The WAVE wanted to talk with them about their overall experiences as the award-winning, critically-acclaimed chamber group that h2 has come to be. Jeffrey Loeffert : My chamber music experience has been extremely important, perhaps the most vital component, to my music education and continued growth as a musician. I am so lucky to have had outstanding teachers starting with my beginning band director, but my most powerful influences have been my peers throughout the process. I have learned so much from the musicians with whom I have interacted, especially in the close proximity of chamber music.
It is also my favorite artistic outlet. Individually, we can only be saxophonists, but together we can be a quartet that is better than the sum of its parts.
It is truly an example of synergy, and I am grateful that the quartet makes me better than I actually am. Geoffrey Deibel : I think chamber music makes one a profoundly more effective and sensitive musician. In the medium of chamber music, you are forced to act as a soloist and an ensemble player at the same time.
This means you have to be of two minds, you have to be ready at any moment to assert yourself in the group, or to give way to someone else, but at no point are you unimportant.
You must learn to navigate and be constantly assessing your place in the texture--being a good chamber musician is almost like learning to be a good person, I think. When you have four musicians or other numbers that have an equal dedication to these principles, it can create a musical effect like no other--the word "dynamic" definitely comes to mind here.
Kimberly Goddard-Loeffert : Playing with the h2 quartet has made me a better musician, plain and simple. My colleagues push me every day to achieve more in my personal playing technically and musically. Technically, they challenge every aspect of my playing from articulation to altissimo with each new piece that we take on, but the musical challenges are my favorite moments. Every once in awhile there will be a performance where we are playing something that we have played many times , and someone will shape something differently, and then the others will respond to that shaping a little differently, and we will have suddenly, on-the-spot developed a new interpretation of a piece, all without speaking about it.
That is always a special thing. Jonathan Nichol : Playing in a chamber group such as h2 is an awesome experience. Sharing musical ideas in planning, rehearsal, and performance has the greatest musical influence on me. Working in a chamber setting challenges performance concept, promotes critical thinking, and strengthens the musical bonds among the players. It is truly wonderful to collaborate with such talented and dedicated musicians in the h2 quartet.
JL : I really appreciate the interdependent nature of chamber music. My quartet members depend on me to prepare well, execute well, and be creative. Chamber music also develops the technical skills and confidence of a musician, especially since each part generally has technically difficult passages like those of a soloist. But the difficulty here is that even our teammates will have an equally difficult transition at times, and combining them could be extremely complex.
This should motivate the player to prepare as much as possible as it is the individuals, not the sections, who play each part. Music in general is a great way to build teamwork, but chamber music takes it to a whole new level. Having to depend on each other and working together calls into question even the smallest personal ideas. In fact, during rehearsals, it is easy for musicians to discuss the musical ideas they would like to develop but also the problems they might have outside the musical sphere.
Is chamber music for everyone? For over 20 years , he was also a member of the Juilliard String Quartet, during which time he performed over 2, concerts and recorded more than works.
Co-presented with. Unsupported Browser Detected. Event Details Sat 12 Jan Although Brahms uses Classical designs and forms, he sounds very different that Haydn, Mozart or Beethoven--because he is a conservative Romantic compopser who uses more unusual harmionies, cross-rhythms, a wider range of emotional transitions, darker tone colors, and a more expressive melodic style.
Movement 1 : Fast allegro , in the "home" key of C major, based on the internal Classic form known as " sonata form ":. Movement 2 : Slow andante con moto--slow, with momentum in the opposing key of A minor, and based on the internal Classic form known as " Theme and Variations ", in which a main musical idea is stated the "theme" , then it undergoes a series of "variations" in which aspects of the theme such as key, meter, instrumentation, mood, dynamics, etc.
Movement 4 : Fast allegro giocoso--meaning fast and merry in the home key of C major, with a sonata form which indicated that Brahms wanted a heavier finale for this work than a traditional "rondo" would have provided.
Modern Art-Music Era:. This 4-movement work for 2 violins, viola and cello is a wonderful example of how experimentally creative composers became in the 20th century.
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