Q&A with Violinist Nick Kendall of Time for Three, Featured Artists in CSO's Season Opener September 14

In a world where the boundaries between musical genres are increasingly blurred, few ensembles capture the essence of innovation today quite like Time for Three. This unique trio, comprised of two violins and a double bass, defies conventional labels by blending classical traditions with a vibrant mix of Americana, jazz, and pop. A concert featuring Time for Three is an experience that challenges an audience's understanding of what classical music can be.

On September 14, the popular trio will perform at the RiverCenter for the Performing Arts in the Columbus Symphony Orchestra's 2024-25 season opener. In anticipation of the Grammy and Emmy-winning ensemble's appearance with the CSO, we spoke with violinist Nick Kendall to get the story behind Time for Three, explore their groundbreaking approach to music, and uncover some of the reasons why they are reshaping the landscape of modern classical music.

Whether you're a long-time fan or a curious newcomer, join us as we journey through the sounds, influences, and impact of Time for Three through the eyes of one of its esteemed artists.

Time for Three, as photographed by Shervin Lainez, with violinist Nick Kendall appearing on the far right.

Q: How has your musical training informed your role in Time For Three?

A: After experiencing Time for Three for the first time, a lot of audience members are surprised at how orchestral we can sound. We have two violins and an upright bass, so it's a very strange instrumentation in the first place. People often think, 'where's the viola or cello?' We sound very different than you might expect. When Charles Yang joined the band about nine years ago, he brought this other color – his extraordinary natural ability to sing in a very folk-driven, bluesy style. He's from Austin, Texas. So, the blues were in his blood while studying classical music, and his addition to the ensemble contributed so much to our sound.

Ranaan and I come from backgrounds that included some Solfège training. One day, we realized we could utilize that to incorporate some singing from the two of us as well. This led to us adding three more sounds and three more textures. So instead of just the three instruments, Time for Three is really like a blend of six voices – if you consider the violin or the double bass as a voice – which we absolutely do.

I think in our arrangements, a lot of people can feel this homogeneous blend between all of the instruments. That comes from us all leveraging our combined experiences, training, and backgrounds playing the big scores of Brahms, Haydn, Beethoven, Mahler, Prokofiev, Stravinsky, Tchaikovsky, etc.

We are spinning a sound that is completely based on our lives learning and growing as human beings, but also as artists through our study of the core classical repertoire. We have a unique way of playing. We have a unique way of arranging. And while all of that is coming from from our classical training, we don't call ourselves a classical band at all.

Image by Shervin Lainez.

Q: You all are fascinating! What else contributes to your sound or approach to your performances?

A: Thanks! Our sound can be hard to define. I think a lot of it is the tool of improvisation that plays into a live setting, and the way we use improvisation to interact with each other in concert. I mean, we call improvisation straight up making stuff up on the spot, but we also consider interpretation a form of improvisation.

You know, you take a script, but then in the moment, you may pivot or you may take the lines and make it your own and put on a certain character or emotion in the moment. This happens with the three of us because of our love of music. Again, our backgrounds of playing in chamber music groups or playing solo rep over time, has led to us utilizing the ability to communicate and pivot in the moment on stage. It really creates a sense of spontaneity and provides an opportunity for the live show to really be in the moment. That's one of the things I really love about playing with Time for Three. You always have to be on your toes, and you can really feel that. The audience can feel it, too.

Q: As a member of Time for Three, how do you feel about the way you all approach arts accessibility? You seem to really reach young people and draw an audience who may be relatively new to classical music.

A: Well, although this is not something we ever have practiced, I think we do have a natural way of reaching people. This is why the match of Ranaan, Charles, and myself has worked. It is how we are as humans. There's just so much joy, and it's honestly just a heck of a lot of fun to be in this band! I think when young people see that, they recognize the raw energy. They recognize the the unbound spirit in which we approach our music, each other and our audience.

I also think it's the juxtaposition of these instruments. Violins and double bass, which for young people, are branded as something so traditional. The orchestra is often thought of as something their parents or grandparents listen to, but then... here are these three dudes on stage who are kind of awesome, who are very masculine, and who take these instruments so seriously and have so much love for what they do that it produces a complete freedom and unbound energy on stage together. I think for young people that's a thing that they can recognize and relate to. Because of that, we've accidentally discovered that we can be good role models for young boys. Again, it's not something we strategize. It's just kind of naturally happens. But it's cool because, for example, Ranaan has brought the image of a double bass from the back of the orchestra or the back of the jazz band to the front and center of the stage. He is very masculine and bold and it's wicked cool what he's doing. So, the energy we see from young people is awesome. We have many who come to our shows and stay afterwards to greet us, and also have those who come to the festivals we sometimes get to teach at – it's so cool to see.

In regards to classical music, we came out of a time where we weren't trying to be rebellious, but by virtue of the way we are as individuals, we were. Instead of playing the music we might have been expected to play, we played the music that we wanted to play. It means our concerts can include anything from a bluegrass riff to a Katy Perry medley to a Bach chorale to Tchaikovsky's second movement melody that's soaring mixed in with a reverb or whatever. You know? As we began to explore this concept initially, ideas started becoming playlists, and they got to be so interchanged and mixed and of the moment, that we became very modern in that way. I think that's another another inspiration for young people. It's something they can relate to, because they see that energy, and it's exciting. And you don't have to spoon feed it to them, either. They're going pick up on it and they're going to think it's cool.

Image by Lauren Desberg.

Q: What what would you like our audience to know ahead of this particular concert? Why should people come and see Time for Three play with the Columbus Symphony Orchestra this September?

A: Because when Time for Three plays, it is all heart. There's so much soul and so much energy, and so much spirit that emotes from us. It's intimate, like watching a living room performance, but in what we think are some of the most special and unique spaces to be in as a community together – these hallowed concert halls.

We engage with each other and the music in a very, very unique way. We're a kind of group that you do not need to know anything about before coming to a concert. All you need to be is open as a person, kind as a person, and we will touch your heart. ◼️