(DMA 鈥�21, MM 鈥�16) has already made his mark on flute repertoire by transcribing all three of Edvard Grieg鈥檚 violin sonatas. And in a review of his debut recording with collaborative pianist and alumna Nath谩lia Kato (DMA 鈥�20, MM 鈥�17)鈥斺�溾�浓赌� praises Chesnic as a 鈥渟ensitive and virtuoso performer.鈥澨�
Support + inspiration
Chesnic earned his doctorate at the College of Music under the guidance of Professor of Flute Christina Jennings. 鈥淪he鈥檚 a great teacher and thought partner, and an inspiring artist,鈥� he says. 鈥淪he鈥檚 been really supportive and helpful in fleshing out ideas and figuring out how to achieve my goals.鈥澨�
According to Chesnic, Associate Professor of Music Theory Steven Bruns, Professor of Musicology Carlo Caballero, Associate Professor of Collaborative Piano Margaret McDonald, and String Studies Chair and Associate Professor of Violin Charles Wetherbee鈥攁ll of whom served on Chesnic鈥檚 DMA committee鈥攆urther played integral roles in the preparation of his recording. Describing McDonald as 鈥渁n artist of collaboration,鈥� Chesnic says she helped with the transcription process and coached Kato, as well.听
He also insists that 鈥渢his CD would not exist without the artistry and support of Nath谩lia Kato, who has just been amazing the entire time.鈥�
Professor of Harpsichord Robert Hill, too, served as inspiration. 鈥淎t CU, I did a lot of work with the early music ensemble,鈥� recalls Chesnic. 鈥淲ith Dr. Hill, we played flute sonatas on several concerts. It was amazing to get the opportunity to work with him.鈥澨�
A persistent idea
Winner of the College of Music鈥檚 Ekstrand Competition in 2018, Chesnic knew from the start of his doctoral studies that he wanted to contribute to the flute repertoire, either by commissioning new music or by transcribing existing music.听
鈥淭here is a period in the flute repertoire that is severely lacking鈥攁nd it鈥檚 not contemporary music. There are a lot of amazing pieces that are being written for flute,鈥� he says. 鈥淏ecause the amount of music from the Romantic era is finite, however, I knew I wanted to expand Romantic era repertoire through transcription.听
鈥淚 educated myself on Romantic repertoire for many different instruments and came across Grieg鈥檚 Violin Sonata No. 3 in C minor, Op. 45. Because this was the third sonata, I knew there had to be two others and I was curious as to why they were not as frequently performed.听
鈥淚 was really drawn to the symmetry of studying Grieg鈥檚 three sonatas, transcribing them during the three years of my degree, and programming and performing them on three recitals.鈥�
Because Chesnic changed the works鈥� primary instrument, he focused on embodying its spirit as well as possible. 鈥淚 took lessons with Chas Wetherbee because there were moments when I needed to translate the bowing techniques Grieg wrote into the score,鈥� he explains. 鈥淔or example, at the opening cadenza of the second second sonata, there are a series of 11 notes marked 鈥榮trepitoso,鈥� which literally translates to 鈥榥oisy.鈥� I needed to figure out how I could create this cloud of rosin effect on the flute. It was fun to navigate these techniques with both Chas and Christina.鈥澨�
Next up, Chesnic looks forward to performing the entire cycle of sonatas back-to-back at the . 鈥淲hat I鈥檓 most excited about is for flutists and violinists alike to get to know these sonatas on a deep level,鈥� he says. 鈥淰iolinists are very familiar with the third sonata, but I have personally met only one violinist who has played either of the other two.听
鈥淭he second sonata is very popular in Norway and in Scandinavia, generally, because it鈥檚 more nationally recognizable as Scandinavian music. But flutists have never had the chance to play this music because there has never been a publication of the transcription. I plan on publishing and sharing my transcription of the third sonata.鈥�
In conclusion, Chesnic offers this advice: 鈥淲hen you have a crazy idea and you want to do something that seems not only beyond what you鈥檝e already done, but so far beyond what you鈥檝e already done 鈥� just do it! Especially if it鈥檚 a persistent idea and something you want to pursue.鈥�
Chesnic lives in Boston, Massachusetts, where he works for Flutistry Boston.听
