This rendition of “Syrinx” marks the 101st anniversary of Debussy’s death in Paris on March 25, 1918. I’m in the Chapel of the Four Chaplains at Temple Performing Arts Center.
Mimi’s recording “Freedom” with Charles Abramovic, piano and premieres by Mieczyslaw Weinberg, David Finko, and Richard Danielpour (with Yumi Kendall, cello, in the Danielpour) continues to receive fantastic reviews.
Among the recent accolades for the album and Dolce Suono Ensemble:
- Interview and Review of “Freedom” and Dolce Suono Ensemble in the Huffington Post by Lew Whittington
“Stillman and Abramovic, the core players of DSE, have been performing together for 14 years, their stellar artistic clarity and chemistry is palpable onstage and is vividly captured on their recent recording “Freedom” (recorded in Gould Hall) a collection of flute and piano pieces.”
- “Freedom” is selected as one of Top 5 New Classical CDs for Spring for WRTI Radio by Mark Pinto
- Dolce Suono Ensemble’s “The Americas Project / Musica en tus Manos” review in The Philadelphia Inquirer by David Patrick Stearns
“So much of this music simply invites you to enjoy life. But that enjoyment starts with the musicians, who were in the right zone.”
Mimi and Charles play Lowell Liebermann’s Sonata for Flute and Piano at sound check for recital in Spartanburg, SC.
Mimi and Dolce Suono Ensemble perform the Brazilian choro Aeroporto do Galeão by Altamiro Carrilho and Astor Piazzolla’s Libertango in Philadelphia.
This afternoon I attended a performance by the Aizuri Quartet at the Barnes Foundation in Philadelphia as part of the Curtis Institute of Music’s collaboration with the Barnes. The event was offered in tandem with a wonderful exhibition of the art of William Glackens, the American painter and friend of Albert Barnes who selected artworks in Europe for the collection. The quartet premiered a new work, Parallels, by my friend the composer Alyssa Weinberg, which was her reflection on the work of Glackens. In this evocative piece, the four strings were layered upon each other like brushstrokes of differing intensity, with striking lyrical passages emerging from abstract textures. Then the Aizuri gave a beautiful performance of Debussy’s String Quartet in G Minor, movements II and IV. Written in 1893, the modernity of this music is still striking today, and made a great pairing with Alyssa’s new piece as well as a fitting companion to the art of Glackens. Debussy’s quartet fills me with joy, but I so wanted to get into the act that I had to add my Syrinx, which you hear now with the Debussy quartet at the same time (Emerson Quartet recording).
I recorded Syrinx in my dressing room at the Kimmel Center in between giving masterclasses as Yamaha Flute Clinician at the Youth Education in the Arts band festival in May. It was fun working with lots of talented high school musicians. Visit my Facebook page to see photos from this event!
On May 6, 2014, I performed at a Musical Fund Society of Philadelphia event honoring composer Jennifer Higdon with an award. As a board member of the Society, I was asked to put together a program of her music with my colleagues Charles Abramovic, piano, my duo pianist of 13 years, and Jennifer Beattie, mezzo-soprano. I was delighted to do this as Jennifer and I have been friends for years. The event took place at the historic Union League, a building dating from the 1860s. Before we performed, I slipped into the elegant library to record Syrinx.
It snowed a lot this winter in Philadelphia. I made the most of it indoors, baking muffins which I served with tea and Syrinx.
I performed Syrinx at my recital with guitarist Allen Krantz at the Arthur Ross Gallery at the University of Pennsylvania at the first concert in my Dolce Suono Ensemble’s new partnership with the gallery on October 2, 2013. I felt inspired to play Debussy among the works of his friend Rodin at this exhibition.
At the University of Pennsylvania Museum, I was surrounded by exquisite classical Greek artifacts, feeling tremendously inspired. In this room, the wood nymph Syrinx sought her friends among the figures on the urns. In this context, enhanced by the powerful echo, Debussy’s winding lines for this most ancient of instruments took on a timeless quality.