A Heart to Heart

THE THANKS

There are so many persons to thank in an organization as the one we, Sanda and I, have had the pleasure to work with, collaborate with, share with, these past many, many years. To give thanks to everyone is not possible here but you know who you are – musicians, composers, actors, directors, board members, volunteers, back and front of hall support, funders be you corporate, foundation or individual, and, of course, our dedicated and intrepid audience. The journey we started on would not, could not have been taken without you.

THE ‘PLUS’

The most frequent question we receive over these many years is what’s the PLUS in Chamber Music PLUS. The answer is both simple and surprising. The simple answer? The simple answer is that we need a name to begin our journey. Our dream at journey’s beginning is a simple one, to make and play our favorite chamber music with our favorite musician friends, and because we haven’t a fixed course as to where this journey, this dream is to lead us, the PLUS seems appropriate, an open-ended declaration. The surprise? Surprises!  The desire of our audience to want to know more about the hows and whys of the music and the composers that they love, the inside story, and as we respond to this thirst for more we are lead, directed, to paraphrase Robert Frost,  ‘to the road less traveled, and that has made all the difference.’

This difference becomes the PLUS: The one hundred some world premieres, Fidelio (the singular trio of viola, cello, piano), the fifty theatrical, concert-drama firsts; all this newness and new ways of presentation in our travels together creating lots of excitement, yielding a significant legacy, a body of work that we hope will continue to entertain, educate, inspire for years to come in other musician’s and other organization’s capable hands. Daring programs, evocative programs, programs with a difference.

THE MEMORIES

Now, looking back, the differences, the ‘pluses’, seem ordered, an organic progression, but that’s in hindsight, a luxury given only when one does not have a next season to dream up, produce, play, market, fret over.

It was time. Time for us to be in search of new ‘pluses’, new dreams, new journeys, new differences.

Please feel free to explore this website further; may it serve as a reminder of our past dreams, past journeys. It’s not the actual thing, never is, nor can it be.  More a postcard, a remembrance of a road less traveled. Thank you for making the journey with us.

A toast: To future roads less traveled. Vive la différence!

Harry and Sanda

The Trials of Dimitri Shostakovich

World Premiere

March of the Women

Music by Clara Schumann, Fanny Mendelssohn, and Amy Beach for voice, cello & piano
Part of the Tucson Desert Song Festival

Eugenia Zukerman

In demand from New York to China as an orchestral soloist, chamber musician and recitalist, Eugenia Zukerman has been praised by The New York Times for her performances — “Her musicianship is consummate, her taste immaculate and her stage presence a sheer pleasure.” She has enjoyed musical collaborations with Emmanuel Ax, Yo-Yo Ma, Jean-Yves Thibaudet, the Shanghai String Quartet and fellow flutists Jean- Pierre Rampal and James Galway.

As a recitalist, Eugenia Zukerman has been lauded not only for her playing, but also for her adventurous programming. As The Sunday Telegram observed, “Few major instrumentalists offer anything comparable to the intelligence and breadth of programming that she brings to her concerts, and this one was no exception.” The Capital Times concurred, “What made this concert so noteworthy was not only the unusual music that Zukerman played with world-class virtuosity and musicality, but also her presentation and stage presence.”  For twenty years she performed a yearly three-concert series of thematic programs at the New York Public Library harpsichordist/organist/pianist Anthony Newman.

Zukerman has performed as soloist with many of the world’s finest orchestras. Her numerous guest appearances have included engagements with the Tokyo Philharmonic, the Royal Philharmonic, the China Philharmonic, and the Israel, Moscow, Prague and Scottish Chamber Orchestras. The breadth of her appearances in North America is remarkable – with more than eighty orchestras nationwide, including the Los Angeles Philharmonic, National Symphony in Washington DC, the Montreal and Vancouver  Symphonies and the National Symphony Orchestra of Mexico.  Performances and a recording of Lowell Liebermann’s Concerto for Flute and Orchestra Op.39 with the Dallas Symphony Orchestra conducted by Andrew Litton (Delos) led to a rewarding connection between Eugenia Zukerman and the orchestra.

A creative and dynamic administrator, Zukerman spent 13 distinguished years as Artistic Director of the Bravo! Vail Valley Music Festival in Colorado.  During her tenure, the festival developed an international profile through the annual residencies of the New York Philharmonic, the Philadelphia Orchestra, and the Dallas Symphony. Yo-Yo Ma, Lang-Lang, Yefim Bromfman and Jean-Yves Thibaudet were among the many internationally renowned artists who appeared during her directorship, further elevating the reputation of the Festival.

Recognized with an Emmy nomination as an important broadcast journalist, Eugenia Zukerman interviewed and created more than 300 portraits as an Arts Correspondent for CBS Sunday Morning.  For more than 25 years she introduced viewers to the most outstanding creators in fine art, music, dance and theater.  It is through her lens that a generation of viewers came to appreciate the arts. Her interview subjects included James Levine, Seiji Ozawa, Leontyne Price, Marilyn Horne, Helen Frankenthaler, Al Hirshfeld, Julie Taymor, Dame Maggie Smith, David Hyde Pierce, Mikhail Barishnikov, Savion Glover, Peter Martins, Daniel Barenboim and Isaac Stern.

An innovator, she embraced the internet early on and founded ClassicalGenie, an internet company that provides video content to music schools, artist, managers, orchestras and other institutions for use on their websites.  The video material helps promote reputation, attendance, interest and fundraising.  Recent clients include the Manhattan School of Music’s Fiftieth Anniversary celebration and The Harlem School of the Arts million dollar fundraising appeal.

She has continued her role as an arts journalist for the past two summers, creating the first VLOG (video blog) for MusicalAmerica.com.  Thousands of internet viewers tuned in to Eugenia Zukerman’s Verbier VLOG as she chronicled the international Verbier Festival in Switzerland from her inside perspective as a performer. She continued her journalist assignment for Musical America, writing a signature article for the 2012 edition of the annual directory  In 2012, again in partnership with MusicalAmerica.com and the Boston Symphony, Zukerman broadened her VLOG work, creating a 40 segment VLOG to celebrate the 75^th anniversary of the Tanglewood Music Festival in Lenox, Massachusetts. A second Verbier VLOG has been commissioned for their 20^th anniversary in 2013.

In addition to her television appearances and on-line presence, Eugenia Zukerman’s discography is impressive.  She has over two dozen discs to her credit, including releases on the Delos, SONY Classical, Pro Arte, Vox Cum Laude and Newport Classic labels.  Her most recent recording, Flesh & Stone: The Songs of Jake Heggie was released on the Americus label with all proceeds benefitting Classical Action; Performing Arts Against AIDS.

The author of the New York Public Library’s Award-winning non-fiction book In My Mother’s Closet, and also Coping with Prednisone (which she co-authored with her sister Dr. Julie R. Ingelfinger), Zukerman has enjoyed success in the humanities as well as the arts. Her first two novels were well received: Deceptive Cadence was published by Viking Press and Taking The Heat was published by Simon and Schuster. Today, Miss Zukerman is a regular contributor to The Washington Post book review and is working on another novel.

Not only was Eugenia Zukerman a Young Concert Artists Award-winning flutist, but in addition, she received their Lifetime Honor Award in 2006.  In 2009, she also received Concert Artists Guild’s Virtuoso Award for Dedication to the Arts – one of a handful of artists to be so honored by both organizations. Other honors include an honorary doctorate from Knox College in Galesburg, Illinois, the Lifetime Achievement Award from The Open University of Israel in NYC, a Woman of Achievement Award from the National Hadassah Organization, and she is a recipient of the Exceptional Achievement Award from The Women’s Project.

Miss Zukerman studied English at Barnard College and received a B.M. from The Juilliard School where she studied with the renowned flutist Julius Baker.  A Massachusetts native, Miss Zukerman makes her home in New York City and in upstate New York where she shares a small farm with her husband, broadcaster Richard Novik, two horses, two dogs and a barn cat named Lulu.

Arianna Zuckerman

Renowned for her pure, luminous, rich soprano, persuasive performances and dramatic ability, Arianna Zukerman is considered one of the premiere vocal artists of her generation. An international artist in demand for concert and opera performances, Ms. Zukerman is also an avid chamber musician, and regularly collaborates with some of today’s foremost chamber players. The Washington Post has acclaimed, “Arianna Zukerman possesses a remarkable voice that combines the range, warmth and facility of a Rossini mezzo with shimmering, round high notes and exquisite pianissimos that would make any soprano jealous.”

With a focus on concert repertoire, Ms. Zukerman’s upcoming 2013—2014 engagements take her to the United Kingdom, where she makes her Royal Festival Hall debut in a three-city tour of the UK with the Royal Philharmonic at Reading’s The Hexagon, London’s Royal Festival Hall, and at the Cathedral in Salisbury, her father, Pinchas Zukerman conducting. Summer 2013 begins with a concert performance of Whitbourn’s Annelies: The Choral Setting of the Diary of Anne Frank with the Lincoln Trio, clarinetist Bharat Chandra, The Chicago Children’s Choir, Josephine Lee conducting, at Chicago’s Harris Theatre (presented under the auspices of the US Holocaust Museum’s 20th anniversary year) in early June. Ms. Zukerman also appears at the New Hampshire Music Festival and at Chicago’s International Beethoven Festival in recital with the Festival’s Founder/Artistic Director, George LePauw. With the Gonzaga Symphony in Spokane, Washington, she sings Strauss’s Four Last Songs and Verdi’s E Strano…sempre libera from La Traviata in early October, then travels cross-country to South Carolina for another performance of Annelies with the Carolina Master Chorale. With the National Philharmonic she sings Verdi’s Requiem, and with the American Bach Soloists, Handel’s Messiah at Grace Cathedral in San Francisco and at the Mondavi Center in Davis, California. Also with the American Bach Soloists, Ms. Zukerman appears at San Francisco’s St. Stephen’s Church in a concert entitled “ABS Christmas”, along with renowned baroque trumpeter John Thiessen, that includes Bach’s “Jauchzet Gott” (Cantata, BWV 51). May 2014 brings a re-engagement with Canada’s National Arts Centre Orchestra.

Highlights of the 2012-2013 season included a three-city, 15-concert engagement with the Israel Philharmonic Orchestra; a performance of Jake Heggie’s At the Statue of Venus for Urban Arias at the Strathmore Center for the Arts’s Strathmore Mansion; a concert with the Music of the Baroque under Jane Glover in Chicago singing Mozart’s “Exsultate Jubilate” and “Ch’io mi scordi di te”, with Vladimir Feltsman at the piano; a return to the Colorado Symphony as soloist in Fauré’s Requiem under conductor Jose Luis Gomez; as soloist in the Mutual Inspirations Festival at the National Gallery in DC, and with the Cincinnati Symphony Orchestra in Handel’s Messiah under Jane Glover. January 2013 saw the critically acclaimed release of a new Naxos recording of James Whitbourn’s oratorio, Annelies, the first major choral setting of Anne Frank’s diary (Anne Frank: The Diary of a Young Girl), in which Ms. Zukerman is the featured soloist. The Guardian (UK) praised her performance on the CD¸ stating, “Arianna Zukerman sings with subdued beauty.”

Ms. Zukerman has sung the world premieres of Nizza in Donizetti’s Elisabeth, conducted by Will Crutchfield at the Caramoor Music Festival, and of Wilma in Jean-Michel Damase’s Ochelata’s Wedding at the OK Mozart Festival. She premiered Julian Wachner’s piece, “Come My Dark Eyed One” in Boston in 2009, and at the Kennedy Center in 2011. She also sang the chamber version premiere of James Whitbourn’s oratorio, “Annelies”, in The Hague, Netherlands in 2009.

Ms. Zukerman’s extensive career includes performances with an impressive group of conductors including James Levine, Charles Dutoit, Leonard Slatkin, Lorin Maazel, Ivor Bolton, Constantine Orbelian, Julian Wachner, Jeffrey Thomas, Jane Glover, Lawrence Foster, Rossen Milanov, Marin Alsop, Pinchas Zukerman, Jose Luis Gomez, and Andrew Litton. She has worked with major orchestras worldwide, including the orchestras of Boston, Chicago, Minnesota, Dallas, Colorado, Cincinnati, and Pittsburgh, and the Philadelphia Orchestra, Rochester Philharmonic and National Arts Centre Orchestra in North America, and with the English String Orchestra, Royal Philharmonic (UK), the Israel Philharmonic Orchestra, the Gulbenkian Foundation Orchestra and the Moscow Chamber Orchestra abroad, to name a few. Among the opera companies with which she has performed are such esteemed organizations as New York City Opera, Chicago Opera Theater, Arizona Opera, The Chattanooga Opera, the Berkshire Opera Company, and the Castleton Festival. An avid chamber musician, she counts among her collaborators such esteemed artists as violinist Daniel Hope; pianists Benjamin Hochman, Ken Noda, Navah Perlman, Joy Schreier, and Brian Zeger; clarinetists Bharat Chandra, Alex Fiterstein , Patrick Messina, and Anthony McGill; flutist Eugenia Zukerman; the Miami String Quartet, and The Lincoln Trio.

Arianna Zukerman was born in New York City into a musical family. Her father is violinist/violist/conductor Pinchas Zukerman, her mother is flutist, writer and arts broadcaster, Eugenia Zukerman, and her sister Natalia Zukerman is an accomplished singer/songwriter. In addition to her busy performing schedule she maintains an active studio at the Catholic University of America, where she is an Adjunct Professor of Voice, and she gives master classes around the United States.

A past recipient of the Sullivan Foundation Award, Ms. Zukerman was a member of the Bavarian State Opera’s Junges Ensemble. She studied theatre at Brown University and received her Bachelor of Music from the Juilliard School. She resides with her family in Greater Washington, DC.

¡Viva España!

Homage to Pablo Casals & Andrés Segovia. Music for classical guitar and cello.

Two additional performances on January 5, 2014 at 1:00 PM and 5:00 PM.

Viennese Verve

The Clark-Schuldmann DUO offer a delicious holiday celebration with Schubert’s “Arpeggione” & other Viennese delights!

Sister Mozart

We are honored and excited that Stefanie Powers is opening our 2013-14 Season of Rhythms of LIFE with Sister Mozart.

Stephanie Powers

STEFANIE POWERS began her career at age 15, dancing for famed Broadway choreographer, Jerome Robbins.  She was put under contract to Columbia Pictures in the final years of the Hollywood star system.  While under contract, she appeared in 15 of the 31 motion pictures she has made, co-starring with screen legends such as John Wayne, Maureen O’Hara, Lana Turner, Ava Gardner, Cliff Robertson, Elliot Gould, Roger Moore, Donald Sutherland, BingCrosby, Glenn Ford, Lee Remick, James Caan, and Sammy Davis.   She recently co-starred with Richard Chamberlin in the critically acclaimed independent film, Three Days of Hamlet.

Throughout her career she has never neglected her theatrical roots, appearing in productions of; How the other Half Loves, Under the Yum Yum Tree, Sabrina Faire, View from the Bridge, Oliver, Annie Get Your Gun, the West End debut of Matador, off-Broadway in The Vagina Monologues, back to the West End with Robert Wagner in Love Letters, which they also toured the United States with, becoming the cast most associated with the play after over 500 performances. She most recently starred as Tallulah Bankhead in the national tour of Looped.

She is a devoted friend of animals and has been on the advisory board of four zoos in the United States and is a fellow of the Los Angeles Zoo, the Explorers’ Club, and the Royal Geographic Society.  She is active in the movement to preserve and protect the remaining herds of the North American wild horses.

Ms. Powers has received numerous international awards for her grass roots work in conservation which she considers a life-long commitment.  She resides part of the year in Kenya.

Sister in Law Beethoven

“I will now fight a battle for the purpose of taking a poor, unhappy child from the clutches of his unworthy mother. I will win the day! I am husband and father – senza wife!” Ludwig van Beethoven

Sister in Law Beethoven– synopsis

Before Beethoven’s corpse was yet cold, several of his well-meaning or self-serving friends and confidants removed a dozen conversation books from the composer’s apartment. These confiscated conversation books, writing pads that the deaf Beethoven wrote in to communicate, contained insane ramblings about his sister-in-law and her son, Karl.In 1815, Ludwig’s brother Caspar Carl died at the age of 41, leaving behind his widow, Johanna, and their nine-year old son, Karl. For the next 10 years, Ludwig battled Johanna personally and through the courts for custody of the sole Beethoven heir. Ludwig served as his own legal counsel, and among his many fraudulent claims were that he was related to nobility, that Johanna was nothing more than a harlot, that Karl was the next Mozart or perhaps Goethe, and that the composer cum lawyer was the only one suited on terra firma to raise his nephew.

Three court cases ran for years (one is reminded of Dickens), and the insanity stopped only after Karl, in desperation to free himself of his uncle’s impossible demands, attempted suicide. One bullet misfired, the other grazed Karl’s skull, and this scream for deliverance brought Ludwig back to a semblance of reality before his death a year later.

Several audience members have informed me that I was maligning the mighty composer. Never! First, It is wholly remarkable that during this time of mental chaos he was composing such works as the Ninth Symphony. And despite the utter folly, Beethoven was attempting to re-create an idealized family life; one that he and his brother Caspar Carl were deprived of with beatings and rages by their drunken father. A madness with hoped for change: Ode to Joy—O friends, no more these sounds! Let us sing more cheerful songs, more full of joy!

 Margot Kidder as Johanna van Beethoven

Born Margaret Ruth Kidder to Jill Kidder and Kendall Kidder, a mining engineer, in Yellowknife, Canada, on October 17, 1948, Margot was a delightful child who took pride in everything she did. After graduation Margot moved to Los Angeles to start a film career. She found herself dealing with a lot of prejudice, and hotheads, but later found solace with a Canadian agent. This was when she got her first acting job, in the Norman Jewison film Gaily, Gaily (1969). This led to another starring role in Quackser Fortune Has a Cousin in the Bronx (1970), in which she co-starred with Gene Wilder. After some harsh words from the film’s director, Margot temporarily left films to study acting in New York. When she arrived in Hollywood she met up at a screen test with actress Jennifer Salt, resulting in a friendship that still stands strong today. Margot and Jennifer moved into a lofty beach house and befriended other, then unknown, struggling filmmakers such as Martin Scorsese, Brian De Palma, Steven Spielberg and Susan Sarandon, among others.  De Palma gave her the script to his upcoming film Sisters (1973). Margot and Salt both had the leads in the film, and it was a huge critical success.

The film made branded Margot as a major talent, and in the following years she starred in a string of critically acclaimed pictures, such as Black Christmas (1974), The Great Waldo Pepper (1975), 92 in the Shade (1975) – directed by Thomas McGuane, who was also her husband for a brief period – and a somewhat prophetic tale of self-resurrection, The Reincarnation of Peter Proud (1975).

Her new agent hooked her up with a little-known director named Richard Donner. He was going to be directing a film called Superman (1978), and she auditioned for and secured the leading female role of Lois Lane. That film and Superman II (1980) were to be filmed simultaneously. After the success of “Superman” she took on more intense roles, such as The Amityville Horror (1979) and Willie & Phil (1980). After that, Margot did numerous films, television and theater work throughout the 1980s, including Superman IV: The Quest for Peace (1987). When the 1990s erupted with the Gulf War, Margot found herself becoming involved in politics. She made a stir in the biz when she spoke out against the military for their actions in Kuwait. She also appeared in a cameo in Donner’s Maverick (1994).

Margot has had continued success in film and on TV and even had a guest-star role on a newer version of Superman which fans al know and love called SMALLVILLE! PLUS SEE HERE IN THE NEW ROB ZOMBIE film H2 (Halloween II)!!!!

Margot is currently writing a book and tours the world meeting fans at conventions and also is a highly sought after speaker for the Mental Health field appearing a numerous seminars to educate people on mental health issues.

Music by Beethoven for cello and piano performed by the Clark Schudmann Duo

This program is generously sponsored by Diana Varecka

The Clark – Schuldmann Duo

“Music gives a soul to the universe, wings to the mind, flight to the imagination and life to everything.” Plato

“The trouble with music appreciation in general is that people are taught to have too much respect for music they should be taught to love instead.”  Igor Stravinsky

Harry and Sanda will perform some of their favorite works. They are known to be  bold adapters of great music for their respective instruments and the program will include an abundant number of transcriptions- some original by the composers, and some, by Harry and Sanda. We intend to feast on Couperin, Schumann and Prokofiev.

Originally, we were prepared to welcome you to the new season on November 25. However this is not to be as Harry had a brief stay at UMC undergoing some amazing new treatment.

He is doing well and we look forward to our date with you in March.

This event is generously sponsored by Tom and Laurie Pew

Confidentially, Chaikovski

Richard Thomas & Michael Learned in Confidentially, Chaikovski. Reunited for the first time since the Waltons

“It is impossible to describe the impression your work made on me, for several days I was as one in a delirium from which I could not emerge.”

~ Nadejda von Meck to Chaikovski

“Without exaggeration I can say that you saved me, that I would surely have gone mad and perished had you not come forward with your friendship and sympathy.”

~ Chaikovski to Nadejda von Meck

Agreeing never to meet in-person, Chaikovski and his patron, Nadejda von Meck, exchanged over 1,200 letters between 1877 and 1890.  In musical history’s most extraordinary correspondence the pair reveal their love of art, love of family, and in a tragic conclusion, love of one another.

Appearing for the first time on Rhythms of LIFE series is Richard Thomas. He was seven when he made his first Broadway appearance in Sunrise at Campobello (1958). The wide-eyed, mole-cheeked, sensitive-looking Thomas soon found himself very much in demand for television roles. He was seen in the distinguished company of Julie Harris,Christopher Plummer and Hume Cronyn in a 1959 TV presentation of Ibsen’s A Doll’s House, worked as a regular on the daytime soap operas As the World Turns and Flame in the Wind, and co-starred with Today Show announcer Jack Lescoulie in the captivating 1961 Sunday-afternoon “edutainment” series 1-2-3 Go. While attending Columbia University, Thomas made his theatrical-film debut in Downhill Racer, then settled into a series of unpleasant, psychologically disturbed characters in films like You’ll Like My Mother (1971) and such TV series as Bracken’s World. In 1971, Thomas was cast as John-Boy Walton in the Earl Hamner-scripted TV movie The Homecoming. Though there would be a number of cast changes before The Homecoming metamorphosed into the weekly series The Waltons in 1972, Thomas was retained as John-Boy, earning a 1973 Emmy for his performance and remaining in the role until only a few months before the series’ cancellation in 1981. During the Waltons years, Thomas starred in several well-mounted TV movies, including the 1979 remake of All Quiet on the Western Front. Ever seeking opportunities to expand his range, Thomas has sunk his teeth into such roles as the self-destructive title character in Living Proof: The Hank Williams Jr. Story (1983) and the amusingly sanctimonious Rev. Bobby Joe in the satirical Glory! Glory!. In 1980, Thomas made his first Broadway appearance in over two decades as the paralyzed protagonist of Whose Life is It Anyway. Working through his own Melpomene Productions, Thomas has continued seeking out creative challenges into the 1990s. Richard Thomas has also served as national chairman of the Better Hearing Institute.  We are thrilled to have him grace the stage at the Berger.

Making her third appearance with Chamber Music PLUS is four-time Best Actress Emmy Award winner Michael Learned.  Ms. Learned and Mr Thomas will be working together for the first time since the Waltons.

Michael Learned was born on April 9, 1939 in Washington, D.C. The oldest of six daughters of a U.S. State Department employee, she was raised on her family’s farm in Connecticut. The family moved to Austria when she was age 11, and it was while attending boarding school in England that she fell in love with the theater and decided to become an actress.

Learned married Oscar winner Robert Donat’s nephew Peter Donat, a Canadian citizen, when she was 17 years old, a marriage that lasted 17 years and produced three sons. She learned her craft while acting for the Shakespeare Festivals in both Canada and the U.S. while simultaneously raising a family. She and her husband Peter acted together with San Francisco’s American Conservatory Theatre (ACT) in the early 1970s. Her breakthrough came when she was appearing in an ACT production of Noel Coward’s “Private Lives”, where she was spotted by producer Lee Rich, who cast her as Olivia Walton in his new television series about a Depression era family, “The Waltons” (1971).

Learned won three Emmy Awards playing the role, and another Emmy for her next foray into series TV, “Nurse” (1981). She escaped typecasting as Olivia Walton (although she re-prised the role that made her famous in a 1995 TV-movie reunion) while appearing on numerous shows and TV movies, including top-drawer, made-for-TV specials such as the 1986 adaptation of Arthur Miller’s “American Playhouse: All My Sons (1987) with co-star James Whitmore.

All music by Chaikovski

This event is generously sponsored by Bruce and Edythe Gissing

John Cage @ The Cabaret

The January 6, 1:00 PM performance of Cage @ The Cabaret is SOLD OUT

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SPECIAL EVENT: Bob Clendenin stars in John Cage @ The Cabaret

Celebrating Cage’s 100th birthday

“If something is boring after two minutes, try it for four. If still boring, then eight. Then sixteen. Then thirty-two. Eventually one discovers that it is not boring at all.” –John Cage.

“The first question I ask myself when something doesn’t seem to be beautiful is why do I think it’s not beautiful. And very shortly you discover that there is no reason.” –John Cage.

“Which is more musical: a truck passing by a factory or a truck passing by a music school?” –John Cage

Interview with John Cage

This marks the third appearance  for Bob Clendenin with Chamber Music PLUS. Bob emigrated to Australia with his parents in the early 70′s but returned to the United States to attend Cornell University where he barely earned a B.Sc. in Engineering in 1986. Knowing the world would be safer if he was not designing bridges, Bob went on to Penn State where he received an MFA in acting. After several years in regional theatre he came to Los Angeles in 1992.

The fish didn’t bite immediately and Bob survived with one job teaching an SAT prep class and another job that involved wearing a hairnet. This went on far too long, but after a long series of demeaning auditions for horrible projects, Bob booked a demeaning role in a horrible project and his career was off and running. Since then he has done over seventy TV guest appearances, a dozen studio films, and numerous commercials. Being a character actor often leads to interesting character names. Bob’s favorites: Slow Roger, Mr. Giggles, Plumber Dave, Louis the Stalker, Doofus, and most recently Bob the Demon.”

Bob is proud of many things. He’s proud of his flourishing vegetable garden, he’s proud of his portrayal of the semi-retarded shop teacher on “Hangin’ With Mr. Cooper”, and he is most proud to be a co-founder of Circle X Theatre Company. Although they don’t let him act much anymore, he still sits on their Board of Directors and plays 1st Base for their championship softball team.

He lives in Burbank with his wife, two sons, and a pug named “Helmut”.