On Sept. 30, a quintet of classical musicians known as the FUSE Ensemble took their seats exterior on the Koger Middle Plaza to carry out.
This system skipped acquainted names like Bach and Beethoven in favor of items by extra trendy composers like Miguel del Aguila, Jaquay Smith, Astor Piazzolla and Vinicio Meza. Round 70 folks watched the ensemble, made up of USC graduate college students, carry out whereas visuals have been projected onto the wall of the Koger Middle for the Arts.
The occasion was the primary in a collection of live shows offered by the FUSE Ensemble known as “Ears Vast Open.” Its function is to carry classical music to the coed physique of USC. The ensemble, made up of Roya Farzaneh, flute, Pedro Falcon, oboe, Carmen Borregales, clarinet, Alexandra Castro, bassoon and Hunter Poe, horn, shaped earlier this yr with the objective of spreading consciousness about USC’s Faculty Of Music.
“Over the previous couple of years our flute professor Jennifer Parker-Harley has been eager to work on this initiative for neighborhood engagement,” stated Roya Farzaneh, “and he or she was capable of create these positions for 5 graduate college students to get collectively as a gaggle and play music at a excessive stage, and to additionally do neighborhood outreach.”
Parker-Harley, Farzaneh and Ears Vast Open Inventive Director Pedro Falcón began assembly final summer time to plan out a schedule of live shows that will entice youthful ears.
“We’ve got 33,000 college students,” Falcón stated, “and really they don’t actually know we’re right here; they don’t know that the Faculty of Music exists. We’re used to taking part in in a live performance corridor, so how can we get into this neighborhood that we’ve got? How can we give music to them in an immersive manner?”
The FUSE Ensemble deliberate out the collection with an eye fixed on different USC ensembles. Whereas they dealt with the primary efficiency in September, FUSE hosted USC’s mixed-instrumental ensemble The Collective for the second, “The Haunting Of The Horseshoe” on Oct. 27 on the Russell Home Patio Stage. The third live performance, “Look Up: Music Of The Evening Sky,” featured the Duende Flute Quartet and happened on the Melton Memorial Observatory.
None of those occasions happened in a standard live performance corridor, and Farzaneh stated that’s the entire level.
“We titled this concept ‘Adventurous Studying and Adventurous Listening,’” Farzaneh stated. “So it’s the concept of getting exterior of the live performance corridor, as a result of classical music has this stigma of being boring and generic and also you’re simply sitting there quietly when you’re watching one thing on stage. So we’re attempting to interrupt that wall down and create a extra attention-grabbing expertise for folks.”
FUSE took care to guarantee that the record of composers for his or her efficiency and subsequent live shows was each accessible and obscure.
“We’re attempting to be very aware that we’re attempting to achieve audiences that usually don’t go to classical music,” Farzaneh stated. “We don’t need them to sit down there and hearken to some complicated Schoenberg twentieth century loopy laborious piece. We wish one thing that’s straightforward to digest, however nonetheless one thing that folks can study and achieve from. So we’re attempting to merge this world of items which can be somewhat extra new with this world of those who aren’t acquainted with the music.”
The FUSE Ensemble itself received’t carry out once more till March, as an alternative leaving two extra occasions for different ensembles. The USC Flute Studio will play on Jan. 27, and members of the USC Wind Ensemble will carry out on the Columbia Museum of Artwork on Feb. twenty fourth.
And sooner or later, Falcón says to count on collaborations with teams exterior of the USC umbrella.
“Ultimately we’re interested by having some partnerships with musicians that aren’t a part of the Faculty of Music,” he stated. “We need to open a jam session so we are able to have musicians from different locations.”
As for the response to the live shows up to now, each Falcón and Farzaneh have been happy with each the turnout and the extent of viewers participation. At instances, onlookers have made Tik Tok movies of the exhibits and, after an preliminary 70 attendees, there have been 50 to 60 on the group’s Collective live performance, they defined.
For the group, spontaneous accessibility is a part of their objective.
“That’s the concept: The way to introduce new sounds, new music to people who find themselves youngsters,” Falcón stated. “I’m not anticipating them to sit down there for the entire efficiency. I’m anticipating them to sit down there and hear to 1 piece and perhaps have the expertise of the music another way than we do it in a live performance corridor.”