>>
JUST AHEAD ON "NEED TO KNOW,"
FROM TCHAIKOVSKY TO HANDEL,
ROCHESTER WILL PLAY HOST TO AN
INTERNATIONAL MUSIC FESTIVAL
THIS WEEK.
WE'LL BRING YOU THE PERFORMERS
AND TALK WITH THE FOUNDER.
PLUS A LOCAL ARTIST EXPRESSES
HER VIEW OF THE WORLD.
BUT FIRST THE GATEWAY'S MUSIC
FESTIVAL COMING UP NEXT ON "NEED
TO KNOW."
>> THERE'S NOT ONLY ARTISTIC
EXPRESSION BUT COMMON HERITAGE.
>> Elissa: THANK YOU FOR
JOINING US.
I'M ELISSA MARRA.
GARY WALKER IS OFF THIS WEEK.
THE EATON SCHOOL OF MUSIC HAS
LONG PUT ROCHESTER ON THE
CLASSICAL MUSIC MAP, BUT THIS
WEEK ROCHESTER WILL HOST A
UNIQUE MUSICAL EXPERIENCE.
OVER 100 CLASSICAL MUSICIANS
FROM AS FAR AWAY AS SOUTH AFRICA
HAVE COMING TO ROCHESTER THIS
WEEK.
THE GATEWAYS FESTIVAL WAS
FOUNDED IN 1993 IN WINSTON
SALEM, NORTH CAROLINA BY ARMENTA
HUMMINGS
TO PROMOTE THE CONTRIBUTIONS AND
VISIBILITY OF AFRICAN-AMERICAN
CLASSICAL MUSICIANS AND
COMPOSERS.
PARTICIPANTS IN THE GATEWAYS
FESTIVAL INCLUDE STUDIO
MUSICIANS AND PROFESSIONALS FROM
ORCHESTRAS AROUND THE WORLD,
INCLUDING THE NEW YORK
PHILHARMONIC, BOSTON SYMPHONY,
AND THE LOS ANGELES
PHILHARMONIC.
THE FESTIVAL IS THE LARGEST OF
ITS KIND AND HAS BEEN HELD AT
THE EASTMAN SCHOOL OF MUSIC
SINCE 1995.
DURING THIS YEAR'S SIX-DAY
PROGRAM, PERFORMANCES WILL BE
HELD AT CHURCHES, SCHOOLS,
SENIOR HOMES AND COUNCIL HALLS
THROUGHOUT THE ROCHESTER
COMMUNITY.
THE FESTIVAL WILL BRING SOME OF
THE LEADING NAMES IN CLASSICAL
MUSIC TO ROCHESTER.
FOR GREGORY WALKER, HIS NAMESAKE
PRECEDES HIM.
HE IS THE SON OF LEGENDARY
PULITZER PRIZE-WINNING PERFORMER
GEORGE WALKER.
HE IS A PROFESSOR OF THE MUSIC
SCHOOL AT THE UNIVERSITY OF
COLORADO AND VIOLINIST.
HE WILL PERFORM DURING THIS
WEEK'S GATEWAYS FESTIVAL.
WXXI's JULIA FIGUERAS CAUGHT UP
WITH THE SON OF A LEGEND.
>> IN MY LIMITED PHILOSOPHY OF
WHAT I DO IN MUSIC, IT SEEMS
THAT EVERYTHING YOU WANT TO CALL
CREATIVITY HAS TO COME FROM WHAT
YOU HAVE TO OFFER THAT IS
SOMEPLACE ELSE, WHAT IS TRULY
CREATED BY YOU AS OPPOSED TO
BEING OVERWHELMINGLY INFLUENCED
BY THIS OR BEING AN EXTENSION OF
THAT.
AND WHEN I START TO FIND WAYS IN
MY OWN MUSIC THAT I COULD DO
SOMETHING THAT WAS REALLY QUITE
DIFFERENT FROM WHAT MY DAD DOES,
THEN IT STARTED TO MAKE SENSE
FOR ME, AND A LOT OF WHAT I
THINK ABOUT DOING IS A LITTLE
DIFFERENT.
THERE'S A PIECE GOING TO BE IN
THE SAME CONCERT THAN MY
FATHER'S SONATA CALLED "LIFE IS
A STRING QUARTET."
THE MAIN THEME OF IT IS...
(Music)
IT'S SOMETHING FROM AEROSMITH.
AND THAT'S THE KIND OF
COMBINATION THAT MY DAD PROBABLY
WOULDN'T HAVE THE GREATEST
APPRECIATION FOR, BUT IT'S
SOMETHING THAT I FELT WHEN I
WROTE THE PIECE WAS NOT BEING
DONE A LOT, AND SO I FELT A
LITTLE ANGLE WAS GOING ON.
EVERY ONCE IN AWHILE, IN DENVER,
COLORADO WHERE I TEACH, THERE
WILL BE A STUDENT WHO SEEKS ME
OUT BECAUSE THEY FEEL THAT
SOMEHOW INNATELY I'M GOING TO BE
ABLE TO BE SUPPORTIVE OF WHAT
THEY WANT TO DO OR THEY FEEL, IN
MY NECK OF THE WOODS IN
COLORADO, THAT THERE JUST IS NOT
A LOT IN THE WAY OF ROLE MODELS
FOR WHAT THEY DO, AND THEY'RE
DEFINITELY PART OF THE
POPULATION THAT I FEEL REALLY
CONNECTED TO AND I FEEL I WANT
TO SUPPORT.
I WANT TO FIRST UNDERSTAND WHERE
THEY'RE COMING FROM.
IS CLASSICAL REALLY THE MUSIC OF
THEIR HEART OR PERHAPS ARE THEY
COMING FROM MORE OF A JAZZ
BACKGROUND, SOMETIMES BLUES?
AND THEN I KIND OF SEE WHAT THE
CONNECTIONS ARE BETWEEN THE TWO
THINGS.
ONE OF THE BEAUTIES OF THIS
MUSIC IS THAT IT'S ALLOWED US TO
BRIDGE OTHER THINGS.
DOESN'T MATTER WHAT YOU'RE
STUDYING, THE TECHNIQUES AND
TRADITION OF CLASSICAL PLAYING
IS GOING TO HELP THEM WHEREVER
THEY WANT TO GO.
SO I'M NOT ALWAYS TRYING TO SUCK
THEM AND DRIVE THEM.
THEY WANT TO FIND OUT WHERE THEY
ARE, BRING THEM THROUGH AN
EXPERIENCE OF THIS AGE-OLD WORLD
WE'VE GOT, AND THEN SEE WHAT
MAKES SENSE FOR THEM.
BUT IT ALWAYS BOILS DOWN TO
WHAT'S REALLY INSIDE THAT SHED?
>> Elissa: ANOTHER FAMOUS NAME,
THE NAME OF ARMENTA ADAMS
CUMMINGS, IS SYNONYMOUS WITH
GATEWAYS.
SHE HAS ORGANIZED THIS FESTIVAL
AS A LABOR OF LOVE SINCE ITS
INCEPTION IN WINSTON, SALEM.
HUMMINGS SOMETIMES DOES NOT
PERFORM AT GATEWAYS HERSELF,
PREFERRING TO FOCUS ON THE
COLLABORATION BETWEEN YOUNG
TALENT AND WORLD-RENOWNED
MUSICIANS.
"NEED TO KNOW'S" MATT CUMMINGS
INTERVIEWED THE FESTIVAL
ARTISTIC DIRECTOR.
(Music)
>> I KNOW A FEW ARTISTS WHO CAN
EMBRACE SOMEONE ELSE'S DREAM AND
NOT NECESSARILY LOSE MYSELF AT
THE SAME TIME.
AND SO THE ASPIRATIONS THAT
EXPRESS THEMSELVES IN THIS
FESTIVAL HAVE BEEN THERE SINCE
THE BEGINNING OF TIME, AND WHAT
YOU ARE SEEING IS NOT ONLY
ARTISTIC EXPRESSION BUT COMMON
HERITAGE AND NATIONHOOD,
ACTUALLY, EMERGING.
WHEN THE YOUNG PEOPLE COME
TOGETHER, THERE'S AN UNSPOKEN
LANGUAGE.
THEY ALL HAVE EXPERIENCED
SIMILAR THINGS.
MOST OF THE THINGS THEY
EXPERIENCE ARE NOT DISCUSSED SO
THAT YOU WOULD NOT KNOW WHAT IT
IS THAT MAKES THEM INSTANTLY
BROTHERS AND SISTERS.
BUT THAT BROTHERHOOD AND
SISTERHOOD MUST BE AS IT IS WITH
MOST PEOPLE.
I THINK THAT THE
AFRICAN-AMERICAN HAS ALWAYS BEEN
THOUGHT OF AS A PERSON WHO WAS
LOOKING TO SUCCEED IN WESTERN
TERMS, AND THAT IS TRUE; BUT NO
OTHER RACE HAS BEEN GIVEN A
CHOICE OF EITHER SUCCEEDING IN
WESTERN TERMS OR REMAINING IN AN
ETHNIC GROUP.
I WAS IN AFRICA, AND I'VE MET
AFRICANS WHO SPOKE THREE
LANGUAGES, MANY MORE THAN THAT
SOMETIMES.
IT DIDN'T DISTURB THEIR BEING
AFRICAN.
THAT WAS JUST A GIVEN.
THE FIRST BLACK ORCHESTRA I
PLAYED WITH WAS IN NIGERIA.
THEY WEREN'T HAVING A PROBLEM OF
"AND WHO ARE YOU IDENTIFYING
WITH?"
NOW THE IDENTITY PROBLEM HAS
COME SO THAT IT BECOMES INFUSED
IN THE CULTURE AND WE START
TALKING ABOUT IT FROM A RACIAL
STANDPOINT.
BUT IN ANY CASE, THERE IS HOME.
PEOPLE KNOW WHEN THEY ARE AT
HOME, AND THESE MUSICIANS ARE
MAKING HOME FOR THEMSELVES AND
FOR THE YOUNG PEOPLE COMING
ALONG.
I DIDN'T START THAT.
(Laughing)
YOU CAN'T GIVE ME THAT CREDIT
BECAUSE, IF ANYONE GIVES ME
CREDIT, IT STOPS WITH ME,
OR GOES WITH ME OR LEAVES WITH
ME, AND I WOULD HATE TO SEE THAT
HAPPEN.
WHEN IT STARTED, IT WAS A
COMBINATION OF AREA MUSICIANS,
ORCHESTRAS, EVERY CONCERNED
PERSON WHO JOINED FORCES.
THAT WAS SO IMPORTANT THAT THEY
SEE WHAT IS GOING ON AND SAY "I
WILL HELP YOU."
THAT'S THE KEY.
THE PEOPLE WHO WERE IN THE AREA
ORCHESTRAS, GREENSBORO, RALEIGH,
HICKORY, ALL THE -- IN NORTH
CAROLINA, I STARTED.
IF THEY HADN'T DONE THAT, IT
WOULDN'T HAVE WORKED.
AND AFTER THAT, BECAUSE IT WAS
WELL RECEIVED, THEN THE
PUBLICITY CAME, AND MORE
MUSICIANS CAME.
BUT THE REAL BEGINNING IS WHEN A
PERSON -- I STARTED WITH NO
OFFICE AND JUST A LUGGAGE CART
AND A BOX AND A TELEPHONE THAT
SOMEONE GAVE ME AT THE UNITED
WAY.
AND A LADY CAME OVER AND SAID,
"WHY ISN'T ANYBODY HELPING YOU?"
AND THEN SHE JOINED ME, A VERY
BRILLIANT LADY.
AND BY THE TIME THE FESTIVAL WAS
ALMOST DONE, SHE THREW UP HER
HANDS AND RAN OUT SCREAMING OUT
THE DOOR BECAUSE (Laughing) SHE
DIDN'T REALIZE WHAT THE SUBJECT
WAS, THAT MUCH COMPLEXITY, AND
WE HAD YOUTH GROUPS COMING IN,
ET CETERA, ET CETERA.
IT'S JUST WHENEVER YOU ARE ON
THE CUTTING EDGE OF SOMETHING,
THERE'S NO CHARTED PATH.
(Music)
WE HAVE THE FIRST PUBLIC CONCERT
HERE AT GILBERT HALL, AND IT IS
OF AFRICAN-AMERICAN COMPOSERS.
AND WE WILL HAVE GREGORY WALKER,
THE SON OF GEORGE WALKER, THE
PULITZER PRIZE COMPOSITION
WINNER.
WE WILL BE PLAYING HIS FATHER'S
VIOLIN SONATA WITH
SONDRA RIVERS, WHO IS A
HOUSEHOLD NAME IN THE CHAMBER
MUSIC WORLD.
SHE'S NOW ALSO PERFORMING SOLOS,
AND WE HAVE MUSIC BY WILLIAM
GRANT STILL, WHO IS WELL KNOWN
AT EASTMAN, AND NOEL DA COSTA.
THERE ARE -- WELL, I WOULD SAY
YOUNG COMPOSERS ALSO ARE BEING
REPRESENTED, AND GREGORY WALKER
HAS HIS OWN STRING QUARTET.
HE IS A COMPOSER.
SO HE WILL BE PLAYING HIS OWN
QUARTET.
AND GATEWAYS ADDRESSES THOSE
ISSUES OF THE YOUNG COMPOSER WHO
HAS A DIFFICULT TIME HAVING A
VOICE.
THAT IS THE BLACK COMPOSER
PROGRAM.
THERE'S ALSO A TROMBONE CONCERTO
BY WALKER BEING PLAYED BY
Dr. ROBERT BLAINE, WHO'S A
GRADUATE OF THIS SCHOOL.
THERE WILL BE A PIECE BY
FLORENCE PRICE, A BLACK WOMAN
COMPOSER, PLAYED BY RICHARD
AUSTIN, AND WE ARE JUST GOING TO
HAVE A TIME HERE.
>> Matt: IT SOUNDS LIKE IT.
>> (Laughing)
ON FRIDAY IS THE CHAMBER MUSIC
IN THE HOME IN VARIOUS
LOCATIONS.
THEY'RE NOT REALLY ADVERTISED
BECAUSE THEY'RE PRIVATE.
AND ON SATURDAY, THERE'S THE
ORCHESTRAL CONCERT AT HOCHSTEIN
AT 8 O'CLOCK.
AND THAT WILL BE THE TCHAIKOVSKY
FOURTH SYMPHONY AND ALSO THE
TCHAIKOVSKY VIOLIN CONCERTO,
WHICH I'VE DIVIDED BETWEEN TWO
PEOPLE, TY MURRAY AND KELLY
HALL, WHO IS A GRADUATE OF THE
EASTMAN SCHOOL.
THIS IS A RARE OPPORTUNITY TO
PLAY THE TCHAIKOVSKY CONCERTO
WITH ORCHESTRA.
I THINK ROLE MODELS IS AN
ACCURATE DESCRIPTION.
I DID NOT UNDERSTAND WHAT WAS
POSSIBLE UNTIL I SAW MARION
ANDERSON ON THE STAGE.
SHE HAD IT ALL.
SHE HAD DIGNITY.
SHE WAS BEAUTIFUL, ALTHOUGH
SHE'S A VERY DARK-SKINNED WOMAN
WITH HEAVY FEATURES.
SHE HAD SELF-ESTEEM AND SHE HAD
KNOWLEDGE.
I WAS ASPIRING FOR THOSE THINGS
BECAUSE COULD SEE NOTHING IN MY
ENVIRONMENT THAT WOULD SAY I
WOULD BE REWARDED IF I TRIED.
I THINK THAT'S IMPORTANT THAT
THEY SEE THAT THERE IS SUCH A
THING.
FOR INSTANCE, WE HAVE A YOUNG
BASSOON PLAYER.
HE'S ONE OF THE LAST ADD-ONS.
I WAS CALLED TO FIND OUT COULD
HE COME?
HE'S ON HIS WAY TO JULLIARD.
HE'S FOUND OUT HOW TO PLAY THE
BASSOON.
HE'S LOOKING FOR HIS FAMILY, AND
WE HAVE A BASSOONIST COMING WHO
IS A MEMBER OF THE CHARLOTTE
SYMPHONY, A YOUNG MAN.
SO HE'LL HANG OUT WITH HIM.
I HAVE A SON WHO WAS GIFTED, AND
I HAD TO TRAIN HIM BECAUSE HE
WOULD HAVE BEEN A VERY, VERY
GOOD SOMETHING, AND I GAVE HIM
POSITIVE THINGS TO ASPIRE TO.
AND THEN HE HAD FRIENDS AND
THEIR MOTHERS WERE CONCERNED,
AND SOMETIMES THEY WOULD RUN
INTO DIFFICULTIES, AND THE
PARENT COULDN'T HANDLE IT
BECAUSE THEY WEREN'T A MUSICIAN.
SO THEN I HAD ANOTHER CHILD, AND
THESE ARE MY CHILDREN.
AND ONE YOUNG MAN, WHO IS MY
CHILD, IS NOW 40 YEARS OLD AND
BRINGING CHILDREN.
HE'S NOW BRINGING A GROUP FROM
ATLANTA THAT WILL PERFORM HERE
DURING THE FESTIVAL, AND A WHOLE
GROUP OF STRING PLAYERS.
AND HE'S VERY PROUD OF HIS
STUDENTS.
SO THESE ARE MY MUSICAL
GRANDCHILDREN.
THAT YOUNG MAN THAT GREW UP WITH
MY SON IS NOW BRINGING HIS
CHILDREN TO GATEWAYS.
VERY HAPPY.
THEY'RE PLAYING IN THE
ORCHESTRA, PLAYING TCHAIKOVSKY,
AND HE HAD HIS DIFFICULTIES.
YOU KNOW, WHEN I CALL HIM "MY
CHILD," IT'S BECAUSE, IN SCHOOL,
WHEN THINGS WERE JUST IMPOSSIBLE
AND YOU DON'T UNDERSTAND IT AND
YOU CAN'T HANDLE IT -- I'M
TALKING NORTH CAROLINA NOW, YOU
KNOW -- HE MANAGED TO SURVIVE
AND UNDERSTAND.
THAT'S WHY HE CAN HELP THEM.
AND MY SON HAS SEVERAL STUDENTS.
HE INVITES THEM TO GATEWAYS.
I DON'T SAY NO, NOT TO CHILDREN.
THAT'S NOT BIBLICALLY CORRECT.
WE ARE TO ACCEPT THE CHILDREN,
ARE WE NOT?
>> Matt: UM-HMM.
>> (Chuckling)
AND SO, IF YOU UNDERSTAND IT, I
HAVE KIND OF A FALLBACK POSITION
WHERE I LET THINGS HAPPEN.
MOST PEOPLE DON'T WANT THAT MANY
VISITORS, BUT IF THEY'RE
CHILDREN AND ARE LOOKING TO DO
THE RIGHT THING, THEN I SAY,
WELL, COME ON IN.
SO FAR ROCHESTER HAS BEEN ABLE,
ONE WAY OR ANOTHER, NOT ALWAYS
WITH MONEY, TO INCORPORATE THIS.
NOW, I DO SEE, THOUGH, ON THE
HORIZON HOW IT COULD GET BIG
ENOUGH SO THAT IT WOULD HAVE TO
LEAVE THE FOLD; NOT LEAVE THE
CITY, BUT IT MIGHT NEED TO BE
PARENTED IN A LARGER SENSE,
BECAUSE IF YOU HAVE
INTERNATIONAL, YOU KNOW,
INTEREST COMING, WE ARE HERE;
BUT I THINK THAT THE PROBLEM
THAT IT'S SOLVING PERHAPS IS
LARGER THAN ROCHESTER.
I SEE ENDOWMENT AS THE ANSWER.
IT NEEDS CHILDREN WHO ARE
POSITIVE, WHO ARE GOING TO SOLVE
A LOT OF PROBLEMS BY JUST
PROMOTING POSITIVE THINKING.
THE YOUNG MAN WHO IS GOING TO BE
OUR VIOLINIST SOLOIST IN THE
MOZART C-MAJOR CONCERTO, WISHES
TO BE A CONCERT VIOLINIST,
GARRETT JOHNSON.
AND WE HAVE TO TOUCH HIM WHEN
HE'S READY TO DO THE RIGHT
THING.
AND HE WILL DRAW OTHERS.
AND SO ROCHESTER JUST HAPPENS TO
BE THE PLACE WHERE I AM, WHERE
IT IS.
I WOULD NEVER TAKE IT FROM
ROCHESTER, BUT I THINK WE NEED
HELP FROM OTHER SOURCES.
I'M REALLY SERIOUS ABOUT THAT,
BECAUSE I THINK, VERY OFTEN, WE
TEND TO CRITICIZE HOW MUCH WE
GET FROM THIS SOURCE OR THAT
SOURCE.
AND I JUST -- I THINK EVERYONE
IS TRYING TO BE RESPONSIBLE TO
EVERYONE, AND THAT THIS IS THAT
BIG THAT THERE'S JUST NOWHERE
ELSE THAT YOU CAN FIND
BACK-TO-BACK.
WE HAVE YOUNG PEOPLE PLAYING
CONCERTI ON SATURDAY MORNING AT
KILBORNE, IN THIS VERY HALL,
DVORAK CELLO CONCERTO,
TCHAIKOVSKY VIOLIN CONCERTO,
MENDELSSOHN.
THESE ARE YOUNG PEOPLE.
THEY COME BECAUSE THEY WANT TO.
AND IT'S ALREADY A SUCCESS FROM
THAT STANDPOINT.
FIRST BENEFIT IS LOVE.
THEY ARE LOVED.
AND THEN BUILDING -- THEY'RE
BUILDING A WORLD IN MUSIC, A
LIFE IN MUSIC.
WHEN I TALK TO THE YOUNG PEOPLE,
THEY TALK ABOUT HOW MUCH THEY
WANT TO PLAY CHAMBER MUSIC AND
THIS PARTICULAR WORK THAT THEY
REALLY WANT TO PLAY.
THIS IS WHAT THEY'RE TALKING
ABOUT.
I DON'T THINK THAT -- I THINK
THAT, IF THEY LOVE MUSIC ENOUGH
TO STAY IN MUSIC, THAT I THINK
EMPLOYMENT WILL COME.
BUT THAT'S NOT "THE" OBJECT.
AND THE OBJECT OF MUSIC REALLY
WAS NEVER -- IT WAS FOR
SURVIVAL, PERHAPS BUT, YOU KNOW,
THE BUSINESS SIDE HAS EMERGED TO
THE DETRIMENT OF MUSIC.
AND THAT IS ONE REASON WHY I'M
HAVING THE CHAMBER MUSIC IN THE
HOME, WHERE MUSIC ALWAYS WAS --
THE GREATEST MUSICIANS WERE
NURTURED IN THE HOME
ENVIRONMENT.
IT'S ONE OF THE MOST INTIMATE,
YOU KNOW, OCCASIONS WHERE YOU
JUST NEVER FORGET THAT KIND OF
EXPERIENCE.
THAT'S WHAT I HAD DURING MY
YOUTH.
TO BE INVITED TO AN INSTRUCTOR'S
HOUSE AND TO HAVE THAT PERSON
PLAY FOR YOU, NONE OF THIS WILL
BE FORGOTTEN.
THAT'S FOOD.
AND SO THEY'RE COMING FOR THE
FOOD; IT'S THE MUSIC.
AND THIS IS WHERE FACULTY JOIN
IN.
THEY NURTURE AND HELP WITH
PERFORMANCES ALL THE TIME.
AND SO FROM THAT STANDPOINT,
IT'S A PERFECT SITUATION.
WE HAVE TO NOW PUT A FOUNDATION
TO IT SO THAT IT WILL CONTINUE,
AND IT'S MUCH BIGGER THAN ME.
AND I CAN GIVE UP THINKING I'M
GOING TO GO ON THE WAY I'VE BEEN
GOING WITHOUT THOSE SUPPORT
SYSTEMS, IN JUST THE MACHINERY,
JUST, YOU KNOW, THE EQUIPMENT TO
MAKE IT HAPPEN.
WE HAVE THE FIRST PUBLIC
CONCERT.
IT'S HERE AT KILBORNE HALL, AND
IT IS OF AFRICAN-AMERICAN
COMPOSERS.
AND WE WILL HAVE GREGORY WALKER,
SON OF GEORGE WALKER, THE
PULITZER PRIZE COMPOSITION
WINNER, WILL BE PLAYING HIS
FATHER'S VIOLIN SONATA.
WE HAVE SONDRA RIVERS, WHO IS A
HOUSEHOLD NAME IN THE CHAMBER
MUSIC WORLD.
SHE'S NOW ALSO PERFORMING SOLOS.
AND WE HAVE MUSIC BY WILLIAM
GRANT STILL, WHO IS WELL KNOWN
AT EASTMAN.
AND NOEL DA COSTA.
THERE ARE -- WELL, I WOULD SAY
YOUNG COMPOSERS ALSO ARE BEING
REPRESENTED, AND GREGORY WALKER
HAS HIS OWN STRING QUARTET.
HE'S A COMPOSER.
SO HE WILL BE PLAYING HIS OWN
QUARTET.
AND GATEWAYS ADDRESSES THOSE
ISSUES THAT THE YOUNG COMPOSER
WHO HAS A DIFFICULT TIME HAVING
A VOICE.
THAT IS THE BLACK COMPOSER
PROGRAM.
THERE'S ALSO A TROMBONE CONCERTO
BY WALKER BEING PLAYED BY
Dr. ROBERT BLAINE, WHO'S A
GRADUATE OF THIS SCHOOL.
THERE WILL BE A PIECE BY
FLORENCE PRICE, A BLACK WOMAN
COMPOSER, PLAYED BY RICHARD
AUSTIN, AND WE ARE JUST GOING TO
HAVE A TIME HERE.
>> Matt: IT SOUNDS LIKE IT.
>> (Chuckling)
ON FRIDAY IS THE CHAMBER MUSIC
IN THE HOME IN VARIOUS
LOCATIONS.
THEY'RE NOT REALLY ADVERTISED
BECAUSE THEY'RE PRIVATE.
AND ON SATURDAY, THERE'S THE
ORCHESTRAL CONCERT AT HOCHSTEIN
AT 8 O'CLOCK, AND THAT WILL BE
THE TCHAIKOVSKY FOURTH SYMPHONY,
AND ALSO THE TCHAIKOVSKY VIOLIN
CONCERTO, WHICH I'VE DIVIDED
BETWEEN TWO PEOPLE, TY MURRAY
AND KELLY HALL, WHO IS A
GRADUATE OF THE EASTMAN SCHOOL.
THIS IS A RARE OPPORTUNITY TO
PLAY THE TCHAIKOVSKY CONCERTO
WITH ORCHESTRA, AND MOST PEOPLE
AND THEY WILL JOIN THE
ORCHESTRA.
THEY WILL COME AND TAKE SEATS ON
THE STAGE AND SIT DOWN BESIDE
THEIR OLDER BROTHERS AND SISTERS
AND DO IT.
IT DOES THAT NOT MEAN THAT
ANOTHER STEP ISN'T NECESSARY.
IT'S JUST THAT I PERCEIVE THAT
ROCHESTER HAS DONE A WONDERFUL
JOB OF EMBRACING THIS PHENOMENON
THAT MAKES THE OLDER MUSICIANS
COME AND DO THINGS THAT
PROFESSIONALLY WOULD JUST NOT
MAKE ANY SENSE OTHERWISE.
(Music)
>> Elissa: IF YOU WOULD LIKE
MORE INFORMATION ABOUT THE
GATEWAYS MUSIC FESTIVAL, YOU CAN
GET TIMES, PERFORMANCES AND
LOCATIONS AND LOG ONTO
gatewaysmusicfestival.com
ON THE
INTERNET.
AND NOW LOCAL ARTIST LORI
HARPOLE HAS A UNIQUE VIEW OF THE
WORLD.
SHE EXPRESSES IT THROUGH PASTEL
PAINTING.
IN TONIGHT'S "ROCHESTER
PERFORMS," WE TAKE A LOOK AT THE
WORLD THROUGH HER EYES.
(Music)
>> I LIKE USING THE PASTELS
BECAUSE THEY REALLY ARE AN
EXTENSION OF THE DRAWING
PROCESS, AND IT'S FUN TO WORK
WITH THE DIFFERENT COLORS, AND
IT'S A NICE TRANSITION TO GET
INTO OIL PAINTING, WHICH IS MY
ULTIMATE GOAL.
I'VE STAYED WITH A REALISTIC
STYLE OF DRAWINGS BECAUSE THAT'S
SOMETHING THAT YOU CAN DO WITH
THE PASTELS.
YOU COULD TAKE IT ANY DIRECTION,
WHETHER IT BE ABSTRACT OR
REALISTIC, AND I'VE SORT OF
SETTLED ON A REALISTIC TYPE OF
STYLE.
IT MIGHT BE A LITTLE BIT ON THE
ABSTRACT OR IT MIGHT BE A LITTLE
SURREAL, BUT IT DOES HAVE
PROPORTIONAL QUALITY TO IT AND
I'M VERY CONSCIENTIOUS OF
COMPOSITION BUT A FULL
EXPLOITATION OF COLOR, AND
THAT'S WHAT I'M STRIVING FOR IS
BECOMING VERY ADEPT AT USING THE
COLORS.
I SEEM TO HAVE SETTLED ON THIS
STYLE OF SATURATED COLORS IN MY
PAINTINGS.
I CALL THEM PAINTINGS EVEN
THOUGH THEY'RE PASTELS BECAUSE,
WHEN THEY'RE FINISHED, THEY LOOK
LIKE PAINTINGS.
I LOVE BEING ABLE TO EXPRESS
DIFFERENT TYPES OF EMOTION IN MY
DRAWINGS, AND I LOVE PLAYING
WITH THE COLORS.
I CHALLENGE THE MEANS TO DEVELOP
MY PAINTINGS WITH THE DIFFERENT
CHALKS THAT I HAVE, AND OF
COURSE A PASTEL ARTIST CANNOT
HAVE ENOUGH CHALK, BUT IT'S FUN.
IT'S PART REGRESSION, PART BEING
IN THE NOW AND DANCING WITH IT.
IT'S A LOT OF FUN.
SO I DON'T THINK IT WILL EVER
END.
I THINK FINE ART IS FOREVER.
>> Elissa: AND JUST AN UPDATE
ON LORI'S ARTISTIC EXPLORATIONS.
SHE RECENTLY WENT TO NEW YORK
CITY TO STUDY OIL PAINTING.
LORI HAS SINCE MOVED BACK TO
ROCHESTER BUT CONTINUES TO
TRAVEL ONCE A WEEK TO NEW YORK,
WHERE SHE STUDIES AT THE FAMED
ART STUDENTS LEAGUE.
LORI ALSO TUTORS AREA TEENS ON
FINE-TUNING THEIR DRAWING
SKILLS.
THAT'S ALL THE TIME WE HAVE FOR
THIS EDITION OF "NEED TO KNOW."
TUNE IN NEXT WEEK AS WE
INVESTIGATE CHILD MALTREATMENT
IN OUR COMMUNITY.
WE'LL SEE YOU THEN.
(Music)