Harlem String Quartet, from left: violinist Ilmar Gavilan, violinist
Melissa White, violist Jaime Amador, and cellist Felix Umansky.
—Amy
Schroeder
“Vibrant. Exuberant. High-energy.
Full of surprises.” A great sports team? The latest Lady Gaga video? A
luscious sunset? Nope. It’s how Louisa Gould, Martha’s Vineyard Chamber
Music Society’s executive director, describes the Harlem Quartet,
performing on the Vineyard for their fifth consecutive season on Monday,
August 5, at the Old Whaling Church.
If
you know classical music, you understand the word “string” is implied
in Harlem Quartet’s name. That’s two violinists, one violist, and one
cellist. String quartets are the most common classical ensemble outside
of symphony orchestras. That’s because there is so much music written
for string quartets, much of it great, groundbreaking music, like all of
Beethoven’s 16 quartets, or Mozart’s Hayden Quartets. Or Brahms’ three
quartets. But more on Brahms later.
The
Harlem Quartet is an internationally known, awardwinning ensemble
founded in 2006 by the Sphinx Organization, a national nonprofit
dedicated to building diversity in classical music and providing access
to music education in underserved communities.
Harlem
Quartet was created by the invitation of Sphinx, with major support
from Target, to serve their mission specifically in Harlem, hence the
name. The original ensemble jelled so well, they decided to keep going
after the Target project was completed, combining far-reaching
artists-in-the-schools programs with international concertizing. Harlem
Quartet made their Carnegie Hall debut in 2006, and have been flying
high ever since. The original four Harlem Quartet members were all
soloists as first prize laureates of the Sphinx Competition, open to
African American and Latinx students from middle school through college.
Current violinists Ilmar Gavilán and Melissa White are founding
members. Violist Jaime Amador joined in 2012, and cellist Felix Umansky
in 2015.
To
put the significance of Sphinx’s initiatives in perspective, consider
Yo-Yo Ma’s thoughts: “I am just in awe of what Sphinx has accomplished,
but even more excited about its future.” He should know.
In
a sentiment that mirrors MVCMS’s ongoing artist-in-the-schools
programming, cellist Umansky says, “Music education is unbelievably
important. Of course it’s not meant to turn each student into a
professional musician. But it does provide in-depth experience in
skill-building, discipline, the satisfaction of progress. It builds
critical thinking and problem-solving skills. When learning an
instrument, it’s important — like learning other skills — to find the
balance between simple enjoyment of the activity and the focus it takes
to commit to daily practice. My colleague Melissa White always says
learning to play is like learning a language — you start with letters,
add words, phrases, sentences, and then complete musical thought.”
For
the upcoming performance, Harlem Quartet has put together a program
called “Cross-Pollination.” There’s William Bolcom’s “Three Rags for
String Quartet,” an homage to ragtime, originally composed for piano and
rearranged for numerous ensembles.
Umansky says there’s “so much humor
woven into the piece, which doesn’t need to be explained, but is
certainly there.” It’s a comment that challenges us to listen to
classical music, not only as classical highbrow, but classical, cheeky,
lowbrow. Let yourself go, and see if a chuckle bubbles up.
***
Harlem Quartet, presented by the
MVCMS, at the Old Whaling Church, 89 Main St., Edgartown [Massachusetts], Monday, August
5, at 7:30 pm. Single tickets are $40, online or at the door. For
information visit mvcms.org or call 508-696-8055.
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