Café Concerts - Café Concert: The Demenga Brothers and Luka Juhart

Café Concert: The Demenga Brothers and Luka Juhart

01/06/15 • 25 min

Successful sibling duos in music are rare. The stress of rehearsing and being constantly on the road together can derail the happiest collaboration. The best-known sibling partnership in musical history – Wolfgang Amadeus Mozart and his sister Nannerl – didn't last long. He went off to Paris, Vienna and Prague; Nannerl settled down into marriage.

The Swiss cellists Thomas and Patrick Demenga appear to take their collaboration with a more easy-going attitude. Some 35 years since graduating from Juilliard and the Bern Conservatory, respectively, they are still going strong, and performed together in December at the Chamber Music Society of Lincoln Center.

"We can go on stage and close our eyes and start without even looking at each other," Patrick Demenga told host Jeff Spurgeon. "We are so close in a way musically that we trust – it's one of the most exciting experiences that you can have on stage."

The two cellists, who also have active solo careers, came to the WQXR Café to perform as both a duo and as a trio with the Slovenian accordionist Luka Juhart. Their program combined the music of Bach with two modern works. First up was a transcription of Bach's Sonata in G minor for Gamba and Harpsichord (first movement), with Juhart playing the harpsichord part.

"Normally if you play with harpsichord and continuo," said Thomas Demenga, "you have a very thin sound and you have to be very careful as a cellist not to overpower the harpsichord. In this combination with accordion you have a really full range because he can sustain the lines so you have the full polyphony."

Juhart met the Demenga brothers through a composer friend, which led to some festival dates in Europe. At an appearance in Austria last year, David Finckel, the artistic director of the Chamber Music Society of Lincoln Center, heard the trio and booked them on his series. Although the accordion is a relative outsider in U.S. chamber music circles, Juhart estimates that there are 30 or 40 college-level training programs in Europe where one can major in the instrument (he teaches at the academy in Ljubljana, Slovenia).

Below, Juhart performs Vinko Globokar’s theatrical solo piece, Dialog über Luft.While Juhart has sought to explore the outer boundaries of the modernist accordion sound, he has also taken up Baroque works by Rameau, Handel, Scarlatti and Frescobaldi. The Demenga brothers, meanwhile, have been equally versatile, as seen in the last work on their program, an excerpt from Thomas Demenga's Solo per due, which features all manner of bowed and plucked techniques.

"It's a bit jazzy but not really because I don't like classical musicians who try to play jazz," said Thomas Demenga. He notes that one of his classmates and friends at Juilliard was the violinist Nigel Kennedy, known for a freewheeling forays into popular styles. "We played on the streets [of New York] to make money," Demenga recalls. The two musicians also played frisbee in the halls of Juilliard. "People hated us," he said with a laugh.

Video: Kim Nowacki; Audio: Chase Culpon; Production & Text: Brian Wise

Previous Episode

Watch: American Boychoir Presents Songs of the Season

The American Boychoir has had an eventful 2014 that's included an appearance in a Hollywood feature film, a visit to the Toronto Film Festival and a December East Coast tour that has the group singing Christmas music in seven different languages.

Eleven members of the choir, led by music director Fernando Malvar-Ruiz, visited the WQXR studios early this month to present a selection of carols and songs. The ensemble began with "Mary Had a Baby" and "We Wish You a Merry Christmas."

Based in Plainsboro, NJ, the American Boychoir is one of two accredited boychoir boarding schools the United States, the other being the Saint Thomas Choir School in Manhattan. The group, which marked its 75th anniversary last year, is characterized by a unique sound and facility in a wide range of styles.

Specifically, unlike the famous Vienna Boychoir, on which it was originally patterned, the American Boychoir uses so-called voices-in-transition. "That's what distinguishes us from almost any other boychoir in the world," said Malvar-Ruiz. "It's the fact that we have changing voices still singing with us. It's adding that new color that makes our sound so unique."

This allows the ensemble to fill out SATB (soprano, alto, tenor, bass) choral arrangements (and beyond), as we hear below in these performances. But as 12-year-old chorister Douglas Butler explains, the choir's sound is also the product of hard work, with a school day that stretches from 8 am to 6 pm. "We've tacked an extra three hours at the end of every day for a rehearsal," he says. "We have to learn a lot of music and a lot of times we have to do it quickly" – and by memory. Below: Bach's Domine Deus:

The American Boychoir is the centerpiece of a forthcoming film called "Boychoir." Directed by Academy Award-winning film director Francois Girard, it stars Dustin Hoffman and Kathy Bates in a feel-good tale about a troubled boy from Texas who attends the American Boychoir School. Due for national release in 2015, it garnered raves at its Sept. 6 premiere at the Toronto Film Festival.

"We did three weeks of filming and a few more weeks of recording the soundtrack," said Malvar-Ruiz. The film was shot at Connecticut’s Fairfield University and in New York, but the American Boychoir School's uniforms, logo and identity are to be used. This is just the latest Hollywood encounter for a choir whose performances have been featured in numerous films and commercials since its founding in Columbus, Ohio in 1937.

The choir has been steeped in holiday music throughout its history – at least since its first appearance in a national television broadcast of Gian Carlo Menotti’s opera, Amahl and the Night Visitors, in 1951. Among its performances this month is an appearance at the Metropolitan Museum of Art on Dec. 16. Watch their fourth WQXR performance below and listen to the full segment, with host Terrance McKnight's interview, at the top of this page.

Video: Kim Nowacki; Audio: Irene Trudel; Production & Text: Brian Wise

Next Episode

The Jake Schepps Quintet's Classical Hoedown

Blame it on Aaron Copland's Appalachian Spring or perhaps the ridiculous virtuosity that is characteristic of so much bluegrass playing. In the past decade, growing numbers of classical musicians have been mixing it up with fiddlers, banjo players and mandolin pluckers. Yo-Yo Ma has worked with bluegrass players in the Goat Rodeo Sessions; mandolin wizard Chris Thile has played his own concerto with several American orchestras and released an album of Bach partitas.

The latest group to explore this hybrid is the Jake Schepps Quintet, a string band whose members are steeped in bluegrass spontaneity but whose repertoire – yes, repertoire – is by composers from the modern classical tradition. They include Matt McBane, Marc Mellits, Gyan Riley, and Matt Flinner. Led by Schepps, a Colorado-based banjoist, the group came to WQXR to play three pieces from "Entwined," their debut album.

"Most of the instruments in the string band aren't foreign" to classical composers, said Schepps, in an interview with host Terrance McKnight. "Most classical composers have written for violin, guitar, and bass, and a mandolin is tuned like a violin so it's familiar territory."

The quintet's set began with Flatiron VII: Planetary Tuners by Mellits, a Chicago-based composer whose works have been performed by the Orpheus Chamber Orchestra and Kronos Quartet, among other groups.

Schepps has been at the forefront of melding bluegrass with other genres for several years. He previously recorded an album of Béla Bartok's music arranged for a string band, "An Evening In The Village," and says he wants to play the music of Henry Purcell for a future project. "I fell in love with his three and four-part fantasias," he said. "I love Baroque music and Bach. I'm always curious for places that I can take string band instruments into new terrain." Schepps added that it's a "lateral step" to transfer pieces from Purcell's viola da gambas to the five-string banjo.

The quintet's next selection is the album's title track, by Matt McBane, a Brooklyn violinist and composer who directs the Carlsbad Music Festival in California and whose music has been played by a number of new-music groups.

Flinner, who plays mandolin in the quintet, composed the last selection in the set, called Migrations. He tells McKnight that his challenge "was trying, as a bluegrass musician, to write across that line in a long-form manner. Classical music goes so many different directions these days. One thing that we could use more of is more American roots elements added to that. Bluegrass is a uniquely American art form. It feels like it's getting more respect."

Schepps added: "My hope is that a classical audience will come to find something interesting about bluegrass."

Listen to the full interview and performances at the top of this page.

Jake Schepps Quintet Personnel:

Jake Schepps: five-string banjoMatt Flinner: mandolinRyan Drickey: violinJordan Tice: acoustic guitarAndrew Small: double bass

Videos: Kim Nowacki; Audio: Irene Trudel; Production: Brian Wise; Interview: Terrance McKnight; Production Assistance: Rebecca Stein