ICO 2014, Concert 3

Hi friends.   

Here is a quick rundown of the repertoire that I will be conducting tomorrow at Interlochen for ICO’s third performance of the summer of 2014. 

We will begin with Fantasy on a Chinese Theme, by Francis Osentowski  (published by FJH).  This work is in two movements and is listed as a Grade 4.  I stumbled onto this work at a reading session at the Florida Music Educators’ state conference back in November.  I am always looking for works at this level that fit into a multi-cultural setting.    There are also two percussion parts for this work, including suspended cymbals and tom toms.  This work has two movements:  I. The Golden Thread and II. Waking the Dragon.    The Golden Thread is in a moderate tempo with a very relaxed feel.   It is great for teaching syncopated rhythms and laying back on the beat, rather than on the front edge.  It is not difficult and is also great for getting your violins into upper positions on the A and D strings for reasons of tone quality rather than high pitches.   Movement II, Waking the Dragon, is a fun allegro that toggles between several time signatures.  It is somewhat percussive in nature and comes together quite quickly.  There are nice contrasts between rhythmic passages in the low strings and legato passages in the violins.  It has a big, exciting ending as well.  I think my students have really enjoyed this piece.

Next, we are doing Lyric Metal, by Brian Balmages (published by FJH).  This piece is in the style of Apocalyptica and was commissioned as a tribute to a young man that passed away after a tragic accident.  The piece if rhythmically driven and requires great attention to dynamics.  There is divisi in many of the passages in the celli and violins, so a large section is fairly important.  I have 14 celli in this group, so it was a great year to program this work!  There are lots of high, lyrical sections for the first violins, so they really get to play up in the top part of the range.   We have discussed the direction of a melodic line and passage at great length and this work provides many teaching opportunities that translate nicely to other repertoire.  There are some really cool dynamic surprises in the work and students really need to listen across the orchestra to pull it off rhythmically.  It is listed as a grade V and is a nice challenge for the group.  I think this will be a show-stopper. 

Finally, we are doing the first and fourth movements of the William Grant Still’s Danzas de Panama (published by Peer Music).  This string orchestra work with a Latin feel is our technical stretch for this concert!  There are several “2 against 3” and “3 against 4” rhythms throughout the work.  It is also fairly thinly scored, so everyone has to hold down their own rhythmic and melodic part completely.  This has provided many great rehearsals opportunities and I think the group has learned a great deal.  We have also spent a great deal of time dealing with the subtleties of dynamic markings and the differences between and accompaniment forte (for example) and a melodic forte.  Students have really been stretched to listen for key parts and to adjust their dynamics throughout.  The Cumbia e Congo, movement IV, is fast and rhythmic.  It includes knocking on instruments for percussion parts and ends with a bang!  This will be our concert finale. 

The performance is Wednesday, July 23, at 6:30 in Corson Auditorium on the Interlochen Campus.

Peace.

Scott

ICO 2014 Concert 2

Hi friends!

Here are some more thoughts on summer repertoire for ICO.  The second concert will be in 3 short days and perhaps many of the parents that read this will be in attendance for the concert.  We had a great rehearsal today and will certainly be ready to give a great performance on Friday.

We will open our performance with the Overture to the Messiah by Handel.  This is the original Messiah Overture and we are using the Schirmer edition.  I like that edition because the Grave section is written with the appropriate double dotted rhythms and it is otherwise very predictable for those of us that have played this work in any variety of settings.  In the Grave section students learn hooked bowing and really have to listen to the ensemble along with subdividing to keep the passage rhythmically clean.  The Allegro is a fugue and each section must count independently and demonstrate a marcato style throughout.  This is a great piece and teaching tool for young orchestras.

Next, we are doing Fantasy on American Sailing Songs, by Clare Grundman, Arr Longfield.  This is a medley of popular sailing songs that is very accessible for young orchestras.  Students play in a variety of keys and time signatures and there are plenty of opportunities for teaching ensemble, rhythm, and interaction between sections.

Our reall challenge piece for this concert is the Minuet from Petite Suite, by Debussy/Arr. Osentowski (Pub FJH).  This is a grade V adaptation of the famous work for 4 hands piano.  This is a real contrast to much of the repertoire that I have programmed over the years for this type of group.  It is very lyrical, requires extremely close listening across the ensemble, and includes of very tricky violin parts.  The key to this one working well is every section having full awareness of their respective roll in the work from measure to measure, phrase to phrase.  (Isn’t that always the case?!) But, really, this one is a challenge and it is a new piece for me as well.  I am looking forward to using this as the centerpiece to our program. 

We will finish our program with a bang with Choreograpy, by Norman Dello Joio, Mvt 3.  This is a classic and oft-used string orchestra piece that was commissioned and written in the 1970’2 by the American String Teachers Association.  This is a fast and furious finale to the work.  I asked the kids what emotions come to mind as they play it and received answers including: angry, determined, important, and anxious, among others.  This will be a fun and exciting way to end our program.

We look forward to performing this program on July 11 at 7:00 in Corson Auditorium on the Interlochen campus!

Peace.

Scott

ICO 2014 Concert 1

Hi friends!

I wanted to take a quick minute today to run through the repertoire that I programmed for my first two concerts with the Intermediate Concert Orchestra here at Interlochen this summer.  My hope is that this post will give parents of ICO students some insight into what their children have done this summer and some of my values as a conductor.  I am also hopeful that perhaps colleagues will find some of this to be helpful as they plan their repertoire for the upcoming year with similar ensembles at their schools or youth orchestras. 

The ensemble that I conduct is a string orchestra with students ranging from 12 to 15 years old.  The playing level is quite diverse with the top students auditioning on intermediate repertoire such as Mozart Concerti, Accolay Violin Concerto, and other similar appropriate solos and possessing a good deal of range and musical background.  Other students are significantly less experienced and it is always a challenge to bring the group together in a way that challenges and inspires all students, without leaving the less experienced folks in the dust.  This concert cycle, the group is quite evenly matched and that has been less of an issue that some other years. 

For each concert, I always try to select a diverse program that includes something traditional and something more contemporary; something very technically challenging and something that doesn’t take as long to learn the notes and rhythms, something lyrical and something fast and rhythmic; and something that features a guest artist or extended instrumentation.  I think that we achieved all of those goals for this concert cycle.

Concert 1

We began our first concert with Overture to Ruslan and Ludmilla, by Glinka, Arr. McCashin (Pub FJH).  This is a wonderful arrangement of the original for string orchestra that really challenges a young orchestra.  We were able to work this up to tempo and do some really great things with ensemble and listening across the orchestra.  The celli and violas get a beautiful lyrical section in the middle and everyone gets the opportunity to play “high, fast, and loud” as part of the fun.  It was a great concert opener and I think it really surprised our audience.  I always like Bob McCashin’s arrangements because he keeps the pieces very true to the original and always challenges the player.  This is listed as a Grade V piece.

Next we did Serenade for Strings, Mvts I, II, IV, by Robert Washburn.  This gem has been around for many years and I hadn’t conducted it for at least 13 years or so.  Dr. Washburn was Professor of Music at The State University of New York in Potsdam for many years and just passed away in November, 2013, at the age of 85.  I had conducted this piece in 1997 with the Maryland Junior All State Orchestra and Dr. Washburn stopped in to hear about two hours of my rehearsal.  He took some time to speak with the students and with me afterwards and it was really the thrill of a lifetime.  His affirmation of my work and encouragement went a long way for me in the early part of my career.  The first movement is in ABA form and is very lyrical, requiring all players to listen carefully to the inner rhythm of the work.  The second movement is in “3” and reminds me of a lullaby.  Again in ABA form, the B section is very warm and “orchestral” in nature.  It is simply gorgeous.  The forth movement is more rhythmic and driving.  To my ear, there is a Native American flavor to it.   Each section gets a feature in this movement and it ends the Serenade with a bang!  This piece is usually listed as a Grade IV work.

We ended our first concert with Cascade, by Bert Ligon.  The piece is in a pop style and calls for a piano and drum set in addition to the string orchestra.  I thought it needed guitar as well, so I called Bert up and asked if he might be able to help us out with a guitar chart.  He graciously agreed and I had guitar charts for the piece within about 48 hours!! (Thanks, Bert!!) This piece is great for teaching a pop style and the importance of syncopation in contrast with non-syncopated figures.  It is also fantastic for teaching and reinforcing dynamics and direction of line.  Every section gets a feature in this piece.  It is listed as a Grade 3.5, but I wouldn’t hesitate to do it with a much more advanced group.  Bert’s music is always so well-written and it feels good to play.  I intend to do with my NCSSM group this fall.

So that was our first concert.  I will write about our 2^nd concert in the next post.  I hope this was helpful!!

Peace.

Scott