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(Photo Credit: Shervin Lainez)

GRAMMY Nominated Time For Three Discuss Their Album, "Letters for the Future"

Recorded with The Philadelphia Orchestra, the album comprises world premiere recordings of two Pulitzer Prize-winning composers: Jennifer Higdon and Kevin Puts

 

Time For Three (TF3) is a classically-trained, genre-crossing string trio comprising violinist Nick Kendall, double-bassist Ranaan Meyer, and VC Artist violinist Charles Yang. They are also known for sharing vocals in their performances.

 

Released this summer, their album titled “Letters for the Future” features world premiere recordings of Jennifer Higdon’s 2007 Concerto 4-3 and Kevin Puts’s newly written Contact — both recorded with The Philadelphia Orchestra and conductor Xian Zhang.

The album recently received a GRAMMY nomination in the "Best Classical Instrumental Solo" category.

 

The Violin Channel caught up with the trio on this recent collaboration, to gain some insights into the making of the album.

 

 

How does it feel to be nominated for A GRAMMY AWARD?!?

Here's the thing about this answer — it's not short! For each one of us in the group, and our team, our big win, so to speak, was recording these two original works by Jennifer Higdon and Kevin Puts with the Philadelphia Orchestra. Our career can be tremendously and creatively rewarding with so many musical high points. But it certainly is not easy, as there is no road paved for the direction we chose as a profession coming out of conservatory. It's been a long and windy road to here, but the creative edge and onstage vibe has always been our guiding light, and we've stuck with it.

So this body of work, in partnership with this legacy orchestra, is simply a once-in-a-lifetime thing, and we were given that chance. The final product, the record itself, is three parts the orchestra's famous sumptuous and generous soul in sound, our collaboration with two of today's most successful living composers, and our recording producers and engineers who captured the spirit of TF3's playing and the music making during the sessions. The collaboration amounted to a body of work that unequivocally rewarded the countless hours of blood, sweat, and tears, and marked a huge chapter in our lives as artists.

Honestly, we forgot about when the nominations were scheduled to be announced. It was a cold, dark, and rainy day, working on finances for the band and tying up many loose ends over emails when our team frantically group FaceTime'd us. Somehow, we were all miraculously by our phones, and our team shared the news as they were all jumping around the office in joyous chaos.

The feelings were overwhelming, to say the least, and not to sound too cheesy, but the moment had a lot of deep gravity to it. Never had we imagined such a feeling of being seen. It was truly beyond words, and it has truly lifted us and inspired us. We are so incredibly grateful and honored, and quite frankly, this nomination is what has changed our lives.

 

Can you tell us about this unique album and collaboration that you’ve been nominated for this year?

It's safe to say that nothing about this album is normal. First, just take the band's instrumentation: 2 violins, an upright bass, and vocals. Then add the fact that the album is entirely new music written for this group of misfits, by living composers, both with Pulitzer Prizes. Finally, the pairing with one of the world's most historically celebrated orchestras, The Philadelphia Orchestra, steeped in the tradition of core classical music.

Although the pairing of these ingredients for an album released on DG may not be the norm, what binds them together is the deep-rooted craft connecting these seemingly disparate entities. The soul of the album is something one can feel, and along with Jennifer Higdon, and Kevin Puts, was created to connect with people, a sincere reflection of who TF3 is.

 

Can you describe the new Kevin Puts work? What should listeners be on the lookout for? 

One of the many fundamental successes of Kevin's work is that it truly leverages what TF3 is able to do instrumentally, and together as a unique group sound, incorporating vocals. But he also manages to push us at home plate which opens the door for new creative outlets. This came about because Kevin really studied us, coming to shows, and trading ideas with us on the road. It was an incredibly organic and collaborative process.

A noteworthy highlight of the work is that we took time to think about how we'd start the entire piece. As a quartet, we landed on the decision to do something vocally, and to use a familiar tool in pop music which is to create a sonic "hook" that would draw in the listener right from the start. Kevin crafted this perfectly, and as a formula, used this hook, theme, or melody, in various ways throughout the four movements. In the last few seconds of the entire piece, he brings this hook back, but this time, sung by the entire orchestra (except woodwinds and brass of course). The resulting effect not only sounds like a full choir, but is a color that brings the entire piece to a tremendously emotional high. When we perform this live, this moment is incredibly exhilarating and musically satisfying.

 

 

What similarities and major differences do you see between the Puts and Higdon Concertos? How do they complement one another?

Between the two concerti by Higdon and Puts, and besides their unique voices and styles that these master composers have that allow both pieces to have contrast from one another, you do get the sense in several places in both that the composers utilized TF3's tool of improvisation as a fundamental building block.

Not for the writing for the orchestra which is through-composed, but for us as a trio, and how our parts interact with each other. In Higdon's Concerto 4 - 3 for instance, the entire beginning is incredibly spontaneous and free. The "form" always stays the same, but Jennifer gives us a lot of liberty to do anything we feel within that form. This yields a lot of energy, especially in our live performances, and keeps things very much on edge which becomes palpable for the audience.

 

How would you describe the experience of recording with the legendary Philadelphia Orchestra on the DG label?

For one thing, the orchestra's level is second to none. Secondly, as soon as this project exists in the past and breeds an eventual nostalgia, it will take on a deeper meaning. Collectively, both DG and The Philadelphia Orchestra have over 200 years of rich history and Time for Three is honored to now be a part of that.

 

Beyond just an obvious member change, what are the biggest changes between Tf3 in 2007 and Tf3 in 2022?

In 2007, Time for Three contained an emotional existence that occasionally overpowered the direction. In 2022, Time for Three is focussed on the big picture and long term considering what we want to look back on 30 years from now. Both chapters included solid results and learning experiences to build from. Growing, learning, and the journey makes this entire dedication to our art form worth so much.

 

You really were serious pioneers of your genre back in the early 00s, and still are today. Was there ever a doubt that perhaps this wasn’t the right direction for three highly-talented and trained classical players to be taking? 

Time for Three and the members who make up the ensemble are like-minded misfits of music who need to pioneer their own way. We all realized at some point it was empowering to lean in versus lay back. Music is fun, deep, and spiritual... After a while, if you allow it to, it just takes over and pushes ya right where you need to go.

 

What would you say to those naysayers now?

Hold up. Wait... there are naysayers?! No, but really for any artist who may worry about this sort of thing (from time to time) we suggest spending your time focused more on what it is you want to be as an artist VS what others want you to be.

 

Can you describe the feeling of being on stage with the three of you guys completely rocking out with a huge symphony orchestra behind you? 

It is a completely unique experience that is almost unexplainable. Just like attending a symphony concert where you can feel the vibrations of the whole orchestra through your body, we get to shape that sonic sphere together with the orchestra in full collaboration. At times, it can feel like driving a sports car where each turn or maneuver is meticulously calibrated.

 

For young classical musicians today, looking to experiment with different sounds and genres, what’s your major piece of advice? 

Don't be afraid to fail. The first step in experimenting with something new is to just do it. It is all trial and error but that is what makes music a never-ending pot of gold. We as musicians will never stop learning! Listen to those that inspire you (they may play a completely different instrument than yours) and adopt certain qualities that add to your own individual voice. Then dive into it that world and explore the functions and inner workings as you would with any classical work.

 

What will be the first sentence to come out of your mouth, if you hear ‘Time For Three’ announced at the Grammys?

Well, if we heard that our record won, there would probably be expletives of joy at first lol but we are just so grateful to our fans and supporters for believing in this project. It is such an honor to already be recognized for doing what we love.

 

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