Christian Baldini: On March 5 I will have the pleasure of collaborating with the wonderful violinist Rachel Lee Priday on the world premiere of the Violin Concerto “Kuyén” by Chilean composer Miguel Farías at UC Davis. This piece was commissioned by our orchestra, with funds from Ibermúsicas. Rachel, welcome, and let’s start by sharing your thoughts about this piece by Miguel. What should people listen for? What is unique about it? [NB: at the time of this interview, we have not had a rehearsal with the orchestra yet, only zoom meetings between the composer, the soloist and the conductor, so Rachel has not heard how the concerto sounds with the orchestra yet]
Rachel Lee Priday: Kuyén is a continuous drama that unfolds over the course of twenty minutes between the orchestra and solo violin. My role as the violinist is to symbolize and give voice to the Moon in this personification of the ancient Mapuche tale of Kuyén‘s marriage to the deity Antu (the Sun), revolt among the jealous stars, and their punishment, leaving Kuyén the brightest light in the sky.
Miguel brilliantly creates a sense of light and shadow in the way he colors the violin line through various harmonics and oscillating rhythms. There is also a rhetorical quality to the music, and a glowing energy. Knowing the story this piece depicts, it will be fun for listeners to imagine and follow along with the action in the music. I am very curious and excited to hear and create the full drama with you and the UC Davis Symphony.
CB: You are a wonderfully eclectic performer, with a lot of experience under your belt. You have performed as a soloist with several major orchestras around the world, including the National Symphony, as well as the Chicago and Seattle symphonies and the Staatskapelle Berlin. Tell me about your beginnings with music. How did it all start for you? When did you realize music was going to be your life?
RLP: I started playing the violin soon after I turned four years old. I had asked my mother for a violin for my fourth birthday, but there was a delay in getting the violin. So when my birthday came and there was no violin, I threw a tantrum. My mom got the message, and I started Suzuki lessons in Chicago a few months later.
I was very serious about music from the beginning, and I wanted to be a violinist, considering it my life, from the start. After I began playing the violin, I almost don’t remember a time I didn’t think of myself as a musician. It’s now a little strange to think about.
CB: Let’s talk about programming. How do you choose the works that you perform? Do you see a responsibility or a role in society for those of us who are making decisions about which composers and/or which works to promote and perform?
RLP: There is definitely a great responsibility that organizations and performers carry in deciding which works to promote and perform. We have an active role in giving exposure to new music especially, and in building together an inclusive musical world. Whenever I decide what to play, whether it’s a new commission or a warhorse standard, I think about whether I will love it, whether I feel I can do justice to it, and whether there is something intriguing about it that will expand me and audiences artistically.
CB: What (or who) are some unforgettable experiences and/or people in your life, and why?
RLP: My teachers, including Itzhak Perlman, Dorothy DeLay and Miriam Fried, have been huge influences in my life. It can’t be overstated how they have shaped me as a violinist, musician, person, and now as a teacher.
CB: Which advice would you give to young musicians? We know it is sometimes hard to be constant, to continue growing, improving and not losing focus or getting distracted or deflated by failure, by an audition that doesn’t go well, or by a harsh teacher that might seem discouraging. How have you dealt with adversity in the past?
RLP: Over the years and especially during the pandemic, I have come to realize that the more I fill my cup with gratitude and connection to others in doing the work, the more freedom I experience from self-doubt and other discouraging feelings. It is relieving to remember that it’s not about me, it’s about the music and being of service. I have always lived by the motto of simply “do your best,” and have added in a lot lately, “it will be okay.” Just showing up and doing things consistently can be the most important part. If you can be curious about something in the midst of a challenge, it can stop negative thoughts in their tracks and redirect you to a positive, creative and engaged mode of thought.
CB: Thank you very much for your time dear Rachel, we very much look forward to showcasing your wonderful musicianship with our audiences!
RLP: I’m so grateful to work with you and for this exciting premiere! Thank you, Christian!
About Rachel Lee Priday
A consistently exciting artist, renowned globally for her spectacular technique, sumptuous sound, deeply probing musicianship, and “irresistible panache” (Chicago Tribune), violinist RACHEL LEE PRIDAY has appeared as soloist with major international orchestras, among them the Chicago, Houston, National, Pacific, St. Louis and Seattle Symphony Orchestras, Boston Pops Orchestra, Buffalo Philharmonic Orchestra and Germany’s Staatskapelle Berlin. Her distinguished recital appearances have brought her to eminent venues, including Lincoln Center for the Performing Arts’ Mostly Mozart Festival, Chicago’s Ravinia Festival and Dame Myra Hess Memorial Series, Paris’s Musée du Louvre, Germany’s Mecklenburg-Vorpommern Festival and Switzerland’s Verbier Festival.
Passionately committed to new music and creating enriching community and global connections, Rachel Lee Priday’s wide-ranging repertoire and multidisciplinary collaborations reflect a deep fascination with literary and cultural narratives. Recent seasons have seen a new Violin Sonata commissioned from Pulitzer Prize Finalist Christopher Cerrone and the world premiere of Matthew Aucoin’s The Orphic Moment in an innovative staging that mixed poetry, drama, visuals and music. She has collaborated often with Ballet San Jose, and was lead performer in “Tchaikovsky: None But the Lonely Heart”, theatrical concerts with the Ensemble for the Romantic Century at the Brooklyn Academy of Music. Her work as soloist with the Asia America New Music Institute promoted cultural exchange between Asia and the Americas, combining premiere performances with educational outreach in the US, China, Korea and Vietnam.
This season Rachel performs in duo recital with composer/pianist Timo Andres in Seattle and Washington, DC at the Phillips Collection. Upcoming concerto engagements include the Portland Symphony, Roanoke Symphony and UC Davis Symphony at the Mondavi Center, while recent engagements have included the Pacific Symphony, Buffalo Philharmonic, Johannesburg Philharmonic, Kwazulu-Natal Philharmonic, Stamford Symphony, and Bangor Symphony.
Since making her orchestral debut at the Aspen Music Festival in 1997, Rachel has performed with numerous orchestras across the United States, including those of Colorado, Alabama, Knoxville, Rockford, and Springfield (MA), as well as the New York Youth Symphony. Her In Europe and in Asia, she has appeared at the Moritzburg Festival in Germany and with orchestras in Graz, Austria, Hong Kong, Singapore, and Korea, where she performed with the KBS Symphony, Seoul Philharmonic and Russian State Symphony Orchestra on tour. She has also toured South Africa and the United Kingdom, appearing in recital at the Universities of Birmingham and Cambridge.
Rachel Lee Priday began her violin studies at the age of four in Chicago. Shortly thereafter, she moved to New York City to study with the iconic pedagogue Dorothy DeLay; she continued her studies at The Juilliard School Pre-College Division with Itzhak Perlman. She holds a B.A. degree in English from Harvard University and an M.M. from the New England Conservatory, where she worked with Miriam Fried. In the fall of 2019, she joined the faculty of the University of Washington School of Music as Assistant Professor of Violin.
Rachel Lee Priday has been profiled in The New Yorker, The Strad, Los Angeles Times and Family Circle. Her performance have been broadcast on major media outlets in the United States, Germany, Korea, South Africa and Brazil, including a televised concert in Rio de Janeiro, numerous appearances on Chicago’s WFMT and American Public Media’s “Performance Today.” She has also been featured on BBC Radio 3, the Disney Channel, “Fiddling for the Future” and “American Masters” on PBS, and the Grammy Awards.
She performs on a Nicolo Gagliano violin (Naples, 1760), double-purfled with fleurs-de-lis, named Alejandro.