Although it seems like decades in our post-pandemic world, it was only five years ago in 2017 that we were introducing William Shaub as the new Concertmaster of the Knoxville Symphony Orchestra. Since that time, the Juilliard-trained violinist has had a visible—and listenable—effect on the orchestra, both in promoting “ensemble-ness” in the orchestra and in making appearances as a notable soloist.
Another facet of Shaub’s job is hosting and performing in the KSO’s Concertmaster Series, subtitled “William Shaub and Friends,” that will begin its 2022-23 season of three recitals on Wednesday and Thursday, October 5 and 6, at the Knoxville Museum of Art. Although the series has evolved since its beginnings in 2012, it remains an essential page in the KSO’s programming, one that offers virtuosic solo and chamber music in a more intimate setting.
Concertmaster Shaub took some time to answer questions about the Series and his continuing passion for finding musical gems and creating memorable performances from them.
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Arts Knoxville: When you became the KSO Concertmaster in 2017, you mentioned in our first interview that the existence of the Concertmaster Series was one of the major things that attracted you to the position in Knoxville—only a few of the larger U.S. orchestras have such a series. Over these past five years, have the solo violin and chamber music opportunities that the series provides affected how you approach the traditional duties of the Concertmaster and how you interact with your orchestra colleagues?
William Shaub: To me, the Merchant and Gould Concertmaster Series was—and always will be—about taking musical journeys with my audience and with my exceptional recital partner, pianist Kevin Class. It’s about the opportunity to challenge myself and my incredible audience here to new things, and to fresh perspectives on “old” things. This has definitely affected how I approach the traditional duties of serving as Concertmaster. In the string section of the KSO, I refuse to ever let things sit still, to not strive for something artistic and fresh, or let anything become stale: whether it’s the music of Pink Floyd or it’s Mahler. My colleagues in the orchestra feel the exact same way. I think the Series has been a vanguard for our approach, and it will continue to be an example of how powerful chamber music can be — if it is utilized well by an orchestra such as our own.
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Arts Knoxville: The Concertmaster Series itself has changed since its experimental beginnings in the quasi-bohemian milieu of a cramped coffee shop backroom in the Old City. The move to the Knoxville Museum of Art’s Ann and Steve Bailey Hall solved a lot problems, particularly for audience access. Despite the hall’s impressive—but reflective—wall of glass windows and the hard floor, most listeners are surprised at just how acceptable the acoustics of the room are for chamber music with an audience present. Have you and your colleagues had to make adjustments in volume, balance, and such?
William Shaub: Indeed, the KMA is a phenomenal venue and the acoustics are truly excellent. We feel grateful to have the Ann and Steve Bailey Hall as our venue for the Series, and our audience loves it as well. Our adjustments come largely from the change in acoustic when our audience is present: the room becomes significantly more “dry”, meaning the acoustic contains less reverb. Therefore, we might play with an ear to this in the dress rehearsals, with more sustained note lengths and a hint of more vibrato or lushness in our sound.
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Arts Knoxville: Your programming for the Series has continued to follow a basic pattern—opening with virtuosic violin pieces, followed by major ensemble chamber music works that involve a number of your orchestra colleagues, most often, string players. Since you began programming, has your criteria for selecting works changed? Has audience response ever been a factor? Do your orchestra colleagues make suggestions?
William Shaub: Yes, to all of the above! And the answer really ought to be yes, because all of these questions are important to keeping the Series interesting and exciting. Audience response has been wonderfully positive to new music, such as Carlos Simon’s “Loop” or Alexandra T Bryant’s “Petrichor”. And my colleagues do make suggestions, often pointing to lesser known works by great composers such as Dvorak—one example being the Viola Quintet. For this one, I can give credit to our principal cellist, Andy Bryenton.
My criteria has changed only in that I’m more willing than ever to take risks, and I think you will see this at the end of the KSO season when we perform a late quartet by Beethoven. Rarely are these late quartets programmed, aside from professional quartets that tour with them, yet I am incredibly passionate about these pieces and have been since my time at Juilliard. I feel that it’s time to present a late quartet at the KMA on the Series, and my colleagues do as well.
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Arts Knoxville: On your first Concertmaster Series concert, you included a work by the violin virtuoso, Pablo de Sarasate, Romanza Andaluza from the Spanish Dances. On the upcoming concert, you are returning to Sarasate with his “Carmen” Fantasy. Obviously, Sarasate is one of your favorite go-to composers for virtuosic openers.
William Shaub: You make a very astute observation here. There is absolutely no shortage of fabulous virtuosic pieces for the violin. I cut my teeth on pieces like Wieniawski’s Faust Fantasy, and Paganini’s 24 Caprices. However, the truth here is that Sarasate’s music is sexy. Sarasate’s music finds a connection between French and Spanish flavors that bounces between the sultry, the classical, as well as cultural “gypsy” aesthetics. His music is unabashedly stylish and timeless in its uniqueness. For me, this points to Sarasate being a superb addition to the menu of many programs. The “Carmen Fantasy” will always be Sarasate at the very peak of his powers, if you describe those powers as I just did.
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Arts Knoxville: Following the Sarasate with the lyricism of Puccini’s “O mio Babbino Caro”, then the Schindler’s List theme by John Williams, you’ve set up quite a contrast with Shostakovich’s Piano Quintet in G minor.
William Shaub: It really does seem like contrast, and yet I see a powerful connective thread in this program that runs right through the Shostakovich Piano Quintet. That thread is Opera, with Shostakovich himself being an important 20th century opera composer, and I see operatic scene changes and operatic drama throughout his chamber music, with the Piano Quintet being an excellent example. The John Williams is a piece that I want to share with my audience because it’s so beautiful, so heartfelt and every performance of it leaves behind a memorable impression. Ultimately, that’s what the Series is all about: an opportunity to leave behind a memory that is unrepeatable.
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Arts Knoxville: Who will be performing with you on the Shostakovich Piano Quintet?
William Shaub: For the Shostakovich, I will be joined onstage by violinist Kyle Venlet, violist Katy Gawne, and cellist Andy Bryenton, with pianist Kevin Class.
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Arts Knoxville: What do you consider the biggest challenges for the continuing Series and for attracting return audiences — and new audiences?
Knoxville Symphony Orchestra – Concertmaster Series – “William Shaub and Friends”
Knoxville Museum of Art, 1050 World’s Fair Park Drive, Downtown Knoxville
Wednesday & Thursday, October 5 & 6, 7:00 PM
Tickets and Information
PROGRAM
Pablo De Sarasate: “Carmen” Fantasy
Giacomo Puccini: “O mio Babbino Caro” from Gianni Schicchi
John Williams: Theme from Schindler’s List
Dmitri Shostakovich: Piano Quintet in G minor
