A look at the Music Department's Latest Performance
On Nov. 1, the Music Department of Santa Monica College (SMC) held an applied music showcase, a scholarship benefit concert at the Eli & Edythe BroadStage. The SMC Applied Music Program helps music students afford private, professional instruction to help prepare them for transferring as music majors to four-year universities.
The Program started off with a piece called “Arise” (2024) by Kechaunte Johnson, conducted by Francis Abastillas. The piece was easy on the ears and was extremely alluring to listen to. From violins (Nikki Iv, Yael Mayer) to snare drum (Stoyan Stefanov), each person had an extremely important role in helping this piece come together. It was a wonderful way to start off the concert.
Next was a piece titled “Concerto for Alto Saxophone, Op. 26” (1941) by Paul Creston, with Adam Kummer on saxophone and Sang Hee Cho on piano. Following “Concerto” was a piano piece titled “Partita No. 2 in C minor BWV 826: I. Sinfonia” (1731) by Johann Sebastian Bach performed by Ryushin Sawa.
Emily Gomez, soprano, with Gary Gray on piano, performed “Frere! Voyez!... Du gai soleil” from “Werther” (1892), an opera by Jules Massenet. This piece was sung in French. Gomez’ voice was clear, loud, and outstanding. The way Gomez performed “Frère! Voyez!... Du gai soleil” was rich and beautiful to experience.
In a brief interview with Gomez, she talked about how long she's been a musician, what inspired her to pursue music, and parts of the Applied Music Program that helped her improve as a musician.
Regarding how long Gomez has been a musician, she said, “Well, I started in choir about 11 years ago, in elementary school and stuff. I basically kept doing it in school. However, once COVID hit, I actually just stopped, so that was around three years I wasn’t doing music. Then I started at SMC and joined choir because I was like, oh, I haven’t done this in a while.”
For what inspired Gomez to pursue music, she said, “I think just listening to music… It's been such a big part of my life where I couldn’t help but want to be a part of it too. I actually remember, there was a little bit of a rough patch where I was just having trouble during the program and I was feeling self conscious.” She added, “Then I went to see a documentary about my favorite band, The Strokes, and it was a documentary about alt-rock in the 2000s or something. I was like, wow, it’s just inspiring to see how other people make such beautiful music and that's something I want to do too. I want to have that effect on people too.”
When it comes to parts of the Applied Music Program that help her improve, Gomez said, “Everyone in the program is super talented and also has a lot of experience. During class we just offer each other so much with just how much we’ve worked on ourselves, so we can help others improve.” Gomez added, “Also, my professors are obviously meant to teach us, so they’re really helpful and it’s really nice to have a lot of one-on-one time with our professors.”
The next performance in the showcase was “Tenderly” (1946), with music by Walter Gross and text by Jack Lawerence. On vocals, Talaya Poindexter; Eric Good was on bass; Te’a Lucasan on trumpet; Ean Greer on piano; and Niko Karassik on drums. Poindexter’s voice combined with the smoothness of the trumpet created a warm, soothing atmosphere. Following “Tenderly” was “Sonata for Tuba and Piano II. Aria” by Bruce Broughton, performed by Morgan Jarow on tuba and Sang Hee Cho on piano.
Succeeding “Sonata for Tuba and Piano II” was “Sonata in E minor, Hob XVI L. 53” (1783) by Joseph Haydn with Lukas Renton on piano. The opening of this song was playful, unique, and powerful. Towards the end it was fast-paced and high-spirited.
The next piece was “A Forlorn Screaming” (2024) by Vanessa Merlis, with Yuri Hernandez on french horn, Adam Kummer on saxophone, and Morgan Jarow on tuba. This piece specifically was mysterious, looming, and drew the audience in.
In an interview with Yuri Hernandez, they expressed what inspired them to pursue music and anything specifically related to the showcase that motivated them.
Regarding pursuing music, Hernandez said, “I was in a music school called Yola. I originally started on a different instrument, and even though I continued for years playing that instrument, I never fully liked it and it wasn’t until my senior year when I switched the instrument to what I have, which is a French horn. Then I started to really enjoy music. When it came time to decide what job I wanted to pursue, I thought to myself, if I'm going to struggle with something the rest of my life, I’d rather it be something I love, and that's how I chose music.”
For what motivates Hernandez regarding the showcase, they said, “I’m not the main focus per se, and for the people that are involved in a lot of the other things that are happening, just them showing up and putting all of their effort into this show and their performance, and just them as a person really inspires me to better myself as a musician (and) as their friend for next semester.”
When speaking with Adam Kummer (saxophone) and Morgan Jarow (tuba), they expressed challenges they faced during the showcase. Kummer said, “I played a solo piece and on a student composition. Both pieces were pretty long. My piece was seven and a half minutes and her piece was six minutes or something. It’s a long time to be playing, so it’s a bit of an endurance challenge.”
Jarow said that “certain passages were challenging, specifically in the realm of range. The piece itself had a lot of high notes that are needed to be played delicately. Sometimes it was very difficult for me to run it in practice rooms on campus. Not being able to get that delicate sound I'm really striving for– the notes themselves are not the hard part, it’s the shape around the notes.”
As for what inspired Jarow to pursue music, he said, “It was my high school band director. He actually had a huge influence on me. He was very inspiring in the way that he handled a group of musicians that were going from amateurs to experts in a span of a couple years. The way he taught and directed a group of kids is kind of what inspired me to pursue music in the first place.”
After “A Forlorn Screaming” was a piece titled “Amor” (1978) by Willam Bolcom, performed by Sang Hee Cho on piano and Michaela Anais, a mezzo-soprano. Anais’ voice was clear, expressive, and full. She used body language to make her singing over-the-top and drew the audience in, causing smiles and laughter. She used animated body movements and playful expressions.
“On Green Dolphin Street” (1947) by Bronislaw Kaper was performed afterwards, with Ean Greer on piano, Niko Karassik on drums, and Eric Good on bass. Then, “He’s a Tramp” (1955) by Sonny Burke and Peggy Lee was performed with Erin Castillo providing voice, Sang Hee Cho on piano, Niko Karassik on drums, and Eric Good on bass. Castillo’s voice was clear and passionate, tenderly matching the instruments and creating a beautiful performance.
The last piece in the showcase was “Happy Little Sunbeam” (1953) by Russ Freeman, performed by Aoi Kuroha on trumpet, Sang Hee Cho on piano, Niko Karassik on drums, and Eric Good on bass. The trumpet made the song feel lighthearted and a positive way to end the showcase.
The Applied Music Program is full of talented, hard working musicians who love what they do, and that is evident in their performances, which are full of consistently captivating, passionate energy that captures the eyes of each audience member. The next performance is a Jazz Series with Dave Tull, Friday, Nov. 8 at 7 p.m. For more information on upcoming events, you can go to smc.edu/music.