Orchestrating Lifelong Participation in the Arts
1629 22nd Ave SE, Olympia WA 98501 | 360-352-1438 | StudentOrchestras.org StudentOrchestras@gmail.com | Facebook.com/StudentOrchestras | February 2021 Vol. XXI No. 7
Tango Time!
by Cameron May, SOGO Music Director
As January drew to a close, the Conservatory Orchestra finished up work on Tango by local composer Austin Schlichting. This is one of two pieces that Conservatory will be performing on the next SO-GO Virtual concert, scheduled for Sunday, March 28. Austin Schlichting is a music educator in the North Thurston School District and also a violist in the Olympia Symphony Orchestra. Tango came into existence as the result of a commission by Yakima Youth Symphony Music Director Bruce Walker, and Austin composed the work in a mere week back in 2013! At three-minutes in length and a mostly steady tempo, Tango works well in the virtual setting. There are two violin solos near the (Continued on p2)
‘Tango’ composer Austin Schlichting and Music Director Cameron May at Conservatory rehearsal Q&A
Hold Your Applause!
Musicians from the Debut and Academy orchestras learn the history of various composers that they are rehearsing for the upcoming concert. Because SOGO has a music historian on staff, Anne Edge, the young musicians receive ample background on the often-colorful lives of these famous composers. Edge surprised the students this past month with a music history lesson on hand clapping. Believe it or not, she had a full page Anne Edge, SOGO Music Historian of hand clapping history. Beginning with applause as being the primary form of how an audience can express their praise for (Continued on p2)
LEAD • INSPIRE • PERFORM •
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Enthusiastic SOGO Students, Parents, and Teachers Tune in for Master Class by Midori, World Renowned Violinist More than 40 pairs of eyes and ears eagerly tuned in last month to watch world-renowned concert violinist Midori give her undivided attention to four SOGO musicians. For each student, Midori and the viewers watched a previously recorded solo performance. Then Midori offered individualized coaching and new techniques for the students to experiment with live in front of the audience. This violin master class kicked off a series of workshops “You can break Midori provided for students, parents, and teachers (see “‘How to Practice’ and music into parts and see patterns ‘Aural Heritage’” below). Debut’s Isabel Arslanian was the first violinist to receive Midori’s soft spoken encouragement. “You have such a nice spirit to the music,” Midori told her.
like a puzzle.” ~ Isabel Arslanian, Debut violinist
Isabel says the experience was “good practice getting feedback in front of others. It was REALLY cool to get to meet Midori and get feedback from her.” She also learned to “break music into parts and see patterns like a puzzle.” “Finding contrast in repetitive sections gives a musician a lot of creative liberty.”
Zach Sears, an Academy musician, went second. Midori complimented Zach on his “natural resonance and reverb,” and then asked him to try different ways of phrasing ~ Zach Sears, his piece. “There is always a shape to the Academy violinist phrase. Where is the music going? I always have my goal in my vision,” she said. Zach says he learned that “finding contrast in repetitive sections gives a musician a lot of creative liberty.” “The way you’re holding the line is beautiful,” Midori told Maria Aurelio, Conservatory Orchestra, after hearing her perform. “Know exactly where you are going – don’t doubt.” (Continued on p2)
SOGO Hosts Midori Workshops: ‘How to Practice’ and ‘Aural Heritage’
by Greg Allison, SOGO Artistic Director
In Midori’s “How to Practice” workshop, she shared tips and strategies to make personal practice more productive. Noted were ways to structure individual practice time and implement goal setting along with helpful accessories and apps to have at the ready. The next segment of the workshop put into “practice” the strategies and processes shared. Using music selections SOGO students are currently working on with their orchestras, Midori demonstrated how to intentionally dissect problem areas and improve in an efficient way. She also noted ways to keep motivated during the learning process and how to control performance nerves by playing for others on a more regular basis and in a (Continued on p2) Experience SOGO at a FREE virtual rehearsal! Sun, Feb 28 - Visit studentorchestras.org for info.
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February 28 Virtual Side by Side March 28 SO-GO Virtual Concert May 25, 26, 28 Auditions for 2021-2022 June 6 SO-GO Virtual Concert
March 28 Concert Program Conservatory Orchestra Cameron May, conductor Tango, Austin Schlichting Festival March, Antonin Dvořák Brass Choir Greg Allison, conductor Canzon Duodecimi Toni, Giovanni Gabrieli Someone to Watch Over Me, George Gershwin Academy Orchestra Greg Allison, conductor Galop (Can-Can) from “Orpheus in the Underworld,” Jacques Offenbach Debut Orchestra Jennifer Marin & Travis Sipher, conductors Radetzky March, Johann Strauss Double your donation to SOGO! Check with your employer to see if they match charitable contributions made by their employees. Corporations providing matching gifts include Starbucks, Microsoft, Wells Fargo, Boeing, Alaska Airlines, State Farm Insurance, and Liberty Mutual.
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Midori’s Master Class, cont’d “Midori gave me the suggestion to play each section side-by-side to isolate the melody,” says Maria, “which helped me realize exactly how I wanted to contrast them.” For the final lesson, Midori recommended that Camille McLean, also a Conservatory student, imagine “a magnetic feel between the [bow] hair and string.” “All of the subtle phrasings that come with how a violinist is using their bow are super important,” says Camille. “Midori was able to explain everything in a way that was easy to understand. A lot of people focus on whether a section is loud, soft, or going from one to the other, and she was using ideas like being reflective and introspective.” The 20 minutes Midori spent with each student passed quickly, and then she wrapped up with a Q&A open to all viewers. Ever the music educator, SOGO Artistic Director Greg Allison asked Midori what she finds most satisfying about teaching. “It’s the relationship we create with the music and with the students. It’s so interesting to be right there with them as they learn.” As a leading concert violinist for over 35 years, Midori regularly transfixes audiences around the world, combining graceful precision and intimate expression. She has performed with the London, Chicago, and San Francisco Symphony Orchestras, the Berlin and Vienna Philharmonics, and the Mahler Chamber Orchestra.
Midori (top row) working with SOGO students.
‘How to Practice’ and ‘Aural Heritage’, cont’d variety of ways. The workshop was very informative and helpful for every musician no matter what their level of experience. “Aural Heritage: Who to Listen to and What to Listen For” was a grand tour of the history and changes in recorded music technology and a sampling of recordings. After a bit of recording history, recordings were listened to of three violinists, four vocalists and two orchestras. In each grouping (violin, vocal, orchestra) the same portion of a composition was used. We listened twice to each violinist and vocalist. Midori helped us to contrast and compare the performances in the areas of dynamics, color, phrasing, sound among others. Always thoughtful and elucidating, all left the session with a few more tools in our collective tool boxes to better listen and evaluate ourselves and others.
Tango Time! cont’d
beginning of the piece, one of which will be played by David Mason, one of Mr. Schlichting’s students from River Ridge High School! Austin visited Conservatory David Mason is one of the rehearsal on January 17 and soloists who will be featured spent 40 minutes answering at the beginning of ‘Tango.’ our questions. The full video of his interview is online. It was a wonderful opportunity for the Conservatory students to hear what life is like as a composer. Indeed, there were so many questions that even after 40 minutes we ran out of time! Austin was kind enough to type out very thoughtful answers to the questions we didn’t get to. During his visit, Austin described his long-held dream to be a commissioned composer, where people come to him and ask to have music written for them, but said he also feels excitement when an existing work of his is performed again. He referenced a conversation with famous choral composer Eric Whitacre, who expressed frustration that some of his works are performed frequently, while others are overlooked (The 20th-century American composer Samuel Barber is on record voicing a similar feeling about his ever-popular Adagio for Strings). The month we spent working on Austin’s Tango was an absolute delight, and I want to add my personal gratitude to Austin for taking the time to speak with our students. Tune in on March 28 to hear Tango performed alongside works by Dvořák, Gabrieli, Gershwin, Offenbach, and Johann Strauss! Visit StudentOrchestras.org to view composer Austin Schlichting’s Q&A with the Conservatory Orchestra.
Hold Your Applause! cont’d a performance, she delved into the earliest references to clapping starting from Biblical times.
Audience members frequently ask a couple of questions: What is the conductor doing when he waves his arms? And what is proper clapping etiquette? Edge admits there are some confusing protocols for applause especially at classical concerts. To clear up any clapping issues, Edge reminds us to applaud after a single-movement composition. Don’t applaud between sections of multi-movements like a symphony or concerto. It is okay to applaud between numbers if it’s an opera or ballet. The musicians do the same, but the strings bob their bows or join in with the winds tapping or shuffling their feet in appreciation. To read Edge’s history lesson on applause, please visit StudentOrchestras.org. Anne Edge is SOGO’s viola and music history teaching artist and serves on SOGO’s board. She gave her first music history presentation in the first grade for Show and Tell. Anne has a MA in Musicology and maintains an active private studio teaching viola. She has played in many local ensembles and currently plays with and writes program notes for the SPSCC Orchestra. She is also a crazy mask maker and avid cat mom.