sphinx

Sphinx Virtuosi and the freshness of American classical music

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The fact that America is a relatively recent addition to the Western artistic canon is a good thing; it brings a certain freshness and hopefulness that is wonderful.

I recently had an opportunity to enjoy a full program of classical American music played by the amazing, creative, and innovative Sphinx Virtuosi at the New World Center in Miami Beach.

Although driving down to Miami is dreadful, seeing the Sphinx Virtuosi always makes it worth it.

The opening number, Scott Joplin’s Overture to Treemonisha, was an inspiring, hopeful number. Other numbers featured music inspired by Peru and Venezuela. You can see the whole program here.

For me, this is more than a regular concert. Three of my old students play in this orchestra! Bill Neri, the ultimate violist, is also the founder of Film Club and a dear friend. Tommy Mesa is a prodigy cellist whom I have already written about here. Celia Hatton is another firecracker violist who was also in my Spanish classes! To see these young professionals flourish in such a demanding but beautiful field is an incredible reward.

American Form/s is a musical tapestry depicting the many sounds of American classical music. Vibrant, varied, storied, and new, the self-conducted string orchestra Sphinx Virtuosi takes audiences on a journey through classically-framed infusions of soul, bluegrass, jazz, blues, and elements of rag. Works range from reimaginings of Joplin’s joyous landscapes to the complex rhythms of Curtis Stewart and brilliant influences of immigrant composers like Teresa Carreño. Experience the intricate harmonies and world influences of Derrick Skye’s writing, as well as modern interpretations of soul-stirring spirituals and more in this program carefully and collaboratively curated to celebrate the richness of the American musical landscape.

Sphinx Virtuosi: American Form/s

A much-needed return to music, and on the importance of mentoring

/ antonioyrocinante / 1 Comment

As I have mentioned ad nauseam, I learned how to be a mentor to old students from my professor Aaron Nurick, who has been keeping an eye on me for over thirty years, which at this point makes him more of a friend than a mentor.

Bill is one of my old students who invited me to Film Club (you can read about that here), and who as an accomplished violist, invited me to his recent concert in Miami. I would like to think that I am a bit of a mentor to him.

The Sphinx Virtuosi is an orchestra formed by minority Black and Latino musicians. Their concert equally featuring Black and Latino composers was glorious. Granted, I had not been to a live concert since before Covid, over two years ago, but it was still divine.

Driving to Miami is an odious experience, there is always traffic no matter what time you go. And if there is no traffic, there is construction, which inevitably leads to traffic, so there is no avoiding the frustration of sitting in a car at standstill.

But once I parked and I was walking around, all my tension washed away. The concert was at the Frank Gehry designed New World Center in Miami Beach, which, while not as whimsical as say, the Guggenheim in Bilbao, it is still very cool and has a breathtaking rooftop garden.

The concert itself was a refreshing mix of melodic Latin tunes like Alberto Ginastera’s Concerto for Strings and the haunting Andrea Casarrubios’ SEVEN in honor of the fallen first responders during the first Covid outbreak in New York City (SEVEN references the time folks would clap from their windows to celebrate the first responders). This was a mournful concerto for solo cello played beautifully by Tommy Mesa -another old student at Walnut Hill! (See clip below).

After the concert we walked to a great Peruvian restaurant where we had a long chat over excellent food and beers. I cannot wait for my next concert, nor to see more of my old students!