Camden Shaw
Cellist The Dover Quartet Philadelphia, Pennsylvania
Photo by Carlin Ma
SPECIAL GUEST SERIES
Camden Shaw is cellist of the Dover Quartet, a string ensemble dedicated to bringing the tradition of string quartet performance into 21st century relevance. Since its formation in 2008, the Quartet has performed more than 500 concerts spanning North America and Europe. The ensemble will open the 2018 season with a European tour, including a debut at the famed Concertgebouw in Amsterdam, returning only days later to appear at Carnegie Hall with acclaimed violinist Janine Jensen. Throughout the years, Camden has collaborated in chamber music with such renowned artists as Daniel Hope, Leon Fleischer, and Nadja Salerno-Sonnenberg, and maintains an active career as a soloist with performances of the Beethoven Triple Concerto with the Artosphere Festival Orchestra, where he also holds the principal chair. The ensemble recently released their debut recording Tribute: Dover Quartet Plays Mozart (Cedille), paying homage to the great Guarneri Quartet, with whom the Quartet studied. A new documentary about the ensemble is also in progress, focused on the life of young classical musicians and the sacrifices and joys that come with a successful career. Other Quartet members are first violinist Joel Link, violinist Bryan Lee, and violist Milena Pajaro-van de Stadt. Camden graduated from the Curtis Institute of Music in 2010, where he studied with Peter Wiley. When Camden is not working, you can find him enjoying a cup of coffee with friends or in a secluded cabin somewhere, sipping bourbon. He resides in Philadelphia, Pennsylvania.
FAVORITES
Book: The Righteous Mind: Why Good People are Divided by Politics and Religion by Jonathan Haidt
Destination: The Pacific Northwest
Prized possession: My Zygmuntowicz cello, made in 2010.
THE QUERY
Where were you born?
I was born in Ashland, Oregon.
What were some of the passions/pastimes of your earlier years?
My whole childhood, I was obsessed with sailboat design. I come from a family of sailors (both my parents and my sister now live on boats full-time), and I loved the way boat designers have to synthesize aesthetics with functionality. I spent countless hours pouring over hull designs. There's something magical in curvature, and I think it's that same sense of curvature that makes musical lines beautiful as well.
What is your first memory of music as an experience?
I remember falling asleep at one of my parent's concerts (they were both musicians) when I was little. I had a twitch in my sleep and accidentally kicked the back of the chair in front of me; the woman sitting in it was not amused. That’s when I first knew that listening to music was serious business.
Why does this form of artistic expression (playing the cello) suit you?
I love the playing of an instrument because it challenges every single part of my brain. Physical skill, intellectual understanding, and emotional intelligence are all tested daily, and I love that. In terms of quartet playing, I love the collaboration of different artists to create a cohesive vision, and I find that the interpersonal relationships in a quartet are helpful in learning how to speak purposefully but with tact.
What is the significance of the name “Dover?”
We’re named after the piece Dover Beach by Samuel Barber. Barber is one of the most famous alumni of the Curtis Institute of Music, where we founded the Quartet as undergraduate students. Barber also wrote Dover Beach for himself to perform with the Curtis Quartet. In a way, “Dover” is a sneaky way of showing our relationship to Curtis.
How did the Quartet begin to reach its mark nationally/internationally?
That’s a tough one. I think the road to enduring success as a performer comes down to pretty much only one thing, which is making audiences happy. However, for that to happen, you have to appear in front of audiences. This can happen for any number of reasons: personal connections, winning competitions, etc. I think winning the Banff International String Quartet Competition in 2013 really raised the demand for the Quartet, and at that point it was our opportunity to lose. Thankfully, I think we’ve left our audiences happy enough that we are still booking gigs- that’s really all one can hope for as a musician.
Is there a performance that remains most memorable, even today?
Our debut at Carnegie Hall will always be special in our memory. It had been a dream of all of ours since childhood, so having that dream become reality was surreal. We really tried our best that night, determined to make the performance deserving of the memory we knew it would become.
What did you enjoy most about your performance with the Quartet on A Prairie Home Companion in November, 2016?
Seeing the ease with which the pros on Prairie Home performed was inspiring. The sound effects guy - holy cow! I had no idea those sound effects were created live with actual physical objects. None of it is done digitally with sound files. Also, knowing that we were being heard by a sizable part of the country was awe-inspiring and a little scary.
Why is Barber's Adagio for Strings significant/what does this piece mean to you?
The Barber Adagio is a feat of composition. Barber’s use of a quartet to convey that kind of orchestral sound is astounding, and he also creates one of the most tragic pieces in history while using mostly major chords - something that often goes unnoticed. Something about that piece is magic, and it is even closer to our hearts knowing that Barber walked the same halls in the Curtis Institute that we did as youngsters.
How is the Quartet's commitment to sharing its music with underserved communities as part of Music for Food important to you and the other members of the ensemble?
It’s easy for artists of any kind to profess the power of their art for good - but often this remains a beautiful sentiment, unrealized. We’re increasingly aware of the responsibility of the artist to use art to raise awareness, and I think the power of music brings out a generous spirit in people. It connects us to one another, and we become more aware of humanity of a whole when we experience great music.
What is your favorite piece of music and/or composer?
This is a TOUGH one, and frankly it changes every year or so. This year, my favorite piece is Verklarte Nacht by Schoenberg. I think it is one of the most beautiful experiences, in terms of manipulating conflict and resolution, of any piece.
What music can we find you listening to in your down time?
I listen to a lot of folk music, Bob Dylan and the Canadian Stan Rogers are a few of my favorites. I also deeply respect and love the music of the Dirty Projectors, an indie band that’s really more like Beethoven than might meet the eye at first.
From where do you draw inspiration?
For me, there’s nothing more inspiring than watching a human being achieve greatness and mastery in whatever craft inspires them. When I see Olympic athletes training and competing, that’s beautiful. Someone creating a startup and growing it into a successful company is beautiful too. I guess I get the most inspiration from people going after their dreams, whatever that might be.
What are you working on right now?
I had a bit of a revelation recently about the left arm; that efficient movement is so complex and so hard to describe in words, that the best way to replicate it is to trust the aesthetic of the movement. In other words, producing machine-like precision might rely more on the movement of dance than the movement of machinery: nothing is as consistent as our aesthetic vision.
Who in your life would you like to thank, and for what?
There are too many to thank, truly. But I’d like to thank my colleagues, who work so hard and from whom I’ve derived so much inspiration.
