鈥淟era Auerbach鈥檚 music possesses that rare quality of being both boldly of our time, wildly inventive, and incredibly expressive while at the same time extremely accessible to audiences everywhere,鈥� said RSC Interim Director Lindsey Robb.

As an internationally recognized composer, conductor, and pianist, Auerbach has collaborated with many world-renowned orchestras including the New York Philharmonic, Oslo Philharmonic, and the ORF Vienna Radio Symphony Orchestra, and now she is coming to 海角乱伦社区.

Over the course of the last several months, Auerbach was writing a very special work in collaboration with RSC for this year鈥檚 45th Annual Seminar on Contemporary Music for the Young taking place from April 5 through April 7. 鈥淩SC collaborates with the commissioned composer early on, when we start discussing the instrumentation for the work,鈥� said Robb. 鈥淚deally we seek a composition that fits with our most promising ensembles or soloists.鈥� And this year鈥檚 commissioned work, Auerbach鈥檚 String Symphony No. 2 – Nox: Tenebrae Lucis, is proving to be a notably special collaboration as it involves students from The Rivers School, RSC ChamberMusicLab (CML) students, and musicians from A Far Cry and their fellowship program, all of which will be giving the world premiere of the newly commissioned piece. Auerbach, who has conducted some of the world鈥檚 leading orchestras, will be conducting String Symphony No. 2, bringing a completely collaborative performance experience for all musicians involved.

鈥淚t’s a beautiful collision indeed,鈥� says CML Director Jason Fisher, who is also a founding member of A Far Cry. With this collaboration, which includes his colleagues at A Far Cry and the outstanding CML students, Fisher added: 鈥淚 know there will be a dynamic synergy there, and the chance to work on a new work by鈥攁nd to work with鈥攁 living composer of Auerbach鈥檚 global prestige is truly special for all of us.鈥�

For several decades, the Seminar has been known for drawing together influential composers, who have revolutionized today鈥檚 music and compositional styles, and the local community through the commissioning of new, thrilling works. 鈥淲e have had a glorious history of concerts from the beginning 45 years ago,鈥� said Ethel Farny, who has been chairing the Seminar since 1994. 鈥淢ore composers write premieres each year through our small commission program, and for the last two years with a program engaging college student composers to be matched with RSC students.鈥� Since the Seminar began in 1978, a long list of commissioned composers and guests have been involved including John Cage, Joan Tower, Matthew Aucoin, and recently Chen Yi and Andrew List. With its long-standing history, the Seminar continues to evolve by connecting student composers from local universities, such as Berklee College of Music, and this year Tufts University, with RSC students, providing more opportunities for students to perform world premieres and work with a composer.

Not many student musicians have the chance to collaborate with distinguished composers, but such an occurrence happens annually at RSC. 鈥淚 definitely never had this kind of a unique opportunity when I was in high school,鈥� says Fisher. 鈥淥ur students are getting hands-on experience with music-making at a professional level, in a creative, inclusive chamber-music-minded setting.鈥� Getting to work on a completely new, never-performed work is a gift and getting to collaborate with the composer makes the experience even more memorable.

鈥淚 have found that working on the newly composed piece is refreshing from an artistic standpoint,鈥� said Nathaniel Jarrett, a CML student who is one of the musicians that will be premiering Auerbach鈥檚 String Symphony. As a violinist in CML, Jarrett has learned many valuable performance techniques, one of which is score studying, saying, 鈥淯nderstanding what moods and ideas the composer is trying to express through the small details helps me build my own interpretation while still complementing the composer’s intentions.鈥�

Since its start 45 years ago, the Seminar on Contemporary Music for the Young has continued to fascinate and provide enriching experiences. Farny says that even the visiting composers hear the 鈥渆xciting performances and realize that contemporary music is a vital part of 海角乱伦社区鈥檚 experience.鈥� Although the repertoire and commissioned composers presented are different every year, Farny adds that, 鈥淲hat stays the same is the ability of teacher and student to choose creative music that will excite and engage our young students and allow them to present rich and innovative music to our audiences.鈥� From the students and faculty who are performing, to the audiences that find themselves mesmerized by how surprising and captivating the music of today is, everyone involved in the Seminar is a part of its incredible history of celebrating composers and allowing students an opportunity to grow their artistic leadership skills through performance.

鈥�

45th Annual Seminar on Contemporary Music for the Young
April 5-7, 2024
Bradley Hall, Rivera Recital Hall
Register here.

At the start of 2024, four remarkable RSC students lit up the stage at Regis College鈥檚 Fine Arts Center with their sensational concerto performances. In February, winners of this year鈥檚 Rivers Youth Orchestra Competition, Joseph Juhasz (bassoon) and Max Wei (violin), soloed with Rivers Youth Symphony and Philharmonia. William J. Kim (cello) and Henry Tushman (piano), the winners of the 2024 RSC Concerto Competition, played with the Rivers Symphony Orchestra just a few weeks ago. Throughout their performances, they each brought a joy so palpable that they were met with roaring applause.

Both concerto competitions are held annually by RSC, and although many students participate, only two winners are selected per competition. The musicianship of these four winners particularly showed and impressed the judges. 鈥淚 was extremely surprised when I found out that I was selected as one of the winners,鈥� said Joseph Juhasz, who studies bassoon with Donald Bravo. 鈥淚t was nice to have this opportunity to share what I love about the bassoon鈥攖he richness, the playfulness, the human-like voice鈥攁ll of which are brought out in Weber’s Bassoon Concerto.鈥�

For Juhasz, rehearsing and performing with the Rivers Youth Symphony was an especially moving experience, saying, 鈥淓ver since I first came across the Weber Bassoon Concerto, I’ve loved its jubilance; however, I did not find the universal power in this piece until our rehearsals, when I could see that my fellow orchestra members were also struck by its jubilance.鈥� The concerto competitions bring together the RSC community in a unique way, allowing the soloist to share the piece they have put so much into and getting to collaborate on it with their peers.

Video by Jamie Stewardson.

RSC鈥檚 concerto competitions invite students to challenge themselves to learn a piece from inside out, from memory, while discovering self-confidence and leaning on the support of their community at RSC and their loved ones. 鈥淚 was so excited and thankful to find out that I was selected as one of this year鈥檚 concerto competition winners,鈥� exclaimed William J. Kim. 鈥淚 am inspired by my teacher, Mr. Ronald Lowry, who makes playing cello so much fun! The Haydn Cello Concerto is one of my favorite pieces. I really like how Yo-Yo Ma plays it joyfully, so this inspires me too.鈥� Kim鈥檚 siblings, who are also musicians with musical accomplishments of their own, have had a monumental impact on him. 鈥淚 am also inspired by my older brother, Andrew, who also plays cello, and my older sister, Ella, who plays violin.鈥�

Video by Dave Jamrog.

After looking back on his audition and rehearsal experience, Max Wei shared how he was particularly proud of how much he has grown as a violin player and how crucial goal setting was in preparing 脡douard Lalo鈥檚 Symphonie espagnole. Wei and his violin teacher, Kelly Barr, worked diligently together, paying special attention to the finer details. 鈥淲hen I first rehearsed with Philharmonia, I was very excited,鈥� said Wei. 鈥淚 felt very honored to be able to work with so many talented musicians and Ms. MacDonald, who has been guiding me since third grade. I really enjoyed hearing the orchestral part blend in with my part.鈥�

Video by Jamie Stewardson.

By dedicating the time to meticulous practice and making the piece their own, the reward of performing as a concerto soloist is an exhilarating experience. Pianist Henry Tushman, who studies with Sandra Hebert, explained that 鈥淚t’s a different kind of playing鈥� in that you have to project more than when you are playing alone.鈥� After sitting in one rehearsal, one would immediately observe the careful balancing act between the orchestra and concerto soloist. The orchestral strings and winds cannot be over indulgent in their sound or else they risk competing with the soloist, and as a soloist 鈥淵ou need to show that you can collaborate with a big orchestra, while being clear about your musical ideas,鈥� said Tushman, who seemed to effortlessly express a variety of operatic characters in his interpretation of Mozart鈥檚 Piano Concerto No. 21.

Video by Dave Jamrog.

The concerto competitions at RSC carry a deep purpose, to give RSC students the chance to learn more about their sound and experience concertos in the setting they were written for. The tremendous dedication of these young artists is truly admirable and has surely encouraged others to consider participating in next year鈥檚 concerto competitions.

鈥�

Learn more about the Rivers Youth Orchestra Competition and RSC Concerto Competition.

On Saturday, March 2, 2024 at 9:30 a.m., violinist, conductor, and composer will be giving a chamber music master class in Bradley Hall, Rivera Recital. This master class will feature two ChamberMusicLab groups.

Pekka Kuusisto is renowned for his artistic freedom and fresh approach to repertoire. Kuusisto is Artistic Director of Norwegian Chamber Orchestra and Principal Guest Conductor聽&聽Artistic Co-Director of Helsinki Philharmonic Orchestra from the聽2023-24聽season. He is also a聽Collaborative Partner of San Francisco Symphony, and Artistic Best Friend of Die Deutsche Kammerphilharmonie Bremen.聽

In the聽2023-24聽season, Kuusisto performs with Mahler Chamber Orchestra, Leipzig Gewandhaus Orchester, Helsinki Philharmonic, San Francisco Symphony, Norwegian Chamber Orchestra, Los Angeles Philharmonic,聽NHK聽Symphony Orchestra Tokyo and Boston Symphony Orchestra. He appears as guest conductor with Deutsches Symphonie-Orchester Berlin, Tokyo Metropolitan Symphony Orchestra, Gothenburgh Symphony Orchestra,聽Scottish Chamber Orchestra, Swedish Chamber Orchestra, Orchestre de chambre de Paris. As聽Council, Kuusisto also tours Norh America and Australia with American singer-songwriter Gabriel Kahane.

In the聽2022-23聽season Kuusisto debuted with Berliner Philharmoniker and performed with Tokyo Metropolitan Symphony Orchestra. He returned to orchestras such as The Cleveland Orchestra, San Francisco, and Cincinnati Symphony Orchestras, G眉rzenich-Orchester K枚ln, and Mahler Chamber Orchestra. Kuusisto made his debuts as a聽conductor with Philharmonia Orchestra and Gothenburg Symphony Orchestra. He is also Sinfonieorchester Basel鈥檚 Artist-in-Residence with whom he appeared as conductor, soloist, and recitalist.

On Sunday, February 11, 2024 at 10:00 a.m., founding cellist of the world-renowned Muir String Quartet and professor of cello at Boston University will be giving a cello master class in Bradley Hall, Rivera Recital Hall.

Mr. Reynolds has performed over 2,000 concerts worldwide and has performed with artists including Leon Fleisher, Menachem Pressler, Gil Shaham, Richard Stoltzman, Phyllis Curtin, and Benny Goodman. With the Muir Quartet, he has won prizes including first prize at the Evian Competition, the 1981 Naumburg Award, two Grand Prix du Disques, the Gramophone Award, a Grammy nomination and a Grammy on the EcoClassics label he founded, and an internationally acclaimed PBS broadcast, 鈥淚n Performance at The White House鈥� for President and Mrs. Reagan. A native of Montana, he received his professional training at the Curtis Institute of Music, where he was a student of David Soyer and Martita Casals, continuing with Karen Tuttle and George Neikrug and studies at Yale University. Mr. Reynolds has appeared with orchestras and in recital throughout the U. S., and his recording of the complete Bach Suites for Solo Cello on the EcoClassics label has received much critical acclaim. Recent recordings include the Muir Quartet performing Berg Op. 3, Kreisler Quartet and Schulhoff 5 Pieces on the KidsClassics label, and the Beethoven Clarinet Trio (after the Septet) and Zemlinsky Trio with clarinetist Richard Stoltzman and pianist Judith Stillman on KidsClassics. Upcoming recordings include works from the Klezmer Tradition with clarinetist Alexander Fiterstein and the Muir Quartet on Parma Recordings.

Mr. Reynolds has taught at  since 1983. His students continue to develop successful careers in music, including members of the Boston Symphony and other orchestras, teachers at universities and other institutions internationally, four Boston Symphony Competition and numerous other competition winners. He is co-founder and Director of , which has given matching grants for excellent student instruments to hundreds of string programs serving disadvantaged children around America. He is Artistic Director in Fredericksburg, Virginia, and founder/artistic advisor of the , the first statewide chamber music society in America. Mr. Reynolds has served on the faculties of New England Conservatory, Rutgers University, the University of Utah, and UC Santa Cruz. He received an honorary doctorate from Rhode Island College in 1995. In his spare time he is an avid flyfisherman and outdoorsman.

On Tuesday, January 9, 2024 from 5:00 p.m. to 7:00 p.m., mezzo-soprano and contemporary vocalist will be giving a voice master class in Bradley Hall, Rivera Recital Hall.

Praised as 鈥渃onsoling and soulful,鈥� for her 鈥渕ystifying simplicity,鈥� Carrie has graced stages across New England and beyond, and is highly sought as both a classical performer and crossover artist, performing an extensive range of repertoire that spans the musical sphere. Carrie performs regularly as a soloist and ensemble member of Skylark Vocal Ensemble, Emmanuel Music, Boston Baroque, Eudaimonia, Lorelei Ensemble, and folk/baroque collective Floyd鈥檚 Row, among others.

Recent and upcoming solo highlights include the east-coast premiere of Caroline Shaw鈥檚
鈥淭he Listeners鈥�; Reema Esmail鈥檚 鈥淭his Love Between Us鈥�, Bach鈥檚 Christmas Oratorio, B Minor Mass, St. Matthew Passion, St. John Passion, multiple art-song recitals, and countless Bach cantatas with Boston鈥檚 own Emmanuel Music; a revival of Francine Trester鈥檚 chamber opera about the life of Florence Price, 鈥淔lorence Comes Home鈥�; a world-premiere performance of Trester鈥檚 song cycle, 鈥淭he Azure World,鈥� written for Ms. Cheron, using the poetry of Tennyson; Trester鈥檚 鈥淎 Walk in her Shoes,鈥� with Boston Landmarks Orchestra; a world premiere of Trester鈥檚 鈥淚n Her Element,鈥� with the Kendall Square Orchestra; Vivaldi鈥檚 Gloria with Boston Baroque and Concord Women鈥檚 Chorus, and his Stabat Mater with Portland Bach Experience; an international solo debut with Skylark Ensemble at the Holy Week Festival at St. John鈥檚, Smith Square in London, accompanied with a live on-air performance on BBC Radio 3鈥檚 program, 鈥淚n Tune鈥�; Haydn鈥檚 Lord Nelson Mass, Mozart鈥檚 Requiem and Vesperae solennes de Dominica, Handel鈥檚 Israel in Egypt and Messiah, Vivaldi鈥檚 Dixit Dominus, Rachmaninoff鈥檚 All-Night Vigil, and world premiere performances of jazz and cabaret songs by John Harbison, with the composer himself at the piano.

Carrie is featured as a soloist on all three of Skylark Ensemble鈥檚 Grammy-nominated albums, and performs the opening and title track of its most recent release, 鈥淟a Vie en Rose.鈥� She can also be heard as a soloist on Lorelei Ensemble鈥檚 recent recording of 鈥淟ove Fail鈥� by David Lang, and is featured on their upcoming recording of Jessica Meyer鈥檚 鈥淚 Long and Seek After.鈥�

A dedicated educator, Carrie is an Associate Professor of Voice at Berklee College of Music, where she teaches healthy vocal technique of all genres.

Yo-Yo Ma, the renowned cellist, has said, 鈥淲hen we share music, we share a part of ourselves, creating connections that go beyond words.鈥�*

This sentiment resonates powerfully for the artists in the Rivers Symphony Orchestra (RSO). Members of the ensemble speak of the joy they find in the group鈥檚 sense of connectedness, its dedication to orchestral music, and the musicians鈥� willingness to learn.

An ensemble of 海角乱伦社区, the RSO was founded in 1996 by then music director David Tierney. Christopher Memoli took the baton in Fall 2021. Maestro Memoli also directs the RSC鈥檚 Rivers Youth Orchestras program and is the director of music for the Weston Public Schools.

The RSO鈥檚 mission is to promote performance opportunities for talented adult players and advanced music students. Members represent a range of ages and backgrounds, and come together in a spirit of professionalism to offer orchestral music to the local community. This fall, for example, the RSO offered a concert at the Town Hall in Needham, MA., featuring works of Johann Strauss, Antonin Dvo艡谩k, and Jean Sibelius.

Ken Culver, concertmaster, is in his second season with the RSO. 鈥淭he camaraderie within the group is fantastic,鈥� he says. 鈥淚t鈥檚 just a lively and friendly bunch of good musicians who are pulling for each other and working together to make great music. I love having the opportunity to make symphonic orchestra music, so it is a great way for me to keep my skills up and be in a community of musicians.鈥�

Michelle Passmore, principal oboe, began her second stint with the RSO in the 2012鈥�13 season. 鈥淏ut l played for the 2003鈥�04 season when I was in high school,鈥� she says. 鈥淪o overall, this is my 13th season. What I appreciate about this orchestra is that I have been able to continue performing high-caliber music since finishing my collegiate music studies. I enjoy the multi-generational makeup of the group. it is a unique experience to have players from all different walks of life come together and make music.鈥�

Members of the RSO may not all be professional musicians, but they strive for a professional level of musicianship. Principal flute Bruce Goody, who is also the group鈥檚 ensemble manager, has been playing with the RSO for 24 years, since 1999. 鈥淲hat I enjoy with the RSO that I have not experienced with other musical ensembles is the willingness of the entire orchestra to grow and improve at each rehearsal, even at our dress rehearsal,鈥� he says.

Passmore agrees that the experience of playing with the RSO stretches her musically. 鈥淓ach season with the RSO has furthered my ability to adapt to different musical leadership styles and has deepened my knowledge and understanding of composers and their works,鈥� she says.

Then there鈥檚 the sense of community.

Her role as principal cellist 鈥渕akes me feel like I am coming to my second home,鈥� says Celeste McGinty, who has been with the RSO for three years. 鈥淧laying in the RSO is wonderful and I hope to keep playing in this orchestra for a very long time.鈥�

鈥擟atherine O鈥橬eill Grace

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On Thursday evenings in the fall, as the sun sinks into the crisp autumn night sky, musicians in RSC鈥檚 Camerata Strings fill Rivera Recital Hall with vibrant music鈥攂ut with a twist鈥攏o conductor.

鈥淐amerata Strings has really taught me how to lead and connect more with the other musicians in the ensemble,鈥� says violinist Anna Kehayova. 鈥淏ecause we don鈥檛 have a conductor, a lot of members get the opportunity to lead, which means that I鈥檝e learned more about leading a group, but I鈥檝e also learned how important it is to follow and listen carefully when it鈥檚 someone else鈥檚 turn to lead.鈥�

Since their start in 2017, this 20-musician ensemble has been dedicated to creating a space that inspires advanced string musicians to support each other鈥檚 creativity while rehearsing and performing at a high level. The ensemble is led by accomplished violinist and educator Marta Zurad, who also participates as a performer in the group. 

鈥淢s. Marta is one of the most inspiring teachers I have ever worked with,鈥� shares cellist Sam Fasciano. 鈥淗er sheer dedication and love of music and her students inspire me… My peers are also all incredible; they are all talented in many ways, not just musically. I think we all challenge ourselves to rise to each other’s level when we play.鈥� By emphasizing collaboration through embracing each musician鈥檚 individual strengths, Camerata creates pure magic in their sound.聽聽

Zurad also expressed her appreciation to Camerata鈥檚 mentors RSC cello faculty Susanne Friedrich and Nickolette Cartales, their viola coach, and said, 鈥淎ll three of us enjoy working with the exceptionally talented and dedicated musicians in Camerata Strings. I think this is the only ensemble in the Boston area which provides a unique string orchestra experience on such a high level.鈥澛�

鈥淐amerata strikes a wonderful balance of making its musicians feel close, welcomed, and personally cared for while also pursuing exciting and intricate music,鈥� says violist and composer James Hutchinson, whose original composition Awakening was performed by Camerata Strings at their May 2023 concert as an orchestral arrangement. Performing a wide array of repertoire, including the unique opportunity of performing a piece by a fellow musician, allows the ensemble to connect their audience to music they may have never heard of before. It is especially gratifying for composers like Hutchinson, who says 鈥淥ur concert last spring made me appreciate my own music at a deeper level, and rediscover the process by which I constructed my quintet.鈥�

For their upcoming concert on Thursday, December 14, Camerata Strings has been preparing a program that includes works by Antonio Vivaldi, J.S. Bach, Pyotr Ilyich Tchaikovsky, and Nino Rota. Zurad selects their repertoire from a variety of time periods, this time Baroque, Romantic, and Contemporary, and says their goal is 鈥渢o understand and present these pieces with excellence, artistic integrity, and creative youthful energy!鈥� As their concert is quickly approaching, violinist Julie Meng says 鈥淚 particularly look forward to performing Vivaldi鈥檚 鈥榃inter鈥� and 鈥楥oncerto Per Archi, I. Preludio鈥� by Nino Rota that teleports you to winter, capturing its often intense (at least in New England) yet ethereal nature perfectly.鈥�

With the combination of the group鈥檚 enthusiasm and repertoire that explores rich harmonic landscapes and themes of winter, their December concert will be sure to have the audience lean forward in captivation.

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The upcoming Camerata Strings Concert will take place on Thursday, December 14, 2023 at 7:30 p.m. in Bradley Hall, Rivera Recital Hall. The concert is free to attend, but seating is limited.

During lessons and performances, students in RSC鈥檚 Suzuki Programs pluck, sing, and bow their way to developing self-confidence and a deeper appreciation of music through community and transformative mentorship that centers around the Suzuki Philosophy. This philosophy, which was developed by Japanese violinist and educator Dr. Shinichi Suzuki in the mid-twentieth century, reflects the process of learning a language through listening, imitating, and intentional repetition.

鈥淥ne of the core principles of the Suzuki Philosophy is the positive environment,鈥� says Taylor Stobinski, RSC鈥檚 Suzuki cello instructor, cello faculty member, and registrar. 鈥淚 find since using the philosophy, my students are more patient and understanding of their weaknesses and are positioned to turn them into strengths.鈥� With the guidance of RSC faculty who are trained in Suzuki instruction, young violinists, cellists, and guitarists in RSC鈥檚 Suzuki Program actively participate in a supportive musical community. 

Students need not begin their studies with the Suzuki Philosophy to experience the program鈥檚 benefits. 鈥淚 think the biggest transformations I’ve seen are in the areas of building technique on the instrument and gaining comfort performing,鈥� shares Lauren Cless, a Suzuki violin instructor at RSC.

鈥淥ur approach to developing technique varies from other methods because we use pieces the student already knows and loves to develop skill on the instrument.鈥�  

Another core feature of the Suzuki Philosophy is that music-making is meant to be experienced by the whole family. Catherine O鈥橩elly, RSC鈥檚 Suzuki Guitar and Guitar Department Head, says that by 鈥渕aking music part of family life and going to recitals with the whole family, it serves as a reminder of music as something that nurtures the whole soul, which is foundational to the Suzuki Philosophy.鈥� Suzuki families attend all classes and learn how to enrich their child鈥檚 practice throughout the week while maintaining a positive learning environment. This offers young, beginning musicians a unique opportunity, especially at performances, where students are given the option to play with a friend, sibling, or caregiver at a Suzuki Friends & Family Recital. 鈥淚t’s wonderful to see the joy of music-making shared between friends and across generations,鈥� shares Cless of the experience after the family recitals.

Together, RSC鈥檚 Suzuki students, families, and faculty create an inviting learning community that inspires students to not only enjoy the music they create, but the joy that comes from sharing it with others.

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海角乱伦社区 offers Suzuki Programs throughout the Academic year and a week-long program in the summer. If your child is interested in our Suzuki Programs, please contact Program Coordinator Jenna Potts (j.potts@rivers.org).

Listening to jazz musicians dance across new soundscapes through improvised notes and rhythms is so mesmerizing, you wonder how they do it. A lot of practice goes into improvising. The audience may not realize this but the musicians are well aware, after they take the first plunge into jazz improvisation and meticulously fine-tune their technique.

Regardless of their prior experience with jazz, students in 海角乱伦社区鈥檚 (RSC) jazz combos gain a detailed understanding of jazz and music theory that empower them to be their own artistic leaders while also creating a supportive and creative environment with their bandmates. Studying jazz in the RSC combos exposes students to a variety of jazz styles and emphasizes improvisation at all levels.

RSC jazz students meet after school with their peers and coaches to master new skills and find joy in collaboration. 鈥淥ur jazz faculty,鈥� says RSC Jazz Department Chair Philippe Crettien, 鈥減repare students for a life-long love of jazz and career in music. We love sharing best practices taught to us by our mentors and through our performance experiences.鈥� 

Dan Loschen, assistant chair of the jazz department, adds that an important feature of the RSC jazz curriculum is that students learn improvisation on Day One: 鈥淚mprovisation is a skill students can enjoy from the first time they try it, and yet continue to study and learn about it for the rest of their lives. Like any complex skill, it needs to be practiced regularly鈥� [and] needs to be the main focus of the rehearsal. Our faculty work with students just starting out with a basic blues-scale improvisation, through intermediate approaches using modes and other scales, up through the most challenging approaches of today’s jazz scene.鈥�

As the year unfolds, each musician gains greater technical fluency on their instrument through collaboration with their ensemble members. Loschen said that 鈥淏eginning ensembles make the most obvious progress鈥攕tarting from zero, and performing jazz and blues tunes within a few months, including improvising鈥� More subtle skills are also tackled, such as keeping track of the form, keeping the tempo steady, improvising with rhythmic variety, and learning how to interact with your bandmates.鈥�

The combos have encouraged students to find and build their own self-empowerment while sharing the love of their instrument. 鈥淎s I play along, either with a group or with a recording,鈥� says jazz student and drummer Gavin Bollar, 鈥淚 am constantly experimenting and trying new things鈥� This process is made much easier when in a jazz group setting because I鈥檓 around my peers and coaches who provide advice that will stay with me for the rest of my life.鈥� 

ZZ Sayeed, a student who plays upright bass in the RSC jazz ensembles, says: 鈥淧erforming with this combo is genuinely so fun鈥� Everyone is listening to what each person is playing and in turn adapting what they are doing to make the group sound better. In my basslines, I try to emphasize certain beats by pulling harder and also outline where we are and where we are going in the song.鈥�

Jazz students have also workshopped their skills by attending monthly RSC Jazz Jams. This recent addition to the program is a series of jam sessions open to all RSC students, even if they are not already in an RSC jazz ensemble. Pianist Charlie Tandon, who plays in the jazz ensembles, said, 鈥淭he monthly Jazz Jams were very fun because I got to play with new musicians who had different styles and strengths. It was sort of a practice for going to a professional jam session.鈥�

The Jazz Jams introduce students to tunes they may be unfamiliar with, which encourages them to apply ensemble and improvisational skills they gained in the combos they meet with regularly. 鈥淭his kind of on-the-spot pressure really puts us to work, helping us learn and perform well under pressure,鈥� says faculty member and saxophonist Andy Voelker. 

鈥淎daptability is constantly necessary as the students learn, arrange, and improvise the music,鈥� says Voelker. 鈥淚 hope that through learning music from different cultures, students will build a reverence and understanding of other cultures to help enrich their lives.鈥�

By expanding their knowledge of the world through jazz and collaboration, students in RSC鈥檚 jazz programs are making a creative impact and have so much to look forward to as they continue their artistic journeys.

鈥淲hen I play the Shostakovich,鈥� expressed Brian Lee, 鈥渋t feels like I have a real purpose as a cellist.鈥�

Lee, who has been studying with RSC faculty member Eugene Kim since he was eight years old, won one of the five grand prize spots at the With cello and bow in hand, he took to the stage of Symphony Hall with Keith Lockart and the Boston Pops on June 6, 2023 and gave a powerful performance of the first movement of the Dmitri Shostakovich Cello Concerto No. 1 in E-flat major, Op. 107. 

鈥淧laying with an orchestra of such high caliber conducted by the esteemed Maestro Lockhart helped me realize the true magnitude of the Shostakovich Cello Concerto,鈥� says Lee, 鈥渁nd enabled me to express emotions that I didn鈥檛 think were possible to bring out inside me beforehand.鈥� 

Advancing to the Fidelity Competition鈥檚 live auditions was no easy feat, especially with nearly 100 other applicants, but Lee distinguished himself with his interpretation of Shostakovich鈥檚 magnum opus, which Kim described as: 鈥渁 true virtuosic and interpretive test.鈥� Shostakovich鈥檚 Cello Concerto, originally written for his friend and world-renowned cellist Mstislav Rostropovich, was premiered by Rostropovich and the Leningrad Philharmonic in 1959. 

The voices in this strikingly orchestrated work come together to tell a heart-pounding story. 鈥淭he first movement,鈥� says Lee, 鈥渋s a unique piece in the sense that it focuses on struggle during a time of deep oppression鈥擨 felt that it was very reflective of what is going on in many parts of the world today, especially with the invasion of Ukraine.鈥�

With each bow stroke, Lee revealed the layers of rage and intensity throughout the work, making the movement come alive in the historic Symphony Hall. Kim describes seeing Lee鈥檚 performance as 鈥渁 tremendous experience鈥� he was able to make a real artistic statement. What the audience saw that night was 11 years of dedication and hard work in the making.鈥�

Lee鈥檚 Boston Pops debut was a true testament to how he has grown artistically, something that has also highlighted the heart-warming journey he has shared with Kim. 鈥淚 began studying with Eugene when I was eight years old,鈥� says Lee, 鈥渁nd he is my first and only cello teacher to date. I will never forget how he continued to stay by my side even during the last warm-up before I went on stage, ensuring that I would step on stage feeling good and confident.鈥�

鈥淚t鈥檚 been gratifying to see Brian develop from being a talented beginning cellist to becoming a communicative musician,鈥� says Kim. 鈥淲hat stands out about Brian is his stamina for refining his interpretation for each piece.鈥� 

Lee鈥檚 artistic voice is inspiring and he does not back away from the unconventional. 鈥淎fter the performance,鈥� Kim says: 鈥淢aestro Keith Lockhart told me that the Shostakovich is definitely not typical Pops repertoire!鈥� 

Sharing the stage with Lockhart and the Boston Pops is an experience like no other and something that will stick with Lee. 鈥淚 will cherish all the great memories I made during the rehearsals, master classes, and of course the final performance for the rest of my life,鈥� says Lee, 鈥淚鈥檓 extremely grateful that I was able to have this wonderful opportunity, and I would really encourage all local musicians to give it a shot as well.鈥�