JAVS Fall 2006

The Banff Centre 2007-08 Music Programs

EncOLmters" and found their playing improved under his rute lage. Stern in turn felt a part of their su ces.~ and arranged for the quarret to perform at Carnegie Hall. The Mir6 then ended up in the PBS documenra1y on tern's life. Lu·gess believes that the relevance of rhe string quartet lies in irs communication of a living tradition. Living nor only in the quarter's 20/21 st cennuy repertoire, today's groups devel op interpretations of work~ of Brahms and Bartok informed by knowledge passed on from reachers and mcnrors, sud1 as the Juilliard Quarter. Sud1 mentors either knew those com posers or worked with an earlier generation who did. The Mi.r6 Quartet worked wid1 composer George Crumb before recording his Black Angels, one of the avant-gardc composer's best-known works, written for amplified string quartet. Notable fo r irs use of unusual timbres and extended tech niques, Largess discovered d1ar Crumb wan red "clarity and color and Mozarrean derail wirhjn a huge dynamjc/emotional range -- all in a my tical sound space." Of course, part of d1c appeal ofhearing a specific qu~U'tct perfonn live is to experi ence d1e personality of rhe group. ln his view: "T d1ink it would be accurate ro describe all four of us as 'extroverrcd' personalities. We have a LOT ofenergy on stage. " Largess enjoys and is well-practiced at speaking to audiences from d1e srage. He finds that d1is helps to "break the icc" with an audi ence who might be inrimidared by the works to be per formed and allows him to reveal his persoml feelings abour d1e music. Education in d1c form of residencies and presenta tions, to &'ly nod1ing of rhcir jobs reaching at d1c University ofTexas at Austin, is csscmial to rhe quarter's ca reer. Largess's contribution to this is especially notable as he directs d1e chan1bcr music program at d1e University in addition to writing the quarter's educational script~ and proposals. Having done ourreacl1 concerts all over To(a~. he i happily discovering char the srate's string in rrumenral progrllillSarc as big as the "dist.'UlCCS, cars, and hair" of d1ar stare. Whether influenced by his dedication ro Frend1 pasny or nor, John L:u-gcss plays a 2003 16 5/8" instrument by French lurhi cr Franck Ravacin, who was commi ioncd to make a marched set for rhc whole ensemble. "It was exacdy what I requested- it's based on aTeccl, ler in d1e Cite de la Musique in Paris- and is practically indestructible on tour." What is not in doubt is d1at La1-gess turns whatever he toucl1es into arr, whether it be musi d conversation or conversing wirh an audience.

Take your creativity to new heights

The Banff Centre offers artists the t1me, place, and insp1rat1on to grow musically and professionally. Experience a truly stimulating creat1ve environment that will leave you feeling artistically enriched, refueled, and recharged. Our programs include: • residencies • summer training programs • Jazz workshops • audio engi neering, recordings

For more information and to apply: 1.800.565.9989 www.banffcentre.ca ~The Banff Centre inspiring creativity

- Lembi Veskimets is a member ofthe Cleveland Orchestra and also serves on the board ofthe AVS.

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