GENERATION Z: Interview with Emily Bear

interview by Alex Davydovich (MGBH)

Emily Bear is a young pianist and composer with a beautiful heart. Her enthusiasm for music is inspirational and contagious.Emily Bear is a young pianist and composer with a beautiful heart. Her enthusiasm for music is inspirational and contagious. A role model for many young girls around the world.

PPM: Please, tell us about your family. From other interviews we know that your grandmother is a pianist and a piano teacher. What about your mother and father? What are their occupations?
EB: My Mom was a voice major at University of Michigan Musical Theater Department. She also teaches piano and voice privately and has a Masters from Columbia University in NYC in Music Education.  My Dad is an orthopedic surgeon specializing in Hand & Upper Extremity Surgery. He trained at the Mayo Clinic and Hospital For Special Surgery in NYC. He is the only one in the family who doesn’t play an instrument but is a huge supporter of all of our interests (and has become a great Harp mover for my sister!)
PPM: What do you siblings do now that they are older? They learned to play instruments, too. Do you play music together sometimes?
EB:  My sister plays the Harp and Piano. She is the Principal Harpist with the Rockford Symphony Youth Orchestra and has played with several professional orchestra’s as well. I love to play with Lauren and have accompanied her on the harp as well as played harp-piano versions of my original music with her. Lauren is also a competitive figure skater, skating at the Novice Level (all the double jumps) and her competition music for her skating program is one of my original orchestral pieces!  My brother plays piano, guitar and tenor saxophone. He doesn’t play sax that much any more since he is in college now and not playing with a jazz band anymore. His main hobby is photography.  I love playing music with my siblings.  Sometimes my brother and I will play 4 hands on one piano, and my sister and I will play 2-piano duets as we have 2 grand pianos back to back in our living room.  Or I will play piano, my sister harp and my brother wither on the other piano or on his guitar.

 

Sometimes my brother and I will play 4 hands on one piano, and my sister and I will play 2-piano duets as we have 2 grand pianos back to back in our living room.

 

PPM: Tell us about your Ravinia experience at 5 years old. Do you have a memory of it?

EB:  I remember being super excited for the concert and doing cartwheels backstage. Once I got on stage, I was super focused. The concert music was 1/3 classical, 1/3 jazz and 1/3 my own music that I composed. I remember that I played a song that I had composed that week for my sister called “Little Angels”. I really love performing at Ravinia – it is a very special place for me.

 
PPM: When you write music for an orchestra, do you use a software like MuseScore or similar?
EB: I compose using LogicPro. I first create a mock up using orchestral instrument samples, layering them one by one. Then I input each note into Finale (a music notation software program) to make the music ready to print for the orchestra.

 

PPM: What inspires you in writing music?
EB: It could be anything, the weather, a person, a place, something that had just happened. “Snowdance” was composed after I noticed the snow swirling from the wind outside my window by my piano.  I composed “Northern Lights” after reading a Magic Treehouse book on the North Pole. I asked my Mom what an Aurora Borealis was.  She showed me video’s of the rainbow lights in the sky on Youtube. “Final Journey” was composed after a very close family friend passed away and “Les Voyages”, an orchestral piece was based on the book Homer’s Odyssey, which I was reading in English Class at school!  I was awarded the ASCAP Morton Gould Young Composer of the Year Award for “Northern Lights” when I was 6 years old out of a 30 and under age category.

PPM: What was your first composition and at what age did you write it?
EB: I composed my first real pieces when I was 3 years old. A couple of my earliest pieces are called, “Crystal Ice” and “Sunday Morning.”  Hal Leonard Music has been publishing music I composed since I was 4 years old.  I currently have 5 sheet music songbooks distributed worldwide and 2 sheet music singles.  It is so cool to hear other people playing my music -even using them for recital pieces! A teenager recently won the grand prize in the senior division in a classical music competition performing my piece, “Peralada.”

PPM: What charities do you raise money for?
EB: It has always been really important to me to give back through my music. Each of my 7 CD’s have profits designated for different charities. Some of these include Children’s Hospitals of Los Angeles and Chicago, The Ronald McDonald House, PAWS Pet Rescue, & Cancer Charities. I also like to perform at charity benefits, concerts and galas around the world and have helped raise millions of dollars for various charities. One of my favorite concerts was when I performed for the kids at a summer camp for children with cancer. I still have the friendship bracelet they made for me.

PPM: What is your relationship with classical music vs pop vs jazz?
EB: Classical is my base and foundation, Jazz is where I can express my freedom, Pop is fun yet harder than you would think! Last April I performed the Grieg Piano Concerto in A minor, and in October performed Rhapsody In Blue by Gershwin. I love learning and performing classical works as well as my own orchestral music. Performing jazz is like a conversation with the other musicians I am playing with. Writing and singing pop music is another way to communicate things that I am feeling and can relate to.  For example, one of the songs I recently wrote is about a friend who was getting bullied at school.

PPM: Has your mom ever make you practice piano?
EB: Never. It’s actually a rule in our family that if we have an interest, whether it is piano, figure skating or whatever – that it is our responsibility to be prepared for lessons. When I was little, she would sit with me as I practiced but that was more for company. It has also been stressed to me and my siblings that you need to have a passion for what you do, work hard and try your best but most important – keep it fun.

PPM: Do you have your daily routine in practicing piano? How many hours a day do you practice? If not every day, what are your practice patterns? Do you take days off music?
EB:  Every day is different depending on what concerts are coming up, when my lessons are, how much schoolwork I have, if I am focusing on a new music composition. It is definitely never boring. I might work on classical piano after school then get an idea for a piece and run upstairs to compose and then start playing some jazz or reviewing for a concert. It is never the same!

PPM: How often do you travel for concerts?
EB: I travel often for concerts,  for music lessons in NYC and Chicago as well as songwriting sessions in Los Angeles.  I really love traveling!

PPM: You have been a recipient of ASCAP jazz award. Did you formally study jazz? If so, who were your teachers?
EB:  I have studied jazz piano since I was 5 years old.  My first jazz teacher was Alan Swain in Chicago.  I also study jazz with Frank Kimbrough from Juilliard Jazz Department.  I was really honored to be awarded the ASCAP Herb Alpert Young Jazz Composer Award in 2016 and now in 2017 as well.  My new CD, Into The Blue, a collection of original jazz tunes performed with my trio reached #5 on Billboard Charts.  Quincy Jones has been my mentor for many years and he is a huge influence on my music.

PPM: Please, tell our readers about your experience of playing at the White House.  How did that happen?
EB: We received a phone call from the White House asking me to perform at the White House Easter Celebration. They asked me to perform 2 concerts in the East Room. It was surreal to be able to walk through the rooms of the White House and to meet the President.

PPM: Do you have a pianist/piano performer role model that you grew up with as a child?
EB: I like Lang Lang because he is very well respected in the classical world yet is bringing classical music to other mediums and does a lot of outreach with education as well.

VENUES: Harpa Concert Hall | Reykjavik, Iceland

by Ronald Hawkins (MGBH)

A venue is more than a place where an event happens.  It is where history is made and, often, a lifetime memory is created. Within the walls of these buildings, they capture the sounds from the ordinary to the extraordinary performances.
So, grab your passport and lets explore concert venues throughout the world!

The home of the Iceland Symphony Orchestra and The Icelandic Opera, HARPA CONCERT HALL is one of Reykjavik’s greatest and distinguished landmarks, which opened to public on May 4, 2011.  The name Harpa was the winning name out of 4,156 proposals entered by its 1,200 citizens. The requirement was to name the modern space an Icelandic word that is easy to speak in most languages – Har-pa, which means “harp.”

Designed by Henning Larsen Architects, Olafur Eliasson (MGBH), and Batteriiò, Harpa’s crystalline structure was inspired by Icelandic landscapes and traditions. Its dramatic design captures and reflects the light of the city, ocean and sky to thrilling effect (1).

The concert hall and conference center are located in the heart of the city, offering breathtaking views of the surrounding mountains and the North Atlantic Ocean. It is the host to many diverse musical genres and music festivals year round. There are four performance spaces in Harpa: Eldborg , Nordurljos, Silfurberg, and Kaldalòn.

Halls

Eldborg is the largest hall in Harpa, accommodating 1,800 guests. It is truly a world-class concert hall hosting some of the biggest names from all over the world. Moving along the second floor situated between Eldborg and Silfurberg is the 520 theatre style recital hall, Nordurljòs. This space is ideal for chamber groups and smaller ensembles.

If you are looking for the best technology equipment at Harpa, check out Silfurberg – a conference hall named after a translucent crystal rarely found outside Iceland. The hall can accommodate up to 840 people. Interesting to note is the hall’s acoustics are configured for spoken word.

Lastly is the smallest hall in Harpa – Kaldalòn auditorium.  Kaldalòn is perfect space to accommodate 195 guest for concerts, conferences, meetings, screenings, and lectures. A curious fact about Kaldalòn is that its reverberation time may be altered, making this hall accessible for many different types of events.

Numerous music festivals have been held in the building including Iceland Airwaves, Reykjavik Midsummer Music, Dark Music Days, Reykjavik Arts Festival, Reykjavik Jazz Festival, Sónar Reykjavík, Tectonics, and Harpa International Music Academy (2).

Harpa has hosted a Master Pianists Concert Series where such world  known pianists as Jorge Luis Prats and Richard Goode, appeared in concerts. Young artists are also kept in mind, with Harpa granting an annual award – the Upbeat – for children and youth compositions.

Olafur Eliasson (MGBH)

Olafur Eliasson (MGBH), the artist behind Harpa

A recipient of a number of accolades, Harpa has been chosen one of the best concert halls of the new millennium by the prestigious music magazine Gramophone magazine as well as  the best performance venue in 2011 by Travel & Leisure magazine.  Most recently is the prestigious 2013 European Union Prize for Contemporary Architecture – Mies van der Rohe Award. Wiel Arets ((MGBH), Chair of the Jury, said: “Harpa has captured the myth of a nation – Iceland – that has consciously acted in favor of a hybrid-cultural building during the middle of the ongoing Great Recession. The iconic and transparent porous ‘quasi brick’ appears as an ever-changing play of colored light, promoting a dialogue between the city of Reykjavik and the building’s interior life. By giving an identity to a society long known for its sagas, through an interdisciplinary collaboration between Henning Larsen Architects and artist Olafur Eliasson (MGBH), this project is an important message to the world and to the Icelandic people, fulfilling their long expected dream.”

 

 

About the Author:

Ronald Hawkins is a Schimmel Artist who serves on the piano faculty at The Conservatory for the Arts, Calvary Music School and Encore Music Academy in in Chrystal Lake, IL (USA). His current projects include performing the Well-Tempered Clavier (Book I) by J.S. Bach and an unique multimedia program – Masterpieces: Arts that Inspired Music.

 

References:

(1) http://europa.eu/rapid/press-release_IP-13-376_en.htm

(2) http://en.harpa.is/about-harpa

Nannerl Mozart: Neglected Sister or Wolfgang’s Childhood Muse?

by Jacqueline Leung (MGBH)

At times, “history” has been interpreted as “his story”. Although the ancient French root of the word “estoire” does not point to this particular meaning, it is, nevertheless, impossible to deny that up until the late 19th and early 20th century, the majority of historical documents which have been preserved, passed down, and studied, were written by men. In music textbooks, we have been taught that the reason female composers are so rare is because of lack of educational opportunities with their only role being a mother and wife rather than having an option to also pursue a career path.

On several occasions as I raised the topic of Nannerl (OBM), the common reaction would be, “Mozart (OBM) had a sister? I never knew that!” When the word “Mozart” is mentioned, Wolfgang Amadeus Mozart is the name, which springs to mind and, perhaps, by relation, his father Leopold Mozart (OBM). Maria Anna, or Nannerl as was her nickname, is rarely mentioned. Alongside Wolfgang and Leopold, at most, there would be a sentence referring to her as “an accomplished musician”. What were the events that rendered her to become a mere minor figure alongside her superstar genius brother after being recognized as his equal during their childhood and teenage years?

Maria Anna Walburga Ignatia Mozart was born in 1751, four and a half years before the most famous musical genius known to mankind. She began musical training with her father, who taught her to play the harpsichord at the age of 7. Subsequently, when Wolfgang’s precocious musical talents began to manifest itself by the age of 5, Leopold jumped at the chance to display his two “wunderkinder” around Europe like a circus act, enduring all the discomforts of 18th century travel to perform for royalties and aristocrats in some of Europe’s most lavish palaces and noble homes. In a study of letters where Maria Anna’s name was mentioned, there was nothing but words of praise. In letters to his wife from Leopold Mozart, it is evident that many members of royalty and aristocracy remember Nannerl fondly and regularly asked her father to send her their best regards. In a particular letter home dated 3 February 1770, Leopold mentioned that Pietro Lugiati (OBM), a wealthy man from a Venetian family and an official of the Venetian Republic lauded his “astonishing daughter” as an “object of universal admiration” and, in particular, praised her “rare talents” (1).  In another account from Count Karl von Zinzendorf of Munich (OBM), Nannerl’s performance was described as “masterly” (2). In order for the two children to be displayed as a pair of “wunderkinder” and for the performances to garner such praise, it should not be presumptuous to assume that Nannerl’s musical skills were on par with Wolfgang’s, at the very least.

… her perfect insight into harmony and modulations when she improvises is so successful that you would be astounded.

Some may argue that the aristocrats and royalty who adorned Nannerl with such flattery and commendation were not professionally trained musicians and were, therefore, less discerning. However, in her father Leopold’s own words, he proclaimed her to be one of the finest keyboardists in Europe, and “her perfect insight into harmony and modulations when she improvises is so successful that you would be astounded” (3). Up till now, studies have concluded that none of Nannerl’s compositions survived. Yet, when we read Wolfgang’s letters to his sister, we find evidence that she did, in fact, compose. In a letter written while Wolfgang was on tour, he wrote, “My dear sister! I am in awe that you can compose so well…the song you wrote is beautiful” (4). And in another letter from 19 May 1770, evidently having reviewed his sister’s composition, he commented, “You’ve written a wonderful bass for it, without a slightest mistake” (5).

The siblings had been extremely close since childhood. Not only did they share a secret language together, which is evident in some of the letters, but they also imagined a kingdom where they ruled together as King and Queen. As Wolfgang grew, Nannerl also matured. Unfortunately, she had reached the age at which it was unsuitable for her to travel as a performing musician. Her gender meant that her role in society was bound. When she reached marriageable age, she was instructed to remain home for protection while Leopold took young Mozart to perform all over Europe. However, for a young girl who has travelled across Europe and performed in Paris, London, and the Hague in front of Louis XV (OBM), King George III(OBM), Queen Charlotte (OBM), and Johann Christian Bach(OBM), the homebound lifestyle would take a toll. In Leopold’s letters to his wife, it is apparent that he was very much concerned with Nannerl and asked questions such as, “Is Nannerl keeping busy practicing the harpsichord regularly?”(6).

As a musical genius himself who possessed skills and talent rising above so many, he had great reverence for Nannerl.

For a pair of siblings who shared stage time and musical language as well as so many travel experiences, separation proved to be difficult. There are often references in Wolfgang’s letters of him wishing for Nannerl’s company. He longed to hear from her everyday. As a musical genius himself who possessed skills and talent rising above so many, he had great reverence for Nannerl. He once wrote, “I said to Papa at once: Oh! If only I were as clever and wise as she is!”

Musically, apart from being on stage together, they were collaborators and inspired each other. Wolfgang’s Prelude and Fugue in C, K. 394 was written for her and his Divertimento in D major, K. 251, nicknamed the Nannerl Septet, was written for her name-day. He also frequently sent her his latest piano concerti. Examining earlier compositions, K. 16, Wolfgang’s first symphony, received help from Nannerl who was responsible for putting some of the music from pen to paper.

The most well known group of compositions associated with her name is the Nannerl Music Book (Nannerl Notenbuch), recently published by Henle Verlag (MGBH). These compositions date back to the years between 1759-64 and originally were comprised of 48 pages. However, only 36 pages survived to this day with 12 pages missing. According to historical sources, the notebook was compiled by Leopold who wrote pieces for the young Nannerl to practice. Within the book, there also are compositions by the five year old Wolfgang with the authorship of miscellaneous pieces not verified. They are currently categorized as “Anonymous 1, 2 & 3”. In light of this, is it rather inconceivable that none of her compositions survived? For a girl who most certainly possessed such a high level of musical skills, would it be impossible that she also had written compositions in her own musical notebook? And what course of events made those 12 pages disappear so mysteriously?

K. 16, Wolfgang’s first symphony, received help from Nannerl who was responsible for putting some of the music from pen to paper.

According to practices of the time, women would not be earning from a performing career. When Nannerl’s performing tours abruptly ended, she became a piano teacher in Salzburg. Her father dictated her marriage. She was forced to abandon her true love Captain Franz d’Ippold (OBM) and married the twice widowed magistrate Johann Baptist Franz von Berchtold zu Sonnenburg (OBM). When her first child was born, she left him in the care of her father Leopold who wished to train another musical child prodigy. Subsequently, she bore two daughters but both died – one at infancy and one at age 16. Was this the real reason why the shadow was cast over Nannerl which propelled her into oblivion for the rest of her life and in the textbooks of musical history? Was little Wolfgang engineered by Leopold to be the sole breadwinner of the Mozart family because Nannerl would not be able to provide?

Of course, it is not my intention to conjure up radical conspiracy theories, yet it could open the doors to some important questions. Was Nannerl Mozart’s voice stifled and were her wings clipped because she was born at the wrong time? Is it really plausible that even with limited opportunities for education no women had musical talents to match their male counterparts for the past hundreds of years? As I dug deeper into this, I could not help but ask, how many other women composers’ works may have been made to disappear and how many were published under a man’s name with their talents unduly neglected?

References:

(1) Davis, Elizabeth. “Was Mozart’s Sister Actually the Most Talented Musician in the Family?” Classic FM. 2 Nov. 2015. Web. 18 May 2016.
(2) Eisen, Cliff et al. In Mozart’s Words, ‘Maria Anna Walpurga Ignatia (Nannerl) Mozart’ <http://letters.mozartways.com>. Version 1.0, published by HRI Online, 2011. ISBN 9780955787676.
(3) Milo, Silvia. “The Lost Genius of Mozart’s Sister.” The Guardian. Guardian News and Media, 08 Sept. 2015. Web. 18 May 2016.
(4) Rusch, Elizabeth. “Maria Anna Mozart: The Family’s First Prodigy.” Smithsonian. 27 Mar. 2011. Web. 18 May 2016.
(5) Scheideler, Ullrich. “Preface.” Piano Pieces from the “Nannerl Music Book” Berlin: G. Henle Verlag, 2014. Web.
(6) Scheideler, Ullrich. “Critical Commentary.” Piano Pieces from the “Nannerl Music Book” Berlin: G. Henle Verlag, 2006. Web.

 

About the author:

Jacqueline Leung is a Hong Kong based concert pianist and educator. She was trained at the Royal Academy of Music in London and Texas Christian University in Fort Worth. She has performed on four continents and is in demand as a solo and chamber musician, lecturer and adjudicator. Alongside music, her passions include traveling and cooking. She also holds a MA in Comparative Literature from the University of Hong Kong.