Kandinsky Trio Calls Roanoke College Home
Resident artists share their passion for chamber music with college community
The Kandinsky Trio is a chamber group founded in 1987 by Dr. Elizabeth Bachelder, Alan Weinstein and Benedict Goodfriend. In its 19th season, the Trio has been awarded the Chamber Music America Residency Award and awards from the Theodore Presser and Carpenter foundations.
Weinstein says living to play chamber music has always been his goal. "To be able to live and breathe with great composers, not to mention collaborating with guest artists is something that I think makes my life charmed," Weinstein says.
The group has performed nationally as well as internationally. New York, Atlanta, San Francisco and Tampa are merely a fraction of the cities in the U.S. that have heard the sounds of the Trio. Some international cities include Bratislava, Slovakia; Vienna, Austria; Budapest, Hungary; and Zagreb, Croatia. The list goes on with over 175 cities worldwide.
When they aren't on the road, the members find themselves at the place they've considered home for over 15 years-the College-perfecting their art, performing it and sharing it with the college community. As resident artists, the members of the group have significant ties to the College and especially to their students.
"Learning music is very personal and I think having relationships with students is very fruitful, which is why it's nice to have a home base," Bachelder says.
Performances by the Kandinsky Trio aren't limited to concerts in auditoriums. The group has offered private shows for various classes. With their performance for a course titled "Math and the Arts," Bachelder says "it's a truly integrative experience. It's not cold math out of a book with formulas, but you start to see how it works in an artistic experience." The group demonstrated how mathematical concepts could be applied to music.
They also have performed for a humanities course, playing pieces specific to the period the students were studying, in an attempt to convey emotions felt by musicians during that time.
"Students don't have a lot of musical experience, and we get to put into context what they're learning about. We get to broaden their horizons," Bachelder says