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INDIAN HILL MUSIC RAISES $103K AT ITS MAY HOOTENANNY GALA

Socializing at the Hootenanny: (l-r) former IHM student Jake Riggert of Groton; IHM Percussion Chair Abe Finch and Carrie-Ann Finch of Methuen; and IHM Council member Karen Riggert of Groton.

Socializing at the Hootenanny: (l-r) former IHM student Jake Riggert of Groton; IHM Percussion Chair Abe Finch and Carrie-Ann Finch of Methuen; and IHM Council member Karen Riggert of Groton.

Indian Hill Music raised over $100K at our annual fundraising Gala on the evening of May 14th. The funds will go towards supporting our mission to share the transformative power of music, through education, performance, and outreach.

Over 200 friends of Indian Hill attended the “Hootenanny Gala,” which was held at Sunset Farm in Groton. Patrons came dressed for the occasion in “country glam” attire, from denim and boots to cowboy hats, vests, and colorful bandanas. Live and silent auction items included a custom-made Nantucket Lightship Basket, a trip to the Azores, and an opportunity to plan a concert program for the Orchestra of Indian Hill with Maestro Bruce Hangen. The evening culminated in a barn dance with live musicians and contra-dancing led by professional caller Marcie Van Cleave.

Indian Hill Executive Director Susan Randazzo said, “Our annual fundraising gala builds a wonderful sense of community among both long-time supporters and people who are just learning about us. It is a chance for everyone to feel connected to our mission and to have a great time in the process!”  Proceeds will benefit multiple Indian Hill programs, including its music school student scholarships, free community concerts and subsidized tickets, music partnerships with local schools, and senior outreach activities.

This year’s gala sponsors included Azores Airlines; Belmond Reid’s Palace; ISS Inc.; R.M. Ratta Corp.; Colonial Spirits; Epic Enterprises; Red Hat, Inc.; and West Acton Villageworks.

View more photos.

Indian Hill Music shares the transformative power of music, through teaching and performing, and giving music generously when there is need. The professional performance series features symphonic concerts by the critically-acclaimed Orchestra of Indian Hill, led by Artistic Director Bruce Hangen, plus chamber music, jazz, and family events. Indian Hill is also home to the regional Indian Hill Music Youth Orchestra and New England Flute Orchestra of Indian Hill Music. Serving hundreds of students of all ages and abilities with an international faculty of over 60 college and conservatory-trained teaching artists and 21 state-of-the-art studios, the Music School offers private instruction, group lessons and ensembles for all instruments and voice in classical, jazz, folk, rock, pop, opera, Broadway, and Irish traditional music. Indian Hill’s Community Engagement initiative brings performances and educational programs to public schools and community events, provides free concerts for seniors, and awards more than $65,000 in need-based scholarships. It is also the first community music school in the country to offer bedside singing for healing through its Threshold Singers. Last year, Indian Hill’s outreach activities served over 6,600 people in its service area. Indian Hill Music relies on the generosity of individuals, families, businesses, and foundations to support our many community programs. To learn more, call (978) 486-9524 or visit www.indianhillmusic.org.

 

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Student Spotlight: Saxophonist Andrew Bedard

Saxophone student Andrew Bedard of Westminster, MA has been studying at Indian Hill Music School for over 10 years, and recently performed at Symphony Hall in Boston in the Massachusetts All-State Band. A student of Bill Jones,  Andrew is a member of the Indian Hill Big Band and Jazz Lab ensembles, and is a graduating senior at Oakmont Regional High where he plays clarinet in the school concert band, and first tenor saxophone in the jazz band. He spent a few minutes with us to talk about his recent honors and where he’s headed next!

What was yourAndrew Bedard - Sax Student 2016 inspiration to play sax?

I started playing saxophone around 8 years old. I have an older cousin that plays so I would say that most likely planted the seed when I was little. My grandfather passed away shortly after I began playing and gave me a record of his. That’s when I really started listening and gaining a strong interest in it. Some of my biggest musical influences include but are not limited to Miles Davis, John Coltrane, Wayne Shorter, Herbie Hancock, Chick Corea, McCoy Tyner, Cedar Walton, Art Blakey, Joe Henderson, Horace Silver, Freddie Hubbard, and Lee Morgan.

What led up to you being selected for All-States?

I was selected as first tenor in the Massachusetts All-State Jazz Band through Audition. First I had to audition to make it into the Massachusetts Central District Jazz Band and receive an All-State recommendation. Then I had an audition to make it into All-States. I received the highest score out of all of the other tenor saxophone players that auditioned in the state. The whole experience was simply phenomenal.

What was it like to play at Symphony Hall?

The best way I can describe performing at Symphony Hall with the All-State band is it was like playing along with a record of mine. Everything was so precise. The band was tight and everyone had a great sound.

Congratulations on your upcoming graduation! What’s next for you?

Once I graduate high school I intend to major in Jazz Studies in college. I have been accepted to all of the schools I applied to, (UMass Amherst, the Hartt School of Music, William-Paterson University, New England Conservatory, and Berklee College of Music), and am currently in the process of deciding where I want to go.

What have all these years of music study taught you?

I think that studying music has helped me for the future in a lot of ways. It has helped me become more disciplined as being a musician demands a solid practice routine. It has added so much to my networking both in my career and socially. It has also made a great tool for me to give back to society and stay active in the community since a lot of the playing opportunities I have are at community functions or charity events. Ultimately it has given me countless meaningful life experiences and an opportunity to reduce my stress levels and express my creativity.

We wish Andrew the best of luck with college and future musical endeavors! For more info about Andrew, visit his website: http://andrewbedard.com/

 

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Ask Pete: Why should I study music during summer break?

Indian Hill Music School Director of Education Pete Robbins answers your questions about music lessons, practicing, performing, and how it all makes life better!.

Pete PHOTO 0788dc2Hi everyone!

Before I begin, I want to say that I am beyond excited to introduce myself to you as IHM’s new Director of Education. As a jazz saxophonist, a private and school-based music educator and program director, and a director of large community music programs, I have developed curriculum, assessment tools, and new program ideas, and have personally taught students across all age levels and in a wide variety of settings.

My wife (Karina), my two sons (Jackson, 5.5, and Silas, 3) and I are thrilled to be relocating from Brooklyn to Massachusetts. I was raised in Andover and was actually a student at Indian Hill Music School around 1992, and am very grateful for the opportunity to help chart the course of our wonderful institution into the future.

Why Study Music This Summer?

Summer is coming, and you’ve been studying, and practicing hard all year. You deserve a break, right? So…why should you consider taking lessons in the summer? Here’s something to chew on regarding non-music studies: it’s been proven that annual summer regression in math studies is equivalent to 2.6 months of grade-level work. In reading it can be as much as two months’ worth of loss as well. In my experience as a music educator, I am certain (though it merits academic study) that this applies to music lessons, too.

This means that, for roughly every five years of music study, one full year’s worth of skill may be completely lost if summers are taken “off.” Given how much individuals and families invest in music education, in terms of both the time and financial commitments, this should be alarming for everyone involved! Summer music study pays huge returns: students and their families avoid suffering the financial and musical “losses” of time off, and the gains are readily apparent in the skills and motivation that are developed (and not diminished with time away).

More great reasons to continue your music lessons over the summer include:

You get to choose a schedule that works for you. IHM allows you to take a relaxed schedule of lessons — as few as three — and book lessons around your summer plans.

You get the chance to switch it up. Summer is a great time to try something new: a new instrument, a longer lesson, a new teacher, and/or one of our fun new programs.

You have time to focus. Without the usual weekly commitments that most of us have during the regular “school” year, summer might be a time when we can really focus on our music studies for a while, to generate some extra skill and motivation heading into the fall.

Having taught private lessons and having run school-based music programs, I have seen summer music regression first-hand, and it happens, no matter the talent of the student. I’ve also seen the spark that can be lit in a music student who has a special summer music experience! So my advice to you is to protect the many investments you have made while taking lessons all year — time, effort, financial and emotional — and continue your studies during summer vacation!

More information about Summer Lessons 

More information about Summer Programs

Pete Robbins is the new Director of Education at Indian Hill Music School. Have a question for Pete to answer in this new column? E-mail it to probbins@indianhillmusic.org.

 

 

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INDIAN HILL MUSIC SCHOOL STUDENT CONCERTO COMPETITION WINNER ANNOUNCED

Wayland Resident to Perform with Maestro Bruce Hangen and Orchestra of Indian Hill on April 23

Kyle Chen IHM Concerto Competition Winner 2016

Student pianist Kyle Chen, 14, of Wayland

Pianist Kyle Chen, 14, son of Ying and Yonghao Chen of Wayland, is the winner of this year’s Student Concerto Competition at Indian Hill Music School.

Kyle was one of seven students from Indian Hill Music School who competed for the chance to perform a piece with The Orchestra of Indian Hill, under Music Director Bruce Hangen. Kyle will perform the Allegro from Mozart’s Piano Concerto No. 17 at the Orchestra’s season finale, Saturday, April 23 at 7:30pm at the Littleton Performing Arts Center.  The concert will also feature the music of Hindemith and Brubeck. Buy tickets online or call (978) 486-9524 x116.

“We’re very pleased to be able to offer this wonderful opportunity to our students,” said IHM Executive Director Susan Randazzo. “It is one of the things that makes Indian Hill Music a special place to study.”

Chen, an eighth grader, has studied at Indian Hill Music School for the past seven years, and is a student of Niva Fried. A prize winner in piano competitions of the Massachusetts Music Teachers Association, New England Piano Teachers Association, and Steinway Society, Kyle has also performed at Carnegie Hall as a participant of the American Fine Arts Festival, and played concerts in Moscow through a special scholarship last spring. He has been selected to attend the BU Tanglewood Institute for summer piano studies this coming August.

A Q&A with Kyle Chen

1. How do you prepare for a competition? Do you ever get nervous?

When I first started participating in competitions, I was about eight years old. Over the years, I have developed sort of a habit of practice before my competitions. Most of the times, two weeks before I have competitions, I would stop listening to my usual music (pop, hip-hop, etc.) and start to listen more to classical music, especially the pieces I would be playing for the competition. Of course, I also practice more and more rigorously, but one thing I almost always do is once I get to a week before the competition, I stop playing the pieces all the way through; instead, I’ll just work on a specific section of the piece to fix it up.

I remember the first competition I went to, which was the Steinway Competition of 2011. I was extremely nervous – I had butterflies in my stomach, my hands were trembling, and I was terrified of playing in front of the judges. But when I actually started playing, all of those feelings went away. Nowadays, when I have competitions, I don’t usually get too nervous. Mostly, I just feel adrenaline and some anticipation. One way I have gotten rid of my stage fright is to make my performance just between me and the piano – and have fun when I play.

2. Why do you especially love Chopin’s pieces?

Ever since I first started playing piano, Chopin has been my favorite composer. Something about the style of his pieces, the elegance, and the beauty of his works has always intrigued me. I have played many pieces by Chopin, and he is one of the composers that I feel I can understand and have a great feel for.

3. What was it like to play at Carnegie Hall?

In my second year learning with Niva, I auditioned for the American Fine Arts Festival performance in Carnegie Hall, New York. I was fortunate enough to make it and get the opportunity to perform in one of the most famous performance halls of all time: Carnegie Hall. As I’m sure you can imagine, I was very nervous at the thought of performing in front of such a big audience. In fact, I can still remember pacing in the back entrance hall of the stage, trying to prepare myself for the performance. When it was my turn, the bright lights, the people, and the applause all faded as I tuned out. Once I got settled and started to play, I felt at home, sitting there at the piano, coaxing out a beautiful melody by Chopin from the instrument. It was truly an amazing experience.

4. What do you learn by studying piano and practicing?

For me, piano has always been something that I enjoy and have fun with. When I started learning, it wasn’t about if I was going to become a concert pianist; I did it for the fun of playing piano and how I enjoyed running my fingers across the keys and making music. Practicing piano and studying piano is, in my opinion, not just about the technique and how to play; it is more about how I can play piano throughout my daily life: in times of hardship, in times of happiness, and expressing myself through something other than words.

5. What do you like about studying at Indian Hill?

Basically my whole musical journey has been at Indian Hill, when early childhood classes jumpstarted my interest at the age of three. Beginning my piano studies here at seven, I have been learning with Mrs. Niva Fried for the past five years. Indian Hill is an amazing music school with great teachers, and throughout my education, the school has provided me with many performance opportunities. Finally, I really like how Indian Hill gets the community involved in its events and engagements with guest artists. I would not be the pianist I am today without Indian Hill. So thank you very much to everyone making the school such a great place for young musicians everywhere!

 

 

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The Orchestra of Indian Hill Presents A Truly Classical Evening

By McLaren Harris

Saturday night’s (March 12) program by the Orchestra of Indian Hill at the Littleton High School Performing Arts Center comprised three works close to the heart of Viennese Classicism, the era and style from which many listeners gained their first experiences with true concert music. Schubert, Mozart and Beethoven, along with Haydn, exemplify perhaps most of all the sounds and spirit that drew in young audiences over many generations, as they continue to do two centuries later.

The works that conductor Bruce Hangen chose – Schubert’s “Unfinished” Symphony in B minor, Mozart’s Sinfonia Concertante in E flat for four wind soloists and orchestra, and Beethoven’s Symphony No. 1 in C major – have the fine artistic attributes that combine familiar musical idioms with opportunities to show off the orchestra’s strengths.

Like nearly all of Schubert’s compositions– he was incapable of composing anything that wasn’t beautiful – the “Unfinished” Symphony’s two movements are full of felicitous melody and harmony that envelop the listener like a warm, comfortable blanket. The orchestra’s robust low strings and delicate upper strings bespoke mystery at the opening, followed by soaring lyrical lines from the winds. The woodwinds and French horns were richly sonorous both in the first Allegro and the following Andante; the latter’s midsection was shared successively by tender lines for solo oboe (Jennifer Slowik), clarinet (Sandra Halberstadt), flute (Jessica Lizak), and French horn (Clark Matthews).

Four of the orchestra’s principal players (Stephen Jackson, clarinet, Nancy Dimock, oboe, Stephanie Busby, bassoon, and Clark Matthews, horn) became the soloists for Mozart’s Sinfonia Concertante, K.297 – at least, Mozart is assumed by most to have composed it. Some critics have seized upon certain stylistic peculiarities to conclude that Mozart may have composed the solo parts and cadenzas while another, anonymous composer wrote the orchestra parts. Without getting into that, let us be satisfied that it was accorded a Köchel number, so Mozart it is.

The Sinfonia is a dashing, cheerful work with plenty of virtuosity, flair and an outright romp for the soloists, who were well prepared and excellent throughout. Clark Matthews’s high-register horn-playing was flawless; Stephen Jackson’s and Nancy Dimock’s agility was breath-taking; Stephanie Busby showed what a beautifully toned instrument the bassoon is – and quick as well.

Beethoven’s First Symphony is well enough imprinted in many or most musical minds, but the untraditional genius of the composer’s imagination is always a pleasure to hear – the opening chord progressions that finally resolve to the home key, the bold, up-tempo Scherzo (What? No minuet?), the tentative scale leading up to a full sprint in the finale, the sudden, fortissimo entrance of the low strings (signaled by conductor Hangen with a closed fist). The orchestra acquitted itself ably and energetically all the way; the concert earned a standing ovation.

Let us give credit here to Bruce Hangen. The high caliber of the instrumentalists and of the performances is due in no small part to his leadership. His program choices never fail to please, his conducting is clearly wrought, his own preparation is meticulous and that of the orchestra as exacting as it can be within the rehearsal time available. The musicians really want to play for him, and Indian Hill Music is indeed fortunate to have him.

 

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