Originally co-published in "The North Shoreian," Volume II, Issue 1 - January/February 2009 and BeYourArt.com
I'm writing this for everyone who wants to play music, and especially for those who used to play but gave it up to focus on other things. Making music is fun and satisfying, but it can be a daunting prospect starting out. Assuming you can already read music at a basic level, major concerns are usually the cost of buying an instrument, deciding whether or not to take lessons, and finding opportunities to play the music that you enjoy. If these concerns are what are stopping you from pursuing music, either as a hobby or more seriously, I suggest you consider learning to play the recorder.
I understand that the recorder carries with it a certain stigma - most of us recall the terrible screeching and whistling that was part of our elementary school musical education. The recorder is ideal as a beginning instrument because the fundamentals of the instrument are easy to grasp. That's not to say that the recorder is a "simple" instrument. It is just as nuanced and faceted as many of our modern instruments and an expansive repertoire of both solo and ensemble works has been written for the instrument. Recorders are far more affordable than most student instruments, as well. You can pick up a good set of plastic Yamaha recorders (called a consort and comprised of a soprano, alto, tenor, and bass recorder) for what you might expect to pay for a decent trumpet or clarinet.
There's another reason for my suggesting the recorder, too. Long Island is home to many local and amateur ensembles, including a chapter of the American Recorder Society. RSLI, the Recorder Society of Long Island, "consists of a group of music-loving recorder players of all ages and levels, ranging from beginner to advanced," according to Margaret Brown, former President of RSLI. The musical director is Rachel Begley, but each month features a different guest conductor. Ms. Begley is a professional recorder artist who holds a Doctorate of Musical Arts in recorder and early music from SUNY, Stony Brook. RSLI has been in existence since the 1970's and currently counts around 30 full-time members that, "represent a broad spectrum of careers and professions … includ[ing] teachers, physicians, scientists, homemakers, lawyers, information technology people, college professors, and artists."
Music does not have to be a full-time profession. You can add a little music to your life with a modest financial investment and a little practice at home. Dues for the American Recorder Society are $40 per year and RSLI charges $10 per session as a playing fee (which compensates the guest conductors for their time). Visitors and new-comers are invited to play "for free" on their first visit. The RSLI meets once a month and is invaluable both for guidance (ask to be paired with a mentor if you're feeling unsure of yourself) and for being able to play with a full ensemble. I can speak from experience that RSLI's members are welcoming, generous, and genuinely want you to succeed.
Exploring music is a worthwhile and fulfilling activity. Don't be afraid to test the waters! Inquire about affordable lessons at your local music store or college campus, check online for affordable instruments, and check the bulletin boards at libraries and community centers for beginner's courses. If you've been looking for an opportunity to play music casually, or if you've been looking for opportunities to play early music repertoire, I urge to you to go www.rsli.info and contact RSLI. You'll find that Long Island is home to a wonderful and supportive group of musicians who "just like to have fun playing together."
Wednesday, February 18, 2009
Rachel Begley, North Shore Recorder Virtuoso
Originally published in "The North Shoreian," Volume II, Issue 1 - January/February 2009
Appearing with prestigious orchestras and ensembles, teaching aspiring musicians, and travelling to and fro to perform, one North Shore resident is always seeking out the new and exciting. Rachel Begley is a recorder virtuoso and freelance musician living in Port Jefferson Station but performing and teaching throughout Long Island and the United States.
For Begley, early music has always held a special interest. She began her studies in England, but moved to the United States for Graduate work, eventually earning her Doctor of Musical Arts degree in recorder and early music from SUNY Stony Brook in 1997. She is a recorder virtuoso, but also plays historical bassoon (baroque and classical). "Older ones [bassoons] have a different number of keys," she explains, referring to the number of finger holes of the older bassoons compared to the number of keys on a modern bassoon. She slips seamlessly into being the educator without breaking the humorous and casual nature of the conversation. She continues, "The older ones don't have keys. Modern ones have keys that solve some of the problems." It seems that the baroque and classical instruments experienced peculiarities in intonation which resulted in unique tonal colors when the instrument was played in different key centers. "Composers took advantage of the tone colors and wrote for the instrument with them in mind."
Begley's studies in the United States began at Indiana University's Early Music Institue. She moved to New York to pursue her Doctorate and has been based here since. "She is active as both soloist and orchestral player, and appears regularly with such ensembles as the New York Philharmonic, New York City Opera, the American Classical Orchestra, New York Collegium, Concert Royal, the Long Island Baroque Ensemble, and Philomel." She has performed as a soloist at the prestigious Boston and Berkeley Early Music Festivals, in addition to performing concertos and giving recitals across the country. She co-founded the New Amsterdam Recorder Trio which, "… was founded in 2001 by three recorder virtuosi, from England, Israel and the Netherlands, now living in New York." Their name is taken from the original name for New York, and it also reflects both the more recent recognition of Amsterdam as the “recorder capital” of the world and their desire to break new ground in the art of recorder playing.
Her musical interests are not greatly restricted by the period in which her instruments flourished. "I swing through phases," she says. "This precise weekend I'm in the 12th century because I'm performing 'Daniel' at the Cloisters. Last week I was in the 18th century. Generally, whatever I'm doing is what I want to be doing." She finds that being a freelance musician gives her the freedom to go where the opportunities are best. "You do pick and choose [from] what comes your way. I do enjoy more interesting projects."
With NewART she gets to explore a broad range of material. "… NewART performs medieval, renaissance, baroque and modern music, as well as arrangements of traditional/world music, and their collection of instruments numbers more than two dozen recorders from makers around the world." They have appeared in concert throughout the New York tri-state area, and have performed with prestigious ensembles including the world-renowned Flanders Recorder Quartet. Their concerts have earned them both local "… and national acclaim and in 2004 they were featured in the inaugural New York Early Music Celebration, and appeared in concert at the Metropolitan Museum of Art, New York."
As a performer, Begley is always aware of her influence over the audience. "When I'm playing … I try to bring some passion into it." She understands that the audience will respond to the intensity of the performance and it's that intensity that can enrapture even today's over-stimulated audiences. In her words, she strives for a dramatic performance. "I do love drama because it engages people in that moment." In her performance of "Daniel" at the Cloisters this past December she was, "in costume. I sing, I dance, I play - all from memory. Each time it's performed it's a new interpretation because there's much improvisation. Even the rhythm is unnoted. Whatever I performed today will not be what happens tomorrow." It's exactly this type of dramatic role that she searches for, and she knows that the audiences it, too. "I think that's why people love opera, there is music plus."
Begley doesn't have much of a routine, preferring to do what she finds interesting. In addition to her performing career, Rachel teaches privately and at festivals and workshops in the US and Europe, and is Music Director for the Recorder Society of Long Island. As Music Director for RSLI her goal, "is to provide stimulating and varied opportunities for players," and, "to provide an interesting program of opportunities for players of all levels." She has a warmth and a humor about her that makes her very approachable. Working with students and workshop participants, she can answer questions and tell jokes almost simultaneously and never seems to lose sight of the goal. Her demeanor is not snobbish or elitist. Instead, she approaches music with a cross between business-like professionalism and the easygoing spirit of a summer picnic.
Appearing with prestigious orchestras and ensembles, teaching aspiring musicians, and travelling to and fro to perform, one North Shore resident is always seeking out the new and exciting. Rachel Begley is a recorder virtuoso and freelance musician living in Port Jefferson Station but performing and teaching throughout Long Island and the United States.
For Begley, early music has always held a special interest. She began her studies in England, but moved to the United States for Graduate work, eventually earning her Doctor of Musical Arts degree in recorder and early music from SUNY Stony Brook in 1997. She is a recorder virtuoso, but also plays historical bassoon (baroque and classical). "Older ones [bassoons] have a different number of keys," she explains, referring to the number of finger holes of the older bassoons compared to the number of keys on a modern bassoon. She slips seamlessly into being the educator without breaking the humorous and casual nature of the conversation. She continues, "The older ones don't have keys. Modern ones have keys that solve some of the problems." It seems that the baroque and classical instruments experienced peculiarities in intonation which resulted in unique tonal colors when the instrument was played in different key centers. "Composers took advantage of the tone colors and wrote for the instrument with them in mind."
Begley's studies in the United States began at Indiana University's Early Music Institue. She moved to New York to pursue her Doctorate and has been based here since. "She is active as both soloist and orchestral player, and appears regularly with such ensembles as the New York Philharmonic, New York City Opera, the American Classical Orchestra, New York Collegium, Concert Royal, the Long Island Baroque Ensemble, and Philomel." She has performed as a soloist at the prestigious Boston and Berkeley Early Music Festivals, in addition to performing concertos and giving recitals across the country. She co-founded the New Amsterdam Recorder Trio which, "… was founded in 2001 by three recorder virtuosi, from England, Israel and the Netherlands, now living in New York." Their name is taken from the original name for New York, and it also reflects both the more recent recognition of Amsterdam as the “recorder capital” of the world and their desire to break new ground in the art of recorder playing.
Her musical interests are not greatly restricted by the period in which her instruments flourished. "I swing through phases," she says. "This precise weekend I'm in the 12th century because I'm performing 'Daniel' at the Cloisters. Last week I was in the 18th century. Generally, whatever I'm doing is what I want to be doing." She finds that being a freelance musician gives her the freedom to go where the opportunities are best. "You do pick and choose [from] what comes your way. I do enjoy more interesting projects."
With NewART she gets to explore a broad range of material. "… NewART performs medieval, renaissance, baroque and modern music, as well as arrangements of traditional/world music, and their collection of instruments numbers more than two dozen recorders from makers around the world." They have appeared in concert throughout the New York tri-state area, and have performed with prestigious ensembles including the world-renowned Flanders Recorder Quartet. Their concerts have earned them both local "… and national acclaim and in 2004 they were featured in the inaugural New York Early Music Celebration, and appeared in concert at the Metropolitan Museum of Art, New York."
As a performer, Begley is always aware of her influence over the audience. "When I'm playing … I try to bring some passion into it." She understands that the audience will respond to the intensity of the performance and it's that intensity that can enrapture even today's over-stimulated audiences. In her words, she strives for a dramatic performance. "I do love drama because it engages people in that moment." In her performance of "Daniel" at the Cloisters this past December she was, "in costume. I sing, I dance, I play - all from memory. Each time it's performed it's a new interpretation because there's much improvisation. Even the rhythm is unnoted. Whatever I performed today will not be what happens tomorrow." It's exactly this type of dramatic role that she searches for, and she knows that the audiences it, too. "I think that's why people love opera, there is music plus."
Begley doesn't have much of a routine, preferring to do what she finds interesting. In addition to her performing career, Rachel teaches privately and at festivals and workshops in the US and Europe, and is Music Director for the Recorder Society of Long Island. As Music Director for RSLI her goal, "is to provide stimulating and varied opportunities for players," and, "to provide an interesting program of opportunities for players of all levels." She has a warmth and a humor about her that makes her very approachable. Working with students and workshop participants, she can answer questions and tell jokes almost simultaneously and never seems to lose sight of the goal. Her demeanor is not snobbish or elitist. Instead, she approaches music with a cross between business-like professionalism and the easygoing spirit of a summer picnic.
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