Acclaimed chamber music company sponsors concert series that taps into wonder, grief and joy
Grief is an inescapable fact of life. And in the wake of the global pandemic, humans the world over are coming to terms with its lasting physical, economic, social, psychological and emotional fallout. In September 2024, Western North Carolina residents were hit again, facing loss of life and livelihood as well as widespread property and environmental devastation from the flooding associated with Hurricane Helene. On a personal level, humans from all walks of life struggle with challenges that test their emotional endurance and fortitude. Faced with grief, many find solace in music.
For those who create and play it, music can give voice to inner thoughts and feelings; sharing those with listeners can help bring acceptance of difficulties and even a degree of catharsis. Beyond its pleasurable qualities, music can help listeners’ brains release dopamine and serotonin, which are proven to help humans register pleasure, elevate their moods, become more motivated and bring on a reduction in pain.
In line with cultivating those connections, and as part of its continuing mission to bring the best of chamber music to WNC audiences, award-winning organization Pan Harmonia presents Aftermath, a trilogy of special, all-acoustic performances. Lauded by arts journal Classical Voice of NC as “the high standard bearer for the production of excellent concerts by area musicians,” Pan Harmonia brings unique programming to a wide audience. And its pay-what-you can model assures that no one is turned away from a performance for lack of funds.
According to Pan Harmonia Creative Director Kate Steinbeck, Aftermath “explores the universality of human experiences of awe and wonder, trauma and recovery, resilience, gratitude and joy.” Each of the three installments in the program – “Wonder,” “Grief Leads to Gratitude” and “Joy” – takes listeners on an emotional journey, employing various inventive combinations of harp, strings, voice and wind instruments. The program commences March 6 and continues with select locations and dates through May 17.
“Wonder”
“Trauma and what comes out of it” is the overarching thread that weaves together the three components of Aftermath, says acclaimed harpist and Pan Harmonia Program Coordinator Jessica Schaeffer. “Trauma doesn’t end life, but it alters life,” she says, “in a way that you can’t go back to how things were before.” Schaeffer explains that each of the pieces in the trilogy focuses on “exploring new horizons.” Even the instrumental setup for “Wonder” is a modern configuration compared to more established instrumentation.
Composed in 1905, Terzettino by Théodore Dubois was conceived as a trio for flute, viola and harp, along with Claude Debussy’s 1915 Sonata for Flute, Viola and Harp, is the earliest work of its kind. California composer (and violist) Jeff Ives’ new work “Music for Flute Harp Viola” will receive its world premiere alongside these pioneering works. The performance will feature flutist Kate Steinbeck, harpist Jessica Schaeffer and Daphne Bickley on viola.
A work that is equal parts romanticism and showcase for technical mastery, Terzettino is often characterized as a prime example of “Belle Époque” music popular in French salons of the pre-World War I era. Debussy’s atmospheric, ethereal and refined Sonata draws from impressionism and Baroque musical traditions. “It’s an iconic masterpiece,” enthuses Schaeffer.
The two performances of “Wonder” take place Friday, March 6 at 7pm at Black Mountain Presbyterian and Saturday, March 8 at 3pm at First Presbyterian Asheville.
“Grief Leads to Gratitude”
In August 2024, Pan Harmonia was awarded a sustainability grant from the North Carolina Arts Council; that grant facilitated the development of Aftermath. “Carolina Perez’s piece is the genesis of the project,” says Schaeffer. “I was profoundly struck by the subject matter of this work. And I knew right away that Matilda: A Mother’s Grief Journey After Stillbirth would be perfect for what we sought to do with Aftermath.” Steinbeck concurs. “The whole trilogy coalesced around it,” she says.
Carolina Perez’s song cycle was her musical response to the devastating death of a child. “My loss happened in 2018,” says the Asheville-based composer. “I had been working on this piece for years, but in the form of individual songs. I hadn’t been thinking of collecting them into a song cycle.” But as the body of songs grew, Perez realized that they were forming around a theme: “Going through the stages of grief, and ending with the ‘end of the arch,’ gratitude.” Perez found that she reached a place in which she was able to be grateful for what she has, recognize what she has learned from the loss, and incorporate it all into a sense of moving forward with optimism. Matilda distills that spectrum of emotional content into song.
“The songs,” Perez says, “have a lullaby quality to them. I didn’t write the songs to send a message; they’re more like a journal, but in music.” And while her initial demo recordings focused on exploration of the themes of grief, the songs truly come alive in a concert setting. “The human interpretation brings them to life in a way that I wasn’t expecting,” the composer says.
Steinbeck marvels at Perez’s achievement in composing the song cycle, which will mark its world premiere at the April performances. “Carolina is sharing something so intimately while working through the trauma,” she explains, emphasizing that music is unique in its power to facilitate that depth of emotional expression. “Music keeps us sane and alive as we move through trauma, grief and recovery.”
Pan Harmonia’s performance of Carolina Perez’s song cycle Matilda: A Mother’s Grief Journey After Stillbirth will feature an ensemble of Kate Steinbeck (flute), Rosalind Buda (bassoon) and Jessica Schaeffer (harp) plus a string trio of violist Claudia Malchow, cellist Patrick O’Neil and violinist Daphne Waggener. Krista Tortora will give voice to Perez’s lyrics.
Post-concert discussion will be facilitated by therapist Dr. Katherine Hyde-Hensley, founder of the Embrace Foundation, which supports grieving families in WNC after miscarriage, TFMR, stillbirth, infant loss and birth trauma.
The centerpiece of Pan Harmonia’s Aftermath program, Matilda will be presented through three performances. On Thursday, April 9, concerts at 3pm and 7pm take place at First Presbyterian Asheville Chapel. On Friday April 10 at 7pm, the powerful and moving work will be presented at Black Mountain Presbyterian.
“Joy”
“There’s something magical that happens when musicians play works that they truly enjoy; doing so can really convey the joy within the music,” says Jessica Schaeffer. “And it’s wonderful to be able to find that in the midst of the trauma du jour.”
John Marson (1932-2007) composed his Suite for Flute and Harp in 1993. The five-movement work is acclaimed in equal measure for its technical complexity and its tuneful accessibility. A trio of Rosalind Buda on bassoon, Jessica Schaeffer on harp and flautist Kate Steinbeck will present two movements from Marson’s piece, Suite of Spring Blooms and Strawberries and Cream.
“Joy” performances will also include music by 20th century American composers Alec Wilder, Adrienne Albert, and NC composer Frederick Glesser. Rounding out the sonically sensual program are established works by American composers George Gershwin and Florence Price.
Performances of “Joy” take place on Friday, May 15 at 7pm at Black Mountain Presbyterian and Sunday, May 17 at 3pm at First Presbyterian Asheville.
–Bill Kopp
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About Pan Harmonia
“It’s all about serving the entire local community: the musicians and the audience.” says Schaeffer. “Our pay-as-you-can ticketing model ensures any and all can enjoy our concerts.”
Pan Harmonia is an independent, artist-directed chamber music company based in Asheville, North Carolina. Founded in 2000 by Kate Steinbeck and attaining 501(c)3 not-for-profit status in 2004 as Keowee Chamber Music, the company’s goals include sharing the joy and discovery of beautiful, acoustic music with audiences of all ages across the full spectrum of our society.
