Classical Music Learns and Teaches New Tricks

Media is all about visibility these days, and classical music is no exception.

“We aim to make musicians on campus more visible,” said Columbia Classical Performers co-president Maryam Parhizkar, CC ’09. “If bands perform on College Walk, why shouldn’t we have musicians playing out there too?”

Since its inception in 2001, CCP has provided performance space for ensembles and soloists to perform in recitals, held two to three times each semester, at various locations around campus.

For the time being, CCP is busy building the momentum for the year’s concert lineup. Their first recital of the year was Thursday, with a program featuring a mix of jazz and classical music, and they are looking forward to another performance in mid-November.
“What we really want to do is to make classical music accessible,” said Parhizkar, “Anybody who wants to perform can perform ... we hope that people can become more open-minded about classical music. Everybody can listen to classical music, and it’s possible for everybody to enjoy it.”

When CCP was first established, it was little more than a small group of student musicians putting together a few informal concerts. Since then, CCP has seen its membership grow to include a wide array, from those who play music as a hobby to those who are pursuing a professional track, including students participating in the Columbia-Juilliard dual degree program. Audiences at these performances have been encouraging­—some concerts have attracted crowds of more than 100 people.

Parhizkar sees CCP as a “no pressure” environment for students to perform their “works in progress” or to connect with other members of the Columbia music community. She hopes that the group can serve as a launching pad for musicians to seek each other out to collaborate on projects, play in ensembles, or even just mingle.
The group has high aspirations for this academic year. All board members have taken on a project of their own, with the goal of steering the group in directions that will fulfill its dual mission of ensemble playing and outreach.

Among these ideas include Parhizkar’s brainchild­—a chamber string orchestra that functions without a conductor. Her inspiration came about last year, when George Steel, the outgoing executive director of Miller Theatre, approached CCP with an offer to help the burgeoning group secure space at Miller Theatre for a concert. This performance is set to take place in the spring. While the absence of a leader at the podium makes the task more demanding, this setup provides musicians with an opportunity to focus on the more intimate process of music making. But Parhizkar is confident that the group will succeed. “Everybody is at a very high level,” she said.