Ellie Phillips is 14-year old violist with PYP and a freshman at Alliance Charter Academy. She describes her painted violin as a collection of images representing music from various cultures.

Describe your violin in detail.

The theme of my violin, “Universal Language,” is world music. It is a collage of sorts—many different cultures are represented by images depicting their music. For example, the mbira player is representative of the music of Sub-Saharan Africa, the flamenco dancer represents the music and culture of Spain, and the sheet music for Wieniawski’s Obertass Mazurka represents Polish folk music and dance, from which the mazurka originates. I chose the Longfellow quote on the fingerboard because I believe tlat although there are so many people on this planet and so many cultural differences, we all share a medium of expression—music.

Talk more about your focus on world music.

I’ve always loved world music, but I’ve become particularly interested in other cultures’ music after attending a Zimbabwean music festival in 2010, where I learned traditional marimba music. In addition, I was inspired to learn more about Persian music after the Camerata PYP concert with Bobak and Hossein Salehi last year. When it was announced that there would be a painted violin fundraiser, I knew I had to submit a theme for a violin – when else would I have the opportunity to paint one? So I brainstormed, and the theme I liked best for a violin was world music.

Do you have an interest in visual art?

I’ve taken some art classes before; mostly pencil drawing but some with colored pencils and ceramics. I’ve also done a few mixed-media projects, but for the most part, painting a violin was a daring and rather daunting challenge. I don’t have any formal training in acrylic painting, so I had to learn as I worked on my violin.

Ellie’s violin will be a featured live auction item at the PYP Painted Violin Gala on April 19, 2013 at The Governor Hotel. Find out more about the Painted Violin Project and Gala HERE.

ABOUT ELLIE PHILLIPS
Ellie is a 14-year-old freshman at Alliance Charter Academy in Oregon City. She started learning piano at age 4 and violin at 5. She added viola around 11 when she noticed that there seemed to be a need for more viola players in life, and now that has become her primary focus. She absolutely loves studying music and spends a lot of time looking up both famous and rare recordings on the Internet. When not involved with music, Ellie is happiest in her room reading a good book with her cat, Peaches. Ellie knows she can’t die until she writes a fantastic viola concerto, of which there simply aren’t enough.

Distinguished Portland artist Jennifer Joyce was excited to be part of the PYP Painted Violin Project and Gala for PYP earlier this year. Her work was titled “Fiddleheads’ Song,” for dual reasons, explained below.

“I was inspired by the cause, raising funds for the wonderful Portland Youth Philharmonic, as well as by the shape of the violin itself,” she said. She found its lovely organic form “a delight and challenge to decorate.”

We asked Joyce, a New York native and a regular artist for McMenamins hotels and pubs, about her process as an artist working on the inaugural Painted Violin Project and Gala.

About the PYP Painted Violin Project and Gala: The Portland Youth Philharmonic invited eighteen renowned West Coast artists and three PYP musicians to transform violins into works of art. PYP’s Painted Violins were on public view around the Portland metropolitan area from February 7 to April 15, 2013.

These unique works of art will be auctioned at the PYP Painted Violin Gala on Friday, April 19, 2013. This enchanting evening will include an auction, dinner, and performance by Camerata PYP. All proceeds will benefit the musicians of The Portland Youth Philharmonic. Find out more here

How did you come up with your idea?

I worked on several design ideas, finally deciding on the fiddlehead pattern. Whatever I would paint on the surface needed to be in harmony with the existing form. Since the violin was fabricated in China, and I love the paintings of the Sung Dynasty, I designed a landscape (on the back of the violin) from that era. I also discovered that currently the term “Song” is used to describe the era I had formerly called “Sung.” Also, I worked on several design ideas, finally settling on the fiddlehead pattern. Hence the title “Fiddleheads’ Song” references a shape of the violin and the design, as well as the country of origin and a musical form.

Describe some of your process of applying materials.

After sanding the violin thoroughly, I primed it twice with gesso. I removed the strings, tuning pegs and tailpiece. Using charcoal I drew the design on the front of the violin. I mixed up a palette of colors, including a dark background, and proceeded to paint the first side. Each element was painted several times to achieve a richness of color and clarity of line. I painted the tailpiece as a separate component, but constantly made sure it worked with the overall design. I also decided to paint the tuning pegs and the fiddlehead of the neck in metallic bronze to give them a sense of richness. The back was painted in bronze with white blossoms. Then I varnished the case several times with the same varnish mixture.

Talk about your background a bit.

I grew up on Long Island about 25 miles from New York City. My high school had an excellent art department, and we took regular trips into the city to visit museums and galleries. Consequently, I was exposed to a wonderful array of art, traditional and avant-garde. I attended Hofstra University, majoring in art education, and continued visiting Manhattan to check out the new shows. After graduation, I took a detour from art by teaching English for two years in Ethiopia with the Peace Corps.

I moved to Portland in 1969 and have been painting steadily since then. I show at the Spiral Gallery in Estacada and the Rental Sales Gallery of the Portland Art Museum.

I am married to Carl Solomon, and we have two adult children, Meagan and Max, who also live in Portland.

-As told to Holly Johnson

As told to Holly Johnson

Kristin Qian, a 15-year-old junior at Catlin Gabel School and a PYP member since the age of seven, is a star performer when it comes to both art and music. Eight years ago, the young violinist participated in an international music festival in France, and she had her very first solo painting exhibition before entering kindergarten. Her violin design, titled “Stars and Stripes” celebrates patriotism, but it also exudes a wonderful display of imagination, color and design.

We asked her about her painted violin and her life.

Where did you get your inspiration for your violin design?

America is one of the most culturally diverse countries, especially in music and arts. I personally like all types of music: classical, opera, pop, rock, alternative and indie. To create the theme of American spirit for this painted violin project, I reflected and explored the vivacity and versatility of music in America.

Describe your project briefly.

The red and white stripes of the American flag wrap around the whole violin, and 50 stars are painted along the sides. The various colored pegs represent the playfulness of music; the golden scroll and neck symbolize the beauty and subtlety of the musical melodies. Finally, instead of leaving the violin separated from its parts, I put all the elements back into the violin for a complete and dynamic effect.

As a PYP violinist, do you think doing this project gave you a greater appreciation of the violin as a work of art? Discuss.

It is definitely true. I have trained in music composition, piano, violin and visual arts since I was very little. I was fortunate to receive many awards in all of those areas. I think playing an instrument versus composing music and drawing is different. However, they all require creativity and inspiration, though I do think violin and piano require a good physical condition, and writing music and drawing often require more moments of inspiration.

Talk more about your art involvement.

As a visual artist, I opened my first solo painting exhibition in 2000. In 2002, before I entered kindergarten, I had a second solo exhibition at Marylhurst University’s Shoen Library, and was interviewed by KOIN Channel 6. It was so surreal, seeing myself on TV on the evening news as a mere four-year-old! Gradually, my passion and fluency in creating paintings expanded, and at seven, I was in France participating in the International Music Festival there. At that time, the 2004 Summer Olympics were happening in Athens, and I was inspired to paint a series called “Athletic Movement.” I used gouache painted on paper, gave bold and bright strokes of colors, depicted vivid and flexible body movements, and reflected the athletes’ moments in the Olympic games and in their real lives. I’m very fortunate to have support and spectacular resources to let me do what I love.

Learn more about the PYP Painted Violin Project and Gala here.

Kristin’s Painted Violin, “Stars and Stripes”, is on view from April 1-15th at the Art on Broadway Gallery in Beaverton (12570 SW Broadway Street, Beaverton, OR)

(by Holly Johnson)

David Kim, a ninth-grader at Catlin Gabel School, is the second place winner of the 2012-2013 PYP Concerto Competition. He’s been involved with PYP for six years now, and it’s his third year with the orchestra. His performance of Shostakovich’s dissonant, aggressive Cello Concerto No. 1 will take place on Sunday, February 24th at 4:00 PM at Skyview High School in Vancouver, WA. As well as being immersed in music, David is involved with his school’s track and science bowl teams, and a member of the business club. “Though I currently don’t have any specific college plans,” he says, “I definitely intend to continue my music education.”

We asked him about his experience with the competition.

What draws you to the Shostakovich piece? What do you find challenging about it?

The first movement’s contrast of agitated, militant passages with softer, more ominous phrases and repetition of the motif introduced at the beginning continues to be some of my favorite parts of the concerto. Producing a harsh, yet musical sound in the more aggressive phrases is possibly one of the most difficult aspects of the movement, along with its awkward chords throughout the piece.

How did you prepare for a competition like this? How do you prepare for the actual performance?

Slow, consistent practice was essential to my preparation for the competition and performance. To further develop the musical phrasing of the piece, I researched Shostakovich’s life and intentions when writing this concerto, hoping to express the music as it was originally composed.

How did you first get involved in music?

I was first introduced to music at a young age, with my mother playing the piano and two older sisters playing the violin and flute. I chose to play the cello in the second grade, after hearing its low, yet resonant sound in a performance. Hearing that my older sister’s violin teacher had a sister who taught cello to both inexperienced and advanced players, I soon joined her studio and continue to learn from her.

What would you like listeners to come away with after they hear you perform the Shostakovich?

Shostakovich’s harsh, dissonant style of composition often alienates listeners who are not familiar with his music. After listening to the first movement of the concerto, I hope listeners are able to better understand and appreciate Shostakovich’s music, which is very different from other contemporary works.

Rachel Graves, 15 years old and a sophomore at Mountain View High School in Vancouver, is busy as an honors student and a community service volunteer, among other things. But violin is her true passion and the pursuit that absorbs most of her time. A PYP musician for the past four years (with two years in YSE and a year in PYCO before that), Rachel is this season’s PYP Concerto Competition winner and will be performing Mendelssohn’s Violin Concerto in E minor, Op.64, on the PYP Winter Concert (Saturday, March 2, 2013 at 7:30 p.m. at the Arlene Schnitzer Concert Hall). We asked her about that experience and in response, she answered a few questions and created a personal video message to share her thoughts preparing for the concert.

What’s special about the Mendelssohn Violin Concerto for you?

I think all three movements of the Mendelssohn violin concerto are so beautifully written, yet each movement has its own style and character. The first is emotionally moving, introspective and soul-searching, while the second is lyrical, elegant and sweet. The third movement is light-hearted, youthful and virtuosic.

What are the challenges here?

Keeping all three movements in good shape is not easy, and the whole concerto is over 25 minutes long! I’ve had to learn to manage my time well, so I can keep learning new repertoire and practice my orchestral and chamber ensemble pieces too. The hardest movement to do well is probably the third, which has lots of bow works and fast runs, but it’s so fun to play! To have the whole thing in my fingertips and to also play with the entire orchestra was exciting.

How did you prepare for the competition performance?

When I prepare a piece, I alternate between slow and fast practicing, sometimes zeroing in on intonation in more difficult spots. I also rotate through different sections each day. Mendelssohn is so beautiful that I don’t think I will ever get tired of playing it. When I performed at the competition, I was very relaxed, just wanting to play my best so the judges would enjoy the experience.

What did you hope to get across in performing the piece?

Despite the fact they may have heard this piece numerous times already, I wanted the audience to find it still exciting to listen to. I wanted to take them on a musical journey, and to get across to them that Mendelssohn was a genius, and that this one of the most beautifully written concertos of all time.

Rachel Graves, PYP Concerto Competition Winner