What made me fall in love with music was my experience as a child listening to the Guarneri String Quartet.

My family moved a lot when I was growing up, and one constant in my life was that no matter wherever we lived, the Guarneri would be there, on one of their stops on tour.

Going to those concerts sparked in me a passion for the sound of a string quartet and of each instrument, particularly the viola, of course.

The violist of the quartet, Michael Tree, was always gracious in talking to my dad and me after concerts. He had a sparkle in his eye and an engaging manner on and off stage. At that impressionable age, I knew I wanted to be a violist like Michael Tree!

Those Guarneri String Quartet performances have really stayed with me throughout my life.

Melia Watras, violist



The music that first made me love music came in a variety pack.

My earliest memories of the music wafting through the living-room included my father’s big band collection, most notably the Tommy Dorsey Orchestra, in particular, “Song of India” and “Marie.” My mother’s playlist included Nat King Cole, Judy Garland and Tito Puente. I also wore out her LP of Oscar Levant playing Gershwin’s “Rhapsody in Blue.”

Our low-fi Zenith and RCA record player consoles were constantly in use. On my stack of 45s, I first recall Elvis’s version of “Hound Dog”, and “Red Rubber Ball” by The Cyrkle.

My gateway musical was “Carousel,” prompting my lifelong love affair with musical theatre, consuming everything Rodgers and Hammerstein, Lerner and Loewe and Stephen Sondheim produced.

I was a little slow picking up on the British Invasion, and I began to cotton to opera in college.

Music! Such a language!

Steve Gladstone, actor, writer, a.k.a “The Blind Dude”




Kevin Michael Holzman, music director and conductor; Sebastian Serrano, guest conductor; Rob Stull, guest conductor; Rick VanMatre, saxophone soloist

Saturday, March 2, 2019 Patricia Corbett Theater 8:00 p.m.

Toccata Marziale – Ralph Vaughan Williams; Adagio para instrumentos de viento – Joaquin Rodrigo; Concerto for Saxophone and Wind Orchestra – Kimothy Pensyl; The Winds of Nagual – Michael Colgrass

The CCM Wind Symphony is an ensemble of some four dozen undergraduate wind players augmented by a hefty percussion section, a pair of string basses, piano, and harp.

Quite capable of undertaking any contemporary full-scale composition for brass and woodwinds, they did precisely that in their Saturday March 2 concert at CCM’s intimate Patricia Corbett Theater.

Leading the young players, Kevin Michael Holzman, a recent and welcome addition to the Conservatory’s faculty of performing artists, was joined by two talented young candidates for graduate degrees in conducting.

Sebastian Serrano helmed the ensemble with elegant clarity in the opening Toccata Marziale, a 1942 extended fanfare for brass and woodwinds.

Joaquin Rodrigo’s Adagio for Wind Instruments is a single-movement composition replete with melismatic melodies redolent of the Moorish side of the Spanish musical soul. Rob Stull elicited some very nice work from the oboes, clarinets and flutes in the orchestra.

The anticipated appearance of saxophonist Rick van Matre in the American premiere of Kimothy Pensyl’s Concerto for Saxophone and Wind Orchestra drew a sizeable crowd to the event. Pensyl’s work is a freely polytonal, jazz-inflected tone poem in which movement seamlessly follows movement, stopping just long enough for a pair of dazzling cadenzas. Filled with unexpected harmonic twists and turns, lyrical one moment, vividly blunt and bold the next, the music imaginatively replicates the unpredictability of nature in a Korean island that is home to a sleeping volcano.

Pensyl knows how to write for the orchestra and for his soloist, both an esteemed friend of his and a musical colleague with whom he has been playing for quite some time.

VanMatre filled the assignment with complete assurance and flair, delivering a bravura performance that employed both a soprano and a tenor saxophone. Moving through passages of fiendish difficulty that called for extreme agility articulated to perfection, VanMatre demonstrated complete mastery of his two instruments without once faltering or letting go of the intensity that hallmarked his playing.

In the Pensyl work, the young and musically mature maestro Kevin Michael Holzman conducted his players with an equal mix of flexibility for the needs of the soloist and rock solid leadership. With the kind of programming heard on this occasion and that which is announced for the upcoming months,  Holzman demonstrates imagination and attention to the work of a rich pool of contemporary composers writing for wind ensemble, many of them members of CCM’s teaching-performing faculty.

A fantasy for wind orchestra, Michael Colgrass’ The Winds of Nagual mixes inventive orchestration with snippets of melody pieced together to create a fantastical sonic landscape peopled by giants and monsters, wizards and aspiring sorcerers.

Colgrass takes the listener on a musical white knuckle rollercoaster ride, one moment serene, nervous and unsteady the next. Massive tone clusters alternate with delicate filigree work for the high woodwinds. An improbable duet for flute and contrabassoon is followed by an out of tune riff in mariachi style. An altogether wacky, off the wall composition, The Winds of Nagual splendidly led by Kevin Michael Holzman brought the concert to a rousing ending, with all those in attendance giving VanMatre, Pensyl and Holzman an extended ovation.

The CCM Wind Symphony returns on March 29 with a lineup of contemporary works by Julien Monick, Adam Gorb, Joel Pucket and Morton Gould, and again on April 27 with compositions by Miguel Roig-Francoli, John Mackey, Michael Martin and Steve Allee. Saxophonist James Bunte will be the featured soloist in the April concert.

Rafael de Acha           http://www.RafaelMusicNotes.com



I can’t talk about the music that made me love music without remembering the exact moment it happened. I was 9 years old and it was in music class, a weekly gathering where we sang out of songbook of American classics, folk tunes, patriotic songs, a real mix. The song that sparked my passion: “Funiculi Funicula,” I have no idea why, but it was so powerful. It is a joyous song by nature, and I felt that in every nook and cranny of my body and brain when we sang. I’ve tried to explain those emotions to friends and the best I could ever come up with was, “It made me soar inside.” Music has sparked that same reaction countless times since, especially many choral and symphonic pieces, a few operatic arias and many, many musical theater tunes. I’m still soaring, thank God!

Kathy Doane, writer, journalist, educator, editor, musician, dear friend



I remember Daddy playing Perry Como, Jo Stafford, the McGuire sisters, the Mills Brothers… the Chordettes…

He loved harmonies… 40’s music…

He had a high baritone natural voice and was choir director for years at church.

He also sang around town, played trumpet and vibes…

Then we got cast albums and rock and roll on the radio every night… The Mitch Miller Show… learned lots of standards…

Pam Myers, actress, vocalist



When I was three, I was given a tiny little record player and I would play Victor Herbert’s Babes in Toyland over and over and over. My father would also play Mozart and Beethoven symphonies for me on his stereo and my mom would play everything on the piano! Soon after, she began showing me how to play things myself on the keyboard. All those things together instilled an early and deep love of music for me.

Bruce Levingston, concert pianist