Alone/Engaged and other Projects

Alone/Engaged: The Six Sonatas and Partitas of J.S. Bach for Solo Violin

About this project

Nicholas spent one afternoon each week during the month of July 2020 at The Chapel of the Cross in Chapel Hill, NC, creating the video mini-series “Alone/Engaged: The Six Sonatas and Partitas of J.S. Bach for Solo Violin.” On Tuesdays, Oct 13, Oct 27, and Nov 10 at 7:30 pm, Nicholas will release one video on his website and YouTube channel featuring two of the six pieces, along with an interview highlighting the work of a different musician working in sustained community engagement across the country. The videos and interviews will also stream live on UNC Chapel Hill’s Facebook and YouTube pages.

“In the solo violin works of Bach, far from being ‘alone,’ one is deeply engaged with the music; its many voices, its jaunty dance rhythms, its spiritual arias, its mystical soliloquies, and its labyrinthine structures. Through solitude and contemplation, one has the time and space to breathe and to engage. Over the past year, being ‘alone’ has encouraged me to think much more about how I choose to ‘engage,’ and the types of daily engagement that music can offer going forward.” -Nicholas DiEugenio

Follow updates and musical previews of this project on Instagram: @dieu_violin

Tuesday, October 13, 7:30 pm: G Minor Sonata and B Minor Partita

Watch Live here at 7:30 pm on UNC Chapel Hill’s Facebook and YouTube live streams, including a conversation with violinist Jacqueline Jove, Director of Education, Sphinx Organization

These videos (below) will be released on October 13 at 7:45 pm


Unraveling Beethoven: Beyond the Canon

Reanimating Beethoven’s 10 Violin Sonatas in the 21st Century

beethovenproject
Tonia Ko                         Allen Anderson                         Jesse Jones                         Robert Honstein                          D.K. Garner

About this project

As part of our ongoing, lifelong engagement with the Beethoven Violin Sonatas, we think a lot about how we hear these works, and the things we notice–not just on repeated hearings, but also with 21st century ears and sensibilities. To de-canonize, undress, and humanize a figure like E.T.A. Hoffman’s heroic Beethoven is paradoxical; we seek a new image for “Beethoven” in our post-canonic age, yet in so doing we reanimate this figure in a different way. We are writing a new chapter in our ongoing relationship with this music.

The motivation for this project is about coming to grips with the concept of the ‘Classic’ from the various standpoints of performer, composer, and listener. What does it mean for creative artists to work alongside the specter of classic works? How do we hear these works now, and what have they become in our 21st century world? Do listeners recognize a canonic, classic work as such, or are we now in fresh, fertile soil for these works in our culture? These are questions that our project seeks to open and to investigate.

Our culture values originality, though we have also inherited a canon of classics and all of the expectations that accompany anything associated with the canon. This project seeks to undress and unravel those expectations a bit, and to learn more about their origins. We want to have our cake and eat it too; we want to move beyond the canon and into the 21st century, and we want to take Beethoven with us.