The "iconic" Dom of Cologne

I took a quick side-trip last year before Franz Schubert Institut to Köln, Germany. 

I had never been, but had wanted to go ever since my beloved graduate school song-and-accompanying teacher first spoke about the “Dom” which Heine mentions in Buch der Lieder, and then in turn, what Schumann appropriates into Dichterliebe. 

On the mission was of course to explore the Dom (cathedral), one of the largest in the world. Heine writes, 

"Im Rhein, im schönen Strome,

Da spiegelt sich in den Well'n,

Mit seinem großen Dome

Das große, heil'ge Köln.”

(In the Rhine, in the beautiful river, 

which wrap itself in waves, 

with its enormous cathedral, 

the great, holy Cologne.).

The text goes on to compare the object of the “protagonist’s” affection to an icon within the church, of the Virgin Mary.

This photo is of the exterior. 

When I went inside (I remember it raining that day a little), I figured that the Heine-Schumann icon would be incredibly obvious. Alas, it was not! There were several “contenders.” I’m going to ruminate over the photos I took and see if I can surmise which icon it is.

Faît accompli!

Yesterday was a great day.

I got to share music with new friends and colleagues, who, a year ago, I had just met. One year later, we were rehearsing, forming our own “community” as a vocal department of five, and then - of course - properly celebrating afterwards with a Chinese food reception! 

Heartfelt thanks to everyone - my faculty partners, the faculty there to support, the crew of Keller Hall, the audio and video crew, my family for cooking the reception … 

There will be more photos, along with beautiful sound and video forthcoming! 

In the meantime, enjoy photos of the “celebration” afterwards. 

Master class, TCG Nordica

On Monday, Ellen and I had the immense privilege of giving a joint master class at TCG Nordica (I posted about this location last week, after my Welcome Dinner and practice sessions there).  On the docket that day was:

Schumann, Quartet Opus 44 (first and second movements, with a different pianist per movement)

Dvořák, "American" Quartet

Lunch Break 

Chausson, Opus 21 for Solo Violin, Piano, and String Quartet

Mozart, Quartet in C Major, K. 465 ("Dissonance")

I took the pieces with piano, and Ellen took the string-only pieces.  It was wonderful to talk to the groups about things I've thought about for years about this kind of repertoire (and what Dr. Barr and Professor CR in particular have definitely worked on with me during my time at Eastman).  

The Chausson is a less familiar piece (and composer) to me, but the late-19th-century French-but-Wagnerian style is now familiar territory.  And I'm no stranger to Schumann, and his virtuosic piano parts, his intimate qualities, his devotion to an incredibly vocal line, and a quirkiness and fantasy that brings me back, with delight, every time I get to play his music.  

I adored working with the piano students and the string players of the Kunming Orchestra.  The second violinist of the Chausson had said in a later conversation, 

"You weren't here long enough."

I cannot begin to say how true that feels.  And ... I have been invited back for a three-month (!!) residency in Kunming, dates and arrangements to be decided, but, I am excited about it.  I'm forever telling my students and colleagues to "get rehired."    

The picture is a photo of the morning session string players, pianists, and Ellen and I.