Author: Elizabeth Erenberg

Audience Engagement, Festivals, Music for Social Change

The Bowed Effect

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This past summer, MusicOvation was fortunate to attend and observe the prestigious Keshet Eilon mastercourse in northern Israel. On camera, we captured much of what makes it among the most innovative festivals in the world.

We saw how archery is connected to string players’ technique, heard the inspiring story of the on-site bow maker, and learned why most virtuosic string players in the world trot globe to a small Israeli communal settlement called a “kibbutz”.

Audience Engagement, Inspirational Stories, Orchestras, Travel

10 Highlights of an Orchestra Tour Through China

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By Elizabeth Erenberg

  1. Cultural connection 

    “Ni hao, Zheng Zhao,” Music Director Lawrence Golan said into the microphone at the beginning of Concert #1.

    The audience erupted into applause so uproarious that it felt like a sporting event, not a classical music concert.

    I was a guest flutist with the Denver Philharmonic Orchestra for their month-long tour through China, and this special moment was just the beginning.

    The audience’s reaction to this one phrase made me tear up a bit. That would continue to happen for the remaining 13 concerts.

  2. World-class venues

    Of all the things we experienced touring this massive country, one thing remained consistent: each concert hall was state of the art. They were all very different, but their acoustics and stunning visual design made playing in them a true pleasure. This remained true even without air conditioning, which is saying a lot.


Views from the stage of each hall

3. Encores

Chinese audiences love encores. Once we played the final note of the printed program, the audiences leapt to their feet with wide smiles, hands clapping, heads nodding, and arms waving. The enthusiasm was electric. Their refusal to stop clapping confirmed that they expected encores. We delivered three of them, but often, that didn’t seem like enough.

4. Fame!

When Maestro Golan finally escorted players offstage to end the concert, people ran up to us asking for autographs. Selfies were snapped by the dozens. Awe-struck children got to hold instruments for the first time in their lives.

Plain and simple, what we do matters.

5. History acknowledged and history made

One of the encores was a string arrangement of a piece titled “Going to the West Gate”. It is a historical Chinese folk song written for soldiers returning home. Most of the time, the audiences recognized the piece after the first few bars. This moment usually made for few dry eyes in the house. Here is a covert little concert video clip I took from my seat in the wind section (thus the poor angle). The end will drive the point home.

6. Being in my element

As one would expect with international travel, there were many “human experiences” on this tour, like jet lag, exhaustion, and sickness, to name a few. When all of these things seem to melt away during the performance, that’s how you know you’re in your element.


7. Spontaneity 

The next best thing to being at home for fireworks on July 4th is to perform in a flashmob of “Stars & Stripes Forever” in a Chinese airport!

8. What was lost in translation was found in humor

Here are a couple of the many backstage signs that had us chuckling heartily.

funny signstage sign 29. Bonding with the music

After playing the Franck Symphony 14 times, it is easy to get a little saturated with it. On the flip side, an opportunity to really bond a piece in this way is a special opportunity. You really can get something new out of a piece each time you play it.

10. Perspective

In the past year, I got married, closed out my life Boston, and moved to a small town in Pennsylvania for my husband’s new career opportunity with the York Symphony Orchestra. Then, he and I both got invited to play on this tour.

All these radical and tumultuous life changes eventually brought about this opportunity. Being a musician was the reason, the cure, and the reward for all of it. That’s what I call #worthit.


Album Release, Future of Music, Instrument


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ascendn coverMy musical identity is like a kaleidoscope. I’m a different thing from every angle. I’ve morphed from performer to teacher to music advocate, and all of the above at different moments in time.

In addition, as my teachers can probably confirm, I’m a bit of a different breed.

I channeled Jimmy Hendrix when playing fast runs in a Mozart concerto. I’ve made Greek Mythology “hip.” I write quirkyblogs as another artistic outlet. I’ve even dabbled in standup comedy.

Some people would say “just make up your mind.”

I say, “where’s the fun in that?” In other words, I don’t know how.

Along the journey of trying to figure out who/what I am, I’ve been deeply influenced by happenings in society. Outdated values, bankruptcies, and negativity in the music world have tainted my inspiration to *just* perform. .

(One thing I decided to do about that, cough cough, is create this site.)

In my performing life though, I’ve been lifted by playing in many new settings, emotionally moved and well traveled by providing music for wedding ceremonies, energized by my private students, and motivated most of all by just playing, in any capacity, every day. My journey for a one identity is ongoing.

Amidst all that melodrama, I recorded “ASCEND.”.

By bringing together composers and performers who are my friends, showcasing their music in a new way, and creating a legacy, my confusion went away. All that mattered was the music.

What made the experience even more meaningful is that each collaborator has similar multiple identities, but music is the thread that ties them, and us, all together. Our collaboration on this project reminded me of why I am a musician, no matter how much the meaning of that changes.

On April 26th in Boston, I invite you to join me as I officially “release” this album with a live performance celebration.

What to expect: Albert Oppenheimer’s “Quirks” is a giggle-inducing, buoyant flurry of two ‘duo-ling’ flutes. Kurt Mehlenbacher’s “A Glimpse of Heaven” for flute and vibraphone may bring you to tears. Russell Steinberg’s “Flute Fantasy” will make you see every color shade imaginable. John McDonald’s “Spinning Melodies” will make you feel like you are part of a strand of DNA. William Kenlon’s “Bonsais” will transport you to Japan under a forest of pine trees. Jeannette Chechile’s “Spring Duet” will mesmerize you with two different flutes’ majestic blend.

Performers joining me include Maria Finkelmeier on vibraphone, Elizabeth Reian Bennett on shakuhachi flute, John McDonald on piano, Michael Reichman on flute, and special guest members of the Willow Flute Ensemble.

If you don’t live in Boston, I’ll be streaming live! Link to be announced soon. Listen to excerpts and learn more

I hope you’ll feel lifted. I sure have.