pianist Andrew Armstrong

THE MUSICIANS of Chamber Music Charleston celebrated their fifth anniversary in front of a happy sellout crowd (including LOTS of young people) Saturday evening at Memminger auditorium.

CMC is known primarily for gracing Charleston’s historic private homes and churches with their music, but they’ve expanded their activities to include their Mozart in the South festival series (now two years old) which offers music for ensembles up to small orchestra in size. In her welcoming remarks, Director Sandra Nikolajevs told us that we may expect more large-scale events at venues like the Memminger in the future. Despite critical complaints in the past about the Memminger’s “bus-station acoustic,” sonic quality has lately been improved by the installation of ceiling-high curtains along the bare brick walls—and it helps to have a packed house to help absorb stray echoes.

The evening’s varied and interesting program began with one of the most widely-heard new classical works in American history: film score master John Williams’ Air and Simple Gifts, a short piece composed specifically for performance at President Obama’s inauguration ceremony: an event viewed by untold millions of people all over the world. Our musicians for this one were Alan Molina, violin; Timothy O’Malley, cello; Charles Messersmith, clarinet; and Andrew Armstrong, piano.

The opening “air” theme was first heard from the violin, with piano and cello soon joining it for a gently subdued musical conversation. We first heard from the clarinet as it gave voice to “Simple Gifts,” the old Shaker hymn-tune that Aaron Copland’s Appalachian Spring made famous. The other players joined in for a series of cunning short variations on the melody, rising to a modest climax before the original theme returned briefly at the end. Our musicians delivered this new tidbit of musical Americana with sensitivity and sweet sound.

S. Nikolajevs, B. Weiss, C. Messersmith, S. Messersmith, A. Molina, T. O’Malley

Then it was on to the music of Czech expatriate composer Bohuslav Martinu: his perky La Revue de Cuisine, a four-movement suite that’s drawn from his ten-section score to the ballet of the same title which tells the whimsical tale of love among kitchen utensils! Incidentally, it is this piece—first heard in Paris (and Prague) in 1928—that first alerted the local musical establishment that there was a new genius in town. Joining the above musicians for this one were Susan Messersmith on trumpet and director Nikolajevs on bassoon. And they all got their chance to shine in this complex and tricky score that was somewhat reminiscent of Stravinsky’s famous L’Histoire du Soldat. The hyperactive opening “Prologue” gave way to a tongue-in-cheek “Tango.”  From there, we heard an expanded version of our very own “Charleston” dance (then all the rage worldwide) that added some sophisticated and freshly jazzy touches. The puckish (and downright funny) finale brought this delightfully wacky music to a close.

In an interesting parallel to the Martinu piece, it was the Piano Quartet in G Minor, Op. 25 that first brought widespread notice to the 29-year-old Johannes Brahms, prompting the first speculations that he was the rightful heir to Beethoven’s exalted mantle. Doing instrumental honors were the above strings players plus Ben Weiss on viola—and Armstrong was back at the keyboard.

This is a work of intense passion and drama, beginning with a moody and seething Allegro movement that drove several potently heroic themes over nervously unsettled undercurrents. The mood became more introspective in the following Intermezzo, with its mystic musings floating precariously over the cello’s rapidly insistent “heartbeat.” The performers then tore our collective heart out with the ensuing Andante con moto, with its more expansive and singing lines that take us through a sequence of wrenching mood-swings.

Andrew Armstrong

Finally, it was off to the races in the bracing Rondo Alla Zingarese (rondo in Gypsy style). This mostly happy and energetic romp was chock-full of fast and spicy Hungarian melodies, alternating with slower episodes of gut-wrenching pathos. Our players took it at extremely rapid, even risky tempos—and it paid off handsomely. Tempo decisions here were largely left to our fabulous pianist, Andrew Armstrong—as his part in this work is one of the most virtuosic in all of chamber music, and fingers can only move so fast. But Andrew bravely pushed his personal limits here, accurately negotiating passage after tricky passage at an (almost) insanely headlong pace—and his partners had to scamper to keep up with him.

The effect generated by four musicians hurtling along on the reckless, bare edge of control was absolutely electrifying. I may have heard cleaner (and slower) performances, but never one as thrilling as this. After the final crashing chord, the crowd leapt to its collective feet like a single beast poked by a cattle-prod. This was giddy musical excitement at its highest possible pitch. As one audience member told me afterwards, “This wasn’t just a concert; it was a happening!”  Bravo, tutti!

Many have been frustrated in their efforts to get to CMC’s events; after all, attendance at CMC’s house concerts is quite limited, due to space limitations. Many of their events are thus sold out within days after they are announced. But with three Memminger events (and their Mozart in the South programs) planned for next season, you have no excuse for missing them in the future.

Learn more about Chamber Music Charleston. Learn more about Mozart in the South.

Well, the secret will certainly be out on Saturday, March 5 when Chamber Music Charleston (CMC) hosts its Fifth Anniversary Concert at Memminger Auditorium—with astonishingly affordable ticket prices starting at $5—in a program that will include nationally acclaimed pianist Andrew Armstrong, whom you may have heard at Picollo Spoleto.

Click here to read the full program notes.

One reason the concert will be at Memminger is that it is the most intimate large space in town for listening to chamber music. As CMC founder, Sandra Nikolajevs told me recently, “What is unique about our concerts is that the audience is so close to the musicians. You not only hear the music, you feel it. There is an excitement when you personally experience all the elements coming together: the setting, the music, and the camaraderie—between the musicians and with the audience.”

Sandra Nikolajevs

I can certainly attest to that having been to some home concerts and hearing CMC perform in a few churches around town. I remember in particular one experience at First (Scots) Presbyterian Church when I physically felt the lower registers of the string instruments vibrating in my chest. You don’t get that on a CD or iPod. It’s the way music should be heard, and needs to be heard, to get the full experience.

Due largely to Sandra’s initiative, CMC also does more than play for adult music lovers. They give in-school concerts and hold the Classical Kids Concert Series where, several times a year, they introduce young kids to classical music and instruments. The kids series has come to also include programs for which Sandra adapts original music (mainly string quartet selections) to children’s books. A professional actor reads the story which is projected on a screen as CMC musicians play live music.

I and my seven-year-old daughter know the wonder—and value—of these concerts, which brings to mind this quote by Liz Forgan on the CharlestonToday site:

Throwing children alive into a boiling vat of great music does them no harm at all.

Quite the opposite. It imbues them with an appreciative recognition of world-class music in a theatrical setting. It nourishes their attention, spurs their imagination, and gives rise to creative impulses. It is a formative experience, especially when had repeatedly.

No wonder that one of Sandra’s projects, “Circle Unbroken,” was subsequently made into a DVD that received several awards, including Best Children’s Film Award at the 2009 Black International Cinema Berlin Film Award, and the Award of Excellence at the 2009 Accolade Competition in La Jolla, California.

In 2009, Sandra also launched Charleston’s annual “Mozart In The South Festival” to kick off the Fall arts season. It has already become a September event that music lovers look forward to after the cultural drought of the summer. Along with a slate of weekend concerts, the festival always includes the free family-oriented “Little Mozart Circus” and a picnic-style finale at Middleton Place.

But don’t wait until September. Come experience some of Chamber Music Charleston’s magic for yourself next weekend at Memminger. Renew your spirit in that boiling vat of great music.

The Director and Founder of Chamber Music Charleston is Sandra Nikolajevs, a classically trained bassoonist who studied at the Juilliard School of Music and Paris Conservatory. Sandra lives in Charleston with her husband, cellist Timothy O’Malley, and their six-year-old son, Peter, who hasn’t decided yet which instrument he really wants to play.

Click to learn more about the Fifth Anniversary Concert.

Chamber Music Charleston players

Sandra Nikolajevs leading the singing

SHE KEEPS DOING IT. She keeps encouraging kids to enjoy and appreciate classical music. And they love it.

They also packed the Dock Street Theatre a few days before Christmas to hear it. Selections, that is, of Christmas favorites performed by the Chamber Music Charleston trio of Nonoko Okada (violin), Regina Helcher Yost (flute), and Tim O’Malley (cello). These three played beautifully and obviously had a lot of fun, but “she”—Sandra Nikolajevs—was the heart of this event, and it showed in her joyful enthusiasm for introducing kids to classical instruments and music.

My wife and I were there singing and swinging with our seven-year-old daughter who, along with hundreds of other kids, couldn’t get enough of belting out Christmas carols and other holiday tunes.

Regina Helcher Yost, Tim O’Malley ,and Nonoko Okada

Having this event in the Dock Street Theatre also made it special. Charleston’s oldest and truest theatre (with fixed seats, wrap-around balcony, full array of lighting, reception hall, bar, and—above all—magical charm) is something every kid should experience at least once and hopefully many more times. Perhaps especially in today’s world of high-tech, high-definition, and reality shows, which, for all their up-to-the-second reality, fail to transport the heart and soul the way a real theatre can. And who is it but the kid in us that wants to be lifted out of our concerns for awhile and allowed to wonder in an ideal world?

Michael Easler

Which reminds me: another special part of this Classical Kids Concert was Michael Easler’s telling of “The Night Before Christmas.” Michael is a member of the Actors’ Theatre of South Carolina and his reciting—as opposed to a reading—of the spine-tingling tale was wonderful. The kids grew as quiet while he told it as they were boisterous in song.

And as a parent, I am pretty sure that the next best thing to seeing children be perfectly quiet is hearing them play an instrument well and knowing how much it benefits the whole of their being.

Sandra and friends, thank you for doing it. Parents and sponsors, please keep supporting it. States and schools, please adopt more of it. Attend one of these concerts and you’ll see why.

Tyler Ilgen and Jami Harris

SILENCE, tears, integrity, and music. These are what remain vivid in my mind nearly two weeks after seeing The Gift of the Magi at the Dock Street Theatre.

Ostensibly, it was a co-production of the American author O. Henry’s play put on by Actors’ Theatre of South Carolina and Chamber Music Charleston. But at its core, it was a mixture of drama and music (read my December preview) that you don’t see very often. It was not your typical musical theatre because no one sang; and what the music brought was not glamor or glitz. What it brought was gravitas—an effect that I am sure writer/director Chris Weatherhead intended.

Sometimes, what a play needs is a break from all the words; a chance for deeper emotions to linger between thoughts. In the same way, a musical concert sometimes longs for the addition of spoken words; some intellectual framework as counterpoint and reference.

In this case, it was a perfect blend of both: a play interspersed with and accompanied by live classical music. What a pleasant relief and complement they were to each other. What a nice formula for other productions to emulate.

On one side of the stage, four musicians played in a cafe where they heard O. Henry, played by Clarence Felder, recounting The Gift of the Magi, his latest story about love and giving. On the other side of the stage, the drama was played out with Tyler Ilgen and Jami Harris in the starring roles of the newly married couple, Della and James Young. The two settings, without interfering with each other, took turns leading us through the story in a wonderful weave of dialogue, action, and music.

Jami Harris as Della

Guest actress, Jami Harris—who flew in from the Midwest especially for this production—was refreshing for two reasons. One is that we don’t usually see her on Charleston’s stages. The other is that she brought all of herself to the role.

I personally was startled, and moved, when she wept real tears in this heart-wrenching tale of newlyweds. Although she had not had a lot of time to rehearse on the Dock Street stage, she really captured the essence of Della’s purity, anxiety, and tenderness. A good actress always exudes some special charm of femininity that makes you fall a little in love with her.

Tyler Ilgen as James

Her co-star, Tyler Ilgen, is a regular with Actors’ Theatre of South Carolina and this short production was his most impressive performance that I have seen.

What struck me was how well he did silence. His wordless gazes were pregnant with meaning and a sense of anticipation that kept me on the edge of my seat. What’s he thinking? What will he do now? How’s he going to react? With only a few words spoken, he kept me interested the entire time.

Clarence Felder as O. Henry

These co-star performances held up in their own right, but they were made even better through the influence of Clarence Felder’s depiction of O. Henry who alternated between telling his tale and being in it.

Clarence is a stage veteran who consummately took the lead, yet demurely deferred to his co-stars, as required. But most apparent was the depth of integrity that he brought to his character in a rich blend of warmth, humor, and seriousness. He “became” O. Henry and made me forget Clarence—just as he had done when I saw him portray Beethoven last year in a similar co-production with Chamber Music Charleston (read that review here).

Clarence is one of those actors who longs for the stage; who is most himself, most at home, when digging into a role. You can feel him burrowing and churning and delving. He rings each role out like a sponge and seems exhausted as well as a little disconsolate after the curtain falls—after the inner journey is over.

Chamber Music Charleston quartet

No doubt, his depth was given an added dimension by the sophisticated Christmas music (particularly Resphigi’s Adoration of the Magi) that was selected and arranged by Sandra Nikolajevs who played Bassoon alongside fellow musicians Mark Gainer (oboe), Ghadi Shayban (piano), and Regina Helcher Yost (flute). As accomplished musicians and novice actors, they brought a welcome ingredient to a very effective recipe.

I can’t wait to see and hear what these “musical-theatre” collaborators cook up next.

Tyler Ilgen as Jim and Clarence Felder as O. Henry

IMAGINE SEEING O. Henry, the twentieth-century raconteur and humorist, live on stage in Charleston. Well, it’s happening December 22 and 23 at the Dock Street Theatre where O. Henry himself will recount The Gift of The Magi, his touching Christmas story about the true nature of love and giving.

On one end of the stage you’ll see O. Henry (the pen name of William Sydney Porter) in Pete’s Tavern—where the author is said to have written the story—mingling with a group of musicians.

That would be the Chamber Music Charleston quartet who, in addition to demonstrating their musical talents, will exercise some burgeoning acting skills; surely a feat not to be missed.

On the other end of the stage you’ll see the main characters, Jim and Della, enacting O. Henry’s tale. Deeply in love but with little money, they each want to give the other a special Christmas present. But there’s only way they can afford to do it in this heartfelt lesson about love and life.

CMC quartet

This production is more than just a stage play. It’s a collaborative effort that has become a signature art form of the tandem of South Carolina Actors’ Theatre and Chamber Music Charleston— a combination of drama and music that you usually see only in movies.

As the story unfolds on stage, live music envelopes the action and appeals to your emotions. It is a different kind of theatre experience. And in this case the music has also been carefully selected and arranged by Chamber Music Charleston’s Director, Sandra Nikolajevs, to suit the story as well as the spirit of Christmas.

Learn more for yourself in this short interview with S.C. Actors’ Theatre Director Chris Weatherhead, Chamber Music Charleston Director Sandra Nikolajevs, and O. Henry himself, actor Clarence Felder:

For ticket information, visit ChamberMusicCharleston.org

NOTE: you can also hear Chamber Music Charleston in a special Classical Kids Concert at 1:00 P.M. on Sunday, Dec. 23 at the Dock Street Theatre (check our calendar).

Musical Interlude by William Marlatt (1837–1911)

AN INTERMEZZO is a musical interlude, which is what we got last Saturday afternoon during 45 precious minutes of string music (as a taste of the Intermezzo Concert Series by Chamber Music Charleston). Violist Jill King set the tone for this free performance with her heartfelt opening to Jay Unger’s “Ashokan Farewell”—the music that gained fame as Ken Burns’ Civil War series theme song.

But this concert was special not just for the music itself, but for the temperament of this quartet that included cellist Timothy O’Malley and violinists Frances Hsieh and Alan Molina. The foursome had a relaxed, fluid presence that served as a serene backdrop to their playing. There was also the nice acoustics at First Scots Presbyterian Church, which has a slight echo but which carries a vivid sound—a palpable sound. You know how a helicopter flying overhead can “chop” the air in a way that you feel it physically? Well, to a lesser extent, that’s what happened with the viola, cello, and violins: you could feel their sounds vibrating as the music was played.

The first thought that came to mind as Jill brought those opening bars to life, and as her instrument hummed in my chest, was that this is something you can’t get from even the best recording: a visceral experience of live classical music. Especially chamber music where, because there are only a few voices, the sound is so well articulated.

A few other things made this 50-minute “interlude” special. One was the short program comprising 4 pieces, three of which were one-movement works. The “Hunt” Quartet by Mozart had four movements, but they were brief and they nicely complemented a program that included Danish composer Jacob Gade’s “Jealousie,” along with a transcription of a Dave Brubeck work. Overall, it was a splendid taste that left you refreshed as if by a deep tonic. Afterward, it seemed like a new day as I stepped into the sunshine and crisp air of downtown. (What a jewel of a city we live in, and how wonderful that concerts like this help you realize it more deeply.)

Another thing that gave this performance (listen to snippets at left) such an intimate feel was that each musician introduced one of the works. This brought a family-like touch to the gathering, and it displayed the musician’s interest in and understanding of the music—something that audiences always appreciate and benefit from.

One example is the story that violinist Frances Hsieh told about the last piece, Dave Brubeck’s “Blue Rondo a la Turk.” As she explained, it resulted from Brubeck hearing Turkish street musicians playing an unusual rhythm, and he asked them where they got it. They replied that the rhythm was to them what the blues are to “you” (Americans). Brubeck eventually scored his “Blue Rondo a la Turk” for a jazz quartet. Jeremy Cohen, violinist with Quartet San Francisco, later transcribed it for strings. And what a delightful piece it is.

Which brings to mind yet another innervating thing about Chamber Music Charleston: you always hear different groupings of quality musicians playing beautifully arranged programs that suit the occasion just right—which is one of the hallmarks of CMC director, Sandra Nikolajevs.

This concert was an open fundraiser to support the Intermezzo Concert Series which enables Chamber Music Charleston to perform benefit concerts at MUSC Children’s Hospital, the MUSC Colbert Education Center, NEH Healthcare, Heartland-West Ashley Nursing and Rehabilitation Center, and numerous retirement communities in the Charleston area. Learn more at www.chambermusiccharleston.org/Intermezzo.html.

Painting: Musical Interlude by William Marlatt, American (1837-1911) • 1887, oil on board • private collection, Holley, New York

From a distance, it seems that great composers sit down and write extraordinary music. When you get closer, though, you see that in many cases the music seeps, and in some case pours, out of them—out of their personal lives.

In Beethoven’s case, some of the most fiercely passionate and exquisitely tender music ever written can be traced to a sensitive, conflicted inner life in which Beethoven repeatedly made a mess of human dealings, wrestled with his contradictory passion for women, and at age 26 began to suffer what would become complete deafness—a composer’s ultimate nightmare. Across this emotional spectrum, and no doubt due to it, spanned the likes of his Moonlight Sonata, Archduke Trio, and Ninth Symphony—to name just three of his masterpieces.

Here’s an interview I did with Clarence Felder and CMC cellist Timothy O’Malley as they talked about Beethoven, his women, his music, and their upcoming program about all three.

This joint production of Chamber Music Charleston and Actors’ Theatre of South Carolina is being presented for the second year in a row at Piccolo Spoleto. It was was conceived by Chris Weatherhead and Sandra Nikolajevs and also features violinist Megan Allison and pianist Irina Pevzner.

acrylic by Gilles Charest

THERE IS SOMETHING about combining classical music and fine art that brings out the best in both. The syncopation of visual and audio impressions. The mutual sharpening of eye and ear. And simply the elegance of two rich experiences at the same time that enables you to savor the moment in a deeper way.

That’s what’s on tap this coming Sunday at the Martin Gallery, at 18 Broad Street, when Chamber Music Charleston presents another of its vintage classical concerts.

In a program always tastefully selected by Sandra Nikolajevs, CMC will perform a string quartet by Mozart and a work for flute and strings by Arthur Foote, a little known but highly accomplished American composer from the late nineteenth century. According to Wikipedia, “He excelled in writing for strings, and his style, firmly placed in the Romantic tradition, is characterized by lyrical melodies, expressive phrasing, and clear formal structure.”

After the concert, you can enjoy a light reception and peruse a superb variety of artwork that includes paintings, sculpture, photography, ceramics, jewelry, and art glass.

Arthur Foote

Sunday, February 21 • 3:00 PM • Martin Gallery (18 Broad Street)
• Flute Quartet in A Major • Mercadante
• String Quartet in F Major, K. 590 • Mozart
• Nocturno and Scherzo for Flute and Strings • Arthur Foote

Featuring
- Megan Allison, violin
- Alan Molina, violin
- Katrina Smith, viola
- Timothy O’Malley, cello
- Regina Helcher-Yost, flute

Tickets • $25
Available at www.ChamberMusicCharleston.org
Or call (843) 763-4941

The Velveteen Rabbit

IT’S ONE THING to give your kids music lessons. It’s another thing to let them see, listen to, and talk to real musicians. And what better way than to combine it with a live reading by a professional actor?

So make plans to bring your children and grandchildren and come share the magic of live classical music by Chamber Music Charleston accompanying The Velveteen Rabbit.

When: Saturday, October 17 at 1:00 P.M.
Where: Circular Congregational Church
150 Meeting Street in downtown Charleston

The 45-minute program—the first in this year’s Classical Kids Series—will open with an introduction about the instruments (violin, viola, cello, bass, clarinet, bassoon, and horn) followed by familiar children songs arranged for chamber ensemble.

Musicians by Nastya Kuznetsova

Then film, television, and stage actress Chris Weatherhead from Actors’ Theatre of South Carolina will read The Velveteen Rabbit, Margery Williams’ classic story of a stuffed rabbit and his quest to become real through the love of his owner.

Chamber Music of Charleston musicians will accompany Chris as illustrations from the book are projected on screen for everyone to see. And don’t miss the cookie and punch reception afterwards, where you and your kids can meet Chris and the musicians.

Classical Kids Series is the creation of Sandra Nikolajevs, founder of Charleston Chamber Music. Sandra is a passionate musician and a wonderful teacher who is genuinely interested in promoting classical music education in the Charleston region. (She and six other members of Chamber Music Charleston will also be performing an unusual Beethoven piece the next day in Circular Congregational Church—more about that in an upcoming post.)

To learn more about the rest of this year’s events by the Classical Kids Series,
click the image below.

Saturday, Sept 12 • from 10 to 4

TALK ABOUT PLAYING. Ever heard a percussion explosion, a wind quintet blowout, or a hungry monk orchestra? Well you can this Saturday at Marion Square where your kids can also pick up real instruments and give them a go. They can also bring their own instruments and get some free professional instruction—maybe while you run for some vegetables at the farmers market.

There will be lots of fun activities and neat demonstrations by musicians of the Mozart In The South festival. And at 3:00 PM, teenage conductor Jonathan Heyward will lead the Festival Youth Orchestra in two classic, classical pieces: Mozart’s Eine Kleine Nachtmusik and Grieg’s Holberg Suite.

It’s all part of this weekend’s four-day Mozart In The South festival which has been organized by Sandra Nikolajevs of Chamber Music Charleston and Yuriy Bekker, Concertmaster of the Charleston Symphony Orchestra. In addition to the four concerts they’ve planned for four nights, they thought the Little Mozart Circus would be a great way to introduce young children to classical music and inspire them to pursue it more.

The idea is that kids can interact with the musicians, handle real instruments, learn to distinguish different sounds, and do it all in an atmosphere of fun and enjoyment. Seeing other kids perform—in this case, the Youth Festival Orchestra—is also a good way to nurture interest.

There will be plenty for parents to enjoy, too. Including $5 and $10 plates of moo shu from Fish Restaurant.

Click here to get all the details.