La Fenice's pianist Diane Walsh describes her musical background, working with Peggy Pearson, her role in the Broadway play "33 Variations," and the future of chamber music.
Our opening concert this season features the Boston premiere of a work by one of our dear friends, Lev Mamuya. I have known Lev through Project STEP since he was about 3 feet tall and eight years old! He is currently entering his second year of the Harvard/NEC program, and I am honored that he took the time to write a piece for Winsor Music (our 5th from him).
Many of you know and love Megan Henderson from her work as a pianist with Winsor Music's concert series and outreach program. We're so pleased to introduce her to you anew as a composer of our newest Song for the Spirit (although anyone involved in the Boston-area Shape Note community has known this side of her work for many years)! We discussed her history of writing music in (and bending the rules of) the Shape Note tradition, how she navigates between many musical traditions and practices, and why, for her, every song looks to the Spirit.
Mitsuru Yonezaki is our featured young artist for the first concert of our 2015-16 season, and a founding member of Winsor Music's first mentoring ensemble, Violobos! She began her violin studies at the age of four and currently studies with Joanna Kurkowicz. She took time out of her busy schedule to speak with us about how she has embraced chamber music, how singers and wind players like Peggy inspire her, and how music fits into her present and future.
As an oboist, I often think I am the luckiest person alive because I have the Bach cantata repertoire. Perhaps this should be enough to keep an oboist going! However, as the artistic director of a chamber series (who enjoys performing), I struggle with the fact that the chamber music repertoire for oboe is limited. Coming up with programs involving the oboe is a challenge, but it's a good challenge to have.