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[Opening theme music]

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Hello, and welcome to this episode
of ArtsAbly in Conversation.

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My name is Diane Kolin.

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This series presents artists, academics,
and project leaders who dedicate their

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time and energy to a better accessibility
for people with disabilities in the arts.

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You can find more of these conversations
on our website, artsably.com,

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which is spelled A-R-T-S-A-B-L-Y dot com.

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[Theme music]

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Today, ArtsAbly is in conversation with 
Dan Flanagan, a solo and orchestra violinist,

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a concert master of two opera orchestras,

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a composer, and a violin instructor
at University of California, Berkeley.

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You can find the resources mentioned
by Dan Flanagan during this episode

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on ArtsAbly's website
in the blog section.

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[Dan Flanagan plays the violin]

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[End of the excerpt]

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Hello, and welcome to this new episode
of ArtsAbly in Conversation.

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Today, I am with Dan Flanagan,
who is a solo and orchestra violinist,

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a concert master of two opera orchestras,
a composer, and a violin instructor

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at University of California, Berkeley.

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Welcome, Dan.

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Thank you.

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I have read your impressive biography
on your website.

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You've done a lot of things and you're
doing a lot of things right now also.

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I would be interested in who you are,

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a little bit of presentation of yourself.

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Sure.
Well, I'm from New Jersey.

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I am 46 years old.

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I've been playing the violin
since I was four, and 

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I suppose you could say it's been my whole life.

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I've been playing in orchestras
since I was eight years old.

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I knew that's what I was going
to do when I was about 10.

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I went to College in Cleveland, 
went to grad school in Oregon, 

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and I've been living in California 
for about 20 years.

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The last 15 of which in Berkeley,
and I love it here.

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I play a lot of concerts,
tons and tons of concerts.

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I've been composing a lot lately.

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I've been commissioning
a lot of new music.

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Right now, California,
and you are involved in a lot

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of different orchestras and ensembles.

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You're also a chamber musician.

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Yes. I play concert master
of the Sacramento Philharmonic and Opera

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and concert master of the West Edge
Opera, which is a summer festival here

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in the East Bay of San Francisco.

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I teach violin at UC Berkeley.

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I usually have about 15 students
there, majors and non-majors.

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And I have two chamber ensembles, 
Trio Solano, it's a string trio.

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I recently founded
the Berkelium String Quartet.

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We named ourselves after the element
that was discovered in Berkeley in 1949.

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We have our first concert coming up in
about three weeks, so that's exciting.

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Then I have The Bow and the Brush,
which is a personal project.

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I started it during the pandemic.

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I began commissioning
my favorite composers to write pieces

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inspired by paintings,
and then composed several myself.

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It just got big.

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We have 36 pieces, 11 of which I composed,

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and I released a solo album 
a year and a half ago, 

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of 14 of the solo pieces.

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I've been touring around
wherever I can get it booked.

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I did a Carnegie Hall recital this past
March, which is a really big deal for me.

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I performed it at libraries
and universities and art museums

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and new music series all across
the United States, France, Italy.

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I was just at the American Library
of Paris and University of Rome.

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Yeah, it's been wonderful.

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I guess that when you are doing
that work, you are also discussing

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with the audience and how they have felt
their own interpretations of

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these paintings that you're performing.

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Yes. I think that's a crucial part.

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The composers all interpret the art
differently, which has fascinated me.

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In some cases, they just conjure up
the same feeling that the painting has.

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That's how I compose my pieces.

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Others take an element of it
that reminds them of something else,

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that reminds them of something
else, and then go in a direction.

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And I think that's amazing.

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Many of the audiences aren't new music

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aficionados, so they're not interested

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in extremely experimental,
weird-sounding stuff.

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That's a very small niche.

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And they all tell me that when
I explain who the artist was and how

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the composer interpreted that
into their music, it makes them

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enjoy the piece far more than
they would have without the explanation.

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So it's become quite a bit of a lecture
here, and it's a lot of fun.

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I'm presenting it at
the American String Teachers Association

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conference in March, where it will be
far more talking than playing.

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And I'll be addressing string teachers
from across the country and talking about

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the different pieces and how they can utilize
it in their teaching and performing.

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For those of you who are listening to

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the podcast in an audio form, I can see

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behind Dan a lot of different paintings.

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What are these?

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Can you talk a little bit
about these paintings?

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Are some of them part of your work
of putting paintings into music?

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Yes.

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I've been obsessed with with the visual
arts as well as music for my whole life.

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I have paintings all
around my little apartment.

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Some of them are brand new paintings
by San Francisco Bay Area artists,

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and others are 19th century French paintings.

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That's one of my favorite things.

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None of them are artists that you've
heard of because I'm a normal person

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and I can't afford those.

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But a lot of the people who
are in the French Impressionist

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exhibits but didn't get famous.

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And that's just fascinating to me.

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So there are several paintings
in this room right here.

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For example, there's a portrait
to my left that you can't see of me,

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painted by my friend Paul Gibson.

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He's a San Francisco artist.

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And it depicts me as an obsessed
violinist, and you see violins

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swirling around my head.

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And a local composer, Shinji Eshima, 
chose that as his inspiration.

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And he made the piece about

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my collection of art and put together

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a collection of violinistic techniques.

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And it's a very beautiful, soulful piece
that I've been performing a lot.

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Next to that, there's an abstract painting
by Nikki Vismara, and

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Libby Larsen shows that.

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That's one of the pieces where she depicts
the mood of it, a simultaneous busyness

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of all the blue dots all over the place,
along with the stillness that

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you feel from the painting as a whole.

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Directly behind me, there's a painting
by Robert Antoine Pinchon from 1929,

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and it's the Grand Place in Brussels.

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Jose Gonzalez Granero
picked that as his inspiration.

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And he went a different direction.

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He visited the Grand'Place
when he was a little kid.

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It was the first time he left Spain,
and he remembers a strolling violinist.

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So he wrote a piece
called Cadenza, number 2.

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And It's about this gypsy violinist
playing the violin in the square.

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And the Bow and the Rush
has expanded beyond paintings

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that I have in my living room.

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There are paintings inspired by Monet
and Dali and Georgia O'Keeffe

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and people like that.

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It started with what's in my living room
because of the pandemic shutdown.

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And in 2020, I was just
recording pieces to put on YouTube.

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I see.

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On your website, it's written
that you are a violinist, a composer,

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an educator, and a collector.

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So now the collector, I see it
takes a lot of sense for me, but it's not

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your only collection, right?

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I saw something about...

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something that was featured in a documentary.

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I'm also just obsessed
with dead violinists.

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I love the whole trajectory of violin
history, and all music history, really,

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but particularly violin.

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I collect concert programs from the past.
I have several scrapbooks filled

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with them and some autographed photos.

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I do presentations here and there
at colleges, and several

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of them were featured in
a documentary for Czech television

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on the Czech Violin School.

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And that was a great
honor and a lot of fun.

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So another room over there is filled with
the autographed photos of violinists from

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the past, many who are still well known
by violinists and many who are completely

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forgotten, like Camilla Urso

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and Ernst, Wieniawski, Joachim.

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For those of you who are violinists,
you probably know those names.

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There's also a photo of Leonora Jackson,
who nobody knows who that is anymore,

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but it's autographed to her teacher, Joachim.

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So I have that photo and Joachim's
photo looking at each other,

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and it makes me really happy.

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I see.

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Okay, so I know you thanks
to an organization called RAMPD.

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In RAMPD, it's all about highlighting

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the work of musicians with disabilities.

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How does your work relate
to the disability arts?

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99% of it does not.

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There's just one piece I composed
that relates to my own disability,

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which is chronic Lyme disease.

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I've had it since I was a little
kid, so over 30 years.

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I only got proper diagnosis about seven
years ago, which is not that uncommon.

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Growing up in New Jersey
in the '80s, there was a lot

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of Lyme disease running around, but
we didn't really know about it yet.

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I mean, we'd heard of it,
but doctors didn't really

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know how to diagnose diagnose it yet.

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I had misdiagnoses for a couple
of decades and then found out

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what it is when I was in my 30s.

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I wrote one piece about it.

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It's called Rhapsody in Discomfort, number 8, Ehrlichia.

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Ehrlichia is one of the diseases
under the Lyme umbrella.

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There are
46 different bacterial infections

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that are known that you can get from
ticks and some other similar insects.

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And anybody who has one of diseases
has a whole slew of symptoms

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from multiple diseases and
multiple bands within the disease.

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So each case is quite unique.

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Unfortunately, once you've had it
for a long time, it burrows deep

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in the nervous system and in the brain,
and it's virtually impossible to cure.

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I went through about six years
of treatments, none of which actually

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worked, and I finally gave up.

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I may get back to it eventually
if something new shows up,

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but I found the treatments to just
be too destructive to my present life

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without much hope for cure.

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So I'm busying myself performing
and composing as much as I can now.

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So I did write one piece about it.

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It was supposed to be a joke,
and then I just got serious.

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And it depicts abstractly different

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symptoms of a Lyme disease patient, 

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as well as the onslaught of the treatments.

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And then I commissioned an artist
with Lyme to create a painting.

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Her name is Nancy Schroeder.
She's in Connecticut.

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And we made a video of the piece
and shared it on a bunch of platforms,

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and lots of people loved it.

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I heard from probably a couple of hundred
different Lyme patients around the world

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telling me how much the piece meant
to them, which was thrilling for me.

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I hadn't planned on anything
like that, so that was nice.

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But that's really the only example
of my disability in my art form.

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For me, the arts are
a vacation away from that.

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I don't express it
that much through music.

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I may do more in the future,
but so far, that's where it's at.

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How does this Lyme disease impact

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your musicianship or your 
performance practices 

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or your teaching practices?

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It mostly affects my performance because 
I'm just in a lot of pain all the time,

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and I'm always exhausted,
and I have constant vertigo.

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All my muscles are attacked,
all my nerves.

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I have tendonitis all over
the place that doesn't heal.

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So every note I play hurts
and my muscles don't want to cooperate.

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Specifically, it just
affects my ability to play accurately.

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And accuracy is a really big part
of classical music performance.

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So I guess it's a little bit
of a struggle all the time.

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I don't think it affects my teaching

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because I can just sit there and talk.

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So that works out really well.

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I also don't think it affects
my composing, except my hands hurt

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from typing when I have to create parts.

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But it definitely gets in the way
of playing the violin.

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There's no doubt about that.

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What are your future concerts or things
that you're working on right now?

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This season, I'm focusing
on my chamber ensembles, particularly

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as a Berkilium String Quartet.

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The The past three years has been
all about new music that I commissioned

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and composed for the Bow and the Brush.

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And this year I'm continuing it,
but I felt this urge to just play

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all the string quartets of Beethoven.

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So I put together a quartet of a couple
of close friends who live nearby.

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That's important when you
got a chamber ensemble.

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If there's a big commute to get
to the rehearsals, it's more difficult.

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And around California,
we've got a lot of traffic.

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So we have concerts this season
where we're playing several Beethoven

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quartets, a few Mozart quartets,
a few Schubert quartets.

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And I'm sticking in one or
two pieces that I wrote.

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But that's really what I'm into right now.

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I have a lifelong love for Beethoven

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and for Brams, and well, for Mozart,

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and Mendelssohn, and Bach, and Mahler,
and Wagner, and it goes on and on and on.

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But Beethoven wrote these 16
quartets, and I've only performed

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a few of them in my life, and
I want to play the rest of them.

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I thought about naming the group the
Bucket List Quartet, because for me, it's

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really just about playing the rest of the
great repertoire while we're still here.

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But we decided to go
with Berkelium instead.

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So that's my focus right now.

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I'm practicing Mozart's
quartet, the Spring Quartet,

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and Beethoven's Serioso Quartet.

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We're going to play it in
a lovely Maybach mansion in a few weeks.

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So this week, that's what I'm doing.

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I'm also playing Tristan und Isolde 
by Wagner at San Francisco Opera.

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We just had our dress rehearsal 
yesterday, open night is Saturday, 

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and that's going to go on 
for the rest of the month.

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And then we're playing Marriage 
of Figaro in Sacramento Opera.

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That's what's going on right now.

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From Beethoven to Figaro.

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Yeah, Beethoven to Figaro.

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It's all wonderful stuff.

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For the rest of the season,
I'm in the process of recording

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volume 2 of The Bow and the Brush.

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I've recorded several pieces.

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Actually, my trio about Ehrlichia,
Rhapsody in Discomfort number 8,

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that'll be included on it,
as well as a piece that was just composed

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by Cindy Cox,
a Berklee composer, also for Trio,

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and a piece that's being written right now
by Ursula Kwong-Brown,

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a Los Angeles composer,
and that's for a violin and piano.

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So I'm recording these pieces
this season, and hopefully that album

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will be released in 2025.

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Where can we follow all that?
On your website?

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Definitely on the website.

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It's on social media.

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The albums come out on
all the streaming platforms.

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So volume one is available everywhere,
Spotify, Apple Music, all that,

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and volume two will be as well.

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When it gets released,
I'll certainly announce it on Facebook

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and Instagram and my website.

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Okay, great.

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We're looking forward to that,
actually, if you want to send it to us

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and we will just spread the word also.

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Oh, wonderful. Thank you. I will.

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I have a last question for you,
and it's about people who might have

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motivated you or inspired you or
brought something in your musical career.

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If you have one or two people to think of
and to name, who would it be and why?

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One One or two?

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Or more.

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Sorry to the other 49
that there isn't time to mention.

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I was lucky to have many wonderful
violin teachers throughout my life.

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Louise Butler, when I was a kid in New Jersey, 
who I'm still in touch with, and 

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Janina Robinson
after that, and Linda Serrone

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when I was in college in Cleveland.

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Hal Grossman, Fritz Gerhardt.

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These were all wonderful teachers, all
of whom I'm still in touch with, except

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for Janina Robinson, who's passed away.

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In the early part of my career,
the conductor Michael Morgan,

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he made a big difference for me.

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He's now deceased, but I was his
concert master in Sacramento for many,

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many years, and he did a lot to help me.

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But when he died, I learned that
he did a lot to help a lot of people.

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It wasn't just me.

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Everybody came out of the woodwork talking
about how important he was to them.

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Currently, there are two people at UC Berkeley 

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that are a big influence on me.

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One of them is Cindy Cox.

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She just retired as a professor
of music, and I've been

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studying composition with her.

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And David Milns, he's my boss,
and he directs the orchestra

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and instrumental music.

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And he creates a lot of opportunities for
all of our students and for the faculty.

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We play a lot of new music
I'd say those are the two big influences

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on me right now.

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Well, thank you so much
for your time with us today.

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We will publish some of the resources that

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you mentioned on our ArtsAbly's website.

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00:25:08,006 --> 00:25:08,840
Great.

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00:25:08,840 --> 00:25:11,309
And, yeah, with the interview very soon.

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00:25:11,343 --> 00:25:13,078
Thank you so much.

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00:25:13,078 --> 00:25:16,515
Well, thank you.
Have a great day and talk soon.

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00:25:16,515 --> 00:25:17,949
Thank you.
You, too..

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