Sunday, November 14, 2021

Mission Chamber Orchestra of San Jose performs three World Premieres

I was thrilled to attend the Mission Chamber Orchestra of San Jose's performance last night, directed by Emily Ray.  Experiencing live music with a live audience was refreshing and rejuvenating -- feeling the powerful harmonies and dynamics surrounding you, and the vibrations of the double bass, cellos, and timpani emanating through my chair and the floor.  My feet tapped to the rhythms, and my mind stretched to the complexity of the compositions.  And I was inspired talking to some of the musicians about their joy of performing, their musical  backgrounds, and back stories of the rehearsing leading up to performance.  I also appreciate the pandemic practice of live streaming, because now I can go back and relive the performance on YouTube (see below). 

The evening warmed up with Leslie La Barre's, Wildfires, a world premiere attended by Leslie's parents (Leslie is in Florida).  The piece really captured the unpredictability and devastation of the fires.

Next up was Adrienne Albert's, In Tuo Lumine Lumen, also a world premiere, featuring violist Yvonne Smith from Houston.  Reflecting on the inspiration for the composition, I kept thinking that it must be really cool for a musician to have a piece written for you to perform.  

The third piece, leading up to intermission, was Henry Mollicone's, Horn Concerto, also a world premiere, that horn soloist Brian Holmes dedicated to his late mentor.  I was impressed by the variety of sounds that Holmes was able to achieve by placing his left hand in the bell of the horn -- surprisingly creating almost trumpet-like sounds in some situations.

As someone that enjoys indie music and new bands, the program felt a little bit like having lesser known acts opening up for a headliner at a rock concert.  In this case, the headliner was Felix Mendelssohn and his Symphony no. 4, “Italian," and the Mission Chamber Orchestra's performance did not disappoint.  Bravissimo!

The performance was streamed live and the recording is now on YouTube here:


Wednesday, September 8, 2021

My Tribute to Coach Harte


For the love of the game

My kids ask me if I won my first tennis match in competition.  And I tell them that I don’t actually remember exactly -- though I suspect I probably lost.

Around eleven or twelve years old, I played my first ever tennis match at the City of Sterling Heights Parks and Recreation annual tennis tournament.  While I don’t remember the score of the match, I do remember meeting the Director of the tournament, Coach Larry Harte:  his thick glasses, gaunt frame, buck teeth, longish curly hair spilling out from beneath a worn baseball cap.  In between managing the operational mechanics of the tournament, he carried on lively conversations with just about anyone -- the players, parents of the players, spectators -- espousing some little known truths about tennis or tales about legends.  He was a bona fide tennis sage who seemed to know everything about tennis.

I played a fair amount of tennis as a kid.  My parents introduced my siblings and me to the sport back in the 80's (my first racquet was wooden, named after Jimmy Connors), taking us to the park on Saturday mornings.  We’d play points irrespective of how many times the ball bounced or if the ball landed inbounds or not -- you’d just have to get the ball over the net with your racquet.  We used to watch tennis on TV -- Chris Evert, Martina Navratilova, Jimmy Connors, John McEnroe.  My first favorite player was Ivan Lendl.  Later on, Michael Chang.

When my older sisters began playing varsity tennis for the Orioles of Warren High School, I'd often tag along at their practices -- when they'd let me.  The tennis courts at Warren High were situated far behind the school, in a wide open corridor along the Red Run drain.  My friends and I often joked that playing at Warren High was like playing in a wind tunnel, as the winds would blow unobstructed along Red Run.  However, since there was little to block the winds around us, there was also little to block the views of gorgeous sunsets that we'd see, playing into the late southeastern Michigan evenings, until it got so dark that we couldn't see the balls anymore.

Every now and then I'd catch a glimpse of Coach Harte hitting with a few of the top players from the boys team on a far off court.  Standing a few feet behind the baseline, they'd crush the balls back and forth -- harder than it seemed possible.  I'd gaze on in admiration, beneath the orange sky, wondering what it was like to be able to hit the ball like that.  Back then, there was no YouTube -- everything I learned about tennis was from library books, Tennis Magazine, watching Grand Slam matches on TV, and Coach Harte.

After I hung out around the girls team long enough, people got to know me, including Coach Harte, and he would eventually invite me to play with him and some of his players.  I was intimidated at first, but no matter how embarrassing it must have been to be so out-classed by the older players, I was eager to learn.  And so far as I can tell, that's all that ever really mattered to Coach Harte -- if there were kids willing to learn tennis, he was willing to teach.

As far as I know, Coach didn’t offer private tennis lessons.  He taught clinics for the City of Sterling Heights (and ran the city’s annual tournament), and he coached high school tennis.  Over the next couple of years, he’d invite me and some of my friends to train with his team in the summer.  He’d invite us to play exhibition matches.  More often than not, if we went to Warren High School after dinner to play tennis, there was a pretty good chance we’d find him there.  In the winters, he’d sometimes join us during weekend “early-bird” walk-on sessions at 6 am (open to non-members) at a nearby indoor tennis bubble.  That is -- when he wasn’t delivering newspapers.

Back then, we’d often tease him about his job with the Detroit News.  To be fair, while my job as a newspaper boy consisted of routes of one or two streets, riding my bike, Coach would deliver trunk loads of papers to entire subdivisions while driving.  But why do you need to deliver newspapers, we’d ask him?  What are you doing with that extra money?  He’d tell us that he had a sports car.  We didn’t believe him.  We’d hear rumors that he was buying land somewhere.  Now, in hindsight, I wonder if he delivered newspapers simply because we didn’t pay him enough.  In fact, we didn’t pay him anything.  In all my years learning from Coach, I don’t recall that he ever charged my parents a single penny.

By the time I entered high school in tenth grade, I was good enough to play 2nd singles for the boys varsity team.  You could argue that maybe Coach was just preparing me and my friends for high school tennis, so he’d have a better pipeline of players.  And that might be true.  But the amount of time he invested in kids who were simply willing to learn the game, who didn’t really have much money for private tennis lessons, had much more to do with his love of the game and of Coaching than anything else.


It’s all in the state of mind

Earlier this year, I went digging through my garage to look for a three ring binder -- my tennis binder.  My older kid had just begun to play competitive tennis matches for the first time, and for the first time in decades I wanted to see that binder again.  At the end of every high school tennis season, Coach Harte would give each player a personalized folder of newspaper clippings, photographs, a ledger of match scores, conference awards and certificates, our personal goals that he had us write down on index cards, and motivational quotes.  Over my three years playing high school tennis, I kept the contents of these folders and put them in my tennis binder.  Then, I stored my tennis binder away in a box.

Decades later, my kids laugh at the pictures -- my glasses and braces, our uniforms, even the tennis courts are different colors than they’re familiar with now.  They notice flaws in my form.  Your toss looks too high, they say.  They’re quite interested to see that I won some matches but also lost matches -- some scores are lopsided, others are close.  

I also seize on the opportunity to have my kids read some of Coach Harte’s old motivational quotes.  What’s “positive’itis’” they ask me? 


It’s all about thinking positive, I explain.  Read this one, I tell them (a classic by W. Wintle):


By the time they’re through, truth be told, they lose interest for now.  However, I’m thinking of making a copy and taping it to their bedroom doors -- something I imagine Coach Harte might do.

For anyone involved with youth sports, it’s often the values and principles, teamwork and friendships, that prove to be among the most rewarding experiences and lasting takeaways.  For me and decades of high school tennis players from Warren High and Warren Mott, Coach Harte was the one that taught us those values.


Alright, for Jamocals

In my senior year, Warren High School merged with C.S. Mott High School to form Warren Mott High School.  I played first singles for my team, which had a lot of good players and really strong depth.  While we won our county’s Class A conference championship, we fell short of qualifying for the state tournament.  While we had a strong year, we were still not in the same class as the tennis “power-house” schools.  And similarly, my individual ranking was good enough to rank at the district level, but not the state level. 

At the end of the day, Coach used to say that we did alright, for Jamocals.  It was an expression he’d use to describe himself and his players -- the type of thing he’d say that would grow on you, but then one day you’d wonder -- wait, is that even a word?  Humble, scrappy, hard-working, not privileged, though not necessarily unprivileged, either.

As a Jamocal, I didn’t win any noteworthy awards for my tennis alone.  But I was fortunate enough to win my state’s scholar athlete award for boys tennis, which recognized a combination of both athletic and academic success.  The scholar athlete award winners from my sport and others were honored at a Detroit Piston’s game at the Palace of Auburn Hills, and we got to go court side at halftime to receive our plaques.  As a basketball fan, I’ll never forget that experience.

While students and one parent each were gifted tickets to the game, coaches were not.  I’ll also never forget how Coach Harte nevertheless made his way to the game, then down to the court, and through the crowds, to join me, taking pictures and beaming ear-to-ear.  

Earlier this year, as my kid began to play matches, I found myself offering all sorts of advice -- and coaching -- on everything from what to say after winning or losing -- and that it’s not all about winning and losing.  Having not played much competitive tennis since high school, so much came back to me about the competitive aspects of the game, while I also suddenly gained a much greater appreciation for how challenging coaching can be.  Some of the hardest conversations are about what to do when an opponent calls a ball out that was in -- especially on a pivotal point of the match.  

As I was flipping through my tennis binder with my kids, I discovered buried in the back of a stack of papers in the rear pocket, the letter of reference that Coach Harte had written on my behalf for the scholar athlete award.  As I read the letter now, I realize that the most resonant aspect of the letter is not about the academic or athletic accomplishments -- it’s actually the end of the letter, where he writes about sportsmanship -- how to credit opponents for victories, how to graciously accept defeat, how to remain humble in victory.  It was as if Coach Harte were shaking his head and smiling, saying, “Look, we didn’t win that award just based on academics and athletics, we won it based on sportsmanship.  That’s what you should keep teaching your kids.”

Perhaps the most remarkable thing of all about Coach, is that even after losing touch with him after all these years, and decades after playing on his teams, he still coaches me today.  I am forever honored and grateful to have been -- and even still be -- coached by Larry Patrick Harte.

Coach Harte, may your soul rest in eternal peace.  You’ve done alright, my friend.  You’ve done alright.




Sunday, August 25, 2013

In Memory of Grandma Chang Zu-Ing (1928-2013)


I remember my Wai Puo (grandma) as the quintessential matriarch, with her influence extending across four generations.  Intelligent, persuasive, remarkably resourceful, compassionate, and selfless, she is as much respected as loved, trusted as obeyed.
When my eldest daughter was born, my mother informed me, "Wai Puo says you should should speak to her in Chinese and play Chinese CD's for her as early as possible so she develops familiarity with the language.”  While both my own mom and eldest sister also encouraged me to do this, the extra guidance from my Grandma -- what "Wai Puo says" -- made a huge difference.  When my Wai Puo says something, we pay attention.
Wai Puo’s words have always carried a special weight, especially when she played the role of storyteller.  She would close her nearly-closed, tired eyes, sit back in her chair, and then bring the past back to life in a vivid, methodical manner.  Whether recounting her refugee journey, my mother’s gallant survival as a newborn, or life in a new rural village in Taiwan, Wai Puo spun a time warp around those of us fortunate enough to attend and shed a tear over her memories.
What I remember most fondly about my Wai Puo is the pleasure she derived from nourishing her family.  In my extended family, cooking is generally considered a chore -- a necessity to be done efficiently.  But with Wai Puo, it was different.  In my twenties, a frequent highlight of my trips to Taiwan was the chance to sit in my Wai Puo’s dining room and eat her cuisine, continuously spinning the Lazy Susan to bring more food my way.  I would marvel how much I could eat and still want more.  I always found baffling that Wai Puo would concoct a delectable feast for her family, but not sit down and eat with us.  She would sit next to us, but away from the dinner table, resting.  It brought her tremendous joy to watch us eat, she would say.  I would not understand how she could do that until I had a family of my own.  Now, when I wrap potstickers or wontons with my family, or encourage a dinner guest to go ahead and eat without me, I think of my Wai Puo.
I miss Wai Puo, but take comfort in knowing she is with Wai Gong (grandpa) and that her influence and what she means to her family will live on for generations to come.

Sunday, May 27, 2012

Our Day: a song about Weddings and Heaven

I recorded this song for my wife in celebration of the five-year anniversary of our wedding, one of the happiest days of my life.  On that day, my bride was stunning, the weather was beautiful, and we had such a wonderful time with family and friends.  All of the planning and waiting for Our Day was done and all we had left to do was to enjoy it.  And that we did.

One of our only disappointments was that we had to miss our grandparents, especially my wife's late grandmother (her Puo) and my late grandfather (my Yie).  That summer, we did a little bit of traveling to visit with relatives that did not make it to our wedding.  On these travels, we also took some time to pay our respects to our late grandparents.  It was around then that I wrote this song.  I knew fairly early on that I wanted to write a song about our wedding, but it took me a little while to realize that I wanted to create something that would complement our memories.

I believe that in spirit, my wife's Puo and my Yie (and Nai Nai) were there at our wedding. But how so?  Were they merely with us in memory, residing within our thoughts and hearts?  Were they floating around right next to us, looking on in earnest?  That didn't seem like much fun for them, to be watching so closely but not really participating.  It stands to my reason that if heaven is truly an idyllic place, that our late grandparents must have been having at least as much fun at our wedding as we were -- if not even more.

So I envision a ceremony and celebration of our wedding going on in heaven, in parallel to our wedding in Napa. It's as if the church we were married in had an extension to heaven, and the winery we had our reception at, spilled into the sky. While some details of our wedding are replicated, like the calla lilies and music selection, what takes place in heaven is much more miraculous.

For example, I imagine that the church in heaven is even more magnificent than St. Peter's Basilica in Rome, with marble pews throughout. When we march to Handel's Hornpipe, it's Handel himself that plays the organ. Saying grace before dinner is none other than my patron saint, Saint Lawrence. And the guests are thousands of our ancestors, all hosted by our proud grandparents. Since the guests are primarily Chinese, the reception is a spectacular Chinese banquet, with bird's nest soup, Peking Duck, and the works. And while our ceremony and festivities proceed here, everything moves along at a grand scale up above.  At the end of the evening, as we say goodbye to our guests and drive off, I imagine my wife's Puo is holding on to her beloved dog, Choi Choi, and waving farewell to us.

So here is my song, "Our Day," which commemorates my wedding day, with a slant towards what I imagine must have been going on in heaven at the same time.

 

Monday, January 2, 2012

Hatchback Sphinx: my own Chitty Chitty Bang Bang

If you were to anthropomorphize a car that you've owned for more than a decade, you'd probably be able to relate to the sentimentality I've been feeling about my first car, which I've been recently contemplating giving up. For many reasons, cars are easy to attach human qualities to, whether it be headlights that look like eyes, grills that look like mouths, wheels that look like hands and feet, or the trust in and dependence on our personal vehicles that take us to where we need to go and protect us from the elements. You see it in the movies all the time -- from Herbie to Knight Rider, Disney's Cars to Chitty Chitty Bang Bang -- automobiles can elicit affection. And over the years, my spruce green, 2009 Mercury Cougar has spent enough quality time with me that it's now hard to give it up. Functionally, the car still gets pretty good gas mileage, the rear seats fold down (I've used it to move six times), and it has a manual transmission that's fun to drive. Beyond that, I have a lot of memories associated with that car.

On the other hand, my car has given me a healthy dose of trouble over the years, and it's increasingly hard to justify the repair costs. Furthermore, throughout the life of my vehicle no one else ever really seemed to liked it -- even my insurance agent is now telling me to get rid of it.

Therein lies my dilemma. And so I decided to write a song about it.

Sunday, May 15, 2011

A new take on an old song: Glares and Yells

I wrote this song a number of years ago for my first album, When So Late Becomes So Early.  While I liked the original arrangement, the vocals were a bit washed out and people had a hard time hearing the lyrics.  Also, I think the tempo was too slow.  So I thought I'd do an all acoustic version with just the guitar, a more sprightly tempo (20% faster), and better vocals.

I wrote this song for people I care deeply about, going through a difficult time.  More broadly speaking, the song is for anyone who is struggling with a deeply rooted relationship strained over the years by differences in personality and communication style.  The lyrics are below the video.



"Glares and Yells"
by Lawrence Chang

VERSE 1
My eyes resemble yours
you gave me sensitive ears
but we don't see eye to eye
and you can't hear all I hear.

And I know you want what's best for me
and I, what's best for you.
But there's so much pain and misunderstanding
that's so hard to undo.

CHORUS
Words spoken out of love,
heard they're something else.
But we wouldn't be here without love,
fighting with glares and yells.

VERSE 2
I listen to you, I really do.
But I listen to my heart as well.
Some times it's clear I'm as scared as you
when I ponder what these dreams foretell.

But I never dreamed in any nightmare
how far apart we'd grow.
Now the air is so tense between us
there's not a handshake or bye when I go.

CHORUS
Words spoken out of love,
heard they're something else.
But we wouldn't be here without love,
fighting with glares and yells.

BRIDGE
Is there a way besides tragedy
to bridge this gap between us?
Is there a cure besides wanton time
to thaw our hearts with trust?

So that we choose better words.
So that we hear hidden love --
that we speak,
when we speak,
if we speak...
and forgive.

CHORUS
Words spoken out of love,
heard they're something else.
But we wouldn't be here without love,
fighting with glares and yells.

Saturday, February 26, 2011

Concert recap: BNL

It'd been a long while since I'd been to a live concert. Almost long enough that I'd forgotten how a well-crafted show can hold your attention for almost as long as a good play or movie. And certainly long enough that I'd forgotten how it feels to be sitting through the concert and then suddenly hear something so delightful that you and two-and-a-half thousand people get up and start dancing. I understand that BNL is known to put on a particularly good show, so it was fortuitous to have a chance to see them live last year. And disappoint they did not.

I went in to the show remembering that they sang "Pinch Me", one of my favorites, and the song that goes, "It's been, one week since you looked at me.... yah dah dah dee dah dah dee dah yah dah." So it was a pleasant surprise when they brought out "If I had a million dollars", "You run away," and other songs that I knew, but didn't realize that BNL sang.  When you hear a song that you haven't even thought of for a decade, but that you heard every day on the radio for an entire summer ten years ago, it's amazing how the mind not only brings back the melody and lyrics, but also other thoughts and feelings that were associated with that song back in the day.  That's something that's just so powerful about music.

I left the show better understanding the appeal of the band and why they developed such a following over the years.  They alternated between acoustic and electric songs, with each member of the band playing different instruments and singing different harmonies for a variety of arrangements that kept the show fairly dynamic. From barbershop acapella to improvised rap to banjo-driven folk, the band sprinkled novelty numbers around their mainstream hits.  I left the Mountain Winery humming and singing their music for the next few days.

No matter how much the world has changed in the way we consume media these days, it's hard to imagine anything that can truly replicate the impact that a successful live show can have for a band.  And there's nothing else that inspires a musician to dust off his instrument like attending a live show.