Mandolin Moments

By Amy Burcham

"Enjoy."

I remembered the joy of rehearsals and felt my pulse drop. And as Maestro Carlo Aonzo's expressive hands rose in a signature upbeat, his 2011 Manhattan Workshop ensemble began its recital performance of Bach, Vivaldi, Kioulaphides, Falbo, and Squarzina.

Carlo Aonzo - Photo by Jack Hirschorn

An enthusiastic crowd of around 80 people, made up of families, friends, and other interested New Yorkers, enjoyed it as well. Aonzo's introductory remarks made it clear that the musical growth of the participants, not the recital, was the primary goal of the workshop held over several preceding days  - and that, too, was part of its magic.

We were, for the most part, amateurs, able to read and play at least at an intermediate level; some players are quite advanced. Some of us play in mandolin orchestras back home. Others live in towns with no local mandolin ensembles and will have no other experience like this one for the rest of the year. Indeed, I know of no other experience in America quite like the Carlo Aonzo Manhattan Workshop (also known as CAMW), which just held its eleventh consecutive annual session March 24-27.

Carlo Aonzo - Photo by Jack Hirschorn

Carlo is well-known among classical mandolinists for his virtuosity - he is a consummate musician, a master of the Italian tradition both past and present. Among those who have met or worked with him, he also has a well-deserved reputation for accessibility, empathy, perceptive teaching style, communicative skills, and musical integrity.

These character traits immediately registered with Chaim Caron, the organizer of CAMW, when Caron first encountered Aonzo at a recital in the late 1990's. "His music went straight to my heart," said Chaim. After hearing Carlo play that day, Caron decided to begin the study of mandolin, eventually taking up mandocello as well. As a friendship developed between the two men, the idea for a workshop in Manhattan took root. Initially, it was a small group that met in Caron's home. But it quickly grew, and Chaim found studio space to accommodate a diverse and interesting group of people from all over America, Canada, and beyond - this year we had an attendee from Netherlands.

It would be difficult to overestimate the dedication and organizational skill Chaim Caron brings to planning and executing the duties that make this event possible. He is extremely conscientious, and generous in helping the newcomer understand various aspects of the workshop, from logistical arrangements to questions about the music. During the planning phase and throughout the weekend itself, Chaim is thinking of and soliciting feedback on ways to improve the event.

Chaim Caron - Photo by Jack Hirschorn

The music for this brief, intensive gathering is selected and distributed as early as ten months in advance, so that as attendees register they can receive scores and parts assignments and begin preparations. Because Chaim is an ardent admirer of J.S. Bach, a piece by Bach is always included - this year we played his Suite No. 2 in B minor, BWV 1067 - and the rest of the selections are drawn from a variety of Baroque and modern literature, with some emphasis on Italian composers.

Award-winning composer Victor Kioulaphides has regularly contributed pieces written especially with this group in mind.  This year Kioulaphides presented us with his Purcelliana, a delightful fugal tribute to Henry Purcell.  We also played, as is customary, one piece for which Carlo Aonzo was the soloist. The workshop pieces are carefully chosen to provide a range of technical challenges and opportunities for learning. Carlo shares with this group his lifelong knowledge of and passion for the repertoire.

When we met for our first session in the Chelsea neighborhood of New York City, all the tributaries of individual preparation began to converge, phrase by phrase, explanation by explanation, into music. Those who prepared solo parts gained precious experience playing in front of supportive peers before final soloist choices were made. Specific instruction and direction infused trills, tremolo, dynamics, and fingering choices with unity and purpose. Over the course of three very full days, with astute and buoyant help from assistant director Linda Binder (director and conductor of the Milwaukee Mandolin Orchestra), each piece was thus carefully shaped by Maestro Aonzo.

Linda Binder - Photo by Jack Hirschorn

This year, workshop rehearsals ran from Friday to Sunday, with optional technique and ensemble playing sessions offered the preceding Thursday. The final recital Sunday evening - all in all about an hour of music this year - was, as usual, followed by a group dinner, one of several evening activities organized for attendees. Some of these activities vary from year to year: in 2009, a luthier known for his unique, violinistic building techniques brought instruments from his Vermont studio and spoke about his processes.

For several years, Aonzo has headlined a performance Friday night at Bargemusic, a venue that is, in fact, a floating barge docked at the foot of the Brooklyn Bridge. This year, that concert was especially dynamic. The great Russian-American domrist Tamara Volskaya and acclaimed multi-genre guitarist and composer John Carlini joined Aonzo on stage with several other top-notch guests.

Carlo Aonzo - Photo by Beert Graydanus

Was it a perfect weekend? For this Southern American, it was a little cold - an unseasonable chill fell on the city just as the workshop started, and I will say snow and ice are no way to treat a visitor! But other than that, it was a great workshop - well worth the time and effort in preparation and well worth the investment. I'll certainly be back next year to "enjoy."

Carlo Aonzo