Articles Written By: jenn

Open Rehearsals


a few moments of life shred through the eyes of a dear friend.

Turn on the fan in the car and Whoosh! out flies seed husks left over from little mice that had made the vent and housing their home.

This was a story shared with me from a friend driving a previously shared car across country to its new home.

I shared this story with another freind and her response was her brothers experience.  He was driving his truck, again with the fan, seed husks AND the mouse that had provided the surprise.  Can you imagine the reaction of trying to drive with a mouse running back and forth on the dashboard trying to get out!

Life always has surprises. How we deal with them makes life.


Anne Chicheportiche

Praised by The Miami Herald for her “tonal sweetness, alert dynamic detailing and commanding musicality,” the French violinist Anne Chicheportiche is described by The Washington Post, as a violinist who plays with “fierce assurance.” She has been displaying her “virtuosity and tonal sheen” as a soloist, chamber musician and concertmaster of orchestras in Europe and the United States.

As a passionate chamber musician, Anne performed in various music festivals, including the IMG Artist’s Del Sole International Festival (California), Music Festival of the Americas (Vermont), Jewish European Music Festival (Geneva) and Festival de la Cité (Lausanne).

Anne has served as concertmaster of orchestras in Chicago, Washington D.C. and Miami.  In 2006, she became a member of the Civic Orchestra of Chicago, America’s foremost orchestra for young musicians from around the world. During her years with the orchestra, she performed under the batons of important conductors, including Bernard Haitink, Pierre Boulez, Alan Gilbert, Kent Nagano and Myung-Wun Chung. Other orchestra positions and collaborations have included appointments with the Orchestre de Cannes (France), Orchestre de Chambre de Genève, Verbier Chamber Orchestra (Switzerland), New Millennium Orchestra (Chicago), Nice Academy Festival Orchestra (France) and the Philharmonic Orchestra of the Americas (New York), in venues as diverse as Carnegie Hall, Alice Tully Hall, Chicago’s Symphony Center Orchestra Hall, Geneva’s Victoria Hall and Mexico’s Auditorio National, among others.

An avid performer of contemporary music, Anne has premiered and recorded numerous works by contemporary composers, most recently giving the United States premiere of Nicolas Bacri’s Violin Concerto #3.  She was invited to perform with Le Balcon, an established parisian contemporary ensemble, for their United States debut. Anne has also performed and recorded with well-known artists of different musical genres, including Smokey Robinson, Barry White, The Temptations, Dionne Warwick, Ely Guerra, Natalia Lafourcade, Aleks Zyntek, and many others.

Anne studied with international recognized musicians as Stefan Ghiorghiu, Ilya Kaler and the Guarneri Quartet. She is a graduate of the Geneva Conservatory (Switzerland) as the winner of the Prix-Vidoudet (the conservatory’s highest honor for a stringed instrumentalist). She holds a Master of Music degree from Depaul University (Chicago) and a Doctor of Musical Arts degree from the University of Maryland. Not only Anne is an accomplished musician but also the founder of musimelange, the artistic director of the MISO Chamber Music Program and the Verbier Festival Chamber Orchestra Manager.

LISTENGuillaume Lekeu – Violin & Piano Sonata – 1st movement

LISTENKreisler – Tambourin Chinois

Cultural Advancement Grant Panel Meeting | MIAMI

musimelange feels lucky to have been a Grant Panelist for the Cultural Advancement Grant Program for the Miami-Dade County cultural affairs. Bravo to all the amazing art organizations in Miami that strive for excellence!

French Salon Music | Washington DC

La belle époque, which began during the late 19th century and lasted until World War I, was marked by Franco-Belgian composers Fauré, Saint-Saëns, Debussy, Ravel and also a Spanish influence in Paris. During this period, musical salons were the favorite meeting places for musicians. These salons represented places where upper class individuals hosted important public figures, artists, writers and musicians. The music in this program included works that were commissioned by, dedicated to, or premiered in, a salon.

Women essentially ran the salons. One can appreciate the important role that they played in promoting musicians and circulating their music. Major debates focus around the relationship between the French salons and the public sphere as well as the role of women within the salons. At a time when society was defined and regulated almost completely by men, the musical salon provided a place for women to exercise a powerful influence. Women were the center of life in the salon, and they carried a very important role as regulators. These women were usually clever and brilliant, but at that time their cleverness and brilliance were primarily geared toward introducing their friends to new ideas and ways of life through happenings at the salons. Their particular gift was to inspire others. Much of the fascination that gave them such power in their day still clings to their memories.


French composer Claude Debussy (1862-1918) is one of the most important figures of French impressionistic style even though he never liked to be called an impressionist composer. In letters, Debussy shared that he is “trying to do ‘something different’–an effect of reality…what the imbeciles call ‘impressionism’, a term which is as poorly used as possible, particularly by the critics, since they do not hesitate to apply it to Turner, the finest creator of mysterious effects in all the world of art”. Specific works of literature inspired most of Debussy’s compositions. For him, “music and poetry are the only two arts that move in space.” He explains, “musicians who do not understand poetry should not set it to music. They can only spoil it.”

Although Debussy did more to expand the possibilities of form, harmony, voice leading, and timbre than any other composer of his era, ten years before his death, he had yet to compose any music for violin. Arthur Hartmann (1881-1956), a brilliant Hungarian-born American violinist, helped solve this matter. In 1908, he attended a performance of Debussy’s opera Pélléas et mélisande (1902). Hartmann fell in love with Debussy’s music and sought out the publisher to acquire any violin music that Debussy might have written. Unfortunately, the publisher’s response was not one Hartmann wanted to hear. Hartmann then contacted Debussy directly and commissioned a work for his tour in United States. Since Debussy had little time to compose any violin music before the violinist’s next recital, Hartmann asked the composer for permission to transcribe some of his songs to the violin. The request was well received and started a friendship between the two musicians. In 1914, Debussy accompanied Hartmann in a recital that included the three transcriptions Hartmann had created from Debussy’s music.

“Il Pleure Dans Mon Cœur” (1885–1887) | Arranged for Violin and Piano by Arthur Hartmann  (1908)

Il PLeure Dans Mon Coeur is a movement from Claude Debussy’s song cycle Ariettes Oubliées for voice and piano written between 1885 and 1887. These settings of some of the best-known poems of Paul Verlaine (1844-1896) mark Debussy’s transition from a traditional composer in the style of Charles Gounod (1818-1893) to a more individual artist. Debussy’s music of Il Pleure Dans Mon Coeur”expresses the melancholy of Paul Verlaine’s (1844-1896) poem, this soft and light melancholy of the hearts who don’t know why they are sad.

“La Fille Aux Cheveux de Lin,” (1910) | Arranged for Violin and Piano by Arthur Hartmann  (1910)

La Fille Aux Cheveux de Lin, meaning The Girl With Flaxen Hair, is the eighth number of Claude Debussy’s Préludes, Book I (1909-1010). The piece originally written for piano solo was inspired by Charles-Marie Leconte de Lisle’s (1818-1894) poem La Fille Aux Cheveux de Lin (1852) in the book of poetry Chanson Ecossaises, meaning Scottish Songs.

“Beau Soir” (1880) | Arranged for Violin and Piano by Arthur Hartmann  (1910)

Claude Debussy’s Beau soir (Beautiful Evening), one of his youthful works, represents a stage of orthodox romanticism, which later lessened with musical mastery. With poetic texts taken from a collection entitled Les aveux (Confessions) by Paul Bourget (1852-1935), a personal friend, Debussy depicts the poet’s desire to be happy and enjoy life on a gorgeous evening, even though death is inevitable.


“Berceuse,” (1913)

The French composer, Germaine Tailleferre, was the only female member of the famous Les Six, a group of French composers who met at the Conservatoire de Paris around 1912 and became very close friends. The group included Georges Auric (1899- 1983), Louis Durey (1888-1979), Arthur Honegger (1892-1955), Darius Milhaud (1892- 1974), Francis Poulenc (1899-1963) and Tailleferre. Their music is often seen as a reaction against the musical style of Richard Wagner and impressionist music.

Tailleferre started composing short works at a very young age. Despite the opposition of her father, she auditioned for the Conservatoire de Paris in piano and solfège. In 1913, she won the first prize in counterpoint and harmony at the Conservatoire de Paris. During that successful year, she wrote Berceuse, which she dedicated to her professor Monsieur H. Dallier. Berceuse, meaning “lullaby” in English, is very well written for violin. The flow of the melody without constraint and ease seems as if inspired by Gabriel Fauré.

LILI BOULANGER (1893-1918)

“Deux Morceaux pour violon et piano,” Nocturne (1911) – Cortège (1914)

Lili Boulanger, the younger sister of the famous French composer Nadia Boulanger (1887-1979), was the first woman composer to win the Prix de Rome in 1913. French composers Hector Berlioz and Claude Debussy had previously won the prestigious award. In 1914, while studying at the French Academy in Rome and recovering from a severe illness, Lili Boulanger composed the tone poem, Cortège, here a lively and festive piece. The term “cortège” is used to describe either a slow procession or a victorious march. Boulanger appears to have written the piece in the “happy mood” showing her strong and positive character to overcome her illness.

Lili Boulanger dedicated Cortège to violinist Yvonne Astruc (1889-1980), a violinist and friend of the family who had often come to play at the Boulanger household. According to Darius Milhaud (1892-1974), Astruc’s “manner of playing is both purposeful and expressive.” In 1937, a French journal, “Le Petit Radio,” described her as the “Ambassadress of the French Musical Art” due to her noble style of playing, the beauty of her sound, and her impeccable technique. The French government awarded her the prestigious French Légion d’honneur. She premiered works dedicated to her like Darius Milhaud’s Concertino de printemps (1934) and Germaine Tailleferre’s violin concerto (1936).

After Lili’s death in 1918 at the age of twenty-four, Yvonne Astruc and Nadia Boulanger recorded Cortège in 1930, pairing it with Nocturne, also written for violin or flute and piano dedicated to Marie Danielle Parenteau. This little piece that Lili composed in 1911 was written in the impressionist style. It starts with a long pedal C in the piano, over which a hauntingly beautiful violin melody moves. The two voices push each other to a central powerful climax, which then fades back to its earlier, gentle atmosphere. Concert attendees were encouraged to listen for Lili’s musical quotation of Claude Debussy’s Prélude à l’après-midi d’un faune (1892-94) and Richard Wagner’s Tristan und Isolde (1857-59).

GABRIEL FAURE (1845-1924)

“Sonate pour violon et piano,” No. 1. (1876)

One of the leading salonnières of the Parisian musical scene, Pauline Viardot (1821-1910) born Garcia, is one of the little-known heroines of French music. The New Grove Dictionary of Women Composers describes her as an accomplished woman. She was a mezzo-soprano and composer, taught at the Paris Conservatory, and presided over a music salon in the Boulevard Saint-Germain. Through her salon, she helped launch the careers of many composers, including Camille Saint-Säens and Gabriel Fauré. For the young Fauré, Pauline Viardot “was by far the most glamorous female musical personality that [he] had ever encountered.” When composing his first sonata for violin and piano, in A Major, at the age of thirty, Fauré was courting Marianne Viardot, Pauline’s daughter. It was for Marianne’s brother, violinist Paul Viardot (1857-1941), considered a great salon player by the brilliant violin pedagogue, Carl Flesh (1873-1944), that the sonata is dedicated.

Ardent, elegant and refined are some of the adjectives that describe the music of Gabriel Fauré. His teacher, Camille Saint-Saëns, hailed this sonata for its “formal novelty, quest, refinement of modulation, curious sonorities, [and] use of the most unexpected rhythms.” The Sonata No. 1 for violin and piano was Fauré’s first chamber- music work and is considered a milestone in the history of that genre, not only in France but throughout Europe. It came ten years before the famous César Franck (1822-1890) sonata for violin and piano (1886), and three years before the violin sonatas of Johannes Brahms (1833-1897). The work displays both exuberance and its own style of intimacy, mirroring the image of the composer. According to violinist Jacques Thibaud (1880- 1953), although “not especially difficult to play,” Fauré’s sonata in A Major for violin and piano can be “hard to interpret. It’s largely a matter of physical and mental touch.”

In the first movement the melodies unfold one after another, creating a propelling momentum. The elegance is complemented by youthfulness, and hopeful, refreshing qualities. The music flows on without constraint and with ease. The second movement is both tender and melancholic. The third movement, although written in 2/4, is like a “Scherzo;” and it is considered to be a masterpiece of French musical wit and brilliance. It displays a lightness and fast tempo in the outer parts with a rich middle section. This style became a prototype for later scherzo movements by both Ravel and Debussy. The final movement concludes brilliantly, lending boldness to a splendid work filled with beautiful, impassioned melodies.

Anne Chicheportiche

Subscribe to our mailing list

Powered by Robly
the m building

Katinka Kleijn | May 2012

Katinka Kleijn will be performing with the MISO and musimelange in May 2012.

Ms. Kleijn has been a member of the Chicago Symphony Orchestra since 1995. Her list of solo credits includes appearances with the Chicago Symphony Orchestra at youth concerts; The Hague Philharmonic Orchestra; the Chicago Sinfonietta; the symphony orchestras of Elmhurst, Sheboygan, DuPage and Indian Hill; the Highland Park Strings; the New Millennium Orchestra; and the Illinois Philharmonic. Kleijn also appeared at the Marlboro Music Festival, on the Ravinia Festival’s Rising Star Series, and on Dutch National Radio.

An avid chamber musician, she has partnered with pianist Richard Goode and cellist Lynn Harrell, joined the Chicago Chamber Musicians in 2006, and was invited to join the Kronos Quartet earlier in her career. As a member of the International Contemporary Ensemble (ICE), she recently toured to Poland and Mexico, and she performed the American premiere of Zona for solo cello and 7 instruments by Magnus Lindberg at the Mostly Mozart Festival at Lincoln Center. She regularly performs on the CSO’s MusicNOW series, most recently in Mark-Anthony Turnage’s Kai for solo cello and ensemble with Cliff Colnot conducting. Her May 2007 American premiere of Eternal Escape by Dai Fujikura was described by John von Rhein of the Chicago Tribune as “a five-minute tour de force, played with wonderfully incisive bravado.”

click here for the MISO season 2011-12


a few moments of life shred through the eyes of a dear friend.

Even though I’m a nurse, a trip to the hospital still brings unease to the heart. You don’t know what will happen, and let’s be honest, the fear of the unknown is always present, until I glanced up to the ceiling of my hospital room, I saw a happy face clown balloon smiling down at me. He has a gold face, multicolored hat, cute black eyes, the appropriate red nose and a special grin.

Every day it was great to see that happy face grinning down at me – made procedures a little easier. For two weeks I enjoyed having my friend,  Fred. To my pleasant surprise the day before I left the hospital, Fred had floated down to my bed. We were fated to be friends.

After being moved to rehab, I taped Fred to the wall beside my bed. That happy face helps my mind, body and soul heal. We all have to deal with trauma of all kinds but I wish for you a Fred. Amazing such an inanimate object can bring such joy.


a few moments of life shred through the eyes of a dear friend.

It has been said we all walk to the tune of a different drummer
What music does your life make?


Letter from MISO’s Eduardo Marturet

With great pleasure and anticipation we welcome MUSICMELANGE as a new partner of THE MIAMI SYMPHONY ORCHESTRA through our STRATEGIC ALLIANCES program.

We are extremely excited about the potential of this new institutional relationship as we are convinced that the future of chamber music lies in creative programing and high artistic standards, virtues at which you are well known to excel.

We wish you much success in this new venture and sincerely hope that your leadership of MUSICMELANGE will prove highly beneficial for both your artists and our community.

With warmest regards,

Eduardo Marturet Music Director & Conductor The Miami Symphony Orchestra

click here to view the MISO Strategic Alliances

Visit Us On FacebookVisit Us On TwitterVisit Us On Youtube