I've taken on something that's going to be very hard for me. I agreed to teach 4 violinists and 2 violists at the Hasadna Conservatory in Jerusalem. I'll be teaching little kids who most likely speak no English. Since I haven't been at Ulpan (Hebrew class) for more than a year, and speak English with almost everyone I know here, I'm throwing myself into the fire. Also, I've never taught on a regular basis before. I couldn't believe they were willing to hire me with the experience I've had, subbing for friends here and there, teaching at a couple of chamber/orchestra camps, and giving comments in my viola professors' studio classes at school- which everyone has to do anyway! The most difficult part of it all will be the twice a week commute to Jerusalem and back, effectively taking away two whole afternoons.
It feels like a turning point because I've always paid my rent as a freelancer. Even after joining this quartet it's been the same; we live gig-to-gig. I have friends who have tons of students, enough to know that it could be a lot worse than 6! I'm looking forward to building relationships with these kids and learning from teaching them. The thing that most convinced me to take this job was the school itself. It reminded me a lot of Third Street, the little community music school in the East Village that I went to from age 5 till high school graduation. On the way to the office where my interviews were I stepped over kids building wooden and cardboard sets, and saw flyers for dance and theater performances. In the room where I met with the director of the school, tons of rental violins leaned against each other in the corner, each with a nametag on the case. The school occupies part of the second floor of a large old school building on Emek Refaim, the main street of the "German Colony" neighborhood, which should be renamed the American Colony (that already is a very different neighborhood on the other side of Jlem). Almost all the Americans I knew who stayed in Israel this past year lived in apartments there or very close-by. I'd actually been in the outer room of Hasadna's office before, when my friend Miki led the Saturday-morning service for an egalitarian (aka men and women have equalrights in leading the service and can sit together) minyan (congregation, at least 10 people big). I think that swayed my decision. I'd already witnessed a warm and friendly community in that space.
Speaking of community music, my Mom's been telling me about a New Yorker article this week by their brilliant critic Alex Ross about community chamber music initiatives all around the country. I haven't read it yet (it's not online sadly) but it sounds awesome. Everyone go out and rent a storefront and put on chamber music recitals.
The most amazing moment of the short run of "Music from Blue Hill" concerts I put on in the park near my house in Jersey City was when two kids rode up on bikes in the middle of one of the early movements, and stayed till the end of the piece. I can't remember which piece it was now, maybe the Mozart C-major quintet, but it was so amazing. We were up in the round, open gazebo, and the kids' heads were, like, on the level of our feet. They stayed exactly where they were the whole piece, right next to the gazebo, not moving to where the audience's chairs were set up for a better, more head-on view.
Checking out the New Yorker website for that article, I found a great 1964 profile of Bob Dylan by Nat Hentoff, one of my old heroes. I got into him for the jazz liner notes and stayed with him for the politics. His were the only columns in the Village Voice I consistently read besides the La Dolce Musto (occasionally!!) and Free Will Astrology. Googling him I found out he's become a pro-life activist! It seems like some people are so radical, they want to be radical to the radicals. Or, that's the only way I can explain it, maybe just the ornery-ness of a crotchety old dude. OR maybe it's just what he believes, but that's the hardest of all for me to swallow.
"I love you so much Freddy . . . even if you are stinky sometimes." That's definitely not from the New Yorker. pet fashion week.
today is the end of my vacation which means it's the end of this kind of unchecked web wandering.
If anyone reading happens to be a music educator themselves, please post. I'd love to get a dialogue going about teaching music to kids, or at least get advice from the experts!!
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Alex's article was very good. And one of the main points of focus was the Providence String Quartet, in which Jessie Montgomery is a violinist! This ties your entire post together. It sounds like they are doing pretty amazing things up in Providence; I'd like to check it out.
You've been very prolific while I have been away. I see what you're saying about Squid & Whale, but criticizing a film for leaving out the mundane is an indictment of nearly all American cinema, isn't it? At least S&tW got at some of the interactions that occur in a dysfunctional web, even if it left it up to us to fill in the blanks.
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