In-Person Summer Festivals Return To The Triad And High Country

Following a pandemic year marked by virtual gatherings and event cancellations, arts festivals across the Piedmont and High Country are back full force this season. Among them is An Appalachian Summer Festival in Boone with dance, visual art, theatre and music. The chamber music series kicks off tonight with the world-famous Emerson String Quartet and continues with the Canadian Brass. WFDD's David Ford caught up with violinist Eugene Drucker and French horn player Jeff Nelsen for a preview.

Jeff Nelsen Interview Highlights

On shifting from one musical style and period to another in live performance:

It's just I think the obsession with story and getting present. Whatever the next note is, has to be in that context. So, I think we're pretty passionate about context. So it really is a pretty quick switch to just be in wherever we need for that music. And it's exciting to do that, to change. I mean, the thrill of going from early music to Piazzolla is so thrilling. We also really feel for our audience. So, we get to serve that change up to them, you know, and weave it through. And then we speak at the mic between the pieces. So, we have a nice bridge between those to connect — to lead them — to the next style.

On playing fearlessly:

I think one of the important things is realizing for all of us who are getting good at anything that we take out in front of an audience and perform is that it's not just about being able to do it, it's being able to do it on your first version. And that's a different — it adds a level to our learning. I can very easily believe I don't deserve and that I'm a big imposter within, and I've had to get over that and find ways to serve my audience or serve the art and just do greater things in myself. So, I say fearless performance isn't necessarily the lack of fear, but it's the choice that there are things more important than that fear.

Eugene Drucker Interview Highlights

On the musical output of Dmitry Shostakovich:

There is tremendous intensity in his music in the slow moments, most of which are extremely sad with a lot of pathos — sometimes express quite a desolate, bleak feeling. But a lot of it is ironic or sardonic. You know, there's humor in it. Sometimes the humor is darker, sometimes it's in a bit lighter vein. I would say he was a multifaceted genius, very prolific composer. He composed fifteen string quartets, fifteen symphonies and several operas, jazz suites — you name it he did it.

On beginning the slow movement of the Shostakovich String Quartet No. 14, Op. 142:

Well, I try to get into the aura of the peace. You know, the tonal atmosphere that I try to create is one that would pull the audience in. I'm not trying to project the music out to the audience at that point. I mean, it is a form of projection, but it's sort of the opposite where instead of pushing out, you're pulling in. And I do certain specific things. I play with my bow a little bit more on the fingerboard not too close to the bridge to get a sound that feels both somewhat distant and yet that feels like it's coming from within, within me and hope that the audience will feel that the sound is almost emanating from within themselves.

*Editor's Note: This transcript was lightly edited for clarity.