A wonderful interview with Deborah Pae and Mike Telin of Cleveland Classical talking about the many facets of her career and her all solo-cello program featuring works by Bach, Mayuzumi, and Mumford; which took place at the Stocker Arts Center's Signature Series on November 3, 2016.
News about upcoming projects, concerts, recordings, travels, and fun discoveries from Deborah...
I've been away for a year and have finally returned to my European home, Brussels, for a series of recitals! My recital tour begins this Thursday in Antwerp at OPUS4 Gallery. I am extremely excited for audiences to hear me with my wonderful pianist, duo and trio partner, Misha Namirovsky. If you are in Antwerp or nearby, please join us!
We'll be playing the same program in Brussels (May 29 at 7:30PM, for more info check out the concert pages) and at the Queen Elisabeth Music Chapelle (May 30 at 8:00PM), which will be broadcast Live Stream on YouTube and on MUSIQ3 Radio. Technology is making the world a smaller and more wonderful place so please tune in. I will have all the info below!
MAY 30, 2016'S RECITAL AT THE QUEEN ELISABETH MUSIC CHAPELLE
WATCH THE LIVE STREAMING HERE (BRUSSELS TIME, GMT+2)!
Sometimes, all you need is Beethoven! Really.
It's been an exciting few weeks preparing for Festival Beethoven at Flagey Radio Hall, a week-long festival in Brussels hosted by the Chapelle Musicale Reine Elisabeth. Our concert on Friday night in the intimate space of Studio 1 was a great occasion to hear his earlier chamber music works. I had the pleasure of performing with three incredible female artists from Latvia, France, and Armenia-Germany (Elina Buksha, violin; Helene Desaint, viola; and Lilit Grygorian, piano) in a program of Beethoven's Piano Quartet in E-flat, Op. 16 (originally for Winds and Piano, and later arranged by the composer himself for Strings and Piano), Violin Sonata No. 8 in G minor, and the dynamic String Trio Op. 9 No. 3 in C minor.
I first heard the Piano Quartet in its original form at Marlboro Festival last summer and didn't realize there was a version for strings until I was asked to collaborate on this project. It's alleged to have been inspired by Mozart's Quintet K. 452 which is in the same key and has the same instrumentation. And there are qualities of a Mozart opera in the slow movement where each instrument gets it's own an aria-like moment. The register and color of each voice reflects a different kind of emotion. I can assure you: we had a verklempt (German for choked with emotion) when we read through the piece for the first time!
The string trio, in particular, is the most intense of all three pieces on the program. The absence of a fourth voice (or a second violin) to help fill out the sound challenged us to create the sonority of a full string quartet. On top of that, each instrument is forced to simultaneously rally between being a virtuoso and supporting voice. It was the first time I performed this trio despite reading it with friends years ago and I can only imagine what it would be like to learn and perform all three string trios as a cycle...perhaps it's a new project in the making? Just because the third trio is from an earlier period of Beethoven, it is by no means 'simple' or one dimensional in character. It is intensely dark and the moments of urgency are paralleled by moments of deep expression and rhetorical beauty. From our morning générale rehearsal until the concert, I think all of us were in deep concentration and hoping to maintain that focus throughout the performance. Here are a few photos from our concert in Flagey's Studio 1 by the wonderful photographer Michel Cooreman.