Chamber Rehearsal
Concert: Eastern Nazarene College Church, Quincy, MA
UMB Orchestra Soloists rehearsal/ UMass Boston, MA
UMB Orchestra Soloists rehearsal/ UMass Boston, MA
Emmanuel Episcopal Church, 15 Newbury Street, Boston, MA
Emmanuel Episcopal Church, 15 Newbury Street, Boston, MA
UMB Orchestra rehearsal/ UMass Boston, MA
Emmanuel Episcopal Church, 15 Newbury Street, Boston, MA
Cantata Singers Season Concert/ Jordan Hall, Boston, MA
Faculty Concert/ South Shore Conservatory, Ellison Center for the Arts, Duxbury, MA
UMB Orchestra rehearsal/ UMass Boston, MA
Mozart Flute and Harp Concerto with the UMass Boston Orchestra/ UMass Boston Campus Center Ballroom, MA
Eastern Nazarene College Cove Fine Arts Center, Quincy, MA
BKS Holiday Concert/ Kennedy Center, Quincy, MA
Cove Fine Arts Center, Eastern Nazarene College, Quincy, MA
Cantata Singers Season Concert/ Jordan Hall, Boston, MA
Solo Concert/ University of Massachusetts Boston, MA
Solo Concert/ Duxbury Art Center, MA
Master Class/ University of Massachusetts Boston, MA
Cantata Singers Season Concert/ Jordan Hall, Boston, MA
July 29- Aug 11/ 2013
Boston International Music Festival/ Invited Harp Faculty
Boston International Music Festival Faculty Solo Concert
Concert in Seoul, Korea
This article, whose author Chaerin Kim agreed to share with this blog is called “The Colors of Music”. It was published in 2010 at Hingham Newspaper in MA, U.S.A. I include it as a wonderful way to learn from her experience as a well trained musician in piano, composition and harp and for the curiosity I have regarding how music is learnt, practiced and shared in other faraway parts of the world like what Asia is to Latin America, as well as her experience in Europe and USA. I quote her:
“After listening to many performances by musicians from all over the world, I discovered that the only performers who captured my heart were not necessarily those with the best technique, but those players who had various “colors” in their playing. By “colors” I mean the quality, which evokes emotion and imagination, and allows you to visualize what the performers are saying through their music. You know, to become a truly wonderful musician, you need to have “colors” in your playing.
Growing up in Korea, I was lucky to study music on many different instruments from many teachers who were trained in Korea, Russia, U.S., U.K., Germany and France. I started when I was 6. I took piano, violin, cello and voice lessons until I was 18. In fact, I double majored in piano and cello. I saw the harp when I was 18, and the instrument honestly took my heart. Once I fell in love with the harp, I talked to my parents, and they kindly let me change instruments.
To me, the harp is a beautiful and charming instrument that often gives people comfort. And, it has many “colors” in it. The harp represents love, peace, sensitivity, charm, sorrow, joy, and so many other feelings in different colors.
I love teaching, and find it is such a giving thing. To share with other people what I have enjoyed for more than 27 years makes me very happy and gives me a good reason to be part of this world. I try to teach my beginning and intermediate students very solid basic concepts, so they can draw on these later.
I believe musicianship is important, but you also need proper technique and good and stable tempo from your heart to be able to present your musicianship and artistry. I try to teach my advanced students other aspects, so they can go beyond basic skills, reach another level, and bring color to their playing. It’s important to convey your thoughts, experiences in life and philosophy through your music.
I like to encourage people of all ages to continue on with their music education, and I don’t mean just on the harp, but with other music opportunities. Music is not just about giving, but also feeling you are getting a lot more than you give. Even though I am a teacher, I learn a lot from my beginning students, who are passionate and eager to learn, respect and love the music. I let them know it’s all about color and imagination”. Chaerin Kim
MG: Which would be your observations regarding the differences in teaching technique in the various countries you have had contact with?
Could you explain the strongest aspects of these techniques and their differences?
CK: I would not really compare in words what is good or bad/ which countries education system is better or not since it all depends on individual students.
I think there are differences though. My previous teachers were all educated in different countries as US, UK, Germany, France, Russia and Korea, and I experienced they have different teaching styles. I found that is interesting.
I enjoyed each teacher’s style since it was exciting to see all the differences. It also gave me broad view in music in general, not just looking at the isolate harp field.
In addition, when I hear students from different countries I notice how their playing is different style-wise. I find there are some common languages and tendencies in those students who are from the same country.
Of course, most likely, it depends on their personal education level. –There are three important default aspects and qualities I would like to state as necessary to become a wonderful musician:
1- With whom they studied when they were very young.
2- How talented they are/ having good ears to produce a good tone, having a good tempo and technique and their own philosophy to present their musical interpretation to audiences.
Also in my vocabulary, talent could be ” how much effort a person can put in his/ or her instrument.” The focused students who practice more, I would count that is another kind of talent.
3- How much support they got–from their parents and friends. This is often as important as the other two previously mentioned aspects.
MG: What is your own goal now, teaching undergraduate students at Harvard?
CK: Harvard Music Department is more focused in the academic area. However, I teach the undergraduate students through the Office of Arts Program. It is wonderful to see how talented they can be in many areas even though they are not majored in music.
My own goal is to provide the student a wide view for understanding the music itself. At the same time, I train them to focus on keen attention to music while they perform. Really, you produce the sound in the extent to what you want and what you think. Audience can perceive this and that is why it is so important to give all you can with your own interpretation.
MG: How is your relation to nowadays composers?
CK: I love to work with composers. I am very interested in composition. I wanted to double major in harp and composition while I was doing my doctorate. I still carry my passion for composition. My first inspiration was my previous teacher Skaila Kanga, who is considered one of the most wonderful harpists and harp teacher nowadays. Sometimes she asked me to compose, and I would bring some piece to my lesson. She introduced me to this new world: how to see the new and creative side of the harp playing, working with composers and being a composer myself. Actually, her hobby is composition, so it was very natural for me to share my composition interest with her.
Composers are full of wonderful, creative ideas, and I like helping them. Most composers do not have a real chance to work with a harpist, and they are shy about asking for it. I like showing them all about my favorite instrument, and it brings me joy to see how many other ideas they can come up with after I helped them.
In 2007, I helped Ivana Lisak’s harp concerto which was written for me. I felt so honored to get her composition and I love the piece. As a harpist or any musician, to get a concerto for oneself is a lifetime thing. It does not happen often, so I was completely thrilled.
MG: How do you feel about the harp being an instrument with so much 19th Century repertoire?
CK: I like 19th Century pieces. In fact, I like pieces from all the different periods of music history. You can cry listening to Bach´s Chaconne, you can also cry listening to Mahler´s 5th Symphony Adagietto. Each different period of time has its own charm.
I just feel the need of more contemporary pieces so we harpists can have a wider repertoire.
MG: Do you think that the new 20th Century compositions for harp are meaningful?
CK: I believe each piece has its own language and character. Some people might like certain piece, as well as some other might not. We cannot blame anybody for not favoring the same thing.
MG: Do you think that the new compositions for harp written in the 20th and 21th Century will be played as much as the 19th Century ones?
CK: You never know. I can´t predict things, since only God knows what will happen tomorrow!
MG: What is it that you like the most from a composer you are working with?
CK: I like stylish composers.
Evenings Under the Starts Orchestra Concert, Hingham, MA
Studio Concert, Good Shepherd Church, Quincy, MA
Cantata Singers Concert, Jordan Hall, Boston, MA
Please visit www.uimc.weebly.com for more information.
Sep, 20, Monday: 9am-11am/ College and Young Professional/ Boston University Concert Hall
2:30pm-6:30pm/ Junior and Senior/ Boston University Marshall Room
Sep, 21, Tuesday: 9am-12pm/ College and Young Professional/ Boston University Concert Hall
2pm-5pm/ Junior and Senior/ Marshall Room
Sep, 22, Wednesday: 9am-1pm/ College and Young Professional/ Boston University Concert Hall
12pm-5pm/ Junior and Senior/ Marshall Room
Sep, 23, Thursday: 12pm-2pm/ College and Young Professional/ Boston University Concert Hall
9am-11am/ Junior and Senior/ Marshall Room
Sep, 24, Friday: 9am-2pm and 6pm-8pm/ College and Young Professional/ Boston University Concert Hall
2pm-6pm/ Junior and Senior/ Marshall Room