October 2016 Vol. XVII No. 2
Providing a challenging, fully integrated music experience for the young musician because of support from people like you.
1629 22nd Ave SE, Olympia WA 98501 360-352-1438 studentorchestras.org
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I love working with student musicians - what an honor to be there when they discover a piece of music for the first time, or make a connection between their technique and how to truly communicate the music.
“I love working with student musicians,” says Gau. “What an honor to be there when they discover a piece of music for the first time, or make a connection between their technique and how to truly communicate the music. I love their energy, the fresh perspective they bring to their music making...I could go on and on!” (cont’d, p.3)
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3 WAYS TO GIVE:
You’re Making Musicians for Life SOGO violinist Andrew Huang isn’t planning to study music in school. But that doesn’t mean music won’t be part of his future. “I plan to be part of an orchestra, if I can, for the rest of my life,” he says. Andrew will be featured performing Camille Saint-Saëns’ Introduction and Rondo Capriccioso at the November 6 SOGO concert.
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I plan to be part of an orchestra, if I can, for the rest of my life.
Andrew describes the piece as “dramatic and virtuosic.” SOGO’s Maestro Welsh agrees, “The Saint-Saëns Introduction and Rondo Capriccioso is a showcase for violin soloists. Andrew is playing it with excellent style and verve.”
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On SOGO: People don’t have to be there.The teaching artists, the conductors, and the students – they want to be a part of making music. It’s a unique environment.
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Donors like you are providing SOGO musicians with the opportunity to work with Maestra Victoria Gau of the Capital City Symphony in Washington, D.C.. Maestra Gau brings a wealth of experience working with both professional and youth orchestras to her role as guest conductor for the Conservatory Orchestra at the November 6 SOGO concert.
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Welcome, Maestra Victoria Gau
Andrew enjoys the main theme of the piece, but it has its challenges. “The word ‘capricious’ comes from ‘capriccioso,’” he says. “There’s not a lot of room for rhythmic interpretation. I had to do a lot of metronome work.” (Cont’d on p.2)
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