Articles Written By: jenn

Aron Zelkowicz

With a broad career as a cellist, performer, teacher, and administrator, Aron Zelkowicz has cultivated a repertoire both familiar and obscure. He serves as the Founder and Director of the Pittsburgh Jewish Music Festival, which presents rare and diverse works from Jewish musical traditions to Pittsburgh audiences every spring.  Now entering its ninth annual season, the Festival features renowned ensembles and guest artists from the orchestral, chamber, early music, rock, and world music genres in innovative and thematic programs.  Under his guidance the Festival has commissioned several works from established composers, received major grants and mainstream critical acclaim, and has been featured in full-length radio and cable television broadcasts.

As principal cellist of the Miami Symphony Orchestra, Dr. Zelkowicz maintains an active concert schedule in Miami as well as with the Pittsburgh Symphony Orchestra on American and European tours.  As a chamber musician he has performed at the Tanglewood, Banff, Aspen, Sarasota, Chautauqua, Colorado, and Sunflower music festivals and with members of the Emerson and Cleveland Quartets.  Dr. Zelkowicz has served on faculties and given master classes at universities and festivals throughout the U.S. as a teacher and coach to young string players.



  • WHAT: An Art Basel Opening celebration
  • WHERE: @ Whale & Star
  • WHEN: November 29th 2011

Anne Chicheportiche (violin) & Ciro Fodere (Piano)



◊ WHAT: An Art Basel dinner party

◊ WHERE: @ the m building

◊ WHEN: December 3rd 2011

Anne Chicheportiche (violin)

Naomi Culp (violin)

Daniel Andai (viola)

Aron Zelkowicz (cello)

From Beethoven to the Beatles | MISO

Report from NBC



Beethoven Op. 132 by Matt Taylor | Miami

Beethoven & Art | MIAMI

Come listen to a musimelange public performance @ the MAM (Miami Art Museum)

♦ Thursday the 13th of October @ 6pm. You will experience a “melange” of Art & Chamber Music.

♦ We will be performing, with members of the MISO, the Beethoven String Quartet Op 132.

♦ The concert will be paired with the discovery of Enrique Martinez Celaya’s “Schneebett,” a two-room installation inspired by Beethoven’s convalescence and death in Vienna, Austria, in 1827, in the Anchor Gallery section of its Permanent Collection installation.

The title, Schneebett (“Snow-bed”), is from a poem by Holocaust survivor Paul Celan, a meditation on death. In one room is a refrigerated bronze bed, its surface covered in a thick layer of frost. Behind it is a large tar-and-feather painting of a snowy wood. The entry to the room is blocked by a pile of logs and branches. On the other side of the blocked doorway is an antechamber, equipped with a solitary chair from which a viewer can peer into the inaccessible “bedroom.” Nearby is an electric compressor, whose power keeps the bed refrigerated. Schneebett was first created for the Berliner Philharmonie in 2004, where it accompanied a program of Beethoven works.


WHEN: Thursday, October 13th @ 6pm

WHERE: Miami Art Museum | 101 W Flagler St

WHAT: Performance | Ludwig Van Beethoven’s String Quarrtet Op 132 & Exhibition | United States Debut of Enrique Martínez Celaya’s Schneebett

WHO: member of the MISO

HOW: MAM members free – non-members $10

RSVP: | 305.375.1704

PARKING: $5 at 50 NW 2nd Ave. (with validation)

musimelange @ Fashion Night Out

If you missed our featured soloist Daniel Andai dazzling the audience at the Bal Harbour Shops FNO 2011, click on the link below: ↓↓↓

WATCH: 2011 FNO @ Bal Harbour Shops


Angela Garcia

Angela Garcia’s fine dessert creations are a product of her training in French confectionery artistry, which she mastered during her training at “l’Ecole Supérieure des Arts Culinaires de Paul Bocuse” à Lyon, the French capital of gastronomy. Having graduated with the Grand Diplome (Major de Promotion), Angela further cultivated her technique under the direction of such celebrated chefs as:

Alain Ducasse at The Essex House (Three Michelin Stars), New York
Pascal Barbot – L’Astrance (Two Michelin Stars), Paris
Cristophe Moret – Spoon Food and Wine by Alain Ducasse, Paris
Carlo Cracco – Cracco Peck (Three Michelin Stars), Milan
Pascal Molines – (World Pastry Champion) Euro-Expo “500 ans du chocolat”, Lyon
Claus Weitbrecht – Bocuse d’Or (World Cuisine Championship), Lyon
Christophe Canati – Hostellerie Plaisance (One Michelin Star), Saint Emilion


Nicolas Bacri | Something old, something new, something borrowed, something…

The Concerto No. 3 for violin and orchestra op. 83, and its references to older styles.

To be understood, every composer writes music using the same language while featuring his or her own personal pronunciation.  This variation in notation provides contemporary musicians the ability to distinguish the unique qualities of many composers and their time periods.  Over time, new ways of saying the same ideas were introduced to the musical world that would usually take about a century to evolve and then stabilize.  In present times, we find composers emerging at a rapid pace as they generate fresh ideas for new extended techniques that push performers and their instruments to new limits.   Unlike many of his contemporaries, Nicolas Bacri’s works beautifully showcase the lyrical melodies that have been the tradition of violin expression for centuries.   According to Bacri, his music is a form of communication and communion, always giving priority to the balance between his instinct as a composer and the discipline he has developed by working at the piano.  When composing his third violin concerto dedicated to Mirjam Tschoop, Bacri challenged himself to employ non-traditional forms.  His concerto is full of references to older styles like minuets and fugues mixed with 20th-century style.  In combining these two styles, Bacri contributes to the evolution of the concerto by constructing a piece that is both polyphonic and concerto-like in which the soloist can still shine.

LISTEN: Nicolas Bacri – Concerto No.3 – 2nd movement


Excerpts from "Save The Performer" by Anne Chicheportiche

The Wellness of a Musician, and the Importance of an Occupational Health Program in Music Schools.

“Pain and disability are commonplace aspects of a life in sports.  But for musicians, who are, in the words of Leon Fleisher, “athletes of the small muscles,” any pain or injuries to the body are often considered a personal failing, as well as, a threat to status and career.”

Most musicians have, at some point in their careers, suffered some sort of discomfort, pain, or actual injury, as a result of playing their instrument.  While some forms of discomfort may not be serious, and may demand nothing more than a little rest, other discomfort could be the first signs of a serious problem.  The issue is that most musicians do not know when they are suffering from a serious problem, and even if they do, they do not know what to do about it.  The result can often be career impeding or ending injuries.

To better understand these injuries we must first delve into their causes.  Among the various causes are poor technical training, performance anxiety, over-practicing, and environmental concerns such as cold rooms and bad chairs.  The most common injuries that musicians suffer are Tendonitis, Over-use Syndrome, and various shoulder and neck pains.

If musicians are to protect themselves from such injuries they must be provided ample education, early in their careers, about these various risks.  They must learn how to communicate their concerns to a doctor, and how to implement the necessary life-style changes that will promote better musical health.

Unfortunately, musicians, even at the collegiate level, are rarely provided the kind of medical attention on which athletes have come to rely. A student athlete can have access to chiropractic care, acupuncture, massage therapy, nutrition counselling, sports psychology, and other medical consultants. It is time for musicians to pursue a similar quality of medical care for themselves. In doing so schools of music will come one step closer to achieving parity between the athletic and music departments. Ideally, all schools of music should teach elements of occupational health such as the Alexander Technique and the Feldenkrais Method, as well as methods for coping with performance anxiety and general stress.

In the full article “Save The Performer” you will find:


  • Lack of Body Awarness
  • Poor Practice Habits
  • Stress and Lack of Rest


  • Making Wise Choices for Your Education
  • Pedagogical Methods on Relaxation and Motion for the Violin


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