Falling on lobsters in the dark

Falling on Lobsters in the Dark” (yep! that’s the name of the piece!) is a brilliant exploration of fear through three instruments violin, guitar, and piano. The American composer Paul Richards made every use of the exciting combination and effects of each instrument to create a piece that rocks….

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Commissioned and premiered by the Strung Out Trio, “Falling on Lobsters in the Dark” is a brilliant exploration of fear through three instruments: violin, guitar, and piano. The title is borrowed from a speech before a Rotary Club that we’re all afraid of falling, lobsters, and the dark. The American composer Paul Richards made every use of the exciting combination and effects of each instrument to create a piece that rocks.

Our piano guitar duo plus Korean violinist Naeon Kim teamed up in Fall 2007 to study this piece, our raison d’etre….

Here is the first half of the piece, as rehearsed in in room K206 at the Utrecht Conservatory, minutes before our final master class in May 2008.

Second half of the piece, recorded in the master class with Dutch pianist/musicologist Ralph van Raat:

and watch this space for background info and analysis.

Rendering 7 for violin, guitar, piano by Gijs van Dijk

I urged the guitarist to extract the video of our premiere of “Rendering 7” from the 8 hour video of the Chamber Music Marathon concert of 5 June 2008 in Utrecht. It was a piece the Amsterdam-based composer Gijs van Dijk wrote for our trio with the young Korean violinist Naeon Kim.

In preparation for Gijs van Dijk’s visit this past Wednesday, I urged the guitarist to extract the video of our premiere of “Rendering 7” from the 8 hour video of the Chamber Music Marathon concert of 5 June 2008 in Utrecht. It was a piece Gijs wrote for our trio with the young Korean violinist Naeon Kim.

Rendering 7 by Gijs van Dijk
Rendering 7 by Gijs van Dijk

That we chose to study and perform the “Rendering 7” as a trio before attempting “Abstract and Dance” for our duo was largely due to our readiness and eagerness as a trio to tackle new music. The Strung Out Trio of duo46 and pianist Nathanael May had commissioned, performed, and recorded bespoke works for their violin, guitar, piano trio years before our piano guitar duo thought of getting together with another instrument.

Our trio was formed rather serendipitously. At the beginning of my fourth and final year at conservatory, I suddenly developed a kia soo tendency to grab the most of what was left of my four-year full-time music education. [For a definition of kia soo, scroll down to the middle of the page on Clutter.] I signed up for the Chamber Music Marathon, which entitled an ensemble to coaching sessions with some of the top performers and teachers at the conservatory as well as two recorded concerts in the big concert hall (the oldest in the country).

“Piano and guitar?” questioned Joyce Tan, the violin teacher who was head of the chamber music project. “That doesn’t make an ensemble. You need at least three performers.”

Do we have music for piano, guitar, and another instrument? Yes! A not very well-known piece by the not so well-known 19th century composer Nicholas Stossel (1793-1844). Divertissement op. 33 was written for keyboard, guitar, and either flute or piano. As performers, we preferred to play either well-known works or not so well-known but exciting and challenging compositions to break from the tradition.

The works of Florida-based composer Paul Richards fall in the latter category. Commissioned by the Strung Out Trio Richards’ “Falling on Lobsters in the Dark” ignited our interest, not only because of obscure title but also the history behind it. His three-movement “Cypriot Structures” was the third piece we knew of.

I went back to the conservatory, on a man hunt. Could I find a violinist or a flute player who was good and not taken? On the final day of the chamber ensemble registration, I asked Joyce if she knew of a violinist who fitted the bill. She pointed to a young man who had just whisked into the reception area.

“Are you a violinist?” I asked naively, seeing that he carried what-looked-like a violin case.

“Yes, errr…. sorry?” the tall, slender violinist replied. “I just got back from Korea.”

“You mean, you just arrived?” It was rather late. He must have missed the first two weeks of school. “Are you already in an ensemble? It’s the last day to register for Chamber Music Marathon.”

He scratched his head. “Well, some people have asked me. But I’m not sure if they have signed up.”

Dazzling with hope, I asked, “Would you like to be in a trio with me and a classical guitarist? I have some great music for us.”

“Guitar? That sounds interesting.” I got his attention finally. “Sure, why not?” he looked confident and relieved.

“Wait! What year are you in? Are you any good?” He looked familiar. I vaguely recalled that I had been introduced to him the year before, by my classmate the Indonesian pianist Elwin Hendrijanto. But I had not yet had a conversation with him. And I certainly had no clue if he was a good musician to work with.

“I don’t know. I guess you can ask around if I’m any good,” he smiled as though he had never encountered such an accusation.

Well, I’ll just take my chance then, I thought. There are plenty of violinists at this conservatory….

That was how our trio got formed — on the last day of the chamber ensemble registration by sheer coincidence.

Later I learned that Naeon Kim was one of the best violinists around and very much sought after. He started taking lessons from his violinist father at the age of three in Pusan where he was born. By the time he became a teenager, he had already performed in Japan. To assist the sparsely populated viola department at our conservatory, he even learned to play the viola.

We premiered Gijs van Dijk’s “Rendering 7″ in early June 2008 after undergoing a masterclass with pianist and musicologist Ralph van Raat and separate coaching sessions with violinists Chris Duinham and Kees Hülsmann. Below is the recording of our premiere at the Utrecht Conservatory.