How to go
What: “Concertmaster & Friends,” featuring Dayton Philharmonic violinist Jessica Hung
Where: NCR Renaissance Auditorium, Dayton Art Institute, 456 Belmonte Park N., Dayton
When: 6:30 p.m. April 28
Tickets: $20 for adults, $18 for seniors, $10 for students
More info: (888) 228-3630 or www.dayton philharmonic.com
DAYTON — Some of Jessica Hung’s musical priorities will be on display April 28, when the Dayton Philharmonic Orchestra showcases her in a special recital.
Pianist Joshua Nemith and principal horn player Robert Johnson will assist on a program with music by Bach, Beethoven, Brahms and black American composer David Baker.
Born in Kankakee, Ill., to Taiwanese parents, Hung made her solo concert debut in Chicago at age 12 and has continued to excel. At, 24, the graduate of the Cleveland Institute of Music is in her third year as concertmaster of the Dayton Philharmonic Orchestra.
Audiences are still getting to know a woman who also teaches at the University of Dayton and Centerville schools and has cats named Nikki and Aeneas.
To help with that cause, here are 8 questions for Jessica Hung.
Q What is the most unusual piece you have played with the DPO?
A We do a lot of creative programming thanks to our music director, Neal Gittleman, but the one that is fresh in my mind would be the "Electric Guitar Concerto" by Michael Daugherty. We performed it with the amazingly talented D.J. Sparr on our Classical concert series in March.
Q Why the Baker piece (on the April 24 recital)? And do you see similarities between blues and classical?
A The theme of the program is four B's. There are the traditional three B's of Bach, Beethoven and Brahms. I wanted to include something a little more modern. David Baker's "Blues (Deliver My Soul)" adds a fourth B, as well as a different style of music from a great composer who is still living. Though I am mostly trained in standard classical repertoire, when I first heard the piece, it was so catchy that I knew I had to program it. As an added bonus, it's also so well written that it sounds very naturally bluesy, with almost no interpretive adjustments to the actual notes on the page."
Q What is a concertmaster's most important leadership function during a concert?
A As a liaison between the conductor and the orchestra, the aim is to stay in synch with or even anticipate the conductor's wishes during a concert, especially in regards to tempo and dynamic (volume) fluctuations. The concertmaster, in turn, gives cues to the string section and the orchestra as a whole, and ideally serves as a trustworthy role model for his or her colleagues in successfully turning a conductor's silent beats and movements into audible music.
Q Who is your favorite violinist? Why?
A David Oistrakh. He had an incredibly warm tone that is just impossible not to love. A violinist's tone is truly unique to each individual. It results from the way he uses his bow, much like an artist with a paintbrush, as well as his particular style of vibrato.
Q How much can a concertmaster's individual playing influence the orchestra's performance?
A While an orchestra is made up of almost 100 autonomous individuals, a concertmaster's individual playing is still integral to a successful performance. The concertmaster's personal artistic standards should be consistently high. Though generally less direct than the conductor's influence, the concertmaster's playing can have a domino effect, inspiring other musicians to also strive towards their personal best.
Q When you play with other orchestras, what adjustments are required?
A I perform as a substitute with major orchestras as my schedule allows. If we're in the middle of a busy stretch in Dayton, sometimes I have to decline, but recently I have been fortunate to be able to play with the Cincinnati Symphony two or three times a year and with the Cleveland Orchestra for a few different programs during the summers, when the DPO is on break. A big adjustment is sitting in the back of the violin section and trying to blend as much as possible, but I really enjoy it. It keeps you on your toes. Each orchestra does have its own sound and style, often influenced by its own concertmaster, so figuring out how to fit into and contribute to that is my biggest task as a substitute.
Q What is the thing you like the most about each of the four pieces (on this concert)?
A I enjoy trying to capture the spirit of each composer. Solo Bach is often considered the pinnacle of violin repertoire, so I have anticipated programming this sonata for quite a while. It spans a huge range in just four movements — complexity, simplicity, virtuosity, solemnity, and sometimes joy. The Beethoven Romance is a beautiful, short masterpiece that shows his genius and nobility on a smaller scale than we are often used to in the symphonies. I am looking forward to enjoying the Baker as much as the audience does. It's really a let-your-hair-down kind of piece. The Brahms ends the program with another masterpiece, and of course I am most looking forward to collaborating with my wonderful colleagues Josh and Rob and making some great chamber music.
Q If you could play another instrument on a high level, what would it be and why?
A I am also a violist and teach some viola students, so if I had more time, I would practice the viola more! In particular, I love the Bach Solo Cello Suites, which are standard repertoire for violists."
Contact this reporter at (937) 225-2377 or tmorris@DaytonDailyNews.com.
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