Be Brave, Make Music

They come from all over the place: Illinois, California, Venezuela. Still, these four adolescents have much in common:

   Music.

   Chamber music.

   Chamber music for stringed instruments.

   Emily Jones plays violin. So does Susan Nitta. Luis Fernández plays a large viola and Connor Kim, the cello. They are all part of the three-week Summer Portals program at Hotchkiss School in Lakeville, along with 15 other young musicians, here to be coached by some of the best, and most famous, professional musicians around.

    Friday morning the four have gathered in  practice room 138, waiting for Misha Amory, violist and a founding member of the Brentano String Quartet.

    The kids, like many adolescents who train to perform, are nervy, exhilarated, nice. Connor  the cellist is barefoot, and so is Susan, playing second violin. The four plunge into the opening bars of Mozart’s Quartet in B-flat Major, No. 22, while Amory sits at one end of the practice room, score in hand, and listens.

   “Good, guys. That’s nice,â€� he tells them at the close of the first movement, and starts figuring out ways to turn playing into music.

   “Use more temperament than care at the end of phrases,â€� he suggests, a novel idea for adolescent string players who have spent the last decade or so learning to be very, very careful about every note.

   Amory wants more. He wants color. He wants drama.      

   He gives them ideas, ways to trick themselves into breaching the rules laid out on paper. “I’m not suggesting, exactly, that you play slower, hereâ€� he tells them. “But throw some obstacles in your path. Don’t get to that note too fast.â€�

   He turns to Emily, first violin. “Make it sound like a melody, even though it isn’t, with all those rests,â€� Amory tells her, demonstrating on  Luis’s viola, making it sound like a melody.

   He suggests fingering changes, even though it’s just a day before  they perform this music in Elfers Hall to a big audience. And he prompts Emily to play a phrase on the E string, instead of the lower A. More brilliant, he says.

   “Experiment. Don’t be shy to attack it.â€�

   Amory tells them when to make the music sound like a trumpet and when to make the music sound intimate, fragile.

   And, finally, gently, “Your tendency as a group is to be more beautiful and less dramatic. Show me the tension. Show me the anxiety. You’ve got to be brave.â€�  p

 

  

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