D

SOUND OF MUSIC

from page 86

Composer-in-residence
Ned Rorem, left,
and Joel Hoffinan
will have their
works perfo rm ed
at the festival.

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"The Great Lakes Festival has a mix-
ture of people I've played with, with
great pleasure, such as Ruth Laredo and
Peter Wiley, and people I've just heard
about," says Kalish, who has performed
with a chamber music festival in
Jerusalem, conducted master classes in
Israel and Worked with Israeli students.
"One of the nice things about going to
festivals that I haven't been to before is
spreading out and meeting other peo-
ple in the profession."
Pianist and Detroit native James
Tocco continues as GLCMF artistic
director, overseeing the growing, secu-
lar event, a joint venture of the
Detroit Chamber Winds & Strings,
Temple Beth El 'and two Bloomfield
Hills churches, St. Hugo of the Hills
and Kirk in the Hills.
This year's performers — also reach-
ing out to audiences at the Detroit
Institute of Arts, Wharton Center in
East Lansing, Kerrytown Concert
House in Ann Arbor, Grosse Pointe
Memorial Church and the Detroit Zoo
— coach young chamber players as fac-
ulty of the third annual Catherine
Filene Shouse Chamber Music Institute.
This year's institute artists, on
scholarship, include the Elm City
Ensemble from Connecticut, the
SandOr Quartet from Hungary, the
Tang Quartet from Texas, Duo 46
from Texas and the Griffiths Levine
Duo from California.
Kalish, who has made some 100
recordingS and is head of performance
activities at the State University of
New York at Stony Brook, perfects his
own concert style while working at
home on a 1915 Steinway grand.
It's kind of a miracle that a piano
built in 1915 can sound as it sounded
then," says the instrumentalist, whose
varied career prevents him from having
a fixed work routine. "Old pianos can
be great pianos and so can new pianos."
Just as Kalish enjoys working with
others in chamber ensembles, he
believes the best way to interest
youngsters in music is to start the

learning process in groups rather than
one-to-one with a private teacher.
"It's important that music be a com-
munal experience," he says. "The trend
toward community music schools in
the past few years is terribly important
for saving the art. Being in isolation at
home with only the student and
teacher is very demanding and gives
the wrong message. There's so much to
learn, [and] seeing many other people
doing it puts it into context."
Kalish, a longtime champion of
new composers, will be working with
GLCMF composer-in-residence Ned
Rorem and composer Joel Hoffman,
whose work Reyzele: A Portrait will be
performed for the first time by Detroit
Chamber Winds & Strings at Temple
Beth El.
"Most of my exciting experiences
are exploring new works and bringing
them out," explains Kalish, whose last
recording, In the Shadows of World War
I, features musicby composers of dif-
ferent nationalities. His next release
will showcase the music of Chicago
composer Ralph Shapey.
"Most of [the new pieces] will not
have a shelf life of a Beethoven or
Bach, but some of them will. The
work of people of genius will continue
to move and excite people.
Fortunately, I'm in a profession that
reveres the past and the present.
"I try to do music of composers I
admire, something that moves me, but
it's OK for me to do [occasional] pieces
that I don't always love because that's just
part of being a musician. As a musician
in the present day, I don't think it's my
right to decide what will be a classic."

Gilbert Kalish will perform June
19, 20, 22, 23, 24 and 25 as part
of the Great Lakes Chamber
Music Festival. See accompany-
ing schedule for times and
places. $7-$26. (248) 362-6171.,

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