Corrections or additions?

This article by Elaine Strauss was prepared for the

April 18, 2001 edition of U.S. 1 Newspaper. All rights reserved.

Chamber Music for All

In some classical music circles, the dark cloud of

despair hangs low as pessimists read doom into sparse attendance and

aging audiences. However, quality chamber music concerts may be wiping

out that cloud. The Chamber Music Society of Lincoln Center, founded

in 1969, now sponsors more activities than ever before and entices

concertgoers to compete for tickets. Bargemusic, making its home since

1977 on a formerly seagoing vessel moored in New York’s East River,

plays to capacity crowds.

The artists who appear at these high-profile venues are part of a

musical community that surfaces, as well, at the proliferating chamber

music events outside of New York. Members of the chamber

music-performing

community know each other, marry each other, and call on each other

to flesh out performances from La Jolla, California, to Marlboro,

Vermont; from Portland, Oregon to Charleston, South Carolina. Their

numbers are relatively large; Bargemusic alone estimates that about

100 performers play on their floating stainless steel vessel.

The New Hope-based Concordia Chamber Players is an area example of

the loose federations of performers drawn from a pool of high-caliber

musicians ready to trek cross-country and help chamber music flourish.

After a tentative start in 1997, when it was dependent on the New

Hope Arts Commission, Concordia is now moving steadfastly forward

under the leadership of its artistic director and founder, cellist

Michelle Djokic. It formed an independent board in spring 1999.

For the 2000-2001 season Concordia has mounted a three-concert series,

of which the last event takes place at 3 p.m. Sunday, April 22 in

the Stephen Buck Theater at New Hope-Solebury High School on West

Bridge Street (Route 179) in New Hope. The program includes the

relatively-unknown

Suite for Unaccompanied Cello by Gaspar Cassado, Igor Stravinsky’s

"L’Histoire du Soldat," and Gabriel Faure’s Piano Quartet

in C Minor. Performers include William Wolfram, piano; Carmit Zori,

piano; Robert Rinehart, viola, Djokic, cello, and David Krakauer,

clarinet.

Cassado, composer of the piece in which cellist Djokic is the sole

performer, was born in Barcelona in 1897 and studied with his fellow

Catalan, the legendary Pablo Casals. Cassado bases the second movement

of his piece on the sardana, a dance of Barcelona, capital of Spain’s

often dissident Catalan region. Djokic describes the piece as

"very

demanding technically. Cassado was a cellist," she says "and

he fully explored what’s there. He includes double stops, high

positions,

and sustained fifths in thumb position, while you play a counterpoint

melody above them. The counterpoint makes it similar to the Bach

suites.

Cassado captures the spirit of his homeland, Spain, using every device

possible-pizzicato, harmonics, and rhythms. You can hear a Spanish

woman singing in the last movement."

Interviewed by telephone from her home in New Haven, Connecticut,

Djokic (pronounced Jokich) talks about what led her to create

Concordia.

In part, it was enthusiasm for playing with the commonwealth of active

top-notch chamber music practitioners; in part, zeal for promoting

chamber music; and, in part, affection for the Lambertville-New Hope

region where she grew up.

"I thought it was an opportunity to bring my colleagues with whom

I’ve played in wonderful settings to my home," says the

Trenton-born

artist. "The area is so rich in cultural arts. So many great

artists

pass through. But music at the level of the Concordia Chamber Players

was missing." Djokic, whose mother is French, named the group

after that great crossroads in Paris, the Place de la Concorde.

Youngest of seven children, all of whom are musicians,

Djokic, 40, is the child of a father from Belgrade, Serbia and a

mother

from Metz, France. Her eldest sibling, brother Alex, is 15 years her

senior. Her parents met after World War II, when her father a Yugoslav

officer liberated by the Allies, was put in charge of American troops

in Metz. He lived in a military barracks across from the home of his

future wife, which was also the site of the officers’ club. Father

Djokic declined to return to Yugoslavia. "My father was in the

Mihailovic underground," Djokic says. "He would have been

imprisoned immediately if went back to Tito’s Yugoslovia. He had no

choice, but to stay in France."

Fluent in seven languages father Djokic worked as a cultural attache

for NATO, and for the OSS (Office of Strategic Services), which became

the CIA. When he came to the United States in 1952 with his wife and

five children, he had no job. "He expected a big career because

of his skills and experience," says daughter Michelle. "But

he had no idea about the United States’ employment scene with its

connections and hustle. He ended up working for US Steel for the next

40 years in the slab yard doing heavy labor." Now retired, he

and his wife preside over a family with 13 grandchildren.

The family spoke French at home, says Michelle, and the children still

speak French with each other. "It was a very European family,"

Djokic says. "Music was an important part of our upbringing. My

father had shift jobs, but took all seven of us to concerts, and to

music lessons on Saturday." The seven siblings, four boys and

three girls, include two violinists, two cellists, two pianists, and

a violist. Neither parent played an instrument. "My father grew

up on a farm," Djokic says. "It was difficult to go to town.

My grandmother walked to town and carried home packages. She always

asked the neighbors what they wanted, and my father always asked her

to bring back a violin. When he went to the naval academy in Dubrovnik

he took violin lessons. The war started soon after he finished, and

he never played. But he knows what he’s hearing. My mom does too."

Djokic started on the converted player piano that her father could

afford to buy. Later he bought a half size cello from a colleague

at the steel mill. "He bought whatever costed $50 or less,"

Djokic says. "I was nine at the time. We were living in half a

house where all the boys slept in one room, and all the girls in

another.

I had seen my brother Pierre, who was three years older, practicing

cello so I knew about the instrument."

Pierre is now Associate Principal Cellist at the Montreal Symphony.

Brother Philippe, 51, a violinist, is artist in residence at Dalhousie

University in Halifax, Nova Scotia. "We were the three who went

to Juilliard," Djokic says.

She lives in New Haven with her husband Mark Talbott, a squash

professional,

who coaches at Yale. "We’re very focused in our individual

pursuits,"

she says, "and we respect each other’s space. But we know that

we need each other’s support to do what we’re doing." The couple

has a daughter Maya, 9, and a son Nicolas, 7. Talbott’s grandmother,

Katharine Houk Talbott, was a co-founder of Westminster Choir College.

A Westminster spokesman says that she "combined the finer

qualities

of Joan of Arc and Auntie Mame."

Accepted to Juilliard’s pre-college division at age 10, Djokic

attended

the George School in Newtown, Pennsylvania. She skipped a year in

high school and entered Juilliard as a freshman at 16. As an economy

measure, she earned bachelor’s and master’s degrees simultaneously.

"I supported myself at Juilliard by entering every competition

that came my way," she says. "Now prizes are in the range

of $15,000 to $30,000. Then, first prize was $2,000 or $3,000. I

worked

my tail off." Still, despite scholarships and earnings, she owed

$10,000 in loans when she collected her two degrees in 1981 shortly

before turning 21.

Her mentors at Juilliard were Leonard Rose and his assistant, Channing

Robbins. "I have never sat in front of a cellist that could make

Rose’s sound or play with his musical integrity," Djokic says.

"Rose had a big career, and he was not necessarily there every

week. Channing taught us how to walk and Rose taught us how to

fly."

Currently Djokic plays with Speculum Musicae, the New York-based

contemporary

music ensemble. "I’m thrilled by contemporary music," she

says, "and I am so glad that people are embracing it." For

an advocate of new music, Djokic’s Concordia programming shows

considerable

restraint. Of the 29 pieces the group has performed since its

inception

only a small minority were by composers who lived into the second

half of the 20th century.

In her "informances," lecture-demonstrations in schools during

the week preceding the concerts, Djokic says that 90 percent of what

she plays is contemporary. "Kids’ imaginations are triggered more

by contemporary music than the classics," she says. "Finally,

we’re washing out of people’s brains the conception that contemporary

music is difficult."

Through the schools Djokic tries to approximate the wealth of music

to which she was exposed as a child. "Concordia’s outreach made

us unique from the very first day.," she says. "There has

never been any concert without a program in schools in advance. I

want kids in the area to grow up thinking that of course, chamber

music is part of their life, and, of course, concerts are free for

kids, and, of course, the community supports this sort of thing."

Not only are school children admitted to Concordia concerts gratis;

in addition, they are permitted to bring an adult guest at no cost.

The good will the ensemble generates in the school is a mirror of

the good will participating chamber music players have offered to

Concordia.

The fledgling ensemble has benefited from the generosity of its

players.

Concordia’s spring 1997 budget came to $2,400, an artificially low

figure. Concordia’s present budget of $20,000, says Djokic, is

extremely

modest. "Artists’ fees have only gone up $100 since we started

four years ago, but it gets artists closer to what they normally

earn."

"The majority of our musicians live in New York and rehearse

there,"

Djokic says. "New Hope is only an hour and a half away. No

extensive

travel is required. That keeps costs low; we’re not flying in anybody

from California. In chamber music circles people tend to support each

other. New chamber groups bring a new awareness of chamber music.

They embellish what’s already there, rather than competing. The more

this kind of things takes place, the better off we all are."

— Elaine Strauss

Concordia Chamber Players, New Hope-Solebury High School,

180 West Bridge Street, New Hope, 215-297-5972. Michelle Djokic

presents

a concert featuring guest pianist William Wolfam, with ensemble

members

violinist Carmit Zori, violist Robert Rinehart, and clarinetist David

Krakauer. $20; children with an adult free. 3 p.m.


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