Fusion String Ensemble was formed in the summer of 2007 to fulfill the needs of advanced amateur and semi-professional musicians to provide quality performances of classical repertoire, world and contemporary popular music. Our programs are unique by infusing popular music with standards to connect with a new generation.
Please join us on a fantastic musical journey. We hope you will enjoy our take on the classics and a unique interpretation of familiar tunes.
String Quartet No. 4 in C minor, Op. 18, No. 4 by Ludwig van Beethoven (1770-1827)
I. Allegro, ma non tanto
II. Scherzo. Andante scherzoso quasi Allegretto (C major)
III. Menuetto. Allegretto
Members of Fusion String Ensemble
Janet Martins, violin
Abe Dewing, violin
Sarah Izen, viola
Amy Nolan, cello
~ INTERMISSION ~
String Quartet in F major, Op. 96, "American"by Antonin Dvorak (1841-1904) I. Allegro ma non troppo
III. Molto vivace
IV. Finale: vivace ma non troppo
New England Philharmonic Chamber PlayersLisa Pettipaw, violin
Brianna Pesce, violin
Ken Allen, viola
Jason Coleman, cello
Thank you for joining us in a unique partnership between two local music groups. We look forward to continuing an array of “collaborative chamber concerts” to showcase many of the groups in the Greater Boston’s classical scene in 2014.
Our Fusion String Ensemble quartet performed at a Holiday Open
House Celebration for Moody Street Financial in Newton on Thursday,
December 12, 2013. We performed Holiday music, Eiene Kleine Nachtmusik, the music of Lady Gaga, Pitbull featuring Christina Aguilera and debuted a smaller arrangement of the NFL on FOX Theme.
Fusion String Ensemble performs Holiday tunes, Eine Kleine Nachtmusik and the music of Lady Gaga, The Used and The Cars from BIMA's Annual Holiday Gala. Part of proceeds from the night's event were donated to the One Fund.
Ashley Sullivan, Craig & Kyle Dewing, Mom & Dad, Baby Luigi,
Lewis Malaver, Shu Satoh, Rev. Evrol Officer, Fritz Winegardner, UnityBoston, Watertown Free Public Library, the fabulous soloists and our wonderful audience!
Simple Gifts, a traditional Shaker Tune arr. for strings by Robert S. Frost
Simple Gifts, written and composed in 1848 by Elder Joseph Brackett, was made popular almost 100 years later in 1944 with Aaron Copland’s composition Appalachian Spring.
The sweet melody is still often performed and reinterpreted by many
musicians today. I chose this arrangement by Robert S. Frost for my
wedding ceremony as my bridal processional. My husband and I have always
loved this piece and we felt the lightness of the melody and lyrics
reflected our feelings for one another, a simple joy.
- Klenda Martinez, violin
Trauermusik by Paul Hindemith (1895-1963)
was in London in late January of 1936 preparing to perform the British
premiere of his viola concerto, Der Schwanendreher, when King George V
died. So he wrote and performed a new piece for the occasion:
Trauermusik, also known as Music of Mourning, for solo viola and string
orchestra. The doleful mood of the work is set by the string ensemble in
the first movement, Langsam (Slowly) after which the soloist utters a
series of lamentations, beginning quietly, growing to a wail and finally
becoming quiet again. The second and third movements, Ruhig bewegt
(Quietly moving) and Lebhaft (Lively), are both in 12/8 meter, though
they have completely different characters; while the second movement is
as gentle as a lullaby, the third is more angry and turbulent. In the
last movement, Sehr langsam (Very slowly), the ensemble plays through
the chorale (known in English as "All People That on Earth Do Dwell" or
"Praise God from Whom All Blessings Flow") and after each phrase the
viola soloist interrupts with a response, each one longer and more
intense than the last. I last performed Trauermusik as part of my
master's recital this past spring at the Boston Conservatory and it's
been a great honor presenting it with Fusion String Ensemble.
- Ken Allen, viola
Brandenburg Concerto No.4 in G major, BWV 1049 by Johann Sebastian Bach (1685 - 1750)
Johann Sebastian Bach's Brandenburg Concerto No. 4
is considered a triple concerto for violin and two flutes. For the
violin, it is the most virtuosic of all Bach's concerti. The two flutes
have often caused discussions among musicologists. Bach designated the
term 'flauto' for the recorders. The term 'd'echo' (printed in the
original manuscript) actually meant that the two recorder players were
to leave their seats in the orchestra in the slow movement (built around
an echo effect) and play from another spot in the room from a distance.
The evidence supporting this idea is in the beginning of the last
movement, where the entire orchestra is playing for a while without the
recorders, to give them enough time to make it back to their seats. M.
Patrick and I will be remaining in our places for the slow movement, as
we are fearful of tripping over cellists and wires on our journey back
to the orchestra!
Bach's Brandenburg Concerti (six
total) are a collection of works presented to Christian Ludwig, margrave
of Brandenburg-Schwedt, in 1721. They are regarded as some of the
finest musical compositions of the Baroque Era.
- Allison T. Lacasse, flute
Violin Sonata No.1 in G minor, BWV 1001 by Johann Sebastian Bach (1685 - 1750), arr. for string ensemble by Jeff Bezanson
J.S. Bach's sonatas and
partitas for solo violin are among the most beloved and remarkable works
for the instrument. Chief among the surprises in these works are the
fugue movements in each of the three sonatas. Fugues, with their
multiple overlapping melodic lines, are usually associated with keyboard
instruments or ensembles, and it seems scarcely possible to perform or
even to write one for a solo 4-stringed instrument. Composers have taken
up this challenge quite rarely (Bartok is notably present on this short
order to make multiple voices heard from a single violin, Bach pushed
the instrument to limits that were arguably not tested again until the
19th century. In fact the great ingenuity and richness of Bach's fugues
strain against these limits, and I believe we are justified in wishing
to hear more of the possible melodic interactions and harmonies that can
only be implied on one violin.
musical possibilities caught the attention of the formidable 20th
century piano virtuoso Leopold Godowsky, who penned an almost absurdly
difficult transcription (for solo piano) of Bach's G minor violin
sonata. Godowsky's Bach has a wild, contemporary feel that supplies just
what I was looking for from the music, and inspired and lent some
material to the arrangement of the fugue movement you will hear.
fugue theme is stunningly simple, beginning with just a "D" repeated
four times. This repeated-note figure has an insistent presence as the
piece proceeds through many variations and moods. To my ear, this
quality of simplicity and inevitability gives the piece an unusually
modern sound for baroque music, bringing to mind later works --- perhaps
Beethoven's fifth symphony. My arrangement is intended to encourage
- Jeff Bezanson, violin
Concerto for 2 Violins in D minor, BWV 1043 by Johann Sebastian Bach (1685 - 1750)
first memories of the Bach Double Violin Concerto are vivid ones: I
remember feeling incredibly grown up getting to play the first movement
as a duet with my teacher in my recital the year I was twelve. I played
the first violin part, she played second. I had to play standing up
and from memory, she sat down and used the music. I remember jokingly
commenting that that seemed SO unfair, to which she pointed out that it
was my recital and not hers. As it happens, the video of this very
recital is the earliest video evidence of me as a child, not to mention
the first video of a recital of mine, so the piece evokes very fond
memories for me. I've played the piece many times since, sometimes
playing one of the solo parts and sometimes accompanying, and it always
makes me think of my first teacher, the experience of performing it that
first time, and even the skirt I wore that day. I'm excited to be a
part of Fusion String Ensemble this season and to have the opportunity
to work with these fantastic soloists!
Clinton Dewing received a Bachelor of Music degree from the Juilliard School as a student of Joel Smirnoff. His summer festivals credits include the Spoleto Festival USA and Italy, Festival Mozaic, Pacific Music Festival, National Repertory Orchestra, Sarasota Chamber Music Festival, Aspen Music Festival, National Orchestral Institute and the Tanglewood Music Center. He has performed with the Metamorphosen Chamber Orchestra, New Jersey Symphony Orchestra, Saint Paul Chamber Orchestra, Boston Symphony Orchestra and the Metropolitan Opera Orchestra. Clinton is currently a member of the Jacksonville Symphony Orchestra’s violin section since 2006.
A native of the Republic of Moldova, Aurelia Duca began the violin at age of seven. She has taken First Prize in the Cornelia Bronzetti violin competition and the International Violin Competition of Brasov. Ms. Duca was the Grand Prize winner at the Paul Constantinescu International Competition in Romania. She was awarded the Mayor’s Scholarship of Chisinau, Moldova and the prestigious scholarship from the Foundation of Beneficence. Ms. Duca has performed in solo engagements with the Moscow Chamber Orchestra, the National Philharmonic of Chisinau and the National Youth Orchestra in Holland and studied at the A. Casella Conservatory in l’Aquilla, Italy. She has participated in The Spoleto Festival in Charleston, South Carolina and she is featured in Festival Mozaic’s chamber music series in San Luis Obispo, California every summer. In 2006 Ms. Duca joined the violin section of the Jacksonville Symphony Orchestra.
Allison Lacasse has been a music teacher in the Chelmsford Public Schools for five years. She maintains an active flute studio of over a dozen young flutists and continues to advocate for new student ensembles and performing opportunities. Recently, her teaching career has brought her to the Peabody Conservatory, where she was invited to be a guest lecturer for a music education course.
Allison is an active orchestral flutist and chamber musician in the Greater Boston area. She has performed on flute and piccolo for a number of local orchestras, including the Boston Civic Symphony, North Shore Philharmonic, Arlington Philharmonic, Fall River Symphony, Newton Symphony, New Hampshire Philharmonic, Lowell House Opera Company, Brockton Symphony, and the South County Chamber Orchestra. She has performed in notable performance halls such as Jordan Hall and Symphony Hall. Her chamber ensemble participation include concerts with the Fusion String Ensemble, the New York University Summer Chamber Music Institute in 2010, and the Imani Winds Chamber Music Festival at Juilliard in the summer of 2012.
Allison received Bachelor of Music degrees in Music Education and Performance from the University of Rhode Island (2007) and a Master of Education degree from Cambridge College (2009).