Jean Sibelius (1865-1957)
Romance for stringorchestra op. 42
Easy Pieces + Three Dances From Transylvania
Workshops enhance playing skills into practice in small ensembles, working with world class teaching artists to unleash artistic potential while discovering the excitement of close interaction with other chamber musicians and unlocking the secrets of ensemble playing
For both transmission of important knowledge and skills they impart, art music is an important part of a complete education. As we work together to implement ART+ International Teacher Association Network for Cambodia, let's ensure that all young people have an opportunity to learn and grow in and through the music.
The unique curriculum of ensemble and orchestral playing let young Khmer musicians experience the joy of music-making, build their confidence and self-esteem, give them a sense of responsibility and self-discipline, and enhance their academic achievements. The magic of chamber music engages performers and audiences, building their knowledge and inspiring them with a new curiosity about the world of music.
The integration of folklore influences into classical western music is, contrary to general assumptions, a difficult task. The challenge is equal, if not more so, than writing an original composition - it must be a work of based on inspiration and deliberation. The sincere inspiration that embodies folklore has deeply influenced classical western music. As for transformation, in music it consists of any operation or process that a composer, performer or analyst may apply to a musical variable. Examples of this process include multiplication, rotation, permutation and creative combinations. This transformation of folklore influences into classical music provides extensive ongoing hurdles and rewards.
The folk music of Hungary was central to the music of Béla Bartók. He was not the first composer to make use of this music (we can see it as far back as Haydn), but he was one of the first to take it at face value, and to exploit its idiosyncrasies. More importantly, he integrated it fully into his own style, so much so that one of his biographers talks about Bartók’s music as “imaginary folk music” — music that is wholly his own, yet a piece of the folk music that was its inspiration.