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“Baroque Flamenco” is one of my most fiery & dramatic pieces that’s the dramatic finale of PBS music special “Invention & Alchemy” and the 3rd movement of my concerto “Soñando en Español.” (Read about the piece in this blog).  Now the piece is in the hands of many other harpists …

(Sign up for the next hands-on workshop)


In 2008 I arranged “Baroque Flamenco” for other harpists to play, and instead of just making a single arrangement, I created 3 arrangments: one for beginners, one for intermediate players, and the concert version I play, myself, for advanced players.  All the versions are playable on concert harp, and the beginning & intermediate versions are also playable on the lever harp (also called “Folk Harp” or “Celtic Harp.”  You can see both concerts harps and lever harps – the blue one, and the one I’m playing – in the photo below)

Workshop with DHC

Hands-On Workshop with DHC

So now harpists all over the world are playing this piece.  But to really play the piece – to bring it aliveyou need to not just play the notes, but also play the “character” of the piece — and that’s the kind of thing you can’t pass on via written notes.  

So I created a hands-on workshop specifically for learning how to express the character of the piece  — which is both the simplest, and the hardest part of the music.

To work on that, we use a simplified version of the piece, so that players on all levels, from beginning to advance, can work together at the same time. Interestingly, it’s often the less advanced players who have an easier time connecting with the ‘character’ of the piece, so working together in a multi-level environment is useful to everyone.

For that same reason, I invite any advanced players  to present a brief section of the piece during short “Master Class” interludes, so that the entire class can learn from watching these short one-on-one sessions (which are also a nice break from the playing … well, for everyone except the ones presenting!).

By  the end of the evening, everyone knows how to ‘get this piece across’ to an audience, regardless of their skill level, and they can then take that understanding and apply it to whatever level of the piece they’re working on. They also get my tips on practice techniques for Baroque Flamenco and ideas for developing their own unique performances of the piece.

I love sharing this in person because as a composer I have a limited language through just written notes – but when I can be in the same room with you, and show you exactly what I mean, musically, you’re getting all the music, not just the notes.  You get to literally look over my shoulder.  You get to experience the passion of the piece – you get the living music and then you become part of the life of that piece.

THE NEXT HANDS-ON “BAROQUE FLAMENCO” WORKSHOP:  is Fri. Sept. 30 at Kolacny Music in Denver, CO.   Get more info or sign up here.

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If I close my eyes right now, I can see Tony.

If you were in my mind, you might think I was looking at a short Italian guy in an orange jumpsuit. But I’m seeing a stadium of improbable beings, huge and tiny. When I imagine Tony Montanaro I see everything his mind invented, and his body described. He was the most physically creative person I’ve ever known, and he could transform in a split second from a giant to dancing flea.

“Yeah, yeah, yeah … so the guy’s a mime,” you say. “The silent type with the white-face.” But Tony spoke a lot and he didn’t paint his face. Sure – he could mime – he and Marcel Marceau studied with the same teacher. But he went beyond mime to a form he called “Physical Eloquence” – the art of physical story-telling, with voice, body – and everything.

Tony moved to Maine in the early 70’s,  bought an old barn in South Paris Maine and turned it into a theater he called the “Celebration Barn.”  He taught and performed there. He became known as the “Guru of Street Performers.” Sooner or later every non-traditional performer on the Eastern Seaboard made their way up to Tony’s barn to study with him. You know the host of “America’s Funniest Video’s” – Tom Bergeron? He studied with Tony. You know the “Mentos Guys” from the TV commercial? They came to the Barn, too. And, along with actors, jesters, jugglers, puppeteers, storytellers and dancers, I also found my way to the Barn.

Did I rush up there the minute I heard about him?  No! I didn’t have the guts!  It took me 3 years to get up the courage to actually call and ask if he’d take me for a student. I was afraid he wouldn’t accept me, afraid I wouldn’t fit in, because his workshops were for — well, for other people. People who could do things I couldn’t do. People more able than me, solo performers (which I wasn’t yet), people with exotic skills and street-smart courage. He was “the guy” and I was some weird little harp player!  When I finally got the courage to call and stuttered out a request to study with him, he said, “Sure!” — and that began a relationship that changed my life.

Tony Montanaro

Tony Montanaro

As I watched Tony use his body like an instrument — I learned how to make my own awkward instrument into a part of my body. And when I whined about the prejudices and stereotypes people have about the harp, Tony just looked at me and said, “The harp is the instrument of the storyteller. Tell your stories.”

And to this day, the shows I do after a week at the Barn, are like creative cosmic gushers — whether I’m the teacher or the student — this work liberates me in ways that change my performances for the next 12 months — but at that splendid, raw moment after a week at the Barn, I am the freest I will be all year. I do things in that show, completely spontaneously, that I’ll struggle to reconnect with for the next year.

So why am I telling you this?  It’s on my mind for sure — I’m starting to pack for the Barn again, my yearly pilgrimage to perform and teach a new generation of students alongside Tony’s partner, Karen Montanaro (you can get more info at my workshop page, tour page, or  another blog on the Barn)   But I know many of you live thousands of miles from the Celebration Barn.  You just might not make it there this year.

Tony Montanaro and Deborah Henson-Conant

Tony and Me

So why do I want you do know about it?  Well, my theory is that knowing about things is a step towards experiencing them.  I want you to know about Tony.  Even if you never get to the Barn, I want you to know that one little Italian guy with a vision and a passion could create a PLACE. A place where his vision continues, even after his death. I want you to know you don’t have to be Steven Spielberg creating “Skywalker Ranch” or Robert Redford, creating “Sundance” to create a place that can change people’s lives, even after you’re gone.

And I want you to know that you don’t have to have the resume of a genius to be invited into that place, to belong there.  You can just call and ask to come.  Well, now, you can email, too.

And if you can get to the Barn in August, to join the workshop or come to the concerts, I hope you’ll stand for a moment in the middle of the floor, and let the spirit Tony brought there change your life, too.


For more workshop details Click Here (Aug 15-20, 2011: 5-Day Intensive Workshop)

For more about the Celebration Barn and tickets to show Click here
Aug 19 (Fri): “Meet the Artists” – 8pm
Aug 20 (Sat) : DHC Solo Performance – 8pm

In two weeks I’ll be “Up at the Barn” teaching my 5-Day “Performance for Musicians” Intensive.  There’s only two slots left, so if you’re on the fence, come on over!   Here’s a video I made about the workshop.  And I’ve asked former students to add comments to this post about their own experience at the Barn, so read on!

Once a year, I pack my van with five harps and drive to a big old Barn in Maine where I hold a 5-Day Intensive Workshop for performers. The group is small – never more than 16 – and the students are all ages, all levels and many play different instruments – though there are always many harpists. Students come from all over the US and Europe, and many come back year after year. The co-teacher is my long-time colleague, award-winning dancer Karen Montanaro.

Together, Karen and take this group on a learning adventure that we, ourselves, came to this very barn for 20 years ago, the basic concepts we each still use today to find the authentic performer inside of each of us. We both came to study with – and eventually to love – Tony Montanaro, the man who turned this barn into a study/performance place, who taught us how to look to ourselves and our bodies as the foundation of our performance — and the man who Karen eventually married.

Now, each summer, Karen and I pass along these concepts that changed our lives – and continue to change them – to this small group. We only have 2 slots left for 2011, and we invite you to join. I was always one of those students who waited until the last minute to sign-up, so if you’re like me in that – grab one of these last 2 slots by going direct to the registration page or you can  learn more about the workshop here.

Students at "Performance for Musicians" 5-Day Intensive in 2010

Students at "Performance for Musicians" 5-Day Intensive in 2010

The work we do at the Barn is fundamental – but hard to explain – so I’ve asked former students to add comments below, telling others what they might expect at “Performance for Musicians” to describe their own experience, so that others can get an idea what to expect.

So former students, please add your comments below – describe your own experience at the Barn! What did you experience?  What surprised you?  What happened for you there?  And how has the experience impacted your own life?   


To register right now Click Here

For more workshop details Click Here
Aug 15-20: 5-Day Intensive Workshop

For more about the Celebration Barn and tickets to show Click here
Aug 19 (Fri): “Meet the Artists” – 8pm
Aug 20 (Sat) : DHC Solo Performance – 8pm


I hope I see you “Up at the Barn!”

and p.s. Here are some links to blogs about how the Barn changed my own life:
My Blog about The Workshop

My Blog about Tony & Me

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