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  • Greenville, N.C.,

     Japo_Japo updated 10 months, 2 weeks ago 1 Member · 1 Post
  • Japo_Japo

    October 1, 2021 at 2:34 pm

    On a recent afternoon, Shaw was at her father’s one-room cottage in North Carolina, on a brief respite from her 325-square-foot apartment in Hell’s Kitchen. Over a fragile Zoom connection, she could be seen in front of a wall of maroon-painted shingles, short brown hair easily swept back, a pair of round glasses making her face appear even more open and curious than usual. She composed parts of the Partita’s final movement there nearly a decade ago, looking out from the porch at a swamp rimmed with basking turtles. “It’s not particularly beautiful, but it’s magical to me,” she said over the phone, after the clouds shifted overhead and the internet signal finally evaporated. “I go to this weird, deep childhood place that can’t be replicated anywhere else.”

    Music began shaping that childhood as early as speech. In Greenville, N.C., a suburban college town not far from the cottage, Shaw started the Suzuki violin method at age 2. Her first violin teacher was her mother — also a singer, “a soprano with a soprano personality.” But more communal music-making always surrounded her. She joined the choir at their small Episcopal church, where she watched the organist commit all of Bach’s organ pieces to memory for fun, and first played around with composition over summers at music camp. Her personal place of worship was in front of her Sony boombox radio. She would call into the classical station and request a piece — a duet from The Magic Flute, say — and get ready to record it on cassette when it came on. If they aired the wrong duet, she would call

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