New Brunswick violinist Katya Poplyansky first participated as a fellow in the TSM emerging artist program in the summer of 2018 and returned the following summer.
Q: Looking back to the second time you participated in the EAP, what do you appreciate the most about what the program contributed to your artistic growth?
A: I loved the challenge and variety of repertoire, as well as the opportunity to work and perform alongside the amazing faculty. As an example, in a few short weeks, I was intimately acquainted with the music of Golijov, Brahms, Copland and Shostakovich, to name a few. I was so grateful to learn and perform this wonderful repertoire …and understand the importance of balance and hard work.
Q: What would be your advice to incoming fellows on making the most of the opportunity?
A: Try to find moments of peace and solace when you can, whether that means taking a walk, reading a book, watching a video, having a tea, anything that brings you calm. These few weeks are so exciting and busy that they can fly by before you know it. Taking a few moments for yourself can help you appreciate the beauty of the music and your colleagues even more.
TSM chamber music EAP mentor, cellist Rachel Mercer, is Principal Cello of NACO in Ottawa and Co-Artistic Director of the “5 at the First” Chamber Music Series in Hamilton.
Q: One of the unique features of the EAP as a whole is the wide age range of the fellows (from 18-35) — which necessitates a diverse range of musicians at different stages of their expertise. How does that challenge you as a teacher to be able to meet different needs of your students?
A: As a life-long learner, I experience the program more like a diverse mix of musicians across the board, and we are united in our shared exploration of the music we are to perform at the end of each session. While I’m the “older” colleague, I feel that every player contributes in their own unique way. You never know where a moment of insight, inspiration or clarity will come from, even in works that some of us may have played many many times!
Q: With students coming from different backgrounds of learning and stages of their musicianship, how do you go about setting a somewhat uniform goal/benchmark for these students upon completion of the program?
A: The opportunity for the performance at the end of each week is definitely the immediate goal and the fact that these groups can perform some of the most complex and significant works in the chamber music repertoire in such a short time is a testament to the artistic level of the program and its director, Jonathan Crow. But every group and piece is different, and with each I endeavour to create a positive atmosphere and cultivate good will.
Compiled and edited by Michael Zarathus-Cook
Michael Zarathus-Cook is Editor-in-Chief of CANNOPY a visual and performing arts magazine. The interviews quoted here are from coverage of TSM in the Hubs & Huddles series presented by CANNOPY. Access the full story by visiting substack.com/@cannopy and subscribing to Hubs & Huddles.
