The World Strings Intensive
June 19-25, 2017
Stone Spirit Farm, Benson, Vermont
with
Eugene Friesen, Yaniel Matos, & Café
Experience a completely new model of ensemble playing.
Limited to fifteen player/creators, the WSI is an intense immersion into creating new repertoire for strings utilizing classical techniques plus folk and pop styles from around the world, improvisation, and collaboration. This year our focus will be on music from Latin America, specifically Cuba, Columbia, Venezuela, and Brazil.
Designed for players and teachers who want to expand the repertoire of their ensembles - or their composing/arranging - the WSI offers hands-on opportunities to work with other advanced players in a fun, relaxed, and creative setting -
AND the chance to play with faculty who embody the culture and styles we're studying.
Fifteen players will be selected for this weeklong intensive to include:
• Recorded group improvisations – fertile ground for compositional and arranging ideas
• Learning repertoire from the library of Berklee World Strings in Boston
• Classes in writing for strings, including a survey of notation software, sheet music preparation, etc.
• Rehearsing YOUR music with the ensemble
• Solo opportunities with the ensemble – both written and improvised
• Improv classes for enriching harmonic understanding and enhancing rhythmic interaction
• Studies of new rhythms, styles, and repertoire from across Latin America
• Concerts in local Vermont venues
• Private sessions with Eugene, Yaniel, & Café
• Rural setting on 500 acres in Western Vermont - hiking, swimming, great air and light!
• Wonderful food!
Limited to fifteen player/creators, the WSI is an intense immersion into creating new repertoire for strings utilizing classical techniques plus folk and pop styles from around the world, improvisation, and collaboration. This year our focus will be on music from Latin America, specifically Cuba, Columbia, Venezuela, and Brazil.
Designed for players and teachers who want to expand the repertoire of their ensembles - or their composing/arranging - the WSI offers hands-on opportunities to work with other advanced players in a fun, relaxed, and creative setting -
AND the chance to play with faculty who embody the culture and styles we're studying.
Fifteen players will be selected for this weeklong intensive to include:
• Recorded group improvisations – fertile ground for compositional and arranging ideas
• Learning repertoire from the library of Berklee World Strings in Boston
• Classes in writing for strings, including a survey of notation software, sheet music preparation, etc.
• Rehearsing YOUR music with the ensemble
• Solo opportunities with the ensemble – both written and improvised
• Improv classes for enriching harmonic understanding and enhancing rhythmic interaction
• Studies of new rhythms, styles, and repertoire from across Latin America
• Concerts in local Vermont venues
• Private sessions with Eugene, Yaniel, & Café
• Rural setting on 500 acres in Western Vermont - hiking, swimming, great air and light!
• Wonderful food!
"A spa for your musicianship as well as your mind and soul."
-- Jeff O'Neil, cellist / music educator, Massachusetts
-- Jeff O'Neil, cellist / music educator, Massachusetts
YANIEL
At the age of 8, cellist/pianist/vocalist Yaniel Matos began his musical studies in Cuba at the Conservatorio Estevan Sala. After moving to Havana to study composition, he graduated from Instituto Superior de Artes where he studied with Harold Gramatges and Jose Loyola. In Cuba, Yaniel performed internationally with Chucho Valdes, Issac Delgado, and Orlando Valles Maraca among others. In 2000 he moved to Sao Paulo, Brazil to join the faculty of the Department of Popular Music at Escola Superior de Música da Faculdade Cantareira. In 2003 he founded Mani Padme Trio, with Ricardo Mosca e Du Moreira, and recorded “Um dia de chuva” for the Italian record label, Red Records. In 2008 Yaniel created “Cuba Jazz Plus," a quintet of Cuban jazz musicians, and released his first solo album, “En Movimiento." In 2014 he recorded his album "La Mirada” where he explores his intimacy with both Cuba and Brazil. ''La Mirada’' was named by Music Resource Group (MRG) as a Nominee for The 14th Independent Music Awards (The IMAs), in the "Jazz with Vocals" category.
In 2017, he will release “Carabali” with songs based on rhythms typical of the south of the country, Santiago de Cuba, such as French
Rumba, Bembé, Conga, and Rumba, and explores the African heritage in Cuba. The music in "Carabali" does not hide its influence with European music and Jazz. The influence of musicians such as Cecil Taylor, Edgard Varese, Alejandro Garcia Caturla, and Amadeo Roldán, can be clearly heard and felt against this new background.
At the age of 8, cellist/pianist/vocalist Yaniel Matos began his musical studies in Cuba at the Conservatorio Estevan Sala. After moving to Havana to study composition, he graduated from Instituto Superior de Artes where he studied with Harold Gramatges and Jose Loyola. In Cuba, Yaniel performed internationally with Chucho Valdes, Issac Delgado, and Orlando Valles Maraca among others. In 2000 he moved to Sao Paulo, Brazil to join the faculty of the Department of Popular Music at Escola Superior de Música da Faculdade Cantareira. In 2003 he founded Mani Padme Trio, with Ricardo Mosca e Du Moreira, and recorded “Um dia de chuva” for the Italian record label, Red Records. In 2008 Yaniel created “Cuba Jazz Plus," a quintet of Cuban jazz musicians, and released his first solo album, “En Movimiento." In 2014 he recorded his album "La Mirada” where he explores his intimacy with both Cuba and Brazil. ''La Mirada’' was named by Music Resource Group (MRG) as a Nominee for The 14th Independent Music Awards (The IMAs), in the "Jazz with Vocals" category.
In 2017, he will release “Carabali” with songs based on rhythms typical of the south of the country, Santiago de Cuba, such as French
Rumba, Bembé, Conga, and Rumba, and explores the African heritage in Cuba. The music in "Carabali" does not hide its influence with European music and Jazz. The influence of musicians such as Cecil Taylor, Edgard Varese, Alejandro Garcia Caturla, and Amadeo Roldán, can be clearly heard and felt against this new background.
EUGENE
World Strings Intensive director Eugene Friesen is active internationally as a cellist, composer, conductor and teacher. A four-time Grammy Award-winner as a member of the Paul Winter Consort, As director of Berklee World Strings at the Berklee College of Music in Boston, Eugene has developed a library of new music for string ensemble fueled by the energy of international folk musics and informed by the craft of the great classical composers. Eugene has also worked and recorded with such diverse artists as Dave Brubeck, Toots Thielemans, Betty Buckley, Will Ackerman, Joe Lovano, Dream Theater, and Trio Globo (Friesen, Howard Levy and Glen Velez). A pioneer in the teaching of improvisation to classically trained musicians, Eugene has led workshops throughout North America and around the world. His book, Improvisation for Classical Musicians, was published in 2012 by Berklee Press/Hal Leonard. He is an artist-in-residence at the Cathedral of St. John the Divine in New York City, and on the faculty of the Berklee College of Music in Boston. More information on Eugene can be found at: www.eugenefriesenmusic.com
World Strings Intensive director Eugene Friesen is active internationally as a cellist, composer, conductor and teacher. A four-time Grammy Award-winner as a member of the Paul Winter Consort, As director of Berklee World Strings at the Berklee College of Music in Boston, Eugene has developed a library of new music for string ensemble fueled by the energy of international folk musics and informed by the craft of the great classical composers. Eugene has also worked and recorded with such diverse artists as Dave Brubeck, Toots Thielemans, Betty Buckley, Will Ackerman, Joe Lovano, Dream Theater, and Trio Globo (Friesen, Howard Levy and Glen Velez). A pioneer in the teaching of improvisation to classically trained musicians, Eugene has led workshops throughout North America and around the world. His book, Improvisation for Classical Musicians, was published in 2012 by Berklee Press/Hal Leonard. He is an artist-in-residence at the Cathedral of St. John the Divine in New York City, and on the faculty of the Berklee College of Music in Boston. More information on Eugene can be found at: www.eugenefriesenmusic.com
CAFE
Edson da Silva, known as Café, was born in Villa Maria in the state of Sao Paulo, Brazil. He became interested in percussion at the age of 8 when he heard Afro-Brazilian music at the spiritual gatherings he attended with his parents. He trained classically for the Municipal Orchestra of São Paulo, but began to follow his passion, playing jazz and popular music at clubs. He then studied theatre technique at the Villa Lobos School in Rio de Janeiro and performed for the Ministry of Education and Culture of Brazil in the National Arts Program, "Seis e Meia." In 1980, he began touring with notable jazz artists.
He has recorded with an exhaustive list of top artists in jazz, rock, pop and Brazilian music, including Chuck Mangione, Steve Winwood, Jon Lucien, Dave Liebman, Eliane Elias, Rob Mounsey's Flying Monkey Orchestra, Edu Lobo, Gilberto Gil with Ernie Watts, Paquito d'Rivera, David Byrne, Steve Khan, Baden Powell, Tom Harrell, Richard Stoltzman, Joyce Moreno, Judy Niemack, Danny Gottlieb, Herbie Mann, Ana Caram, Bireli Lagrene, James Taylor, Djavan with Stevie Wonder, Sérgio Mendes, Randy Brecker, Nilson Matta, Roni Ben-Hur, and Rachel Portman.
Edson da Silva, known as Café, was born in Villa Maria in the state of Sao Paulo, Brazil. He became interested in percussion at the age of 8 when he heard Afro-Brazilian music at the spiritual gatherings he attended with his parents. He trained classically for the Municipal Orchestra of São Paulo, but began to follow his passion, playing jazz and popular music at clubs. He then studied theatre technique at the Villa Lobos School in Rio de Janeiro and performed for the Ministry of Education and Culture of Brazil in the National Arts Program, "Seis e Meia." In 1980, he began touring with notable jazz artists.
He has recorded with an exhaustive list of top artists in jazz, rock, pop and Brazilian music, including Chuck Mangione, Steve Winwood, Jon Lucien, Dave Liebman, Eliane Elias, Rob Mounsey's Flying Monkey Orchestra, Edu Lobo, Gilberto Gil with Ernie Watts, Paquito d'Rivera, David Byrne, Steve Khan, Baden Powell, Tom Harrell, Richard Stoltzman, Joyce Moreno, Judy Niemack, Danny Gottlieb, Herbie Mann, Ana Caram, Bireli Lagrene, James Taylor, Djavan with Stevie Wonder, Sérgio Mendes, Randy Brecker, Nilson Matta, Roni Ben-Hur, and Rachel Portman.
|
The WORLD STRINGS INTENSIVE will include classes, discussions, meals, rehearsals, and public performances. The Intensive will take place at Stone Spirit Farm near Benson, Vermont. The farm includes a variety of newly renovated lodging options on 500 acres of pasture and woodland, comfortably elegant family-style dining, and a large barn gathering room for rehearsals and informal performances.
Amtrak services nearby Castleton, Vermont directly from Penn Station in NYC. The nearest airports are Albany, NY and Burlington, VT. Click button below for more information on the Stone Spirit Farm |
Berklee World Strings/Eugene Friesen 2013
Eugene Friesen: The World Strings Backstory
In 2004 I was invited to direct the Berklee String Orchestra. The ensemble had been lead by an early music specialist and student interest in the group was flagging.
In my first semester I tried to find repertoire that fit the unique capabilities of our strings at Berklee. We’ve got players from all over the world with strengths in a variety of non-classical styles, so it was difficult to find music that excited us as players and that could feature some of our swinging jazz and bluegrass soloists.
So I started writing.
And I invited other faculty composers to write for us.
And I invited the players to write and to ask their friends to write.
Before long, our rehearsals were exciting! We were trying new stuff all the time, the writers were getting ideas from the players, the players were creating string backups for their soloing, and it had become a creative and collaborative experience that engaged everyone in a completely new way. Everyone now belonged to a versatile, large band that was there for their music and their playing.
In 2010 we were invited to perform at the John F. Kennedy Center for the Performing Arts in Washington, D.C. Given the expense of travel, food and lodging we had to create a smaller group chosen by audition. We selected 17 players and formed an extremely tight group – both musically and spirit-wise.
Berklee World Strings has been an audition-only group since then. We strive for a balance of players that have “classical” training - good sight-readers, play beautifully in the high positions, etc. – and players that have expertise as improvising soloists in non-classical styles. We learn from each other, and create new programs each semester that reflect the diverse abilities of that particular ensemble.
The sense of involvement in the players is tangible, the respect we feel for each other’s music is tangible, and the support that’s offered to each player is tangible. We’re Christians, Muslims, Jews, Buddhists, Catholics, Hindus, and Atheists, but that’s all irrelevant to us as musicians sharing the allure of musical beauty and the hope and joy that resides in music.
Building and crossing cultural bridges through music may not be new, but sharing creative passion in a collaborative string orchestra is.
The model of the World Strings has spawned groups in other parts of the world. String groups in Spain, Korea and various parts of the US are creating unique repertoires that serve diverse communities beyond the audiences for traditional symphony orchestras. These groups are evaluating the unique abilities of their players, the varied cultural aspects of their environments and developing programs that have a truly local flavor.
These groups are driven by players, because the bottom line is the deep pleasure that comes with creativity, expression, and connecting across cultural divides.
But this type of ensemble requires players with a different skill set, engaging our imaginations, reaching beyond our classical training, and extending our hearts to embrace new sounds, styles and techniques.
And for more, click the button below for my blog post, “Why WORLD Strings?”
In 2004 I was invited to direct the Berklee String Orchestra. The ensemble had been lead by an early music specialist and student interest in the group was flagging.
In my first semester I tried to find repertoire that fit the unique capabilities of our strings at Berklee. We’ve got players from all over the world with strengths in a variety of non-classical styles, so it was difficult to find music that excited us as players and that could feature some of our swinging jazz and bluegrass soloists.
So I started writing.
And I invited other faculty composers to write for us.
And I invited the players to write and to ask their friends to write.
Before long, our rehearsals were exciting! We were trying new stuff all the time, the writers were getting ideas from the players, the players were creating string backups for their soloing, and it had become a creative and collaborative experience that engaged everyone in a completely new way. Everyone now belonged to a versatile, large band that was there for their music and their playing.
In 2010 we were invited to perform at the John F. Kennedy Center for the Performing Arts in Washington, D.C. Given the expense of travel, food and lodging we had to create a smaller group chosen by audition. We selected 17 players and formed an extremely tight group – both musically and spirit-wise.
Berklee World Strings has been an audition-only group since then. We strive for a balance of players that have “classical” training - good sight-readers, play beautifully in the high positions, etc. – and players that have expertise as improvising soloists in non-classical styles. We learn from each other, and create new programs each semester that reflect the diverse abilities of that particular ensemble.
The sense of involvement in the players is tangible, the respect we feel for each other’s music is tangible, and the support that’s offered to each player is tangible. We’re Christians, Muslims, Jews, Buddhists, Catholics, Hindus, and Atheists, but that’s all irrelevant to us as musicians sharing the allure of musical beauty and the hope and joy that resides in music.
Building and crossing cultural bridges through music may not be new, but sharing creative passion in a collaborative string orchestra is.
The model of the World Strings has spawned groups in other parts of the world. String groups in Spain, Korea and various parts of the US are creating unique repertoires that serve diverse communities beyond the audiences for traditional symphony orchestras. These groups are evaluating the unique abilities of their players, the varied cultural aspects of their environments and developing programs that have a truly local flavor.
These groups are driven by players, because the bottom line is the deep pleasure that comes with creativity, expression, and connecting across cultural divides.
But this type of ensemble requires players with a different skill set, engaging our imaginations, reaching beyond our classical training, and extending our hearts to embrace new sounds, styles and techniques.
And for more, click the button below for my blog post, “Why WORLD Strings?”
Click "Buy Now" to submit a $100 Workshop Deposit