On Sunday, November 17, cellist Alexander Hersh looks forward to performing Ernest Bloch’s “Schelomo: Rhapsodie Hébraïque for Violoncello and Orchestra” with Symphony Parnassus in the first concert of its 30th season.

“‘Schelomo’ is a great piece of repertoire that you grow up hearing a lot if you’re a cellist,” he said. “I’ve heard it my whole life, but I’ve never performed it with an orchestra, so this is exciting for me. It’s a fascinating work. It’s wondrously profound and very moving.”

Alexander finds playing this piece with a full orchestra to be both technically and musically fulfilling. 

“You learn a piece so much better when you play with an orchestra,” he said. “It’s so different than rehearsing with a piano, in how much more you have to project, not just volume, but your ideas. In a way, it teaches you the piece so much better because you have to be cognizant of so much more. It’s a thrilling experience.”

When he performs on the stage at the San Francisco Conservatory of Music, Alexander will celebrate deep family roots and a sense of music history: His father, Stefan Hersh, a violinist, and uncle, Julian Hersh, a cellist, both graduated from the conservatory where their father (and Alexander’s grandfather) Paul Hersh is currently a professor of viola and piano.

Another local connection is the composer: Bloch, a Swiss-born American whose music reflects Jewish cultural and liturgical themes, was the first artistic director for the San Francisco Conservatory of Music from 1925-1930. He also taught at UC Berkeley from 1939 to 1952.

A 4th generation string player, Alexander traces his musical past back to his great grandfather, Ralph Hersh, who was a member of the WQXR and Stuyvesant string quartets and principal violist of the Dallas and Atlanta Symphony orchestras. His mom, Roberta, is also a professional violinist (now playing in the orchestra for “Hamilton” in Chicago); his dad performs all over and teaches at Roosevelt University.

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Playing cello since he was 5, the now-26 Alexander grew up in Chicago, where he still lives, though he travels a lot to perform, mostly in New York and Philadelphia. In September alone, he did 11 concerts; in October, six concerts. A passionate chamber musician, Alexander is co-artistic director of NEXUS Chamber Music, a collective of international artists who present a two-week chamber music festival across the city of Chicago each August.

Already considered one of the most exciting and versatile artists of his generation, Alexander has performed as soloist with the Houston Symphony and Boston Pops, and has won many top prizes at competitions  worldwide, including the 2019 Astral Artists National Auditions, National Federation of Music Clubs Biennial Young Artists Competition, New York International Artists Association Competition, Friends of the Minnesota Orchestra, Ima Hogg Competition, Schadt String Competition, Artist Concerts Series National Solo Competition, and the Luminarts Classical Music Fellowship, to name a few.

He has both his bachelor’s and master’s degrees in music from the New England Conservatory of Music and did additional master’s training in Berlin.  

Alexander comes to the Bay Area at least twice a year. While here, he looks forward to seeing friends, hanging out with his grandfather and going to the Marin County Farmers Market. And practicing, of course. “I will mostly be practicing,” he said. “I have a really busy schedule, so I’m forever cramming for the next performance.”

Maestro Stephen Paulson, artistic director of Symphony Parnassus, will lead the orchestra in a concert that also includes Beethoven’s Overture to “The Ruins of Athens” and Nielsen’s Symphony No. 4, Opus 29.

Advance tickets for Sunday’s concert at the San Francisco Conservatory of Music (Caroline H. Hume Concert Hall), 50 Oak St., San Francisco, are available now from BrownPaperTickets. (Tickets are also available at the door.) Please note: The concert starts at 2 p.m.

Alexander Hersh, cello

Guest artist Alexander Hersh performs Bloch’s “Schelomo: Rhapsodie Hébraïque” cello concerto with Symphony Parnassus on Sunday, November 17 at SF Conservatory of Music.

Having already performed as soloist with the Houston Symphony and the Boston Pops, cellist Alexander Hersh has quickly established himself as one of the most exciting and versatile talents of his generation. He has received top prizes at competitions worldwide including the: 2019 Astral Artists National Auditions, National Federation of Music Clubs Biennial Young Artists Competition, New York International Artists Association Competition, Friends of the Minnesota Orchestra, Ima Hogg, Schadt, Artist Concerts Series National Solo Competition, Luminarts Classical Music Fellowship, Borromeo String Quartet Guest Artist Award, Hellam Young Artist Competition, Boston Pops/New England Conservatory Competition, Jefferson Symphony International Young Artists Competition, Society of American Musicians, Saint Paul String Quartet, and the Fischoff National Chamber Music competition.

The Musiq3 critics of the RTBF Belgian Radio company gave Hersh’s performance at the inaugural Queen Elisabeth Cello Competition in Belgium in 2017 a rave review: “With his scenic presence and charm, Hersh has everything to become the darling of the public.”

A passionate chamber musician, Hersh has performed the complete string quartets of Béla Bartok and Alban Berg and much of the rest of the chamber music canon at music festivals worldwide including: Marlboro, Caramoor, Ravinia Steans Music Institute, Music@Menlo, I-M-S Prussia Cove, Perlman Music Program Chamber Music Workshop, Piatigorsky International Cello Festival, Amsterdam Cello Biennial, Kneisel Hall, Lucerne, New York String Orchestra Seminar, Domaine Forget, and the Meadowmount School of Music.

Hersh is co-artistic director of NEXUS Chamber Music, a collective of international artists committed to stimulating interest in serious chamber music. NEXUS presents a two week chamber music festival across the city of Chicago each August, featuring new and obscure works alongside standard works of the chamber music canon. NEXUS plays to unusual and intimate venues with the mission of breaking down the barriers that often separate performers from audience members.

 A 4th generation string player, Alexander’s parents, Stefan and Roberta, are both active professional violinists. His grandfather, Paul Hersh, is professor of viola and piano at San Francisco Conservatory of Music, and his great grandfather, Ralph Hersh, was a member of the WQXR and Stuyvesant String Quartets, and principal violist of the Dallas and Atlanta Symphony Orchestras.

Raised in Chicago, Alexander Hersh began playing the cello at the age of 5. He studied with Steve Balderston and Hans Jørgen Jensen, and attended the Academy at the Music Institute of Chicago. Hersh received his B.M. from New England Conservatory (with academic honors) where he was a student of Laurence Lesser and recipient of the Clara M. Friedlaender Scholarship. In May of 2017, he received his M.M. from New England Conservatory where he studied under the tutelage of Paul Katz and Kim Kashkashian. Hersh was a recipient of the Frank Huntington Beebe fund for studies in Berlin during the 2017 - 2018 academic year where he studied with Nicolas Altstaedt at the Hanns Eisler Hochschule for Musik Berlin. He plays a G.B. Rogeri cello on generous loan from a sponsor through Darnton & Hersh Fine Violins in Chicago, IL.

At its final concert of the season on June 9, Symphony Parnassus will feature guest soloist Mark Inouye performing the Grace Williams Trumpet Concerto, a piece that was new to both him and to Maestro Stephen Paulson, who came across the “hauntingly beautiful concerto” on YouTube while he was searching for newer, or less-well-known works for the orchestra to perform.   

Once Paulson found the Williams’ concerto, he asked Inouye, his colleague at the San Francisco Symphony, to be the soloist. (Inouye is principal trumpet and Paulson is principal bassoon at the Symphony.)  

This is Inouye’s first performance with Parnassus, and he looks forward to working with  Paulson. “He’s a great colleague, and I’m more than happy to do this,” Inouye said. “I am flattered that he would ask me to play the concerto with his ensemble.”

Perhaps surprisingly, one of Inouye’s biggest challenges of performing the concerto is taking the center spotlight.

“I’m used to sitting in the back of the orchestra, rather than standing in front,” Inouye said. “I can play the exact same passage in the back of the orchestra. If I have to do it standing in front, well, that’s rarefied air up there.”

But he’s ready for the task at hand. “It’s always good to go outside of your box, or expand your box,” he said. “It’s a good musical challenge.”

The fact that the concerto was unknown to both Paulson and Inouye isn’t as uncommon as one might think.

It happens often, Inouye said, when conductors or other musicians at the symphony find lesser-known pieces and re-introduce them to the public. “It’s always an incredible discovery to find these gems,” he said, “and it’s a joy going through the process of learning the concerto.”

Written in 1963, the trumpet concerto has three movements; the first two are anxious in feeling, but also have a softer lyrical side that comes as somewhat of a surprise with a trumpet, not always the quietest instrument, Inouye said. The third movement is more dance-like and spirited.

“It’s accessible for an audience,” Inouye said, and said there’s even one part that sounds a bit like John Williams’ (no relation) “Star Wars” music.

Inouye has been familiarizing himself with other Grace Williams compositions (including symphonic works, film scores, choral and chamber pieces) by watching a YouTube channel devoted to her music. She is widely regarded as one of the most influential 20th century Welsh composers.

Williams (1906-1977), was born in the coastal town of Barry, Wales, to two schoolteachers. Her father, William, was a well-respected amateur choral director who encouraged his children’s music studies; Grace, who played piano and violin, was the oldest of three children. After graduating from University College, Cardiff, she went to London and studied composition with Ralph Vaughan Williams (no relation) at the Royal College of Music. Grace Williams’ first film score (“Blue Scar,” 1949) also marked the first time a British woman had scored a film.

She was known for her love of the sea, the theater and the trumpet, which figured prominently in several of her pieces. “I found it interesting that the trumpet keeps appearing in a lot of her works throughout her career,” Inouye said.

In addition to playing with the San Francisco Symphony, Inouye keeps busy as a member of the trumpet faculty at the San Francisco Conservatory of Music.

A native of Davis, Calif., Inouye attended UC Davis for two years as a civil engineering major before transferring to the Juilliard School to study trumpet. He has also played with the New World Symphony and was principal trumpet with the Charleston Symphony before joining the San Francisco Symphony in 1999. When not performing classical music, he likes to play jazz, too.

His solo work with the San Francisco Symphony includes Copland’s Quiet City,  Bach’s Cantata No. 51 and the Haydn Trumpet Concerto, to name a few. He has performed his own jazz pieces with the SFS chamber music series. He has a debut jazz CD here, www.inouyejazz.com.

In his free time, Inouye enjoys running and surfing, and says he likes to compete against himself to better his own performances. “The competition is always there, but it’s always internal,” he said in this video produced by the San Francisco Symphony. “I’m not necessarily trying to run faster or surf a bigger wave than the guy next to me. I’m trying to surf a bigger wave than I’ve ever done before.”

In the video, he also talks about the parallels between playing in the orchestra and catching waves on a surfboard. “The excitement of catching a wave is very similar to the adrenaline rush of playing a symphony or a climactic moment in the band,” he said.

“It’s awesome. I cannot think of doing anything else.”

 CONCERT INFORMATION
Symphony Parnassus in concert at 3 p.m. Sunday, June 9 at the San Francisco Conservatory of Music Concert Hall, 50 Oak St., San Francisco, Calif. Also on the program is Shostakovich Symphony No. 6 and “Arthur Machen’s Childhood,” a world premiere from Symphony Parnassus resident composer Preben Antonsen.

Advance tickets are available from BrownPaper Tickets: https://www.brownpapertickets.com/event/4216912 Cost is $25 for adults; $20 for seniors and $10 for students & under 26.

Stefan Cwik, composer-in-residence

Stefan Cwik, composer-in-residence for Symphony Parnassus, studied composition and guitar performance with Dusan Bogdanovic, and composition with David Conte, at the San Francisco Conservatory of Music. He studied with composer Michel Merlet at the European American Musical Alliance summer program in Paris, France, and completed his graduate studies in composition with John Corigliano at The Juilliard School in New York.

Bassoonist Paula Brusky premiered Cwik’s Eight Miniatures for Chamber Ensemble (Hommage a Stravinsky), a winner of the 2010 Bassoon Chamber Music Composition Competition. It was also was premiered at the 2011 International Double Reed Society Conference. It is published by TrevCo Publishing with a recording on the MSR classics label. Cwik’s piece Acrobats for four-hand piano, commissioned by the ZOFO duet of San Francisco, and winner of the 2013 BMI Student composer award, will be recorded and released on the Sono Luminus label.

While at Juilliard, Stefan won the Orchestral Composition Competition for two consecutive years. His orchestral work Terpsichore was premiered and recorded by the Juilliard Orchestra, and was given honorable mention at the 2012 Minnesota Orchestra Composer’s Institute. The Illusionist, his second winning piece, was given honorable mention at the 2013 ASCAP Morton Gould Young Composer Awards.

Stefan has already collaborated four times with Maestro Stephen Paulson and Symphony Parnassus, premiering his Concert Dances for Orchestra (2009), his Piano Concerto with soloist Scott Foglesong (2011), his English Horn concerto The Sword in the Stone featuring soloist Russ DeLuna (2016), and Luz Dorada (Golden Light) in 2017. His final commission as composer-in-residence for Symphony Parnassus is Relics: Dances for Percussion Quartet and Orchestra, to be premiered on today’s program.

Stefan Cwik is currently professor of music theory and musicianship at SFCM. Stefan is a member of ASCAP (American Society of Composers, Authors and Publishers). Examples of his music can be found on his website, www.StefanCwik.com, and can be requested by contacting him via email at stcwik@gmail.com.