Vibrant Violin Sounds
by Kinga Augustyn
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Dear Kinga, When did you start playing the violin? What’s the best time to start learning music? I was about 3 years old when I sat down at a piano we had at home and I started figuring out some tunes I was hearing my mom sing and my father play on his bassoon. Consequently, I taught myself how to play some music works. Nobody remembers how and when, but sometime before I turned 5, I had figured out how to read music with basically no proper instruction on how to do it. I enjoyed playing the piano, as well as singing. Mom recalls I had a great - for a child - voice and sang beautifully some of the works she was working on. I loved performing anywhere for anyone; any family or other type of gathering was good enough for me to dress up and perform. I dragged my younger brother along with me, too, so he had no choice but to form some kind of a duo with me, where I, of course, acted as the main diva and the director of it all. |
Photo: courtesy of the artist |
Sadly, in my mom’s opinion, who is a professional singer, when my father bought me my first violin, my singing career was over. Dad died before I actually started taking violin lessons at the age of almost 8, but I still knew the violin was "it" for me. I continued practicing the piano till the age of 18. I liked it...but I am a violinist.
Some kids can start music lessons earlier than others. In my opinion, it depends on the interest and maturity of the child, as well as the support they get from their parents. Sometimes 3 year olds can do great. Other times, 10 years old also will not be too late.
Is it more the venue, the audience, the repertoire or the musicians you perform with that turn a regular concert or recital into an extraordinary experience?
Generally in life, I always think that everything is a combination of things. Sometimes I try to figure out the one component that made a life experience a good or not-so-good one, but that never works. And it is the same with a concert experience. However, some elements are definitely more important than others.
Given that the actual music is good, if a work requires more instruments than just violin, I certainly need great partners to make music with. What does "great" even mean here? Actually it is a combination of many things such as skill, commitment to one's own craft and the ensemble, flexibility, musical compatibility, and ability to work with others. Once we have that, we can go far with it. We can build mountains.
The reaction of an audience is always an important factor, but it can differ based on multiple aspects. It's a give and take for starters. We musicians need the audience as much as they need us. It's hard on multiple levels, but we have to give them something that they will enjoy and want to experience and explore. Sometimes audiences need to be educated in order to understand what we are giving them. But yes, the reaction of an audience matters profoundly.
What can you say about your latest record featuring Paganini’s 24 Caprices, Op. 1 for Solo Violin? Is this a dream come true kind of a project or something else entirely? How about your conversation with the famed critic David Dubal, available as a bonus to the CD, was it a spur of a moment decision?
It's a good accomplishment to record all 24 Caprices by Paganini.
I had specific musical goals when recording this repertoire. Paganini is mostly associated with virtuosity. In his time and era nobody could play the violin as well as he did. Because of his unusual abilities, he was even suspected of some kind of a pact with the devil. And somehow this diabolic image of him is still present today, long after his death. His compositions are indeed very virtuosic and often very challenging technically. However, they are also beautiful, based on Italian bel canto. They are passionate and original. The beauty of this music is primarily what I preoccupied myself with when making this recording. Besides being diabolic, Paganini, as a man, was also flirtatious and falling in and out of love all the time. That's what I hear in his music and I hope that my listeners will as well. Technical mastery was a necessity and it was given to be there for starters, but just as a base. I didn't want it to be the only aspect of this recording.
The conversation with David Dubal was spontaneous. He offered to interview me for a short written out interview in the booklet of the CD. The conversation turned out very interesting and the label became interested in releasing all of it.
Some kids can start music lessons earlier than others. In my opinion, it depends on the interest and maturity of the child, as well as the support they get from their parents. Sometimes 3 year olds can do great. Other times, 10 years old also will not be too late.
Is it more the venue, the audience, the repertoire or the musicians you perform with that turn a regular concert or recital into an extraordinary experience?
Generally in life, I always think that everything is a combination of things. Sometimes I try to figure out the one component that made a life experience a good or not-so-good one, but that never works. And it is the same with a concert experience. However, some elements are definitely more important than others.
Given that the actual music is good, if a work requires more instruments than just violin, I certainly need great partners to make music with. What does "great" even mean here? Actually it is a combination of many things such as skill, commitment to one's own craft and the ensemble, flexibility, musical compatibility, and ability to work with others. Once we have that, we can go far with it. We can build mountains.
The reaction of an audience is always an important factor, but it can differ based on multiple aspects. It's a give and take for starters. We musicians need the audience as much as they need us. It's hard on multiple levels, but we have to give them something that they will enjoy and want to experience and explore. Sometimes audiences need to be educated in order to understand what we are giving them. But yes, the reaction of an audience matters profoundly.
What can you say about your latest record featuring Paganini’s 24 Caprices, Op. 1 for Solo Violin? Is this a dream come true kind of a project or something else entirely? How about your conversation with the famed critic David Dubal, available as a bonus to the CD, was it a spur of a moment decision?
It's a good accomplishment to record all 24 Caprices by Paganini.
I had specific musical goals when recording this repertoire. Paganini is mostly associated with virtuosity. In his time and era nobody could play the violin as well as he did. Because of his unusual abilities, he was even suspected of some kind of a pact with the devil. And somehow this diabolic image of him is still present today, long after his death. His compositions are indeed very virtuosic and often very challenging technically. However, they are also beautiful, based on Italian bel canto. They are passionate and original. The beauty of this music is primarily what I preoccupied myself with when making this recording. Besides being diabolic, Paganini, as a man, was also flirtatious and falling in and out of love all the time. That's what I hear in his music and I hope that my listeners will as well. Technical mastery was a necessity and it was given to be there for starters, but just as a base. I didn't want it to be the only aspect of this recording.
The conversation with David Dubal was spontaneous. He offered to interview me for a short written out interview in the booklet of the CD. The conversation turned out very interesting and the label became interested in releasing all of it.
Who are your favorite contemporary composers and why?
I like a lot of contemporary composers. I am also collaborating with some, which is an important part of an artist's job. I come from Poland, but since I have been living in America for a while now (basically since college), I am more exposed to American composers.
My favorite ones are John Adams and John Corigliano (the latter known for "The Red Violin" film music score). Both are extremely creative, accessible, expressive and fun at the same time. Among the names of the composers I have been collaborating with is Glen Roven. Glen's signature work is The Runaway Bunny Violin Concerto. Inspired by the children's book "Runaway Bunny" by Margaret Wise, the piece is a masterwork. I have never known of anyone who would not like it after hearing even just a few measures of it. It gets your attention right away. I had the pleasure of recording a piano trio version of the piece with Cathryn Zeta Jones as Reader. It came out awesome.
Who are your favorite Polish composers? How about the American Classics?
There are quite a few Polish composers that I will have to mention here. The obvious is Chopin, who, however, wrote primarily and almost exclusively for his beloved piano. Of the works that do include the violin, there is a piano trio, and the violin also plays an important role as an orchestral instrument in the accompaniments of his two piano concerti. But that's basically it. I play a few violin/piano transcriptions of Chopin's piano works, which are beautiful. The Nocturne in C Sharp minor is always a favorite with audiences. I wish Chopin would have written for the violin, too. Especially his sentimental moods suit the violin really well.
Before I mention Polish composers who actually wrote for my instrument, I also want to bring up the name Stanisław Moniuszko, considered the father of Polish Opera. He’s not very popular outside Poland, partially because of the language required to sing his music in, but his works are certainly worth checking out.
I like researching. When looking for works for my CD of Polish Violin Music, released on Naxos three years ago, I came across many names and works that were new to me. As for some of the more well known names, I deepened my knowledge on and learned great pieces by Henryk Mikolaj Gorecki, Witold Lutoslawski, Karol Lipinski and Ignacy Jan Paderewski. Among lesser known composers, whose works I find attention worthy, are Zygmunt Noskowski and Aleksander Zarzycki.
Regarding American composers, I like many of them, but my absolute favorites are Leonard Bernstein and Elliot Carter. They are extremely different from each other. While in my mind I associate Bernstein with more "fun" music, Carter portrays a musical world that's intriguing and sometimes even scary to me yet always interesting and keeping me curious.
What are some of the reasons audiences love Bach, Mozart, Beethoven or Brahms?
These composers have something very individual and powerful that nobody else does. It is a heavenly and powerful mark, signature, voice and characteristics that they must have been born with and have developed to an extent that exceeds a simple human explanation. Playing and listening to their music is the best feeling in the world. It is like feeling at home, feeling your best, finding what’s familiar and most special.
What is the most thought provoking list of works you never get tired of listening or performing?
I enjoy listening to and performing many works. There is one work, however, that I can say for sure that is my most favorite piece ever composed: W. A. Mozart Sinfonia Concertante, K. 364 (320d). And my number one most favorite recoding of this masterpiece is with David and Igor Oistrakh (father and son, violin and viola) and Berliner Philharmoniker conducted by Otto Klemperer.
How would you describe the life of a classical music artist in New York?
It can be quite varied. New York offers many opportunities, but one has to find what's right for them. There are many orchestras, many teaching jobs, many established concert series for recitals and other chamber music. Then there are also non-established "younger" series, as well as a bunch of possibilities to initiate new things. All that being said leaves plenty of room for interpretation, I know, but that's basically a concise and fairly logic explanation I can give.
Regarding my personal choices - I am, and have basically always been, interested in solo violin with orchestra, literally solo violin, violin with piano and chamber music (especially smaller - 2 to 4 people - ensemble) repertoire. I like performing such works that showcase my strengths. I also enjoy teaching and have a private studio of talented students in Manhattan.
One of your most recent projects was a recital with pianist Benjamin Laude at the Preston Bradley Hall of Chicago's Cultural Center on May 11th. The recital featured popular violin works by Wieniawski, Beethoven, and Sarasate. What is your favorite part of such an exciting project? How much work and preparation does it take to get ready for such an event?
This performance, just as any other performance, was a "goal." It went really well. We had a huge and a very appreciative audience and it was a joy to perform for them. However, what I usually enjoy the most is the journey of preparing for such a concert. And I am sad for a moment when it’s over ...until I remind myself that I have to focus on my next concert(s).
With this particular engagement, there was a little more preparation/rehearsal than for other concerts and that's because Benjamin and I had never played a serious recital together. We had played a piece here and there, but we actually needed to get to know each other musically to really make Beethoven, for instance, work. It was a fun process.
What has been the biggest lesson you’ve learned through your life as a professional musician?
To keep an open mind and continue learning.
What is the number one reason you do what you’re doing? What are your goals for the days and months ahead?
It is love for the music, and in particular the violin music.
Having just released the 24 Caprices by Paganini, I now actually have to practice them again, as I will be performing them in various concerts. For instance, I will perform half of them (“odd numbers”) in a solo violin recital at Bargemusic, Brooklyn, in August, as the first part of two solo violin recitals I will be giving there. The second half (“even numbers”) will take place in October.
Another upcoming exciting recital will take place at the Sembrich museum in Bolton Landing, NY, in July. Marcella Sembrich is a famous Polish soprano. The recital will feature beautiful Polish violin works.
Come and join the party!
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