NATALIE'S WIN!
Marie Jainchill
Carolyn Greenleaf made music and its infinite possibilities her legacy. Since 2007 a memorial scholarship in Carolyn’s name has been awarded each semester to a musically-gifted high school student. This merit scholarship provides full tuition for a semester of private instrumental or vocal lessons. Students who apply must submit an audition tape or CD and a teacher’s recommendation—competition among students has increased each year as this talent award is becoming a prestigious one.
We are pleased to announce that Natalie Urban is this semester’s winner. “When Natalie was in middle school, the band needed an oboe player, so Natalie took it on. For a few years, it seemed that’s all the oboe was—an instrument she played for the band. But over the last few years, under Johanna Lamb’s tutelage at CMS, Natalie developed not only wonderful technical ability; she started to play from her heart.” Natalie’s mother goes on to say “it’s been wonderful to watch the transformative power music has had on her.”
Natalie is currently a senior at Old Saybrook High School. She plays the oboe in the Concert, Marching and Pep Bands under the direction of Jeremy Taylor; she plays in the Thames Valley and Greater New Haven Youth Orchestras; Natalie plays “to pursue her dream of becoming a professional musician” her father tells me. Mike continues “we’re very proud of Natalie’s achievements on the oboe. The instrument has become a wonderful conduit for her personality and her creativity,” so much so, that Natalie was chosen to participate in the Southern Region and Connecticut Allstate Bands as well as the All New England Musical Festival.
Johanna has this to say about Natalie: ”One day I asked her what the pictures on her music folder were? She told me that they were pictures that inspire her to be a musician.” It is Natalie’s “passion for making music” that motivates Johanna to “keep pointing her in the right direction.” Beyond talent, as Johanna points out, is the light and the fire—“the drive that comes from within” which steers Natalie on this singular quest.
And what about Natalie? How does feel about this special win? “I couldn’t possibly express all my gratitude for everyone who has helped me get to where I am today: the Community Music School, the Carolyn Greenleaf Foundation, and especially Johanna Lamb and my parents. Thank you for all of your constant support over the past four years. It means more to me than you’ll ever know.”
so this is what it's all about - recital day
Marie Jainchill
Recital Day. Daphne couldn’t find her party shoes. Josh ate too many sweet things for breakfast. Nellie got hives. Still they came dressed like we seldom see them—in black velvet, white-pressed shirts, ribbons, bow-ties, hair curled up—hair slicked back. Our students took center stage before strange and familial faces alike. I wonder, “Were they just a little scared?”
Most of us remember it was the lion that lacked courage in The Wizard of Oz. But we often forget how the bright lights, solo performance and too-adoring audience can make even a virtuoso tremble. “It takes courage to do that,” one grandmother whispered in my ear, after hearing someone else’s grandson play Joplin on the baby grand. It was a difficult piece and a note or two was lost but he made it through without flinching. That grandmother was right—courage is as mighty as talent on stage.
I saw seven reitals between Saturday and Sunday. 
Every student did more than make it through—they became what they have been practicing to become all semester—performers of the stage. Of these performers, I would like to applaud each and every one as I mention only a few by name. Daphne Gray at nine has hands that move across the keys like a ballet dancer. A piano student of Marilyn Lazare, Daphne gave us a flawless rendition of Arabesque by William Gillock. James Landino can only be described as a poet of sound. His interpretation of GreenTea Farm by Hiromi Vehara made those of us (who did not know him) feel as if we were witnessing the making of a musical artist. James is another student of Madame Lazare and has just been accepted to the Hartt School of Music and Berklee School of Music.
Jason Senn is every bit seven years old but well over six feet tall on stage! A student of Shari Wilcox, he sang Santa Claus is Comin’ to Town with a boom-box voice and the comedic swagger of a very young Mickey Rooney . Aubrie Scully, also Shari’s student, played the piano and sang Crazier with an aching tenderness no one will forget. Katie Haines gave us a composed, perfectly-played arrangement of Believe, from Polar Express on the piano. Her teacher, Pamela Eberly, clapped extra hard as she left the stage. Molly Sullivan showed us she can sing real ‘Opera’ by choosing Va Godendo by G.F. Handel and handling it in Italian as her new mentor, Karli Gilbertson looked on.
You would never know that Jon Thomas has not played the sax all of his life—at least not by the way he played Russ Becker’s original composition, Cousin Annie. Sonny Rollins would have nodded, “real cool, we jazz june” to Henry Apostoleris’ soulful interpretation of Oleo on his own alto sax. And Daniel Kurpaska made Russ’ Piano Mover on the saxophone a what-a-mood-what-a-player performance.
Hats off to our adult students! A member of New Horizons who just happened to be warming up on the Essex Meadows stage said, “I can’t believe the sound I’m making on my clarinet tonight.” She was referring to our acoustically-challenged Studio 15 where the band has been practicing for a little over three months with Patricia Hurley. “Church, take it home,” was ringing in my ears as they belted out When the Saints Go Marching In. Speaking of bands, Tom Briggs got his Adult Performing Ensemble to add some spice to the evening with Route 66. Christine Murphy on trumpet and Linnea Hagstrom on flute garnered a special round of applause for their standout solos.
As I left the last recital on a rainy Sunday night, I saw one of the youngest performers go up to her teacher and tug at her dress. “I did it! I’m just bursting!” A mother came up to me and said “now that I’ve seen Lucy perform, I want her to keep singing. Who knows….”
Even as I moved from one recital to another, from a classroom to a church to a real stage, one line kept returning to me: “So this is what it’s all about.” All the practicing. All the lessons. And what about the foreshadowing of time and promise when “the student surpasses the teacher?” As one teacher said to me, “this is why we’re here” after everyone was gone and the two of us we were packing up the music stands to go home.