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Matthew Hanna, PERFORMING ARTIST & CLARINETIST

Matthew Hanna

Matthew Hanna studied clarinet with Dr. Robert Chesebro at Furman University.   During that time, Matthew was active as a competitor and placed first in the International Clarinet Association 1995 Young Artist Competition.   He placed first in the Southeastern Clarinet Workshop Competition and won the Music Teachers National Association (MTNA) state and divisional woodwind competitions.   He was a finalist in the National MTNA High School Woodwind competition.

In addition to being a member the Carolina Youth Symphony for three years, Matthew was featured as a soloist in 1996 performing the Carl Stamitz Clarinet Concerto No.3 in B flat Major.   Matthew has also performed as a soloist with the Foot-hills Philharmonic in performances of the Mozart Sinfonia Concertante and the Weber Clarinet Concerto No. 1.  In 2014, he joined his former professor at the Greenville Peace Center performing the Concerto for Two Clarinets and Orchestra in Eb Major, Opus 35 by Franz Krommer in a side by side concert with Dr. Robert Chesebro and 21 members of the Greenville Symphony Orchestra and the CYS.   In 2016, Matthew was invited to perform with the Heliotrope Chamber Ensemble near London England in a concert featuring the exquisite and rarely performed Richard Strauss Sonatine No. 2 for 16 winds.

Matthew is currently active in the Upstate music scene, performing regularly with local orchestras including the Spartanburg Philharmonic, Foothills Philharmonic, and GAMAC Orchestra and he was the principal clarinetist with the Brevard Philharmonic.   He is a founding member of the Papageno Woodwind Quintet and performs as a singer and clarinetist on the front line of the Foothills Oompah Band.   Matthew divides his time between clarinet performance and managing his recording studio.


Christopher Tavernier, PERFORMING ARTIST & CONCERT PIANIST

Christopher Tavernier

Christopher Tavernier made his orchestral debut with the Tar River Philharmonic Orchestra at the age of thirteen in Rocky Mount, NC, performing Tchaikovsky’s Piano Concerto No. 1 in the opening concert of the orchestra’s Fall 2013 season.  Since then he has won the Hendersonville, Asheville, Augusta, and Charlotte Symphony concerto competitions, and second prize in the National Elizabeth Harper Vaughn Concerto Competition in Kingsport, Tennessee, where he was the youngest performer in the history of the competition.  He was one of two pianists who won the Brevard Music Festival Jan and Beattie Wood Concerto Competition, competing in a field that included college undergraduate and graduate students.

In addition to a growing solo repertoire, Christopher has performed concerti by Bach, Mozart, Mendelssohn, Tchaikovsky, Rachmaninoff, Saint-Saëns, Ravel, and Prokofiev.  Also, as a dedicated chamber musician, he performs with the Mountain Chamber Trio and the Rutherford Chamber Consort.  Christopher has teamed up with renowned clarinetist, Matthew Hanna to form the Chamber Project for Clarinet & Piano, "88 Keys and a Reed".  Together they are developing a sound full of extreme colors, shadings and textures that creates extraordinary beauty and clarity for Clarinet & Piano.

In addition, he has performed many benefit concerts in support of the Mission Foundation's “Ladies Night Out” -- a collaboration of women helping women who provide free mammograms and health screenings for uninsured/underinsured women.

Christopher has been featured on ABC affiliate television station WLOS, CBS affiliate WSPA in Spartanburg (Scene on 7), Carolinas CW62 (Studio 62), and Carolina Live NPR radio, and WCQS in Asheville, NC.   In 2015 he was named the first International Perzina Artist in the company’s 150 year history.   Christopher in currently studying at the College of Music at FSU majoring in Piano Performance under Dr. Read Gainsford, associate professor and coordinator of keyboard studies.  He has also studied under Dr. Doug Weeks in Spartanburg, SC, and Dr. John Cobb in Henderson County, NC.  Christopher will also be performing internationally and has published recordings in DVD and CD formats.


Review by Classical Voice of North Carolina
By Laura Pollie Johnson

The Flat Rock Playhouse Downtown at 125 S. Main Street in Hendersonville is a very congenial venue in which to hear music.  Seating wraps three quarters of the way around the intimate performance space which has excellent acoustics.  The two performers ‒ pianist Christopher Tavernier and clarinetist Matthew Hanna ‒ explored music of the nineteenth and twentieth centuries with a "French Connection."  The event was sponsored by Agudas Israel Congregation to benefit the Henderson County Hunger Coalition.  Dr. Joann Freeburg, Founder and CEO of the Music Foundation of Western North Carolina, greeted the audience in perfect French before changing to English.

I've been reading about Tavernier for some time.  A 17-year-old artist who has been carefully taught by Dr. John Cobb, the young man has garnered many impressive competition wins and plays an astonishing array of the really big solo and chamber music literature.  According to his teacher, he plans to pursue a career as a concert pianist.  From what I heard in this performance, he is well on his way to realizing that big dream.

Matthew Hanna, a student of Dr. Robert Chesebro at Furman University, is a seasoned performer who placed first in the International Clarinet Association 1995 Young Artist Competition, and since then he has performed with many orchestras in our area.  In addition to his performance activities, he manages his own recording studio.

The program began with the Sonata for clarinet and piano, Op. 184, by Francis Poulenc (1899-1963).  This piece, his last completed work, was written for Benny Goodman and dedicated to Arthur Honegger.  Goodman and Leonard Bernstein debuted the work at Carnegie Hall in 1963.  Poulenc's style was antithetical to the lush impressionism of Debussy.  Identifying with other like-minded composers who became known as Les Six; he wrote in a direct style of "simplicity, clarity, freedom, and wit."  The opening Allegro tristement - Allegretto embodied Poulenc's style with short melodies, whimsical leaps and jumps, and a rambunctious energy that the two performers relished.  The second movement Romanza, a gorgeously lyrical piece to be savored, was beautifully performed with a pleasing dynamic and expressive range from each player.  With the third movement Allegro con fuoco - Très animé, we were back at the races with each musician playing at maximum speed, but with a high degree of rhythmic incisiveness and tight ensemble work.  Thrilling!

Following this was the Solo de concours for clarinet and piano by André Messager (1853-1929), a barnburner of a contest piece composed in 1899 for the Paris Conservatory.  Following in the tradition of 19th century virtuosic displays, this work is a taxing rollout of "agility trials" for the player, which Hanna surmounted with musicality and seeming ease.  The final section built to a tremendous climax of energy, resulting in prolonged applause from the audience.

The remainder of the first half was devoted to solo works played by each musician.  Tavernier began with two by Debussy, "Reflets dans l'eau" from Images, Book 1, and "L'isle joyeuse."   The colorings he achieved in "Reflets" through finger shadings and pedaling were remarkable, as was his conveyance of the suspension in time.  "L'isle" was delightful, with its trajectory variances, via rubato and accelerando, clearly delineated sections, and adroitly executed figurations up and down the keyboard.  Hanna concluded with "Parfums d'orient" for clarinet by Jérôme Naulais (b.1951), a trombonist, conductor, and music educator who studied at the French Conservatory.  A kaleidoscopic work of many moods, it required great concentration and control which Hanna negotiated with technical sureness.

The music performed up to the intermission would have been sufficient for a single concert, but the event picked up again with the Première rhapsodie for clarinet and piano by Debussy.  Originally written in 1910 for the final year clarinet exam at the Paris Conservatory, its challenges to fingerings and breath control "over the break" when the music changes registers are considerable.  Hanna was able to maintain an air of subtlety and ease during the work which I found remarkable.

The rest of the half belonged to Tavernier, who played the entire set of Chopin Études, Op. 10.  Composed between 1829-32 when Chopin was still in his teens, these twelve pieces are a compendium of both piano technique and musical interest.  Their nicknames were imposed by others (not the composer).  As impressed as I was by his playing, concentration, and stamina, which never seemed to waver, I was surprised to learn from his teacher that they are relatively new to Tavernier, and this was only his second public performance of them.  These little gems, for me musical highpoints of the concert, were greeted with prolonged applause.  As if to demonstrate that there was still gas left in the tank, Tavernier whipped off the Grand galop chromatique by Franz Liszt in high brinksmanship style.

But there was still more ‒ an encore of "Clair de lune" for the two instruments, and Tavernier's showy rendition of "Don't Stop Believin'" by the rock band Journey. Every pianist at some time or other plays in a bar, and he can do that rep, too.  Bravo, tutti!


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