bon Appetit.

littlebarefeetblog.com

 

 

 

 

The Opera Wars.

 

 

*AUTHOR’S NOTE:  Periodic Update:  All rights to these pieces at littlebarefeetblog.com, in whole and in part are, unless otherwise specified, strictly those of the author. Thank you for your respect.

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Possibly the most profound gift from the universe to humanity on this earth is the singing voice.

After last night’s presentation of Rachmaninoff’s All-Night Vigil Vespers, offered by the combined choirs of Mercyhurst University, the Erie Renaissance Singers, Chautauqua Chamber Singers, and Church of Christ Savior –  masterfully directed by Rebecca Ryan, Andrija Andelic, and Vladimir Gidenko with soloists  Ainsley Ryan and Brandon Miller, any witness concluding otherwise would have to be missing either a cerebral lobe, or a soul.

Rachmaninoff captured the depth of an entire nation’s reverence for its God and Christ, and set as sacrament voices, alone – in polyphonic unisons, in woven harmonies, in unique tonal rhythms and rapturous resolutions – that would forever mark his masterpiece in ironic, final testament to a people who would soon be stripped of their right to worship at all. The result was repeatedly, and increasingly, breathtaking.

A work, of this magnitude, begged a mass choir. And, the many voices came, from four distinct ensembles, so willing to collaborate to make this music a reality.

Morning reflection took me back to the early ’90s and a graduate course in Baroque music, taught by Associate Professor Jeremy L. Smith at SUNY Fredonia.

Now, a good historian will address such a broad topic by constructing a course around highlights that were in some sense pivotal to the development of the style of the period. Smith, in his rich academic wisdom, chose to cover Bach/Vivaldi; castrati; and, the infamous opera house wars.

I was remembering, on this morning, the latter.

If you search the internet, you won’t find anything substantial about the Baroque opera house wars. But, Jeremy L. Smith had his sources. There were two major theaters in Europe during the Baroque era, and they so bitterly competed for pre-eminence that many underhanded and spiteful attempts were made to squelch the other, including paid infiltrators who would make raucous, vulgar and berating sounds throughout their competitors’ productions. One house was even successfully shut down by its opposition! Easy to wonder if the current American political system of “smear” campaigns takes its lesson from this regrettable chapter in history.

In the West, large metropolitan areas have a distinct advantage; should rifts occur within any performance discipline, those alienated by its effects can just move across town, birth new entities, and watch them rise from the rubble. Entire neighborhoods welcome the new asset, their audiences ready, eagerly awaiting. In fact, following the model of organic cell division, this could actually be considered a healthy evolution, one more likely to ultimately preserve the art as life form.

But, small towns have a problem.

If any one inadvertently, unwittingly, or otherwise unintentionally offends, there might very well be no place to go. The gossips, made up of the variously frustrated, powerless, or mediocre, are equally eager, and the news of the offense is their fodder.

Becoming the topic of public conversation only serves to inflate the value of any disagreement or misunderstanding. Before long, alliances form – usually against the hapless ones who managed to bring the insult. But, because proximity is the issue, the decision to leave the group is far from liberating; rather, those who do merely find themselves outsiders, maligned in their own locale. Any who choose to remain endure the negative energy which imposes upon their efforts.

It is with no small wonder, therefore, that those who use their voices in combined song commit to the enterprise without rancor. In reality, singing well requires a mind in congruence with the body which bears it; animosity in the heart can only produce a shrill and ego-driven outcome.

This is not what anyone heard coming from the combined choirs on Sunday night. The one hundred twenty voices were one strong, students of music, adult amateurs and professionals, people of all persuasions unified by purpose, melded by Rachmaninoff’s masterwork, mobilized by the devoted heart and determined spirit of Rebecca Ryan. In such a place of communing unity, a true chorale emerges – the singular voice of the created, manifesting its Creator’s song.

In such a place, no war of any kind is possible.

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© Ruth Ann Scanzillo  5/16/16   All rights those of the author, whose name appears above this line. Thank you for your respect.

littlebarefeetblog.com