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Volume XXIII, Number 3 • August 2002
The International Music Club:
Everything you always wanted to know, but were afraid to ask!
Last fall, after somehow not doing so all these years, I decided to try going to the International Music Club (IMC). I was immediately hooked! The rehearsals were well run, both fun and productive. And although the group rehearses only once a month, they somehow have a large enough repertoire to play for entire evenings of dancing!
Since some of you, dear readers, may know as little about IMC as I did, I’ve assembled this motley collection of history plus comments from the IMC leaders, IMC members, and people who enjoy having this music to dance to.
--Julie Sussman, FolkNews editor and IMC participant
FAQs
• What is the International Music Club (IMC)?
IMC is a program of the Folk Arts Center of New England. It is a professionally led collection of amateur musicians who enjoy learning international dance music.
• Who runs IMC?
Barbara Pixton directs the orchestra and Ray Rosenstock directs the chorus. Read what they have to say, below.
• Who can be in IMC?
Anyone who wants to learn to play or sing this kind of music. We do this for fun. It is open to all, without audition, though male singers and clarinet players who can read C notation (or are willing to learn) are especially welcome.
• When and where does IMC rehearse and perform?
We rehearse at the FAC office in Melrose [update, 2006: rehearsals are at Goddard House, Brookline, MA] one Sunday a month from September through May, and provide live music for FAC’s Friday international dance once a month. On rehearsal days, the orchestra meets for two hours, then the singers meet for two hours. Some hardy souls stay for both sessions!
• What should I do if I’m thinking of joining but I’m not sure?
You can pay for the entire season, or for individual sessions. So just come some Sunday and try it out! A Brief History of IMC
Fall 1994: Barbara Pixton starts IMC, for instruments only.
Fall 1995: Martha Sullivan starts the singing component of IMC, at Barbara’s invitation.
Fall 1996: Julia Poirier takes over the chorus from Martha.
Fall 1999: Ray Rosenstock takes charge of the chorus.
Leaders & Participants Comment
Barbara Pixton, instrumental leader:
In the fall of 1994, after having participated in “Roaring Jelly,” “Boston Scottish Fiddle Club,” and George Caba’s “Transcarpathian Ensemble” at EEFC Balkan Camp, I conceived the idea of having a similar group sponsored by FAC. I was much influenced by George Caba’s all-inclusive attitude. If a cellist walked into the class George would create a cello solo. When I showed up with my panflute, barely able to play, he created a panflute-recorder duo, with Ray Rosenstock on the recorder. He always managed to get a great sound by the end of the week no matter what the level of musicianship was in the group.
Singing is a big part of the international repertoire, so in 1995 I asked Martha Sullivan to lead a singing session as part of International Music Club. After she stopped, Julia Poirier took over the role. When Julia ran out of time I asked Ray Rosenstock.
At some point IMC began playing for the FAC Friday dance. I don’t remember whether we were invited or we invited ourselves, but it has worked out well for both IMC, because we have a venue and goal, and for FAC, because they get live music and a large sociable crowd of people (us) once a month.
Over the years I have formulated three simple goals and one rule. The goals are: 1. Make the dancers happy. 2. Make the music sound good. 3. Have a good time. The order of these goals is important. Achieving the last and not the first is a big mistake. The one rule is: If you didn’t play it or sing it at rehearsal don’t play it or sing it at the dance.
You might still ask after reading all this why I started IMC. The short answer is for fun. The longer answer is to give people an opportunity to participate in a small way directly in music of varied cultures in a way similar to the way FAC facilitates participation in the dance of other cultures. I grew up studying piano and giving complicated solo performances to a room full of silent people passively listening to every note. The experience of playing in a band to a crowd of noisy people was a revelation. The music doesn’t have to be perfect, and as long as you pay attention to tempo the crowd is very appreciative. In American culture there is a sad lack of participation. We watch movies, sports, plays, concerts and leave the Arts to the “experts.” IMC is my way of promoting participation in culture.
Nancy Reid, piano teacher and long-time international folk dancer:
IMC is amazing! I had a blast at the Friday dance. They have a wide range of music from many countries played by talented musicians and singers. It takes talent for amateurs to play so well with only once-a-month rehearsals. I especially liked the singing. I plan to come whenever IMC plays.
Ray Rosenstock, vocal leader:
It seems like only yesterday that I modestly offered my services to Barbara Pixton as director of the vocalists of IMC, taking the place vacated by such a wonderful musician as Julia Poirier. I thought that perhaps my 26 years of conducting madrigals and suchlike as Collegium Musicum director at Keene State College might translate somehow into directing singers of international folk dance songs successfuly as well. I have also been comfortable in conducting choral groups in sight-singing medieval and Renaissance music since the 1960s, using languages such as Latin, old French, German, Italian, Spanish, Polish, and Hebrew, as well as English, and now I found myself faced with adding quite an array of Balkan and Slavic languages. This was no small challenge!
Barbara enthusiastically encouraged me to give this a try. After all, as a retired musicologist with the above skills, who has also danced to this folk music since the mid-seventies, I was not exactly starting from scratch! And in addition to playing krummhorns and viols, I do also play modern instruments, and I was already performing with Mandala and Vinovana. Singing with Zornitsa, under the leadership of Tatiana Sarbinska, was soon to follow.
Looking back after three seasons of doing this IMC gig with Barbara Pixton, I still feel thankful for this opportunity to work with so many warm and talented people, and I am having the time of my life. Barbara is such a great instrumental leader, and such a joy to work with.
Elizabeth Coulter, participant:
I have been playing the violin in IMC since last November. I had played mostly classical music until then, so it has been eye-opening for me to learn how to play different styles of folk dance music from various countries. I like the way that anyone is welcome to join, and I appreciate the focused atmosphere of the rehearsals. It is great fun to be part of such an enthusiastic and tolerant group.
Crystal Palmer, participant:
If I remember correctly, I started singing with IMC in the fall of 1998. My original goal was simply to learn the words to some of the songs that I enjoyed dancing to: I never thought of myself as a “real” musician.
Well, my wish was granted, and much more. After knocking the rust off my long-dormant ability to read music, I have learned the words to many of the songs I love, as well as the harmony parts. And that was just the beginning.
Some time during my second year with IMC, Paula Rosenstock handed me a tambourine and asked me to play it on a couple of the instrumental numbers. Since then, with plenty of encouragement and support, I have branched out into the use of other auxiliary percussion instruments-- triangle, wood block, etc. Lately I have begun learning to play the dumbek!
It’s been wonderful playing and singing with the group, being surprised by the results as we continually try to improve, providing music for people to dance to, and welcoming those who join us for jam sessions. The only problem is finding enough time in my life for sleep and essential household chores!
Paula Rosenstock, participant and unofficial, self-appointed secretary of the International Music Club:
Even before Ray started conducting the vocalists of IMC, I started scheduling my own months around IMC rehearsals and gigs. They are such great fun-- I have learned so much from Barbara, Julia, and Ray about playing and singing this music in the spirit of its ethnic origins. Barbara has given me great advice over the years, and though I am an advanced beginner on the fiddle (and probably always will be) I am now able to play pieces that I never thought I would be able to play!
The best thing about IMC-- and the aspect that keeps so many highly committed people in our group coming back year after year and keeps ever-growing crowds coming to our Friday night gigs-- is the wonderful spirit that emanates from both Barbara and Ray and all the musicians.
Our rehearsals are great fun, though they can be wonderfully exhausting for the many of us who stay for both sessions. Barbara and Ray teach in a way that is low key, affirming, and encouraging and we plough through amazing amounts of repertory every season. We also have had the great fortune of having native speakers singing in the group who teach us correct pronunciation-- Martina with Romanian and Russian, Tom K. with Czech and Slovak, Nora with French, Vivian with Norwegian, and now our newest member, Faruk, has been helping us with our Turkish. Any Hungarians or Greeks or Armenians (etc.) out there?
Gigs are even more fun, because the dancers are so appreciative. The true thanks go to Barbara and Ray, who put out tremendous effort to prepare for sessions and even more effort making us sound good at gigs!
Marianne Taylor, cofounder of the Folk Arts Center:
IMC Friday evenings are exciting indeed! The instrumental musicians are eclectic and sensitive, thanks to Barbara Pixton’s gracious but strong leadership. She sets a good tempo-- and checks with the dance leader to make sure it’s working. She gives different members and sections of the band the opportunity to solo, so that there is variety and a lack of “sameness.” This is just what folk music should be like!
Ray Rosenstock’s singers just get better and better, singing in a great many languages and giving a delightful dimension to our dance enjoyment. They blow us away with the beautiful sound again and again!
One of the wonderful things about having IMC playing for us is that when they are not playing or singing, they come in and dance with us as well. That is one of the reasons they play and sing with such understanding, I think; knowing how the dance feels is almost crucial to accompanying it well.
We are so fortunate to have Barbara and Ray-- and so happy that they have encouraged so many of our members to play and sing for us. Friday nights, always fun, become even more joyful every time they come! Up with IMC!
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