How to Dress Like a Virtuoso: Issa’s take on Sarah Chang

Aside from being a world class violinist, Sarah Chang is also quite the classical music fashionista. In this post, local Houston fashion blogger Issa of we wear things discusses Sarah’s signature style and gives us a few tips on how to get that glamorous virtuoso look.

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As you may have heard violin super star Sarah Chang will be in town performing with the Houston Symphony.  And while her talents will most definitely speak for themselves as you listen to her perform Samuel Barber’s Violin Concerto, I’m here to talk about her enviable taste in performance attire.

Style: "NOW"Sarah can be seen in classic full length gowns in a variety of colors, but always with a fitted bodice, which I think is not only most flattering but also helps with ease of playing.  You don’t want a big bulky gown to get in the way of your vibrato.  The dress pictured above happens to be my favorite, a classic gown with a trumpet hem to keep it fresh.  When asked about her fashion Sarah said:

“I adore fashion. I also think the whole concert experience is something very old-school Hollywood and special. I always think of the composer first and which piece I’m playing. Then I choose the color and the style of my evening gown to fit a specific composer. I believe that the concert-going experience is visual as well as auditory. The music comes first, but I also want my fashion choices to compliment the composer’s music, not distract from it.”

We should all take a cue from Sarah when it comes to symphony attire by keeping it classic Hollywood glam.

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How to Dress Like a Virtuoso: Sunday Beach on Sarah Chang

Aside from being a world class violinist, Sarah Chang is also quite the classical music fashionista. In this post, local Houston fashion blogger Lauren Mills of Sunday Beach discusses Sarah’s signature style and gives us a few tips on how to get that glamorous virtuoso look.

edp3982-007-MFThis weekend the Houston Symphony welcomes international violin superstar Sarah Chang to Houston for three performances of Samuel Barber’s Violin Concerto. Sarah has a strong sense of style and her love of fashion is evident in her concert wardrobe. She has become known for the gorgeous gowns she dons during her performances. Here’s what she has to say,

 I adore fashion. I also think the whole concert experience is something very old-school Hollywood and special. I always think of the composer first and which piece I’m playing. Then I choose the color and the style of my evening gown to fit a specific composer. I believe that the concert-going experience is visual as well as auditory. The music comes first, but I also want my fashion choices to compliment the composer’s music, not distract from it.

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Simple silhouettes in solid colors dominate Sarah’s style. She wears minimal accessories, which I imagine is a necessity when playing an instrument. I love that her style reflects the music she performs. Take a cue from Sarah and dress like a virtuoso for your next formal event!

fashion blog photos

BaubleBar 360 Pearl Studs | Edie Parker Dottie Acrylic Clutch | Herve Leger Bandage Gown | BCBGMAXAZRIA Gracie Gown | Adriana Orsini Faceted Sterling Silver Earrings | Jimmy Choo Metallic Leather Heels

 -Lauren Mills

Don’t miss Sarah Chang with the Houston Symphony!

Sarah Chang Plus Copland
October 2, 4, 5, 2014
Cristian Macelaru, conductor
Sarah Chang, violin

Buy tickets now!

 

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Q&A with Sarah Chang

Violinist Sarah Chang

Violinist Sarah Chang

Recently, I had the opportunity to ask violin virtuoso Sarah Chang some questions about her up-coming performances of Barber’s Violin Concerto with the Houston Symphony this weekend.

Calvin Dotsey: When did you first learn and perform this concerto?

Sarah Chang: I adore the Barber Concerto! I learned it only 2 years ago, and absolutely fell in love with it. It’s a relatively new friend, but it has quickly found a special place in my heart!

CD: How has your interpretation of this concerto changed since then?

SC: I learn something new about the work every day I play it. I love the near-perfect balance Barber captured between the beautiful lyricism in the first two movements and the technical monstrosity he created in the third movement.

CD: Has research into Barber’s life influenced your interpretation of this piece?

SC: It absolutely has. With every work I perform, I try to read up on the composer and soak up as much knowledge as I possibly can. Getting inside the composer’s head and trying to understand not only his biographical background but also his personal state of being helps mold my interpretation of his work.

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Sarah Chang performs Samuel Barber’s Violin Concerto with the Houston Symphony this weekend.

CD: Have you met any musicians who knew or worked with Samuel Barber? If so, did your interactions with them influence the way you play Barber’s music?

SC: I personally do not know anyone who had interactions with Barber. However, I have heard wonderful stories of his time at Curtis [Institute of Music], which is not far from where I grew up (I’m a Philadelphia girl), so I feel a connection there.

CD: This piece is being programmed with two other American works. How does this concerto’s “American-ness” influence your preparation and performance?

SC: There is something truly special and heroic about anything and everything that is American. American music, American movies, American sports…We aren’t afraid to show love and to put our hearts on our sleeves!

CD: I’ve read that spontaneity is one of the qualities you most value in performance. How do you balance the need to create spontaneity in the moment with the need to communicate the larger structure of a piece?

SC: I believe in intense preparation before a concert, but once you step onstage, it’s all about spontaneity and sharing that electric moment with the audience. I think the overall line and structure of a piece is paramount, but you need to give yourself as much freedom as the composer will allow and some liberties to take risks on the spot to make magic happen onstage.

CD: A number of our audience members will undoubtedly be amateur violinists (including myself), so here are a few questions specifically relating to violin playing. In your opinion, what is the most challenging aspect of performing Barber’s Violin Concerto and why?

SC: Ensemble in the third movement. There’s so much going on, you’re flying all over the fingerboard, and it’s incredibly technical for everyone onstage, not just the soloist. So, everyone has to juggle their parts as well as keeping their eyes and ears open the entire time.

CD: How do you practice? Describe your usual practice routine.

SC: I practice my basics every day. Doesn’t matter if I practice 20 minutes or 6 hours a day, I always do my scales, arpeggios and basic fundamental exercises.

Sarah Chang and her new puppy, Chewie!

Sarah Chang and her new puppy, Chewie!

CD: What do you like to do when you’re not playing music?

SC: I love movies. I’m such a movie nut! I also love fashion, and I recently got a puppy who is, unapologetically, the center of my universe!

CD: You always perform in the most beautiful dresses. How would you describe your sense of style?

SC: Thank you! I adore fashion. I also think the whole concert experience is something very old-school Hollywood and special. I always think of the composer first and which piece I’m playing. Then I choose the color and the style of my evening gown to fit a specific composer. I believe that the concert-going experience is visual as well as auditory. The music comes first, but I also want my fashion choices to compliment the composer’s music, not distract from it.

Love Sarah’s dresses? Check back later this week to find out how to dress like a virtuoso from some of Houston’s trendiest fashion bloggers. Don’t miss Sarah Chang with the Houston Symphony!

Sarah Chang Plus Copland
October 2, 4, 5, 2014
Cristian Macelaru, conductor
Sarah Chang, violin

Buy tickets now!

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Rachmaninoff in Love: The Troubled Genesis of a Masterpiece, Part II

rach heartLast time, we discovered how Rachmaninoff overcame composer’s block with the help of Dr. Nikolai Dahl’s hypnosis therapy and ultimately produced once of his best loved pieces, his Piano Concerto No. 2 in C minor.  What I didn’t tell you, though, was that Rachmaninoff also fell in love during this period, much to the dismay of his extended family and the Russian Orthodox Church. Why were they so opposed to the feelings stirring in the twenty-something Rachmaninoff’s heart? Well, because Rachmaninoff was in love with…his cousin (and yes, his first cousin).

While marrying one’s cousin may seem an incestuous taboo today, before the twentieth century cousin marriage did happen from time to time, and as long as it didn’t happen too often in one family there were generally no ill effects. Charles Darwin, for instance, also married his first cousin (although this was before he formulated his theory of evolution, understandably). In some times and places cousin marriage was even considered especially romantic, but unfortunately for Rachmaninoff in early twentieth century Tsarist Russia cousin marriage was, if not impossible, at least rather frowned upon.

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Zverev and his students.

Rachmaninoff first got to know his cousin Natalia Satina many years earlier after a dramatic incident in his musical education. As a boy, Rachmaninoff lodged with his piano teacher, Nikolai Zverev (along with Alexander Scriabin, as fate would have it). As Rachmaninoff got older he became increasingly interested in composition, but his desire to compose was frustrated by the fact that all of the pianos in Zverev’s house were in one room, and there was always someone in there practicing, making it impossible for Rachmaninoff to sit at a piano and compose without distractions. One day in 1889, Rachmaninoff struck up his nerve and asked Zverev to buy him another piano and put it in a room separate from the others so that he could compose. Evidently, he didn’t ask nicely enough because Zverev was furious (he was generally against his students composing too much anyway, since time composing was time not spent practicing piano). Zverev wanted to kick Rachmaninoff out of his house, so the two of them went to visit Rachmaninoff’s family, and Rachmaninoff’s future as a musician was hotly discussed for over an hour. Unexpectedly, Rachmaninoff’s aunt (his father’s sister), Varvara Satina, took his side and offered to house, feed and clothe Rachmaninoff while he finished his studies at the Moscow Conservatory, and that is just what happened. The Satins* became a second family to Rachmaninoff, whose childhood had had its ups and downs (Rachmaninoff’s father had squandered the family fortune).

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Rachmaninoff with the Satin family.

It was only years later that his amorous feelings for Natalia Satina began to develop (she was four years his junior). Significantly, she was also an accomplished pianist, which no doubt made her a sympathetic companion for Rachmaninoff. Their desire to wed, however, posed some obstacles: it was against the law of the Orthodox Church, and to make matters worse, Rachmaninoff was not a regular churchgoer. Through family connections, they made arrangements to be wed at a military barracks, because barracks priests reported not to the Holy Synod, but to generals (such was the relationship between church and state in Imperial Russia). There was one last hurdle to clear, however; they had to receive permission from the Tsar during the ceremony in order for their marriage to be legal. Fortunately, the telegram came through and everything went off according to plan. After the rather business-like ceremony, the newly married Rachmaninoffs sped away for a three month honeymoon in Austria and Germany. As far as we know, their marriage was a happy one, and they had two perfectly healthy daughters.

Rachmaninoff completed his Piano Concerto No. 2 during the period of his courtship and engagement to Natalia. While no one could claim that Rachmaninoff wished to depict the events of his life in his music, many listeners have found his second piano concerto to be full of passion, melancholy, yearning, and ultimately triumph, and it is interesting to consider the events that may have led Rachmaninoff to explore these emotional states in his art. Rachmaninoff certainly had purely musical reasons for writing this piece the way he did apart from regaining his confidence after the failure of his first symphony and his struggle to marry the woman he loved. Nevertheless, one of the most beautiful things about music is that it can universalize personal emotions and ideas, allowing us to empathize with people from times and places radically different from our own. If we approach music with a desire to learn about and understand the people who create it, we can enrich both our appreciation of the music and of each other.

For those interested in learning more about Rachmaninoff’s life, I highly recommend Bertensson and Leyda’s classic biography, Sergei Rachmaninoff: A Lifetime in Music.

*In Russian, last names are feminized for women, usually by adding an “a” at the end of the name: hence Ivan Satin and Natalia Satina could be brother and sister (at least linguistically).

Don’t miss Watts Plays Rachmaninoff 2 with the Houston Symphony!

Watts Plays Rachmaninoff 2
September 19, 20 & 21
Andrés Orozco-Estrada, conductor
André Watts, piano

Buy tickets now!

Renowned pianist André Watts returns to Houston to perform Rachmaninoff’s deeply romantic Piano Concerto No. 2. Enduringly popular since its 1901 debut, the concerto’s themes have found fame in movies such as Brief EncounterThe Seven Year Itch and the popular song “All by Myself.” Music Director Andrés Orozco-Estrada also leads the heroic symphonic tone poem Ein Heldenleben by R. Strauss.

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Hypnosis and Rachmaninoff 2: The Troubled Genesis of a Masterpiece

v4FNRBPPzdFlAD2uBiTuwaUR_IGMLXZQjq-XrJqdpxoT240UWqbbl3_s9Q0BITmMlifzhCAKICOeli0zcSRZjpI=s2048So often we imagine our favorite composers as musical superheroes: great geniuses who have total, unerring confidence in their own abilities to inspire us, confound the critics, and make history. Some composers do have egos to match their talents (Wagner comes to mind), but all too often, this godlike image obscures the struggles, doubts, and fundamental humanity of artists who are now safely enshrined in the canon. Rachmaninoff is certainly one of those artists.

Today it’s hard to find a concert pianist who hasn’t played Rachmaninoff’s Second Piano Concerto. Given its current ubiquity, you may be surprised to learn that the piece (and everything else Rachmaninoff wrote thereafter) almost never came into being. Prior to writing his Second Concerto, Rachmaninoff had written almost nothing for three years. This extreme case of composer’s block (a tragedy for all Rachmaninoff fans – imagine what masterpieces he could have written in three years!) was brought on by the catastrophe that was the premier of his first symphony.

By March of 1897, the not quite 24 year old Rachmaninoff was a rising star of the Russian music scene. He had garnered successes as a pianist, conductor, and increasingly as a composer, and had recently passed a milestone in any composer’s output: the completion of his first symphony. This was a wild, sprawling, youthful work, teeming with ideas and references to the musical theme that would haunt many of Rachmaninoff’s compositions, the Dies Irae. The premiere was to be given in St. Petersburg by Alexander Glazunov, an esteemed composer and conductor in his own right. Unfortunately, like his countryman and fellow composer Mussorgsky, Glazunov had by this point developed a serious alcohol addiction. The rehearsals went badly, and the performance…was a disaster. It is quite possible that Glazunov showed up plastered, and what they played could not have been an accurate representation of this complex and difficult score.

Rachmaninoff depressed.

Rachmaninoff depressed.

As if the concert hadn’t been bad enough, insult was added to injury when Cesar Cui (one of the Kuchka, aka “the Russian Five,” aka “the mighty Handful,” a clique of nationalist Russian composers that also included Rimsky Korsakov and Alexander Borodin), wrote a scathing review of the symphony, railing that it was music that could only be enjoyed by the denizens of hell. Surely Rachmaninoff, aware of his own genius, paid no heed to the criticism of a composer whose music today is rarely heard in the concert hall. In actuality, Cui was at this time a big wig, Rachmaninoff a young upstart, and the review a crushing blow to his career and his confidence as a composer. Rachmaninoff fell silent, and entered a period of depression that lasted three years.

So, how did he get out of it? Rachmaninoff might never have written another note had it not been for the intervention of one man: psychologist Nikolai Dahl. In 1900, Rachmaninoff began a course of auto-suggestive therapy with Dahl, which included hypnosis. Rachmaninoff and Dahl’s sessions must be counted as one of the greatest successes of psychotherapy in history given what emerged from it: Rachmaninoff’s Second Piano Concerto. When Rachmaninoff completed the concerto, he dedicated it to Dahl in gratitude for his services. Upon its premiere, with Rachmaninoff at the piano, the Concerto instantly became one of Rachmaninoff’s greatest successes, and the rest, as they say, is history.

Check back later this week to find out about the woman who may have inspired Rachmaninoff’s Second Piano Concerto.

Don’t miss Watts Plays Rachmaninoff 2 with the Houston Symphony!

Watts Plays Rachmaninoff 2
September 19, 20 & 21
Andrés Orozco-Estrada, conductor
André Watts, piano

Buy tickets now!

Renowned pianist André Watts returns to Houston to perform Rachmaninoff’s deeply romantic Piano Concerto No. 2. Enduringly popular since its 1901 debut, the concerto’s themes have found fame in movies such as Brief EncounterThe Seven Year Itch and the popular song “All by Myself.” Music Director Andrés Orozco-Estrada also leads the heroic symphonic tone poem Ein Heldenleben by R. Strauss.

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