Hi! I’m Liz Pearse, and I want to invite you to a salon concert I’m performing, hosted by Studio Z on Friday, August 16. I will be singing and playing some of my favorite songs from the last 100-or-so years, inspired by the animal kingdom, mathematical equations, and more. The program includes a number of works I’ve commissioned--and one world premiere!
Growing up in Wisconsin, just across the river from my new home of Pickwick, MN, I held an early fascination for specific musicians. One example was Richard Stoltzman, a clarinetist who appeared on Sesame Street. From the age of four onward, I knew I wanted to play clarinet because of that episode, and it became my primary instrument through my entry into college as a music major. Another musician I adored was Dick Van Dyke’s “Bert” from Mary Poppins--the concept of a one-man band was simply irresistible (how much noise can one child make?!).
Growing up in Wisconsin, just across the river from my new home of Pickwick, MN, I held an early fascination for specific musicians. One example was Richard Stoltzman, a clarinetist who appeared on Sesame Street. From the age of four onward, I knew I wanted to play clarinet because of that episode, and it became my primary instrument through my entry into college as a music major. Another musician I adored was Dick Van Dyke’s “Bert” from Mary Poppins--the concept of a one-man band was simply irresistible (how much noise can one child make?!).
But my favorite musician was always my dad, who spent many Saturday evenings playing piano for his kids while we ran around the house to “Bumble Bee Boogie,”, “Maple Leaf Rag” and the like.
Given these examples, perhaps it seems odd to choose singing as my profession. To me, it makes perfect sense. The human voice is by FAR the most versatile, flexible instrument one may access--as a contemporary singer, I’m often tasked to perform as if I’m a one-woman band! My voice operates very much like a clarinet; similar range, similar proclivity to movement... training as a woodwind player has always informed my vocalization. Last but not least, the piano has always been present. My first music lessons were on the piano, and I spent my entire childhood playing and singing (to accompany myself, my sister, the high school choir, whoever would let me near the keyboard!).
It is certainly not a unique setup. Countless performers play piano and sing simultaneously, from Nina Simone, to Billy Joel, to Tom Waits, and beyond. It is uncommon in the realm of classical music now, though once it was common on concert stages and salon recitals. I seek to revive self-accompanying in “art song” for a number of reasons.
Given these examples, perhaps it seems odd to choose singing as my profession. To me, it makes perfect sense. The human voice is by FAR the most versatile, flexible instrument one may access--as a contemporary singer, I’m often tasked to perform as if I’m a one-woman band! My voice operates very much like a clarinet; similar range, similar proclivity to movement... training as a woodwind player has always informed my vocalization. Last but not least, the piano has always been present. My first music lessons were on the piano, and I spent my entire childhood playing and singing (to accompany myself, my sister, the high school choir, whoever would let me near the keyboard!).
It is certainly not a unique setup. Countless performers play piano and sing simultaneously, from Nina Simone, to Billy Joel, to Tom Waits, and beyond. It is uncommon in the realm of classical music now, though once it was common on concert stages and salon recitals. I seek to revive self-accompanying in “art song” for a number of reasons.
 |  |  |
Of course, it would be much easier if I just asked a professional pianist to work with me, and I love collaborating with pianists! However, I feel there’s something special about solo performance--something singers rarely get to experience. There is great responsibility in making all the decisions regarding a performance. Tangentially, I am interested in fostering song repertoire where the vocal part is more demanding than the piano--it has always seemed unfair that I must ask a pianist to commit to learning exponentially more notes than I must learn, every time I wish to sing a song with piano!
I have performed salon recitals in Chicago, Kansas City, Pittsburgh, and Ann Arbor, and I am just delighted to get to share these songs with you in my new home state. Please join me on Friday the 16th for a light, fun evening of song!
I have performed salon recitals in Chicago, Kansas City, Pittsburgh, and Ann Arbor, and I am just delighted to get to share these songs with you in my new home state. Please join me on Friday the 16th for a light, fun evening of song!
LIZ PEARSE
AN EVENING AT THE SALON
Aug. 16 • 7 p.m. • $10 suggested • Details
Singing while accompanying oneself at the piano is not a “new” endeavor -- but in the realm of art song, it is certainly unusual. Performer Liz Pearse’s self-accompanied recitals hearken back to the era of the salon: an informal, intimate, and fresh atmosphere in which to absorb songs both old and new. This particular evening presents some gems of 20th and 21st century song, including a centennial celebration of Francis Poulenc’s La bestiaire, alongside newly-commissioned works inspired by members of the animal kingdom.
RSS Feed
