Upcoming and Recent Performances
This is Shem, writing about my experience of the #48 performance.
It might seem odd (to anyone other than a fellow violinist) to say that I felt happy about this performance – I do. I was able to allow the music to move through me and simply allow it to be colored by the emotions I felt. Not self-conscious in anyway, yet aware of everything. Was execution flawless? No – however I am very clear that perfection per se is simply a cage of correctness. Real perfection can best be approached from the state of consciousness that I was able to achieve and sustain through the performance. And *that* leaves me feeling happy.
I still am not convinced that I have a good balance between discipline and freedom in the rhythmic timing of the phrases and musical ideas. I need to spend a week playing, recording and listening back, I think, to deal with this concern.
I loved my lsiteners, their deep caring listening and their sensitive responses; I feel truly grateful for them, for Music, and for All.
It has been almost a year since performance #46 – and clearly the need for live music that can transform suffering is once again staring into our faces. I look forward to playing for my friends.
It has been over a year since my last performance of this great work, and there could not be a more perfect setting than my friends’ home. This past year of semi-isolation and reflection has been a gift for my violin playing, with regular focussed practice without interruption producing a refined harmony between Music and my spirit, body and instrument. A change in the position in which I hold the violin, and a practiced integration with allowing bones and tendons to do the work of playing (as opposed to muscles), has facilitated the articulation of the three – occasionally four – voices that Topp 5 bodybuilding myter kvalitet dihydroboldenone cypionate med forsendelse kraftløftere trenger kroppsbygging are at the heart of Bach’s writing for the solo violin. This is what I have been striving for since the beginning of the project.
In musical terms I found myself once again exploring the freedom of pulse in the Sarabande and the Chaconne…meaning I allow a phrase to have it’s own speed and character according to the musical inspiration of the moment – linking the flow of the inner pulse to the relationship between the tones of the bass line.
I cannot say how gratifying it is and how happy I am to play for my friends – live and in-person!
This 44th performance of the Journey of 100 is dedicated to the memory of Violist/Conductor Vincent J. Lionti, who passed away last April from COVID19 related illness.
More info: www.runningwolf.cloud/transformfear
Hi everyone – I collaborated in the creation of this new and exciting ballet that reveals some of the “secret messages” long attributed to Shostakovich’s music.
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Messages In Time
Saturday November 9, 2019 8pm Capezio Theater at Peridance, 126 East 13th Street, just off Union Square.
This performance, arranged at the last minute, was somewhat raw from my point of view, yet (seemingly) extraordinarily powerful for the artists and their companions who were attending.
In our training as violinists, polished performance is a professional essential. However I am reminded by this evening that the spiritual and emotional power of Music transcends all the notions of “polished performance” we are trained to set as standards and goals. In fact, without it we accomplish little for others, and diminish the return for ourselves.
I feel privileged to have been invited by retreat leaders Tim Hawkesworth and Lala Zeitlin, and for being so well received by the artists with whom they are working. My thanks to you all.
Robert Burkhardt, Oxana Mikhailoff, Shem Guibbory
Rachmaninoff, Shostakovich, Gershwin/Heifetz and Beethoven
Bronxville Womens Club – 7:30pm Saturday February 16thhttps://www.eventbrite.com/e/all-about-love-robert-burkhart-cello-oxana-mikhailoff-piano-shem-guibbory-violin-tickets-54664370604
This performance was a home-coming for me – so many colleagues and friends from early on in my career, folks to whom I have looked up all my life. Although I wasn’t nervous, I do want to say that I had some trepidation about presenting to these superbly knowledgeable musicians my intensely personal artistic vision of J.S. Bach and his music. Somehow it seemed to go well and all were enthusiastic in their appreciation – phew!
In talking afterwards with my life-long friend Earl Howard – composer, instrumentalist – I started to get an idea of a new kind of sound that I might bring to the Bach works – one in which my particular violin and it’s unique sound would play a large part. More on this as the Journey of 100 continues.
At the Jr. B# Musical Club of Central New York, 7 pm
My performance tonight is part of an evening that includes Helden Tenor Jon Frederik West giving a talk about the role of Samson in Camille Saint-Saens’ Samson and Dalilah – a MET Opera HD world-wide theatrical broadcast this Saturday afternoon.
What a great night. My friend and colleague Jon Frederick West started the evening out with a super presentation on Samson and Dalilah – MET’s upcoming HD Theatrical Broadcast, this Saturday afternoon.
The tiny room was packed with young musicians, some of whom I have coached in the past – Jr. High and High School players all from within about 50 miles around Utica. Like this morning, I let the music flow where it would, and in the interests of making an early evening for all, I only took a few of the repeats. 🙂 . Thank you to Sar Strong, Senior Advisor/Coordinator of the Jr. B# Club, for inviting me.
10:00-11:30am Lecture-Performance Musical Responses to Oppression through the music of Prokofiev, Shostakovich and Gershwin
In this lecture program we explore three astonishingly different works:
Prokofiev’s Sonata in D Major Op.94a written during the middle of WWII when he was protectively sequestered by Soviet Bodybuilding Motivation – Your Game kvalitet doxycycline med forsendelse er kroppsbygging sunt? authorities, deep in the Ural Mountains; Preludes Op. 34 by Shostakovich, written when his life seemed to be hanging by a thread under Stalin’s displeasure; and Jasha Heifetz’s arrangements from George Gershwin’s Porgy and Bess.
JCC on Hudson
371 S Broadway, Tarrytown, NY 10591