Four young area music students are spending their Spring Break rehearsing with their teachers from Camerata San Antonio to perform a special free concert. Each of the four young musicians studies with one of the Camerata’s core string quartet and will share the stage with their teachers for this very special free event, part of Camerata San Antonio’s 20th season.
“We have made a tradition of performing Mendelssohn Octet every ten years, and we’re just so excited to share this performance with these four extraordinary young musicians,” says Ken Freudigman, cellist and Artistic Director of Camerata San Antonio.
The side-by-side concert is a long-held tradition in classical music education, and particularly meaningful in a chamber music setting, where each performer must prepare their own individual part and all stand as equals together. Each member of the quartet has a fond formative memory of being invited to join our mentors onstage in this way.
“Mendelssohn wrote the octet when he was only 16 and I can’t imagine a more joyous sonic explosion of youthful exuberance,” says Emily Freudigman, violist and Co-Founder of Camerata San Antonio. “We’ve worked with most of these students either as their weekly lesson teachers or as chamber music coaches since they were in middle school. It’s really a privilege to help shape a young musician’s growth. Chamber music instruction is part of our Camerata mission, and this is a really unique capstone project for these young San Antonio musicians, as we get ready to send them off to college in the near future.”
What: FREE Concert of Mendelssohn Octet featuring Camerata San Antonio’s string quartet and four extraordinary area student musicians
When: Sunday, March 19 at 2:00PM
Where: Christ Episcopal Church (510 Belknap Pl)
More about the student performers:
|Ellie Kennedy, violin, was the 2021 winner of the Youth Orchestras of San Antonio Concerto Competition, has won first place prizes in nationwide competitions including American String Teachers Association(ASTA), and has been concertmaster of the TMEA Texas All State Symphony Orchestra and the Boston University Tanglewood Institute (BUTI) Young Artists Orchestra. Ellie studies with Matthew Zerweck.|
|Viviana Peters, violin, has performed as a soloist with the San Antonio Sinfonietta, organized many front-yard COVID concerts, and has been accepted for study at the Tibor Varga Winter Music Academy in Switzerland. Viviana studies with Matthew Zerweck.|
|Ray Zhang, viola, is a Texas Commission on the Arts Young Master, has toured Europe with the National Youth Orchestra, won first prize in the 2023 TexASTA Concerto Competition, was a finalist in the American Viola Society Competition, and was Principal Viola of the TMEA Texas All State Symphony Orchestra. Ray studies with Emily Freudigman.|
|Vincent Garcia-Hettinger, cello, is a 2023 Sphinx Competition Laureate and recipient of a Sphinx MPower Grant, as well as a From the Top Jack Kent Cooke Young Artist Award. He has won competitions including the Ann Arbor Symphony Young Artist and Nie Competitions, and was invited to participate in the 2022 Tchaikovsky Competition for Young Musicians. Vincent studies with Ken Freudigman.|
On May 23, 2021, we finally returned to live performance in front of an audience, and three days later we were back in the beautiful and spacious Laurel Heights United Methodist Church’s sanctuary for our annual free master class for area students. Our 2020 masterclass had to be conducted online (read about that here), so we were so pleased that COVID conditions had improved enough to allow us to bring students back for a live class. Audience was limited to family members and the class was recorded and released on our YouTube channel a few days later. This year’s class was made possible by a gift from the San Antonio Symphony League in support of our education programs.
Getting ensembles together to rehearse in 20-21 was … challenging… so we opened the class up to solo performers and ended up with a small but very interesting program, opening with cellist Simon Phoa performing Paganini’s Caprice No. 24. Simon is an alum of Ken Freudigman’s cello studio (Ken is our cellist and Artistic Director) and also of our String Quartet Seminar and is now studying cello at Southern Methodist University. Our violinists Matthew Zerweck and Anastasia Parker took point with Simon, discussing larger musical points and challenges of performing the Paganini Caprices in particular and also adjusting technical choices to accommodate the performance space.
Second was a very talented young quartet which worked together much of this year with Matthew, preparing for quartet competitions. Adriana Bec, Viviana Peters, Ray Zhang and Vincent Garcia-Hettinger performed the first movement of Shostakovich’s Third String Quartet. Our entire quartet worked with them on unifying across the group and controlling/focusing energy.
With continued vigilance, we are looking forward to more concerts with live audiences in 21-22, and more live master classes, too!
Mid-March 2020: After we postponed our final concerts of the 19/20 season and a set of in-school education concerts for elementary students due to the coronavirus pandemic, we needed a moment to catch our breath. We then moved our attention to finding a way to salvage our annual free masterclass for area student string quartets. It had been scheduled for late-May. We knew we wouldn’t be able to see students in person as we normally do for this class; we would need to move the event online. As we worked through the logistics, we discovered that the entire format would have to change. Live quartets became recorded solos. The ephemeral live class became something that could live forever and ever online. What had been improvisatory teaching had to now be carefully planned. We learned a lot along the way and discovered many ways going online actually enhanced what we could do and extend our reach.
Suffice it to say, we needed HELP! I won’t go into all the technical details here (it would take up a ton of space and I don’t think I could do it if I tried…). I can tell you that SSgt Jaime Parker (US Air Force Band of the West and Stacey’s husband) volunteered his considerable expertise to help us design the class from the ground up and masterfully ran all the technical components so all four of us could focus all our attention on teaching. It would not have been anything close to the smooth and effortless event that it was without his help. Jaime, you da best!
PERFORMERS & REP
We knew we would need to shift from a quartet class to a solo class to accommodate social distancing. While it was possible that some student quartets may have had a pre-pandemic recording they could have sent us, we thought it was very unlikely. So the call went out on our social media channels for area student violinists, violists and cellists to send us their solo videos. We got so many responses we had to add a second class – good problem (also easy to do when you’re online)! We were so impressed with their intrepid spirits – diving right in to this experiment with their solo performances!
INTERACTING WITH A RECORDING
One challenge of teaching via recording that we didn’t anticipate was the discomfort of not knowing how any comment landed. Playing in a master class is an extremely vulnerable thing for anyone to do – you’re putting your art out there specifically to be criticized in front of people! For this reason, when we work with students, we constantly check body language and facial expressions to see if we are communicating effectively and that the student feels safe. Because we didn’t have the students patched in live, we couldn’t see their faces to be sure. As a teacher, it felt like I was missing a limb! I couldn’t read the student’s face to see if they understood me, if they wanted to hear more from me on this topic. Or if they were ready for me to stop talking.
NO MORE IMPROV!
In a master class, we are working on two levels. The first level is working with the student performers to help them improve whatever issues are holding them back. The second is making that work relevant and interesting to the audience of learners. In a live class, we are able to conduct a process of trial and error with the student performers. Try this…kind of works; try this other thing that builds on the first thing…better still; try something else that approaches from another angle… really getting there now. It’s improvisatory.
Because we used recordings and had no live interaction with the students, this trial and error process was not available to us. So we really leaned into Level 2, making the work relevant and interesting to the audience of learners. This required much more planning. We couldn’t improvise in this situation.
An advantage of using recordings and being online is that it allowed us time to prepare and more tools with which to teach. We watched the videos in advance and carefully formulated a coordinated approach. In a live class, we don’t know exactly what we’re going to need to address until the students play, so we have to improvise. With recordings, we could plan in advance what to address and even coordinate who would talk about what.
Being online also gave us new and unique tools that we would’t have had in a live class, too. We could rewind videos to the exact moment we wanted to work on, prepare music scores for the audience to see (with annotations, even!); we could even cue up videos of other performers to demonstrate different approaches instead of just telling students to go check them out later. This was definitely a perk of the format!
EXTENDED LIFE ONLINE
Once each live master class is over, it only lives in the memories of the people that were there; an online event can reach more people and potentially live forever online! It’s gratifying for us to reach more students by having our class online. And as a student, I know I would have loved to refer to a video instead of depending on my memory! Lots comes at you quick in a master class and it’s hard to take it all on board when you’re the student under the microscope. Our classes aren’t available for ever and ever, but they are still archived here and here.
Our first foray into online content was definitely a learning experience. We learned that a knowledgeable assist is invaluable and that we can (and must!) do a lot in advance to make an online event go smoothly. We also had to make peace with the fact that Murphy’s Law will probably still assert itself somewhere along the way but that going online also creates new opportunities to enhance the experience. More online content is coming soon – our entire 2020-2021 season will be available online and we’re thinking ways to use what we learned to enhance those concert experiences. Online doesn’t have to be a weak substitute for live – it can be its own unique experience!
On April 15, 2019, we hosted four student string quartets in our annual master class. Talented student groups performed well-prepared quartet movements by Borodin, Mozart and Beethoven at the Radius Center in downtown San Antonio. Each member of the Camerata San Antonio core string quartet worked with the students to help make their performances even better. All this, in front of an audience of interested patrons!
The Brandeis High School Quartet was chosen by the Camerata SA Quartet to open our season finale on May 12 and San Antonio Symphony patrons can hear the Quartet VIVA perform their Beethoven before the Symphony’s final classics concerts of the 2018-2019 season at the Tobin Center!
2018 YOSA Summer Symphony Camp Quartet Seminar
Lots of great learning and music making happened at this summer’s quartet seminar! For the first time, Cadenza Academy and YOSA collaborated to present the one week Quartet Seminar for student quartets, coached by us. We had eight quartets this year, ranging from students playing quartets to the first time to old pros. Each group prepared their parts ahead of camp, rehearsed each day and received a coaching from a member of the Camerata San Antonio quartet. Each day after lunch, the groups were reconfigured with different personnel and repertoire to mix things up and keep it fresh, including one more rehearsal and coaching with a different coach. Eurhythmics and listening lab also helped give everyone a chance to manage their energy (either getting some rest or get some excess energy worked out). Each student performed in daily master classes at least once and each quartet performed on one of two concerts on the final day!