tag:blogger.com,1999:blog-34878517861376079272024-03-03T03:33:38.863-05:00Rochester Philharmonic Orchestra Blog- the official blog of the RPO -Sally Cohen PRhttp://www.blogger.com/profile/14427296740401381636noreply@blogger.comBlogger343125tag:blogger.com,1999:blog-3487851786137607927.post-42554464319767763502018-07-11T09:17:00.002-04:002018-07-11T09:17:39.469-04:00Catch Up With Our Musicians!<!--[if gte mso 9]><xml>
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<b style="mso-bidi-font-weight: normal;"> </b>RPO musicians do so many things, both musical and non-musical, it can be hard to keep up! We checked in with a few of them to ask how they're spending their summer. Here are a few of their replies!<br /><b style="mso-bidi-font-weight: normal;"></b><br />
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<b style="mso-bidi-font-weight: normal;">Erik Behr, principal oboe + Juliana Athayde, concertmaster</b></div>
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Juliana and I have been representing the RPO at the Mainly Mozart Festival Orchestra in San Diego. This is a three week music festival comprised of all-star musicians who are concertmasters and principals in their respective orchestras from all around the country including the Cleveland, Philadelphia, NY Philharmonic, LA Philharmonic, Metropolitan Opera Orchestra and others.</div>
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We have also both just completed a teaching week at the National Orchestral Institute. This is a premier summer festival for college music majors that will prepare them for professional careers in music performance. We coached violins and oboes and led sectional rehearsals. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6gCWVSTYSxlp6MnfI6IwnUTMTJhiCfubX1jBpn-FR3eRNA9k_z2_d8-LDWlN0xqWbk4gaaAahUVOaFKLpCwDcLgD5GqiUdtUUjUZgMZhYJ_V-E4DtCkxfSr8s3seYfLOX5PMTCIjcnOs/s1600/Lisa_Albrecht_Summer_Newsletter.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="933" data-original-width="1244" height="239" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6gCWVSTYSxlp6MnfI6IwnUTMTJhiCfubX1jBpn-FR3eRNA9k_z2_d8-LDWlN0xqWbk4gaaAahUVOaFKLpCwDcLgD5GqiUdtUUjUZgMZhYJ_V-E4DtCkxfSr8s3seYfLOX5PMTCIjcnOs/s320/Lisa_Albrecht_Summer_Newsletter.jpg" width="320" /></a><b style="mso-bidi-font-weight: normal;"><br />Lisa Albrecht, trombone</b></div>
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<span style="mso-fareast-font-family: "Times New Roman";">I’ve just spent June recording a solo album with concert organist Amanda Mole, assisted by members of my quartet (Hohenfels Trombone Quartet). RPO Second Trumpeter Wes Nance also helped out with some of the production. It should be released in early 2019 and will feature works by Schiffmann, Guilmant, Schnittke, Liszt, Ives, Gárdonyi, Fauré, and Schickele. <br /><br /></span>
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<b style="mso-bidi-font-weight: normal;"><span style="mso-fareast-font-family: "Times New Roman";"><br />Rebecca Gilbert, principal flute</span></b></div>
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<span style="mso-fareast-font-family: "Times New Roman";">I will be playing a Wind Quintet Concert in Lake City, Colorado with a group of musicians from the Dallas Symphony, Amarillo Symphony, and the New Mexico Symphony. Lake City is billed as the “The Most Remote Place in the Lower 48”. My husband and two sons will be joining me for 6 days of San Juan Mountain adventures including horseback riding in the high country, 4-wheel drive to a ghost town, hiking, and fishing.</span><b style="mso-bidi-font-weight: normal;"><br /><br /></b> </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTrt-SECrecS4vUZUm7TOiTT3vI_PRORArft-ETijmiY0pkx_OhKaTMQb_WWHcfZE8ivuHuvbNSxzVqtbOXg7sn9N5jifRpR_s4h5ESpm1EXaDxYjleRUeEGmIz5sRVfonwj9DgAAmYdU/s1600/PerrinYang_Summer_Newsletter.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1127" data-original-width="1301" height="277" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTrt-SECrecS4vUZUm7TOiTT3vI_PRORArft-ETijmiY0pkx_OhKaTMQb_WWHcfZE8ivuHuvbNSxzVqtbOXg7sn9N5jifRpR_s4h5ESpm1EXaDxYjleRUeEGmIz5sRVfonwj9DgAAmYdU/s320/PerrinYang_Summer_Newsletter.jpg" width="320" /></a></div>
<br /><b style="mso-bidi-font-weight: normal;">Perrin Yang, violin</b><br />I play in a blues/rock band called Significant Other. On June 23, we had the opportunity to perform on the big East Ave. and Chestnut stage for the Xerox Rochester International Jazz Festival, opening for Brain Setzer and his band. The weather was a little dicey leading up to the show, but turned out very nicely, so we had lots of fun playing to a great energetic crowd of several thousand people! (Photo credit to Aaron Winters)</div>
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<b style="mso-bidi-font-weight: normal;"> </b><b><br />Eric Polenik, bass</b><br />
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Mary
and I visited her parents in Belgium this June. We took a side trip to
London because Mary had always wanted to visit the National Observatory
and Prime Meridian. While there I proposed and now we are engaged! I
told her that we would always know where to find our love. We’re going
to spend the rest of the summer dreaming up plans for our wedding. I
think we know a few good musicians for the ceremony.<br /><br /><br /></div>
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<b style="mso-bidi-font-weight: normal;"><br /><br />Margaret Leenhouts, violin</b> </div>
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I have a grab bag of activities for this summer. I"ll be teaching violin at Nazareth college, played the Seal concert to open the jazzfest, and have a nice jazz gig at RIT in the middle of the summer. I'm looking forward to my weeks with the RPO and I'll be finishing my musical summer by playing in the pit with the Finger Lakes Opera. Its not all work, though. My family is off to a week of hiking in Iceland in early July and we will be hosting our Japanese exchange student's parents later in the month. We are looking forward to improving our language skills!<br /></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2JhfMwTbtjd9HPtMFkgVPfq9KX7EcfwtufLnnaYLOr3Zl1sMlDopxr_D5Pi-jFaxW7e4hmaKVDA0o8wipjYQkDYG3AJex48xRlCckQV26zT9DRURsE2tgWSqBcZgQNE518gZCx9AX5eI/s1600/Stephen_Laifer_Summer_Newsletter.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1600" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2JhfMwTbtjd9HPtMFkgVPfq9KX7EcfwtufLnnaYLOr3Zl1sMlDopxr_D5Pi-jFaxW7e4hmaKVDA0o8wipjYQkDYG3AJex48xRlCckQV26zT9DRURsE2tgWSqBcZgQNE518gZCx9AX5eI/s320/Stephen_Laifer_Summer_Newsletter.jpg" width="320" /></a></div>
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<b style="mso-bidi-font-weight: normal;">Stephen Laifer, horn + Nikki LaBonte, horn</b> <br />
Assistant Principal Horn Nikki Labonte and I spent a day hiking in the White Mountains of New Hampshire. The plan was to complete an eight-mile loop summiting three peaks (Little Haystack, Lincoln, and Lafayette). Unfortunately the weather was against us: thick cloud cover, gale force winds, and zero visibility. We found our way to a forestry service hiking hut, grabbed a cup of coffee, and started to head back to the car when the clouds burned off. Nikki suggested we do the entire route in reverse - and I grudgingly agreed. Weather the second time was spectacular, and we wound up hiking nearly 13 miles in 10 hours, a very long but rewarding day. <br /><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQJi7LX1mF5AVcPu9G8LNVULTIHFJwRx_YlCkz4xiyBVEtiUBAtcIMFEfp-Lnr4YgWbH65OxJtDS1IHaYElI-BfdlfsNx7BWUxQY8Ok3sIMcHTegtoiAKzAJe_blFWE8idHsQ9bjsT99Q/s1600/Herb+at+Jazz+fest.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1600" data-original-width="1600" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQJi7LX1mF5AVcPu9G8LNVULTIHFJwRx_YlCkz4xiyBVEtiUBAtcIMFEfp-Lnr4YgWbH65OxJtDS1IHaYElI-BfdlfsNx7BWUxQY8Ok3sIMcHTegtoiAKzAJe_blFWE8idHsQ9bjsT99Q/s200/Herb+at+Jazz+fest.jpg" width="200" /></a> <b style="mso-bidi-font-weight: normal;">Herb Smith, trumpet</b><br />My trio played at Unter Biergarten on 6/26 during the Jazz Fest as an RPO Ensemble with thousands of people around listening. A lot of fun, beer, pretzels, and music was had by all. </div>
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<b style="mso-bidi-font-weight: normal;">John Sullivan, violin</b><span style="mso-fareast-font-family: "Times New Roman";"><br />I recently completed training for and started my own sideline business as a Voice Actor/Voice Over Artist. My voice is for hire! Here’s a link to my demos, if anyone may be curious to check them out:</span></div>
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<span style="mso-fareast-font-family: "Times New Roman";"><a href="https://url.emailprotection.link/?aWDKDsz_WCridXMYZr_SHsAkeZmufDsX1lvzHMWqzFWbzgUEnv4P99itaeihLCzSM6SzMHF-BcWsw9Hf0NVyxXw~~">http://johncsullivan.icanvoice.com/</a></span></div>
Anonymoushttp://www.blogger.com/profile/07607373574353632525noreply@blogger.com3tag:blogger.com,1999:blog-3487851786137607927.post-67414962562274684092018-07-02T16:21:00.000-04:002018-07-02T16:31:18.560-04:00Independence Day: Behind the Score<span style="font-family: inherit;"><span style="font-size: xx-small;"><br /></span>
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<a href="https://library.duke.edu/rubenstein/scriptorium/sheetmusic/b/b03/b0367/b0367-1-72dpi.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="font-family: inherit; font-size: xx-small;"><img alt="72dpi JPEG image of: Stars and stripes forever" border="0" height="320" src="https://library.duke.edu/rubenstein/scriptorium/sheetmusic/b/b03/b0367/b0367-1-72dpi.jpeg" width="248" /></span></a></div>
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<span style="font-family: inherit; font-size: medium;">Every year on the Fourth of July, Americans celebrate their country’s independence by singing timeless tunes written long ago. While some may know the motivation behind the songs, many do not know their history. Today, we’ll take three songs about the US of A and uncover how they came to be.<o:p></o:p></span></div>
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<span style="font-family: inherit; font-size: medium;"><span style="mso-spacerun: yes;"> </span>“1812 Overture” by Pyotr Ilyich Tchaikovsky is a song that the RPO plays every year on the Fourth. Tchaikovsky was commissioned to write a piece for the grand opening of a cathedral in Moscow which was built to celebrate Russia’s defense against Napoleon’s invading force in 1812. Tchaikovsky ended up finishing the piece only six weeks after he began writing it, in 1880, and actually ended up hating it. He later complained that he felt the piece lacked warmth and love and was simply very loud and noisy. The piece only recently became Independence Day repertory after Arthur Fielder, long time conductor of the Boston Pops Orchestra, decided to include the piece in their Fourth of July performance in 1974.<o:p></o:p></span></div>
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<span style="font-family: inherit; font-size: medium;">“Stars and Stripes Forever” by John Philip Sousa was dubbed the National March of the United States of America by a 1987 act of the U.S. Congress. According to his autobiography, <i style="mso-bidi-font-style: normal;">Marching Along</i>, Sousa composed the march on Christmas Day, 1896. He was on an ocean liner on his way home from a vacation with his wife in Europe. He had just received word of the unexpected death of his good friend and band manager, David Blakely. Sousa was pacing the deck to gather his thoughts when the music came to him. He composed the march in his head and committed the notes to paper once he arrived back home in the United States. Sousa had also written his own lyrics to the piece, although it is more often played as the instrumental rendition. The march was an immediate success, and Sousa’s band played it at almost every concert until his death 35 years later.<o:p></o:p></span></div>
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<span style="font-family: inherit; font-size: medium;">Reverend Samuel Francis Smith wrote the words to “My Country ‘Tis of Thee” (also known as “America”), but the origin of the song's melody remains a mystery. Many Americans and Brits alike know that the song shares a melody with the national anthem of Great Britain, “God Save The Queen”. The family of Henry Carey, a British singer-composer, claimed that he was the first to compose both the lyrics and the music as “God Save Great George the King” in 1740. Historians, however, claim that the tune was previously sourced from English composer John Bull, the French court composer Jean-Baptiste Lully, and even a military hymn from Switzerland. Regardless of its mysterious origin, the tune was officially published in 1744 in England in a tune book called <i style="mso-bidi-font-style: normal;">Thesaurus Musicus</i>.<o:p></o:p></span></div>
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<span style="font-family: inherit; font-size: medium;">The lyrics evolved over time throughout the early 1800s, and the words that eventually became the tradition were written by Reverend Smith while he was studying at Andover Theological Seminary in 1831. As it is known today, the song, “My Country ‘Tis of Thee” was debuted by popular organist and composer Lowell Mason on July 4, 1831, at a children's service at the Park Street Church in Boston, Massachusetts.<o:p></o:p></span></div>
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<span style="font-family: inherit; font-size: medium;">Hopefully this look inside three popular Independence Day tunes has filled you with some insight into the spirit of the music. Cannons or no cannons, your Rochester Philharmonic Orchestra wishes you, your family, and your friends a safe and happy July 4<sup>th</sup>. Let freedom ring!<o:p></o:p></span><br />
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Anonymoushttp://www.blogger.com/profile/07607373574353632525noreply@blogger.com2tag:blogger.com,1999:blog-3487851786137607927.post-21538217848034203392018-05-24T09:46:00.000-04:002018-05-24T12:39:46.058-04:00Carmen: Behind the Score<div class="separator" style="clear: both; text-align: center;">
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Currently in Europe, the Romani people are a huge presence in major towns and cities. They can be found absolutely everywhere – from selling things in the town squares to sitting on church steps asking for a coin. Also known colloquially as gypsies, the Romani have been a culture for well over a thousand years according to some sources, originating from a single group that had left northwestern India. These people will often live off the land for free and move around nomadically as a group. The Romani also have their own language which has roots in Sanskrit, though many have lost their knowledge of pure Romani and simply incorporate parts of it into the languages of the countries they live in.<br />
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Many Romani have suffered forced assimilation, public persecution and slavery, and were even captured during the Holocaust. Discrimination against the Romani people has continued to this day and, due to many living in poor conditions, their poor behavior toward citizens and tourists, as well as rising crime in the areas they live in, have caused many countries to go to drastic lengths to remove them – including forced repatriation and even sterilization.<br />
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In addition to French composer Georges Bizet’s opera <i>Carmen</i>, the Romani are depicted in Victor Hugo’s <i>The Hunchback of Notre Dame</i> as well as in <i>A Midsummer Night's Dream</i>, <i>As You Like It</i>, <i>Othello</i>, and <i>The Tempest</i> by William Shakespeare. <i>Carmen</i> was actually written based off of a novella, or short story, written by French writer Prosper Mérimée, who wrote a letter to the Countess of Montijo, who had previously told Mérimée a story about a gypsy woman on his visit to Spain in 1830. <br />
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In his letter, he wrote passionately to her about his inspiration: "It was about that ruffian from Málaga who had killed his mistress. As I have been studying the Gypsies for some time, I have made my heroine a Gypsy." An important source for the material on the Romani people that Mérimée had used was George Borrow's book <i>The Zincali</i> written in 1841. Another source may have been the narrative poem <i>The Gypsies</i> by Alexander Pushkin, written in 1824, which Mérimée would later translate into French prose. Gypsies during the time were seen as very exotic and, though many people still feared for their pocketbooks, many were also still intrigued by their culture and freedom to live how they pleased.<br />
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Bizet, along with the writers of <i>Carmen</i>’s libretto, or lyrics, Henri Meilhac and Ludovic Halévy, were also passionately moved by the storytelling in Mérimée’s novella, which, in short, is about the feisty and, frankly, mega-attractive Romani woman, Carmen, who lived in Seville, Spain. Carmen became engaged in a game of cat-and-mouse with the bullfighter, Escamillo, her admirer, Don José, and Don José’s previous love interest, Micaëla. Don José is essentially driven to madness by the plights of Carmen who causes Don José to have bouts of extreme jealousy turning the chase into tragedy. Carmen herself foreshadows the dangers of passion in her now-famous aria, “Habanera”, where she related love itself to “a rebellious bird that none can tame” and also to “a gypsy child that has never, ever known the law”.<br />
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Much like many Shakespearean comedies and tragedies, the characters of <i>Carmen </i>take on a few of the same tropes in the European style of theatre known as the commedia dell’arte. For instance, Carmen and Don Jose take on some of the roles of the <i>Inammorati</i>, or the lovers, who are supposed to be very dapper and engaging and just a bit ridiculous in their innocence to love. The bullfighter, Escamillo, takes on the role of<i> Il Capitano</i>, or the Captain, who would generally be a loner of sorts but be widely considered as rather a slayer of hearts. A famous example of <i>Il Capitano</i> would be Gaston from <i>Beauty and the Beast</i>. Lastly, Micaëla acts in part as <i>Colombina</i>, usually a maid or young maiden who acts as a confidant to the audience and helps moves the plot along with the lovers or the scheming of dubious characters. Many of these traditional stock roles are broken in <i>Carmen</i>, which of course causes the plotline to become more twisted and surprising as the audience continues watching.<br />
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Touching on the music of <i>Carmen</i>: although Bizet himself had never been to Spain at the time, he composed many of the arias heard in the opera based on folk songs including his inspiration for “Habanera”, which was a folk song by the Spanish composer Sebastián Yradier entitled “El Arreglito”. Bizet also sought out appropriate material to research proper rhythm and instrumentation in order to better give the score an element of traditional flamenco style sound.<br />
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Carmen will often imitate on stage playing the castanets as the orchestra plays, which were often used by Spanish dancers to add percussion to their movements. The bugle or horn sound is heavily featured throughout the opera, as well, and it can be assumed that the bugle is the pull of responsibility that Don José is fighting with against the wild and free-spiritedness of Carmen’s castanets.<br />
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<i>Carmen</i> does an excellent job in showing the presence of the Romani people in Europe as well as tearing down traditional roles of women who, at the time, were expected to cater more to the expectations of society. Carmen simply refuses, throughout the production, to do what is expected of her. While <i>Carmen</i> may end in tragedy, it is important to note her strong force in breaking down those traditional barriers, both in the commedia dell’arte and in the society during Bizet’s time. Initial reactions to the opera’s premiere in 1874 were ones of shock at the drastic realism of the opera to give each of the characters an element of flawed morality. In essence, <i>Carmen</i> was a head-turner simply for giving an accurate screenshot of how humans are constantly swayed by passion and impulse. Anonymoushttp://www.blogger.com/profile/07607373574353632525noreply@blogger.com1tag:blogger.com,1999:blog-3487851786137607927.post-84695309577592503752018-05-17T16:30:00.003-04:002018-05-17T16:30:58.313-04:00Schmucks in Tuxedos<!--[if gte mso 9]><xml>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpFYE_GewUwt1e0ZL7m-mboY8TVsPGbxiIYnVIrVZYdHbNhTPjI0cO5bEvxG0PPSTtpQHfcxaggT2s554Zt5Evb8TXlhnT_GgzeHKteSk7RdSofsnANBjnYJLsKOsTfeL_C8Jsu8jle7w/s1600/nikkilabonte.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="640" data-original-width="640" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpFYE_GewUwt1e0ZL7m-mboY8TVsPGbxiIYnVIrVZYdHbNhTPjI0cO5bEvxG0PPSTtpQHfcxaggT2s554Zt5Evb8TXlhnT_GgzeHKteSk7RdSofsnANBjnYJLsKOsTfeL_C8Jsu8jle7w/s320/nikkilabonte.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Nikolette (Nikki) LaBonte, horn</td></tr>
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by Nikolette LaBonte<br />
<br />
At one of our most recent orchestra meetings, a guest made a statement that really made me laugh.<span style="mso-spacerun: yes;"> </span>When discussing the relationship between orchestra members and their audience he commented, “You’ve got them totally fooled.<span style="mso-spacerun: yes;"> </span>They think you are the ritziest people around and they have no idea that you’re just a bunch of schmucks in evening gowns and tuxedos.”<br />
<br />
A classic case of “it’s funny because it’s true”.<span style="mso-spacerun: yes;"> </span>That remark is a spot-on assessment of our classical musician paradox.<span style="mso-spacerun: yes;"> </span>When we walk onstage in Kodak Hall, we do our best to match both the lavish décor of the hall and our elegant attire.<span style="mso-spacerun: yes;"> </span>But, beneath our onstage appearance of grace and charm, we’re busy complaining about our plow guy not showing up on time, the latest parking ticket we got, and coming home to a mess because we forget to let the dog out before we left for rehearsal.<span style="mso-spacerun: yes;"> </span>You see, I am not a perfect person.<span style="mso-spacerun: yes;"> </span>Please try to contain your complete shock and surprise.<span style="mso-spacerun: yes;"> </span>I have never played a perfect concert and, while the French horn may be a bit more prone to error than most instruments, I think every professional musician would tell you the same thing.<span style="mso-spacerun: yes;"> </span>If they don’t, they are undoubtedly lying.<span style="mso-spacerun: yes;"> </span>However, when I learn of a weakness in my performance or notice an error in intonation or a missed note, I try to avoid long stretches of internally berating myself.<span style="mso-spacerun: yes;"> </span>Instead, I make an effort to examine it as a new possibility to gather information and learn.<span style="mso-spacerun: yes;"> </span>In that way, I’ve observed that I have tended to grow more from my failures rather than my successes.<span style="mso-spacerun: yes;"> </span>Success simply validates what you already are.<span style="mso-spacerun: yes;"> </span> <br />
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I’ll stop for a second and say that this is important!<span style="mso-spacerun: yes;"> </span>I try to make sure I have enough validation in my life even if I have to provide it myself.<span style="mso-spacerun: yes;"> </span>“Way to go, Nikki!<span style="mso-spacerun: yes;"> </span>You got a primo parking spot at the East Avenue Wegmans!<span style="mso-spacerun: yes;"> </span>You’re unstoppable today!”<span style="mso-spacerun: yes;"> </span>However, failure allows us to examine what we could have done better--how could we have turned that situation into a success.<span style="mso-spacerun: yes;"> </span>Sometimes, that is as simple as correcting the note we are buzzing or making sure to take in a more expansive breath before the start of a long phrase.<span style="mso-spacerun: yes;"> </span>But other times, it involves facing real obstacles and weaknesses in ourselves as musicians and figuring out just how we can overcome or correct them.<span style="mso-spacerun: yes;"> </span><br />
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My journey to be a member of the RPO is an example of this.<span style="mso-spacerun: yes;"> </span>I joined the orchestra in fall of 2016 after winning a national audition held on April 24<sup>th</sup> and 25<sup>th</sup>.<span style="mso-spacerun: yes;"> </span>Naturally, I was over the moon.<span style="mso-spacerun: yes;"> </span>However, that April audition was the third time I had applied for the job.<span style="mso-spacerun: yes;"> </span>The other two preceding times, I was not hired.<span style="mso-spacerun: yes;"> </span><div class="MsoNormal">
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<span style="mso-tab-count: 1;"></span>The first audition was in December of 2014.<span style="mso-spacerun: yes;"> </span>I was a sophomore at the Eastman School of Music studying under the tutelage of RPO principal horn, Peter Kurau.<span style="mso-spacerun: yes;"> </span>I had recently made the substitute list of the RPO and because of that was invited to an interim audition for the Associate/Assistant Principal slot.<span style="mso-spacerun: yes;"> </span>The previous horn player had left the orchestra midseason and they needed someone to fill the roll immediately, without having time for a national audition.<span style="mso-spacerun: yes;"> </span>Being young and naïve, I thought I’d throw my hat into the ring.<span style="mso-spacerun: yes;"> </span>What was the worst that could happen?<span style="mso-spacerun: yes;"> </span></div>
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Something about my playing caught the attention of the panel and I was selected as a finalist for this position.<span style="mso-spacerun: yes;"> </span>Seeing that I had a lack of experience in my resume, they thought it would be best for me and the other finalist to each have a few trial weeks.<span style="mso-spacerun: yes;"> </span>I spent all of my winter break practicing and preparing myself for this opportunity and I did my very best onstage to present myself as a confident member of the orchestra.<span style="mso-spacerun: yes;"> </span>I knew I could do this job and was desperate for a chance to join the ensemble I’d been faithfully observing for two years now.<span style="mso-spacerun: yes;"> </span>The other candidate’s weeks were after mine so my blood pressure skyrocketed every time I received a phone call from a 585 area code number for about a month.<span style="mso-spacerun: yes;"> </span>I was on spring break in New York City with my best friend when I got the call.<span style="mso-spacerun: yes;"> </span>The other candidate had been selected.<span style="mso-spacerun: yes;"> </span>I was absolutely crushed.<span style="mso-spacerun: yes;"> </span>I spent that whole evening sobbing while my friend made sure I had an unlimited supply of tissues, white wine, and Ben and Jerry’s ice cream.<span style="mso-spacerun: yes;"> </span>The next day, I emailed my professor, tail between my legs, and asked for feedback from my performance.<span style="mso-spacerun: yes;"> </span>He graciously provided constructive comments and said I could work on making my sound darker and richer and I should strive for a greater knowledge of the symphonic repertoire and its nuances.<span style="mso-spacerun: yes;"> </span><div class="MsoNormal" style="text-indent: .5in;">
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<span style="mso-tab-count: 1;"></span>I immediately hit the ground running.<span style="mso-spacerun: yes;"> </span>I saved up enough money to buy a new horn that would allow me to expand my sound concept and practiced orchestral parts and excerpts every night until the school practice rooms closed at 11 PM.<span style="mso-spacerun: yes;"> </span>I knew that there would have to be a national audition for this position in order to give everyone across the country a chance at the spot.<span style="mso-spacerun: yes;"> </span>That date was set for October of 2015 and, for those next 9 months, I had my sights completely transfixed on that single moment.<span style="mso-spacerun: yes;"> </span>In the meantime, I had auditioned for a position in the Hawaii Symphony and was appointed as their Assistant Principal Horn.<span style="mso-spacerun: yes;"> </span>I knew this would give me the opportunity to get some real on-the-job experience so I put my Eastman studies on hold and moved out to Honolulu in September.<span style="mso-spacerun: yes;"> </span>Despite this move, never once did I lose sight of that October audition.<span style="mso-spacerun: yes;"> </span></div>
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That audition day finally arrived and I put everything I had on the line.<span style="mso-spacerun: yes;"> </span>I played my absolute best and made it all the way to the final round.<span style="mso-spacerun: yes;"> </span>It was me and the same candidate who had won the interim spot.<span style="mso-spacerun: yes;"> </span>After waiting 45 minutes while the audition panel deliberated, they came out with the news.<span style="mso-spacerun: yes;"> </span>The RPO would not be hiring anyone at this time.<span style="mso-spacerun: yes;"> </span>Neither of us were up to the standard of what they wanted long term, but please try again when the next audition is announced.<span style="mso-spacerun: yes;"> </span>Please try again.<span style="mso-spacerun: yes;"> </span>Commence round two of sobbing for an entire day.<span style="mso-spacerun: yes;"> </span>Sure, I had my job in Hawaii to return to (my flight was the next day) and travelling to a tropical island paradise might not seem like such a bad thing to you, but to me it was the worst.<span style="mso-spacerun: yes;"> </span>I knew RPO was a better job and I didn’t want to be in Hawaii.<span style="mso-spacerun: yes;"> </span>I wanted to be here.<span style="mso-spacerun: yes;"> </span><div class="MsoNormal" style="text-indent: .5in;">
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Once again, I met with Professor Kurau asking for comments and suggestions for aspects of my playing I could improve.<span style="mso-spacerun: yes;"> </span>After a few minutes of me unsuccessfully trying to suppress tears, he lovingly talked me through my audition and provided me with some additional comments.<span style="mso-spacerun: yes;"> </span>I needed to gain more “on-the-job” experience and could work on my intonation and tone.<span style="mso-spacerun: yes;"> </span>I was over-efforting through the horn and I could get a better sense of ease through a lot of fundamentals practice.<span style="mso-spacerun: yes;"> </span>He encouraged me to go to Hawaii, learn from the musicians out there, spend some time practicing the basics, maybe try to enjoy the weather, and to please come back for the next audition.<span style="mso-spacerun: yes;"> </span>That would be in April 2016.<span style="mso-spacerun: yes;"> </span><div class="MsoNormal" style="text-indent: .5in;">
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And I tried to do just that.<span style="mso-spacerun: yes;"> </span>I learned just how a professional orchestra functions by interacting with my HSO colleagues.<span style="mso-spacerun: yes;"> </span>I learned how to translate the practice I was doing at home into successful orchestral performances.<span style="mso-spacerun: yes;"> </span>I learned who to listen to, how to lead a section, how to maintain consistency in repeated concerts.<span style="mso-spacerun: yes;"> </span>I would listen to famous orchestral recordings on my bus rides to and from work.<span style="mso-spacerun: yes;"> </span>And when I got home, I would practice.<span style="mso-spacerun: yes;"> </span>I focused less on repertoire and more on fundamental concepts.<span style="mso-spacerun: yes;"> </span>If I could make all of these notes have a quality tone, one at a time, I could synthesize them together in any passage in the orchestral repertoire.<span style="mso-spacerun: yes;"> </span>I also did find time to go hiking and scuba diving, made new friends, and ate some amazing food.<span style="mso-spacerun: yes;"> </span>(I still am searching for the perfect poke bowl back here on the mainland—recommendations appreciated).<span style="mso-spacerun: yes;"> </span>I was happy in Hawaii and loved my time there but April was always on my mind.<span style="mso-spacerun: yes;"> </span>This time, however, when that audition rolled around, I knew that no matter what, I was going to be a better musician.<span style="mso-spacerun: yes;"> </span>Whether or not I was the candidate the RPO would select, I knew that I would be sounding better than the last time they heard me.<span style="mso-spacerun: yes;"> </span>I had changed and evolved so much in those 6 months and I was happy with how I was playing.<span style="mso-spacerun: yes;"> </span>I felt that I was in control of the instrument and I could fully express myself in ways that I never was able to before.<span style="mso-spacerun: yes;"> </span>No matter what happened on April 25<sup>th</sup>, I knew I had made myself a better artist.<div class="MsoNormal" style="text-indent: .5in;">
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Once again, I made it all the way to the final round.<span style="mso-spacerun: yes;"> </span>I walked back to the waiting area and instead of being terrified of the news that might follow, I found myself calm.<span style="mso-spacerun: yes;"> </span>I had represented myself accurately in the audition room.<span style="mso-spacerun: yes;"> </span>It wasn’t perfect.<span style="mso-spacerun: yes;"> </span>Auditions are never perfect.<span style="mso-spacerun: yes;"> </span>But it was how I played.<span style="mso-spacerun: yes;"> </span>That audition had been a genuine reflection of me.<div class="MsoNormal" style="text-indent: .5in;">
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I’ve already spoiled the ending of this story so you know how it goes.<span style="mso-spacerun: yes;"> </span>An hour and a half later, I got the good news.<span style="mso-spacerun: yes;"> </span>Over the next few months, I said a bittersweet goodbye to my HSO friends and prepared for the move back to Rochester.<span style="mso-spacerun: yes;"> </span>I started with the RPO in 2016, was tenured in May of 2017, and have enjoyed every single moment since.<span style="mso-spacerun: yes;"> </span><div class="MsoNormal" style="text-indent: .5in;">
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While writing this post, I had the opportunity to reflect back on this entire journey and these auditions specifically.<span style="mso-spacerun: yes;"> </span>I asked myself what would have happened if I had won the first one and joined the RPO then?<span style="mso-spacerun: yes;"> </span>I spent a few moments thinking about it.<span style="mso-spacerun: yes;"> </span>I didn’t have the experience I needed and was unprepared from a technique standpoint.<span style="mso-spacerun: yes;"> </span>I would have been woefully unqualified for the position and honestly, probably wouldn’t still have it.<span style="mso-spacerun: yes;"> </span>I never thought I would admit this, but I am so very thankful that I lost those auditions.<span style="mso-spacerun: yes;"> </span>I simply would not be the player I am today, with a job that I love and colleagues that inspire me.<span style="mso-spacerun: yes;"> </span>Mistakes and lessons learned are the ways we improve something, be it a chipped note or someone’s overall musicianship.<span style="mso-spacerun: yes;"> </span>For these reasons, I am grateful for my failures.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>I am truly just a “schmuck in an evening gown” and I wouldn’t have it any other way.Anonymoushttp://www.blogger.com/profile/07607373574353632525noreply@blogger.com3tag:blogger.com,1999:blog-3487851786137607927.post-24109071468787463312018-05-02T11:32:00.001-04:002018-05-24T09:53:44.968-04:00Longtime RPO Patron says "Music is Medicine" <!--[if gte mso 9]><xml>
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<span style="color: #1f497d;">If you regularly attend RPO performances, you might begin to recognize the same faces in the crowd from concert to concert. But few in the audience have been RPO supporters for as long as Joe Mancini. An RPO patron for nearly eighty years and a donor for more than sixty, Joe can’t imagine his life without music in it. </span></div>
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<span style="color: #1f497d;">Joe was introduced to the RPO through his uncle, who brought him to an RPO Pops concert when he was just 10 years old (he’s now 89). He doesn’t recall what the orchestra played that night, but that first concert whet his appetite for more. As his appreciation for music grew, he says he “graduated” to more complex programming. </span></div>
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<span style="color: #1f497d;">As he grew older, Joe discovered music as a source of solace. He remembers several occasions in college when, frustrated with his studying and schoolwork, he would take a break to listen to classical music. Even today, music continues to be a restorative experience for Joe:<span style="mso-spacerun: yes;"> </span>“I turn to music when I’m down,” he says. “That’s my medicine.”</span></div>
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<span style="color: #1f497d;">Like his uncle before him, Joe delights in introducing family and friends to classical music. Over his many decades as an RPO patron, he has brought his nieces and nephews to Pops and Philharmonics concerts, as well as to musical theatre performances and even to operas at the Metropolitan Opera in New York City. “To this day, they are still interested in music,” he says proudly.</span></div>
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<span style="color: #1f497d;">Joe has broad musical tastes and says “I can listen to anything.” However, he admits that opera is particularly close to his heart – an affinity he shares with RPO Music Director Ward Stare. Joe is especially looking forward to the Philharmonic Series Finale, when the orchestra will perform Bizet’s <i style="mso-bidi-font-style: normal;">Carmen </i>in Concert. Joe himself takes voice lessons at Hochstein School of Music and Dance, focusing mostly on opera. He has already performed in two recitals.</span></div>
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<span style="color: #1f497d;">Having been an RPO patron for almost eight decades, Joe has seen the orchestra grow and change. He has fond memories of former music directors David Zinman and Erich Leinsdorf. Today, he is particularly admiring of Ward Stare’s command and control of the orchestra. “They’re giving their all,” he says of the orchestra. </span></div>
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<span style="color: #1f497d;">Asked why he supports the RPO, Joe says that music “is an art form that if you allow yourself to be overwhelmed by it, the rewards are fantastic.” After each concert, “I come out on such a high,” he says. He adds that “this is the art form that just keeps giving.”</span></div>
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<span style="color: #1f497d;">At RPO concerts, you’ll find Joe sitting near the cross aisle on the orchestra floor. “If you hear someone yelling ‘Bravo!’, it’s me,” he says. </span></div>
Anonymoushttp://www.blogger.com/profile/07607373574353632525noreply@blogger.com0tag:blogger.com,1999:blog-3487851786137607927.post-83018456239382285592018-03-16T12:28:00.001-04:002018-03-16T12:28:08.954-04:00RPO Donor Commissions Oboe Concerto <!--[if gte mso 9]><xml>
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</xml><![endif]-->When the RPO unveils Allen Shawn’s Oboe Concerto on March 22 and 24, your attention will likely be focused on the performers: RPO Principal Oboe Erik Behr, the orchestra behind him, and Ward Stare on the podium. But one person you won’t see on stage is Ron Fielding, who commissioned the concerto. Without his generous support, you would not be hearing the world premiere of this work. <br /><br />A Rochester resident for nearly four decades, Mr. Fielding has been an RPO donor for more than 15 years. In 2010, he commissioned Allen Shawn’s Violin Concerto, written for and performed by RPO Concertmaster Juliana Athayde. In 2012 he endowed the Ron and Donna Fielding bassoon chair, currently occupied by Matthew McDonald. With this latest gift, Mr. Fielding aims to further highlight and support the works of contemporary, living composers, and introduce their works to a wider audience. <br /><br /></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmAdqIzl4BBYla_Nh-JhURPHyWxoVVxgsiBxWZ7LEX9sFqaZxz084k4Vijlw4GQeX3L2YKNUZC_D0ZNyUNQyh5r6e5xnNAhI6OvuCoMUL4A1mObx-a5_S_56vm2KQZd_gM9sxnJutuMcY/s1600/ron+fielding.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1266" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmAdqIzl4BBYla_Nh-JhURPHyWxoVVxgsiBxWZ7LEX9sFqaZxz084k4Vijlw4GQeX3L2YKNUZC_D0ZNyUNQyh5r6e5xnNAhI6OvuCoMUL4A1mObx-a5_S_56vm2KQZd_gM9sxnJutuMcY/s320/ron+fielding.jpg" width="253" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Ron Fielding</td></tr>
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“Classical music needs to be supported,” Fielding says, adding that many audiences don’t get enough exposure to works composed later than the early twentieth century. Fielding also notes the important role patronage has long played in the arts. Without patrons to support them, composers like Mozart, Beethoven, Haydn, Rimsky-Korsakov, Tchaikovsky, Puccini, and many others would not be able to get on with their work. As gifts like Mr. Fielding’s prove, patronage in the arts is still very much alive and well.</div>
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Mr. Fielding himself was introduced to classical music at an early age and has played both piano and saxophone. In 11<sup>th</sup> grade he entered the Putney School in Putney, Vermont to study music theory. His roommate while at the Putney School was none other than Allen Shawn, with whom Mr. Fielding shares a lasting friendship. (Another Putney alum, Isaiah Jackson, was the RPO's Music Director from 1973 to 1987). Though Mr. Fielding did not pursue a career in music after graduating from Putney, he remains a passionate supporter of classical and contemporary music. He plans to attend both performances of the Oboe Concerto this month, noting that he enjoys new works even more the second time around!</div>
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Allen Shawn’s Oboe Concerto will premiere at Kodak Hall at Eastman Theatre on Thursday, March 22 at 7:30pm and Saturday, March 24 at 8pm. Also on the program are Tchaikovsky’s Symphony No. 5 and Haydn’s Symphony No. 22, “The Philosopher.” For more information on the program, <a href="https://issuu.com/rochesterphilharmonicorchestra/docs/rpo_bk7">read the Bravo program book</a> online, listen to Music Director Ward Stare discuss the program in <a href="https://www.youtube.com/watch?v=5dGEfHWSwKE">this short video</a>, or attend a <a href="http://www.rpo.org/s_7/p_234/Pre-Concert_Talks/">pre-concert chat</a>. Tickets are available at <a href="http://www.rpo.org/p_2256/Tchaikovsky_5_%2B_World_Premiere/">rpo.org</a>.</div>
Anonymoushttp://www.blogger.com/profile/07607373574353632525noreply@blogger.com0tag:blogger.com,1999:blog-3487851786137607927.post-49842542515036512682017-10-24T16:50:00.000-04:002017-10-24T16:50:30.789-04:00RPO Principal Conductor Michael Butterman marks his final season in 2017-18<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHimdVLxCA8KArBdEEiFzob6dP4tsB5FRVzVQlYUZ-eGoxSTqsTnxyOyBsbP64e6TZzklEhV2eJRZIC71_z5t_hyphenhyphend0-A_Xdiw_PnTl1cH2HYDQgsN5e92QoOlgqedqPAMa48u6SewBO3g/s1600/Michael+Butterman_web.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="186" data-original-width="142" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHimdVLxCA8KArBdEEiFzob6dP4tsB5FRVzVQlYUZ-eGoxSTqsTnxyOyBsbP64e6TZzklEhV2eJRZIC71_z5t_hyphenhyphend0-A_Xdiw_PnTl1cH2HYDQgsN5e92QoOlgqedqPAMa48u6SewBO3g/s1600/Michael+Butterman_web.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Michael Butterman</td></tr>
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The Rochester Philharmonic Orchestra (RPO) and <a href="http://michaelbuttermanconductor.com/%20">Michael Butterman</a> announce today that Butterman has decided to conclude his tenure as Principal Conductor for Education and Community Engagement (The Louise and Henry Epstein Family Chair) at the end of his current contract, which expires on August 31, 2018. Maestro Butterman will continue to serve in his current RPO position through the 2017/18 season. <br /><br />“We are grateful for Michael’s years of service and dedication to the RPO,” says RPO President & CEO Curt Long. “As creator, conductor, and host of hundreds of concerts for young people and adults over the past 17 years, Michael has deepened our commitment to inspire, educate, and engage our community through music. The RPO is privileged to have had the substantial contributions that Michael has made to the Orchestra and the Rochester community.” <br /><br />Butterman was named RPO Principal Conductor for Education and Outreach – the first endowed position of its kind in the country – in 2000, following a two-year search. During his tenure, the Orchestra has refined its approach to education, specifically emphasizing interactive programming that complements classroom curricula. It has also expanded its audience and reach, impacting more than 20,000 students annually. <br /><br />"Michael has made a tremendous contribution to the RPO family and to our community during his remarkable tenure, passionately sharing his love of music and enriching the lives of audiences of all ages throughout Rochester,” adds RPO Music Director Ward Stare. “We are especially grateful for the standard of excellence Michael has set for our education programs and know that many thousands of students and families will continue to benefit from his incredible work." <br /><br />Butterman’s role has included planning and conducting Sunday Matinee, OrKIDStra, Primary Education, Intermediate Education, Tiny Tots, Around the Town, and City and County concerts. He has also appeared on the Philharmonics and Pops Series, and has conducted the RPO’s annual performances of <i>The Nutcracker</i> with Rochester City Ballet. In 2011, he conducted the RPO on a recording of <i>The Story of Babar</i> featuring actor John Lithgow. In 2013, he received the Monroe County Music Educators’ Award for his contributions to area school music programs. <br /><br />“Michael has been deeply committed to the idea that orchestra music is an essential part – not a frivolous extra – in the education of children,” states former RPO Principal Percussionist Bill Cahn, who is also a passionate music educator. “His concerts for Rochester’s children have been everything that an educational program by a symphony orchestra should be: centered on some of the world’s most inspiring classical music; focused and well-thought-out narrations with universal subjects; and interactive experiences that enable students to participate.” <br /><br />In addition to his RPO position, Butterman is the music director of the Boulder Philharmonic, Shreveport Symphony, and Pennsylvania Philharmonic Orchestras. He just completed a 15-year tenure with the Jacksonville Symphony, first as associate, and then as resident conductor. A sought-after guest conductor, he’s also led many of the country’s preeminent ensembles, including the Philadelphia and Cleveland Orchestras. <br /><br />“As my professional responsibilities expand, and in particular, as our daughter prepares to enter high school in the fall of 2018, I feel it important to make adjustments to reduce my travel schedule and workload in general. I do so only after a great deal of reflection, since my work with the RPO has been among the most fulfilling experiences of my life,” says Butterman. “Our primary responsibilities as professional musicians are to communicate the joy of music and to help connect ever more people to its life-enriching power. The RPO embraces these goals, and it has been a privilege to work with my extraordinary colleagues in the Orchestra in the service of this vision.” <br /><br />Butterman’s conducting highlights in the current season include the following Sunday Matinees: Mendelssohn’s “Reformation” (Nov. 19), Anderson & Roe (April 15), and Schumann’s Symphony No. 4 (June3). He will also conduct <i>The Nutcracker</i> (Nov. 22-26) as well as this season’s OrKIDStra finale: <i>Beethoven Lives Upstairs</i> (May 20). Although his official tenure will conclude at the end of the 2017/18 season, he will return to lead several performances in the 2018/19 season, including some OrKIDStra, Sunday Matinee, and Primary Education concerts. <br /><br />“Michael has been a part of the RPO family for my entire tenure and it has been a joy to work with him on wide-ranging projects that have benefited our community,” says RPO Concertmaster Juliana Athayde. “He never fails to brings an inspiring level of commitment to the music and communicates effortlessly with audiences. I always look forward to his educations concerts especially, as he finds dynamic ways to connect students to symphonic music, and their reactions as they experience much of this music for the first time are thrilling. We are sad to see Michael go, but look forward to his return as a guest in the coming seasons.” <br /><br />The RPO will celebrate Butterman’s 18 years of service with a special concert to be announced. MShippershttp://www.blogger.com/profile/10453126618147156082noreply@blogger.com1tag:blogger.com,1999:blog-3487851786137607927.post-9749910979938260552017-10-12T09:30:00.003-04:002017-10-13T11:28:18.499-04:00RPO reports balanced budget for first time in six years<div class="separator" style="clear: both; text-align: center;">
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The Rochester Philharmonic Orchestra (RPO) closed its books on a highly successful 2016/17 season while opening its 95th season with a trio of outstanding programs that reflect its commitment to providing excellent symphonic music to the community: <b>Itzhak Perlman</b> on Tuesday, September 12; <b>Principal Pops Conductor Jeff Tyzik’s A cELLAbration: The Music of Ella and More</b> on Friday and Saturday, September 15 and 16; and <b>Grieg’s Piano Concerto + Cinderella with Music Director Ward Stare</b> on September 21 and 23. <br />
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On September 1, Orchestra management also transitioned smoothly to new P<b>resident and Chief Executive Officer Curt Long</b> from Ralph Craviso, who was appointed Interim President & CEO in 2015 (later dropping the "Interim" from his title) to assist the Orchestra in a financial turnaround. <br />
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The news about that turnaround is also exceptional: <b>the RPO’s five-year financial plan has achieved a balanced budget for the fiscal year ending August 31, 2017</b> (the first year of that five-year plan, which was developed under Craviso’s leadership) for the first time in six years. The foundation of that plan included improvements in fundraising as well as in expanded programming – including concerts involving films, video games, etc. – to bring in new audiences. <span dir="ltr"><span style="font-size: small;"><span style="font-size: 12pt;">It also relied on ongoing contract concessions by the RPO musicians themselves. </span></span></span><br />
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The results are extremely encouraging. This past season’s ticket sales were up by 20%, reflecting an increase of 10% more subscribers and 30% more individual concert patrons. Public support followed suit: the RPO saw an increase of 25% in fundraising during 2016/17, including a season-ending, matching-gift Summer Challenge campaign that exceeded its $200,000 goal. <br />
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“This is the first step of a journey that will hopefully take this world-class orchestra to long-term financial stability,” explains Ingrid Stanlis, newly voted chairperson of the RPO Board of Directors.<br />
“We owe a great debt to Ralph Craviso and outgoing Board Chair Jules Smith for their exceptional work through this process. With the excellent artistic leadership provided by Music Director Ward Stare as well as Principal Pops Conductor Jeff Tyzik, and the recent appointment of Curt Long with his 24 years of success managing symphony orchestras, the Board is confident that we will continue to advance that five-year plan.” <br />
<br />
This upward trajectory – along with the stellar reputation of the RPO – is what drew Long from his post as president of the Alabama Symphony Orchestra (ASO), where he increased ticket revenues by more than 70 percent. During his tenure there, he also oversaw the ASO make its Carnegie Hall debut, release a limited-pressing recording of commissioned works, engage Carlos Izcaray as new Music Director, expand education programs both in Greater Birmingham and in underserved rural communities throughout Alabama, and successfully launch the Sound Edge Festival. <br />
<br />
“I am excited to assume this leadership role and my family and I look forward to becoming part of the Rochester community,” says Long. “Even as we celebrate the start of a wonderful turnaround for the RPO, we also need to remember that there is much work yet to be done as we enter the second year of our five-year plan. We need to continue to grow audiences and – like most orchestras around the country, which generate more than half their revenue from contributions – to continue to rely upon the generosity of this supportive community in order to serve Greater Rochester with excellent and ever-evolving programs that engage, entertain, and educate.” MShippershttp://www.blogger.com/profile/10453126618147156082noreply@blogger.com0tag:blogger.com,1999:blog-3487851786137607927.post-65595440741590371442017-09-25T11:00:00.000-04:002017-09-25T11:00:01.682-04:00Meet Karl Vilcins, new bassoon and contra-bassoon<!--[if gte mso 9]><xml>
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A Long Island native, bassoonist Karl Vilcins is a graduate of Ohio State University and the Manhattan School of Music. From 2005-2011, he served as principal bassoon with the Houston Grand Opera Orchestra. For the past five years, he has worked as a New York City freelance musician, playing with many groups including the Orchestra of St. Lukes, Orpheus Chamber Orchestra, American Ballet Theater, and the American Composers Orchestra.<br />
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<b>Personal:</b> Married to Aimee, daughter Ava (5), son Jacob (4), Shelby, black lab <br />
<br />
<b>On choosing bassoon:</b> I started clarinet in fourth grade. One night I was watching a PBS broadcast of an orchestra concert with my grandmother. I don’t remember the piece they were playing, but it featured the bassoon section and I immediately fell in love with it! I went up to my band director the next day and told him I had to play bassoon. He then tried to discourage me from playing it, saying “You seriously want to play this thing?!?!” Look at all the thumb keys!!!” The rest is history! <br />
<br />
<b>How would I describe myself: </b><br />
Easy going, with very frequent spells of silliness I have two small kids! <br />
<br />
<b>Hobbies:</b><br />
I enjoy carpentry and furniture making; I don’t see it as being that different to reed making. I do fair amount of carpentry as a hobby and a small side business <br />
<br />
<b>What I’m reading:</b> Anything by Mo Willems (children’s books). The life of a father with two kids! Also, I love my <i>Woodsmith Magazine</i>. <br />
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<b style="mso-bidi-font-weight: normal;">Favorite concerts
this season</b>: I’m looking forward to Ravel’s <i style="mso-bidi-font-style: normal;">Mother Goose</i> Suite. It has a very fun contra-bassoon solo. Also, <i style="mso-bidi-font-style: normal;">Harry Potter</i>. Is there an explanation
needed?<br />
<br />
Look for Karl onstage this fall, and <a href="http://www.rpo.org/s_3/s_31/p_2326/Karl_Vilcins/" target="_blank">read more</a> about him on rpo.org!
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MShippershttp://www.blogger.com/profile/10453126618147156082noreply@blogger.com0tag:blogger.com,1999:blog-3487851786137607927.post-49167643586487174612017-09-22T12:00:00.000-04:002017-09-22T12:00:01.186-04:00Meet David Bruestle, new principal tromboneA native of Cincinnati, Ohio, David Bruestle joined the RPO in May 2017 as principal trombone (<i>The Austin E. Hildebrandt Chair</i>), after serving as acting principal trombone since October 2016. Prior to joining the RPO, Bruestle served as second trombone with the Virginia Symphony Orchestra and principal trombone with the Erie Philharmonic. Bruestle completed a Doctor of Musical Arts from the Eastman School of Music in May 2015 under the tutelage of Mark Kellogg, his predecessor as principal trombone of the RPO. Bruestle also earned his bachelor’s degree at Eastman and a master’s from the Manhattan School of Music.<br />
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<tr><td class="tr-caption" style="text-align: center;">David Bruestle</td></tr>
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<b>Personal: </b>My wife Katie is an Eastman School of Music graduate in horn performance currently pursuing a doctorate at the University of Rochester. We have two cats, Harry and Gus.<br />
<br />
<b>What are you reading right now?</b> <br />
I recently received a book of letters from Edvard Grieg to his friends and colleagues. I find it interesting to learn about the connections between composers and other important figures of their time through their correspondence.<br />
<br />
<b>How would you describe yourself?</b> <br />
<ul>
<li>Organized and tidy: I have been told I have an eye for detail.</li>
<li> Proactive and efficient: You know the saying, “never leave a room without something for another,” although sometimes you can only carry so much, especially when lugging around a trombone case.</li>
<li>Conscientious and diplomatic: I try not to ruffle many feathers.</li>
</ul>
<b>When and why did you choose your instrument? </b><br />
My parents initially aspired to be music teachers and they had a collection of different instruments. My siblings and I took piano lessons from an early age and when we started in a school with a band program, each of us picked up another instrument. The summer before starting sixth grade, I examined my parents’ collection of instruments and pulled out an old silver trombone. I have always thought I might turn that instrument into a side table or lamp someday!<br />
<br />
<b>What advice would you give to young musicians?</b><br />
No journey to an orchestral career is the same. Keep driving ahead. Take every opportunity you can<br />
and be prepared to excel in each one. You never know which connection or experience along the way<br />
will create the next opportunity for you to advance.<br />
<br />
<b>Favorite piece you are looking forward to playing this season at the RPO?</b><br />
I guess as a trombonist I have to pick Ravel’s <i>Boléro</i> for the big solo, but I am also looking forward to Bartok’s <i>Miraculous Mandarin Suite</i> since it will be a first for me and it has a couple of exciting passages for the trombone section.<br />
<br />
Look for David onstage this fall, and <a class="external" href="http://www.rpo.org/s_3/s_31/p_2309/David_Bruestle/" rel="nofollow" target="_blank" title="Opens new window">read more</a> about him on rpo.org!
MShippershttp://www.blogger.com/profile/10453126618147156082noreply@blogger.com0tag:blogger.com,1999:blog-3487851786137607927.post-26899403309467393032017-09-21T14:32:00.001-04:002017-09-21T14:32:50.312-04:00Meet Cory Palmer, new principal bass<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
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<tr><td class="tr-caption" style="text-align: center;">Cory Palmer<br />c Nadine Photography</td></tr>
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A native of Atlanta, Georgia, Cory Palmer joins the RPO this season as principal bass (<i>The Anne Hayden McQuay Chair)</i>. Prior to joining the RPO, he was principal bass of the Canton Symphony Orchestra from 2012−16. He also has held positions with the Sarasota Opera and the West Virginia Symphony Orchestra. While growing up in Atlanta, Palmer was a member of the Atlanta Symphony Youth Orchestra and studied with Atlanta Symphony Orchestra Principal Bassist Ralph Jones. He holds a bachelor’s degree in music performance from Michigan State University, master’s degrees from John Hopkins University and Manhattan School of Music, and attended a performance residency program at Carnegie Mellon University. <br />
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<b>Personal:</b> My wife’s name is Kate. We got married last November in Nashville, Tennessee. We have one dog that we think is a Chihuahua/terrier mix. Her name is Ryder and she is about 12 years old.<br />
<b><br />When and why did you choose your instrument?</b><br />
I chose the bass in fifth grade when my class went to visit the middle school and we saw the orchestra, band, and chorus perform. The bass player played the <i>Jaws</i> theme and I was hooked. I started playing bass the next year!<br />
<br />
<b>What app can’t you live without?</b><br />
Spotify, Facebook, and Candy Crush. I have an on-again, off-again relationship with Candy Crush—I<br />
delete it when it starts taking up too much of my time.<br />
<br />
<b>What fascinates you besides music?</b><br />
Food. I love cooking and going out to great restaurants. It doesn’t matter if it’s a hole in the wall or a<br />
super fancy restaurant. If it has delicious food, I’ll be there. I’m especially partial to a good brunch.<br />
<br />
<b>Favorite piece you are looking forward to playing this season at the RPO?</b><br />
<br />
This is a very tough question so I’m going to cheat and pick three.<br />
<ul>
<li><i>Don Juan</i> from our season opener because this was the first piece on the first concert I played when I started college at Michigan State University and it’s the first piece on the first concert I’m playing with the RPO.</li>
<li>Brahms’ Symphony No. 2 because this is a huge piece for orchestra auditions and I somehow haven’t performed it before this season.</li>
<li>Beethoven’s Symphony No. 9—it’s just an incredible piece.</li>
</ul>
<b>What advice would you give to young musicians?</b><br />
<ul>
<li> Take advantage of all the resources out there these days. There are so many great resources online for finding local concerts, listening to great performances, connecting with fellow musicians, finding sheet music, and so much more. Expose yourself to as much as you can.</li>
<li>Record yourself regularly. It’s important to know what you sound like.</li>
<li>Perform regularly. Play for anybody that will listen whether it’s a teacher, colleague, family member, or total stranger. </li>
</ul>
Look for Cory onstage this fall, and <a href="http://www.rpo.org/s_3/s_31/p_2324/Cory_Palmer%2C_Principal/" rel="nofollow" target="_blank">read more</a> about him on rpo.org!
MShippershttp://www.blogger.com/profile/10453126618147156082noreply@blogger.com1tag:blogger.com,1999:blog-3487851786137607927.post-75328065225164587032017-05-30T13:00:00.000-04:002017-05-30T13:00:27.530-04:00Billboard chart-topper to perform with RPOInternationally acclaimed American pianist <a href="https://twitter.com/sdinnerstein" rel="nofollow" target="_blank">Simone Dinnerstein</a> brings her talents to Hochstein Performance Hall this Sunday, <a href="http://www.rpo.org/s_1/s_280/p_2154/Bach_and_Stravinsky/" rel="nofollow" target="_blank">June 4</a> to close out the Rochester Philharmonic Orchestra’s Sunday Matinee series.<br />
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<tr><td class="tr-caption" style="text-align: center;">Simone Dinnerstein</td></tr>
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Dinnerstein recently reached No. 2 on the Billboard Classical Chart for her new album <i>Mozart in Havana</i>, but she first rose to prominence with her self-funded recording of Bach’s Goldberg Variations, another Billboard chart topper released in 2007. Described as an “utterly distinctive voice in the forest of Bach interpretation” by the <i>New York Times</i>, Dinnerstein will play two of the great composer’s lesser known piano concerti with the RPO: Keyboard Concerto No. 1 in D Minor and Keyboard Concerto No. 5 in F Minor. Although she appreciates all of the Bach keyboard concerti, she considers these two to be his most profound. <br />
<br />
She singled out the slow, second movement of the F Minor concerto as one of the most beautiful things she’s ever heard. “Playing it is the closest I get to singing,” she said. She describes a singing-like quality, too, in the D Minor concerto, which she explains is the result of its origins as part of a cantata Bach wrote for an organ accompanied by a choir. While it’s “much weightier,” than the concerto in F Minor, she notes the interactive and intimate feel both works convey. That intimacy will be ideal for performance at Hochstein, a much smaller venue than the cavernous Kodak Hall at Eastman Theatre, where the RPO plays the majority of its concerts. <br />
<br />
Apart from her first performance with the RPO, Dinnerstein has a lot going on in 2017. <a href="http://www.simonedinnerstein.com/" rel="nofollow" target="_blank"><i>Mozart in Havana</i> </a>was recorded in Cuba with the Havana Lyceum Orchestra and features Mozart’s Piano Concerto Nos. 21 and 23. This summer, the HLO will travel to the United States to tour with Dinnerstein up and down the East Coast. It will be the first time an orchestra from Cuba has toured the U.S. since the Cuban Revolution. Also this year, Dinnerstein will debut a new piano concerto written for her by Philip Glass and co-commissioned by twelve orchestras around the country. She will also collaborate with choreographer Pam Tanowitz on New Work for Goldberg Variations, a piece for piano and six dancers. The collaboration translates the rhythms and structures of Bach’s Goldberg Variations into movement, and will debut at Duke University in the fall of 2017. <br />
<br />
<b>If you go </b><br />
Bach & Stravinsky<br />
Sunday, June 4 at 2 PM<br />
Hochstein Performance Hall<br />
Tickets $27 available at rpo.org. or by calling 454-2100<br />
<br />
<i><b>Written by Mary Rice, RPO marketing assistant</b></i> <br />
<br />
Hear Simone Dinnertein perform the two Bach concerti and other works by Bach in this playlist from her 2011 album <i>Bach: A Strange Beauty</i> recorded with the Staatskapelle
Berlin. <br />
<br />
<br />
<iframe allowtransparency="true" frameborder="0" height="380" src="https://open.spotify.com/embed/album/5upQlWg8RVLr2RbxHin9yr" width="300"></iframe>MShippershttp://www.blogger.com/profile/10453126618147156082noreply@blogger.com0tag:blogger.com,1999:blog-3487851786137607927.post-9109998155678165902017-05-24T15:00:00.000-04:002017-05-24T15:00:11.190-04:00Bohème behind-the-scenes: a chorus perspective<i>The following essay was written by <a href="https://twitter.com/BrendaBTremblay" target="_blank">Brenda Tremblay</a>, </i><i>morning host on Classical 91.5* and 90.3 FM, streaming at <a href="http://classical915.org/">classical915.org</a>. Tremblay will perform in the RPO's production of </i><i>La Bohème with Madrigalia Chorus. We asked her to write about her experience preparing for the concerts!</i><br />
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<tr><td class="tr-caption" style="text-align: center;">Brenda Tremblay (far right) backstage at rehearsal</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Rehearsal at<i> La Bohème</i></td></tr>
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"Rain glistens on new leaves. The scent of lilacs fills the air. Dogs bark. My neighbors think I’m weird. And who could blame them? For weeks, they’ve seen me prowling the tree-lined streets, muttering like a madwoman -clutching a book, chanting, and singing fragments of songs. They don’t know I’ve been preparing for this week’s semi-staged production of <i>La Bohème</i>. <br />
<br />
"<i>La Bohème</i> is Giocomo Puccini’s four act opera based on a book about the lives of poor bohemians in 1840’s Paris. Arturo Toscanini conducted the world premiere in Turin in 1896, and though the first audience left puzzled, the story and its sensuous music soon enraptured listeners all over the world. <br />
<br />
"It is one of the most-performed operas in history. Why? First, the music is gorgeous. Second, the themes are universal. We respond to a simple story of people falling in and out of love. We see that the smallest objects – a hat, a key, a candle - can glow with meaning, especially in the face of death. We know that chance encounters shape our lives. <br />
<br />
"With my friends in Madrigalia, I’m in the chorus in the Latin Quarter scene, appearing in Act II as a generic Parisian woman and then in Act III as a tired milk-woman trudging to work with an invisible donkey. I don’t actually speak Italian, so committing about twenty minutes of music in that language to memory pushed me to invent a system of pattern recognition using emojis. My score is puckered and coffee-stained. <br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjv2rUvWLx3jQky1494CB1Xxx93a-5th_YtvTR9KAPieGbsE5lwTXiP0AuC353SftfZ6F2-OyWAN_XnjLFPC1KTtpKe2GTk9P30jdxeQ7Si0riaT85r_7AGa9ItxGgEboZPCyXl9-WZ1yw/s1600/Tremblay_emoji.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="432" data-original-width="547" height="251" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjv2rUvWLx3jQky1494CB1Xxx93a-5th_YtvTR9KAPieGbsE5lwTXiP0AuC353SftfZ6F2-OyWAN_XnjLFPC1KTtpKe2GTk9P30jdxeQ7Si0riaT85r_7AGa9ItxGgEboZPCyXl9-WZ1yw/s320/Tremblay_emoji.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Brenda Tremblay explains Act II scene <br />
via emoji on Twitter</td></tr>
</tbody></table>
<br />
"What’s it like onstage? It’s a completely immersive experience, like diving into a deep, warm pool. The music swirls to the back of the hall. Have you seen the documentary film <i>20 Feet from Stardom</i>? It popped into my head last night when I was literally standing two feet from soprano <a href="https://www.facebook.com/jacquelineechols.soprano/?ref=py_c" target="_blank">Jacqueline Echols</a> as she sang “Musetta’s Waltz” with full-throated glory. My real-life teenage son Gavin is a street sweeper in the chorus, and when we’re onstage together I’m buzzed with delight that we’ll share this experience. But I have to concentrate. <br />
<br />
"I concentrate on everything our excellent chorus master <a href="http://www.rpo.org/s_3/s_31/p_285/Cary_Ratcliff/" target="_blank">Cary Ratcliff</a> has taught us: breathe early, lift the soft palate, purse lips, sing without vibrato to produce a pure, rich unified sound free of operatic warbling. I try to remember all these things. I try not to trip. I try to remember where I am. <br />
<br />
"Snow sparkles on the streets of Paris. The smells of butter and cinnamon and toasted almonds fill the marketplace. See the heaps of oranges and hot-roasted chestnuts? Is your mouth watering? Here comes a noisy crowd in a cacophony of joy and chaos. They have very little money but an unquenchable zest for life. Their kids are squirrely. And who can blame them? <br />
<br />
It’s Christmas Eve in Paris!" <br />
<br />
<i>*The RPO’s semi-staged La Boheme is scheduled to air on WXXI-FM on July 3 and October 2 at 8 p.m. </i><br />
<br />
<b>If you go</b><br />
Puccini's <i>La Bohème</i> in Concert<br />
<a class="external" href="http://ev12.evenue.net/cgi-bin/ncommerce3/SEGetEventInfo?ticketCode=GS%3ARPO%3A2017%3APH0525%3A&linkID=rpo&shopperContext=&pc=&caller=&appCode=&groupCode=PHILS&cgc=#__utma=147456628.2097156953.1470923551.1495547414.1495550471.453&__utmb=147456628.6.10.1495550471&__utmc=147456628&__utmx=-&__utmz=147456628.1492462833.383.15.utmcsr=google%7Cutmccn=%28organic%29%7Cutmcmd=organic%7Cutmctr=%28not%20provided%29&__utmv=-&__utmk=107999874" target="_blank" title="Opens new window">Thursday, May 25 at 7:30 PM</a><br />
<a class="external" href="http://ev12.evenue.net/cgi-bin/ncommerce3/SEGetEventInfo?ticketCode=GS%3ARPO%3A2017%3APH0527%3A&linkID=rpo&shopperContext=&pc=&caller=&appCode=&groupCode=PHILS&cgc=#__utma=147456628.2097156953.1470923551.1495547414.1495550471.453&__utmb=147456628.6.10.1495550471&__utmc=147456628&__utmx=-&__utmz=147456628.1492462833.383.15.utmcsr=google%7Cutmccn=%28organic%29%7Cutmcmd=organic%7Cutmctr=%28not%20provided%29&__utmv=-&__utmk=107999874" target="_blank" title="Opens new window">Saturday, May 27 at 8 PM</a><br />
Kodak Hall at Eastman Theatre<br />
Tickets start at $23<br />
<br />
<br />
<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/dzeW4xHGcLU" width="560"></iframe>
MShippershttp://www.blogger.com/profile/10453126618147156082noreply@blogger.com0tag:blogger.com,1999:blog-3487851786137607927.post-46317807467374388102017-05-23T11:00:00.000-04:002017-05-23T11:00:00.169-04:00RPO's "La Bohème" is "intimate storytelling at its finest"<b>The following note was written by Grant Preisser, stage director for the RPO's semi-staged concert producion of </b><b>Puccini 's <i>La Bohème. </i>Preisser is general manager and stage director for Angels & Demons Entertainment (ADE), a full-service production company focused on producing concert and semi-staged works for symphony orchestras. This is his RPO debut.</b><br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhH15KdBNP4kF-pb_xCSd9o62U-ubiQPTP9JllhCjDATpNoRa7H0I5f0OhOicOS99FOGyd-uc3cs1MsqwMCUS9m_MsIXr8r4ahrSXfn-JHET5hCb02j1Rd0S5WcadeDMY2DP-4gXdc5E2s/s1600/Grant_Preisser_2.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhH15KdBNP4kF-pb_xCSd9o62U-ubiQPTP9JllhCjDATpNoRa7H0I5f0OhOicOS99FOGyd-uc3cs1MsqwMCUS9m_MsIXr8r4ahrSXfn-JHET5hCb02j1Rd0S5WcadeDMY2DP-4gXdc5E2s/s320/Grant_Preisser_2.jpg" width="213" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Grant Preisser</td></tr>
</tbody></table>
<br />
<br />
"Opera as an art form is known for its larger-than-life characters presented on a grand stage. It is the marriage of incredible music, stellar singing, and spectacular production that keeps audiences enraptured and rouses them to their feet in thunderous applause. However, more and more concert and semi-staged productions of opera are being presented by opera companies and symphony orchestras alike. This type of presentation is the full opera with reduced production elements: limited to no set, the orchestra on stage, and limited staging opportunities for the singers. On the surface this sounds static and not representative of the composer’s envisioning of the work, but with the right piece this can create a heightened and perhaps more intense dramatic experience for an audience.<br />
<br />
"<i>La Bohème</i> is just such a piece that lends itself well to a semi-staged treatment. Puccini eschewed the tradition of operas being about gods and goddesses, kings and queens, focusing much of his work on more relatable characters. His self-professed intent in his compositions was to express “great sorrows in little souls.” In this semi-staged presentation, “great sorrows” are expressed by the RPO onstage and the “little souls” are brought to life by a sensitive and nuanced cast. Puccini puts real people onstage, emphasizing human relationships and the tender, tenuous route they take. This works well within the more intimate and evocative setting that a semi-staged production creates.<br />
<br />
"Based on the Henri Murger novel and subsequent play, Puccini, with librettists Luigi Illica<br />
and Giuseppe Giacosa, structured his <i>La Bohème</i> into four acts, which Puccini conceptualized<br />
as “images.” Each image is a vignette of the bohemian life, with the plot centering around<br />
the relationship of Rodolfo and Mimì. The idea of images works well within the limitations<br />
of a semi-staged approach in that each scene is presentational without the need for scenic<br />
elements to aid the drama. Some strategic props and simple costume elements set the tableau,<br />
and the audience is left to become immersed in the drama unfolding before them.<br />
<br />
"Semi-staged productions, however, are not simply putting the singers in front of the orchestra and giving them appropriate entrances and exits. The onus in communicating Puccini’s story now rests solely on the power of each singer’s performance and the ensemble dynamic created between the characters. This is intimate storytelling at its finest as the singers must connect and emotionally engage the audience who aren’t distracted by the typical sweeping Parisian backdrop associated with other iconic productions of this work.<br />
<br />
"What evokes the sweeping landscape intended for this band of Bohemians instead is the ability to have an expanded orchestra and chorus. Not being limited to a pit or the confines of a stage, the orchestra and chorus become characters in the piece as opposed to simple accompaniment. For Puccini this creates a glorious opportunity for the audience to bask in his lush melodic lines and rich orchestral texture, getting swept away on an emotional journey to the tearful conclusion of Rodolfo and Mimì’s relationship."<br />
<br />
<b>If you go</b><br />
Puccini's <i>La </i><i>Bohème</i> in Concert<br />
<a href="http://ev12.evenue.net/cgi-bin/ncommerce3/SEGetEventInfo?ticketCode=GS%3ARPO%3A2017%3APH0525%3A&linkID=rpo&shopperContext=&pc=&caller=&appCode=&groupCode=PHILS&cgc=#__utma=147456628.2097156953.1470923551.1495547414.1495550471.453&__utmb=147456628.6.10.1495550471&__utmc=147456628&__utmx=-&__utmz=147456628.1492462833.383.15.utmcsr=google|utmccn=(organic)|utmcmd=organic|utmctr=(not%20provided)&__utmv=-&__utmk=107999874" target="_blank">Thursday, May 25 at 7:30 PM</a><br />
<a href="http://ev12.evenue.net/cgi-bin/ncommerce3/SEGetEventInfo?ticketCode=GS%3ARPO%3A2017%3APH0527%3A&linkID=rpo&shopperContext=&pc=&caller=&appCode=&groupCode=PHILS&cgc=#__utma=147456628.2097156953.1470923551.1495547414.1495550471.453&__utmb=147456628.6.10.1495550471&__utmc=147456628&__utmx=-&__utmz=147456628.1492462833.383.15.utmcsr=google|utmccn=(organic)|utmcmd=organic|utmctr=(not%20provided)&__utmv=-&__utmk=107999874" target="_blank">Saturday, May 27 at 8 PM</a><br />
Kodak Hall at Eastman Theatre<br />
Tickets start at $23<br />
<br />
<br />
<br />
<br />
<br />MShippershttp://www.blogger.com/profile/10453126618147156082noreply@blogger.com0tag:blogger.com,1999:blog-3487851786137607927.post-57932556113058612602017-05-19T12:00:00.000-04:002017-05-19T13:46:28.348-04:00Music comes to life for kids at RPO Tiny Tots concert<i>This essay was written by guest blogger Maggie Symington, a Brighton resident and RPO subscriber who frequently writes about the arts and culture in Rochester for her personal blog.</i> <br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg993yo3UAwbufDKur6uwt4o4HHubl-RHYeYCgV4yWYoo8HuC5tEEHFE7Dff9C8yQ7Ie-NChLsnDn1uFpO65VVvhs9CUnCztbgPk4wnwo0cldmy2Lb9K6ywBPFCLrkbwPr-KSsPD4wHFjc/s1600/Tiny_Tots_1.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg993yo3UAwbufDKur6uwt4o4HHubl-RHYeYCgV4yWYoo8HuC5tEEHFE7Dff9C8yQ7Ie-NChLsnDn1uFpO65VVvhs9CUnCztbgPk4wnwo0cldmy2Lb9K6ywBPFCLrkbwPr-KSsPD4wHFjc/s320/Tiny_Tots_1.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The RPO's Tiny Tots concert at Browncroft Community Church</td></tr>
</tbody></table>
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The Rochester Philharmonic Orchestra understands that a
child who is exposed to classical music is much more likely to understand and
appreciate it later. So they’ve developed a program of <a href="http://www.rpo.org/s_4/s_37/p_1842/2016_Tiny_Tots_Concerts/" target="_blank">Tiny Tots Concerts</a> to
introduce the Orchestra to preschoolers and kindergartners in a fun and
creative way. I had the privilege to attend one of these concerts, which thoughtfully
paired pieces by Elgar, Strauss, and Bizet with humorous and educational
compositions by the RPO’s own Jeff Tyzik, among others. Naturally, the program
ended with selections from Britten’s <i>The Young Person’s Guide to the Orchestra.</i></div>
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More than 600 kids (and their supervisors) attended the
performance Wednesday morning at the Browncroft Community Church, and it was
refreshing to be among the oldest in the audience for a change! The first piece
entailed three musicians playing as they walked down the aisles to the stage, waving
to the kids as they danced in their seats to the beat.</div>
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<i>Sesame Street</i>-like signs dotted the stage (Percussion Pl.,
String St., Woodwind Way, and Brass Blvd.), and Principal Conductor for
Education and Community Engagement <a href="http://www.rpo.org/s_3/p_1915/Michael_Butterman/" target="_blank">Michael Butterman</a>, in a touching analogy,
described the orchestra as a neighborhood, with all of the sections working
together, just as they do in society. The presentation included almost as much
entertaining instruction as music. Before the Elgar’s piece for strings,
violinist <a href="http://www.rpo.org/s_3/s_31/p_65/Shannon_Nance/" target="_blank">Shannon Nance</a>, a “String St. resident,” explained how the violin is
played, and introduced her viola “cousins,” other street neighbors <span style="font-family: "symbol"; mso-ascii-font-family: "Times New Roman"; mso-char-type: symbol; mso-hansi-font-family: "Times New Roman"; mso-symbol-font-family: Symbol;"><span style="mso-char-type: symbol; mso-symbol-font-family: Symbol;">--</span></span> the
cellos, and the bass “grandfathers.” </div>
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The kids were generally attentive, although there was
naturally a lot of fidgeting. The RPO cleverly tapped that energy by inviting
the audience to participate in the music, and to engage with it, instead of
sitting passively. For example, in one piece, Butterman got the kids to their
feet to march and clap in time with the music. Later in the program, he invited
them to stand and help the orchestra “take a bus to Percussion Place” by
singing <i>The Wheels on the Bus</i> (“the strings on the bus go ‘plunk plunk
plunk’…”).</div>
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One of the brass musicians and a percussionists came out
with some homemade instruments and it was amusing and educational to hear the
lovely sounds they produced. The kids were also getting a lesson in the music of
physics, as the musicians explained the relationship between length and pitch
(e.g., the longer the string, the lower the note). </div>
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It was delightful to watch some of the kids mimic conducting
or instrument playing, and to watch them actively listening to pieces they were
probably hearing for the first time. I chatted with one of the musicians on my
way out, and we both remarked that, if programs like Tiny Tots are successful,
these youngsters will become the RPO audience of the future. And who knows, one
of them might end up in the orchestra! Kudos to the RPO and Michael Butterman
for making classical music fun, approachable, and engaging to kids in our
Rochester neighborhood.<br />
<br />
<b>Video: </b>Watch Concertmaster <a href="http://www.rpo.org/s_3/s_31/p_47/Juliana_Athayde/" target="_blank">Juliana Athayde</a>, principal flute <a href="http://www.rpo.org/s_3/s_31/p_109/Rebecca_Gilbert/" target="_blank">Rebecca Gilbert</a>,
and acting principal trombone David Bruestle make music come alive for
little ones at Tiny Tots- playing a fun rendition of the <i>Sesame Street</i> theme!<br />
<br />
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MShippershttp://www.blogger.com/profile/10453126618147156082noreply@blogger.com0tag:blogger.com,1999:blog-3487851786137607927.post-87815874113929262912017-05-03T12:18:00.001-04:002017-05-03T12:59:56.382-04:00Gabel and Athayde Play Debussy and BartókParisian conductor Fabien Gabel first met RPO Concertmaster <a href="http://www.rpo.org/s_3/s_31/p_47/Juliana_Athayde/" target="_blank">Juliana Athayde</a> in 2002, when they <br />
were both students at the Aspen Musical Festival and School. More than a decade later, Gabel came to Rochester to guest-conduct the orchestra for the first time, and was taken completely by surprise to see his old friend in the concertmaster’s chair (Athayde became concertmaster in 2005).<br />
<br />
Since reconnecting with Athayde, <a href="http://www.fabiengabel.com/" target="_blank">Gabel</a> has become a regular guest conductor at the RPO and a Rochester favorite. This May marks his fourth season in a row performing with the RPO, when he returns to conduct Debussy’s <i>La mer</i> on May 11 and 13. He will also collaborate with Athayde on Bartók’s Violin Concerto No. 2. <br />
<br />
“I have a deep affection for both the ensemble as a whole and the individual musicians that make it up,” said Gabel, who is music director of the Quebec Symphony Orchestra, as well as a regular guest conductor at orchestras across Europe, North America, and Asia.<span style="color: white;"><span style="font-size: xx-small;">l</span></span><br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjx7KhuZ7w5RJIQtrouJdDXjOhd5Vxzls5xEoK37VNANV0GRA9JA-U8T5C04zavrHODAE5My8PIXbrrsvfRRaokyf-eR0EuHj8nctG52zgj91N8Ej0YOiuj_AUMfwe12IxAZSz6eqZuJAA/s1600/RPO+INSTAGRAM_LAMER.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjx7KhuZ7w5RJIQtrouJdDXjOhd5Vxzls5xEoK37VNANV0GRA9JA-U8T5C04zavrHODAE5My8PIXbrrsvfRRaokyf-eR0EuHj8nctG52zgj91N8Ej0YOiuj_AUMfwe12IxAZSz6eqZuJAA/s320/RPO+INSTAGRAM_LAMER.jpg" width="320" /></a>In conducting Debussy’s <i>La mer</i>, Gabel will lend his distinctive interpretative touch to the French composer’s orchestral masterwork. Translated as “the sea,” <i>La mer</i> evokes the movement and moods of the restless waves. While composing it, Debussy turned to his own experience as inspiration: his childhood memories of the sea at Cannes; a frightful storm he endured in a tiny fishing boat; paintings by Romanticist Joseph Turner; and Japanese seascapes. <br />
<br />
Gabel connects strongly with the composition’s Gallic roots as well as its extraordinary instrumental textures. Audiences can expect Gabel to bring out the full color of the orchestra as he leads this shimmering work. <br />
<br />
In Bartók’s second concerto, Athayde will star in a piece that has long been on what she calls her “personal bucket list.” She remembers first hearing the concerto at a concert given by the San Francisco Symphony. At the time Athayde was concertmaster of the Symphony’s Youth Orchestra, and recalls being “immediately entranced” by Bartók No. 2. <br />
<br />
“From the simple yet mystical combination of harp and pizzicati strings opening the first movement juxtaposed with the vibrant folk style of the first solo violin melody, to the rhapsodic moments and rhythmic play between soloist and orchestra, this piece had me hooked," said Athayde. "Bartók alternates effortlessly between technically dazzling passage work and expressively lyrical writing.<br />
<br />
"I'm thrilled to finally perform this concerto with the RPO, so many years after I first fell in love with it, and I hope our audience will feel the same excitement and intrigue I felt as a young musician hearing this music for the first time.” <br />
<br />
The rest of the concert program is filled out by Bernard Herrmann’s Suite from Alfred Hitchcock’s <i>Vertigo</i>, as well as “Fanfare” and “poème dansé” from <i>La Péri</i> by Paul Dukas. <br />
<br />
<b>If you go</b><br />
Debussy's La Mer<br />
<a href="http://ev12.evenue.net/cgi-bin/ncommerce3/SEGetEventInfo?ticketCode=GS%3ARPO%3A2017%3APH0511%3A&linkID=rpo&shopperContext=&pc=&caller=&appCode=&groupCode=PHILS&cgc=#__utma=147456628.2097156953.1470923551.1493819890.1493827244.420&__utmb=147456628.6.10.1493827244&__utmc=147456628&__utmx=-&__utmz=147456628.1492462833.383.15.utmcsr=google|utmccn=(organic)|utmcmd=organic|utmctr=(not%20provided)&__utmv=-&__utmk=155523643" target="_blank">Thursday, May 11 at 7:30 PM</a><br />
<a href="http://ev12.evenue.net/cgi-bin/ncommerce3/SEGetEventInfo?ticketCode=GS%3ARPO%3A2017%3APH0513%3A&linkID=rpo&shopperContext=&pc=&caller=&appCode=&groupCode=PHILS&cgc=#__utma=147456628.2097156953.1470923551.1493819890.1493827244.420&__utmb=147456628.6.10.1493827244&__utmc=147456628&__utmx=-&__utmz=147456628.1492462833.383.15.utmcsr=google|utmccn=(organic)|utmcmd=organic|utmctr=(not%20provided)&__utmv=-&__utmk=155523643" target="_blank">Saturday, May 13 at 8 PM</a><br />
Kodak Hall at Eastman Theatre<br />
Tickets start at $23<br />
<br />
<i><b>Written by Mary Rice, RPO marketing assistant</b></i> MShippershttp://www.blogger.com/profile/10453126618147156082noreply@blogger.com0tag:blogger.com,1999:blog-3487851786137607927.post-73767103684844895952017-04-13T15:47:00.000-04:002017-04-13T15:47:05.662-04:00Musicians to honor local music educators'On Thursday, April 20, the RPO musicians will honor local music teachers at the 29th annual Music Educators' Awards Night at Kodak Hall. Founded in 1988, the Awards program works to strengthen the relationship between area music educators and the musicians of the RPO.<br /><br />
"Music educators deserve to be commended as often as possible for deeply enriching others’ lives," said <a href="http://www.rpo.org/s_3/s_31/p_2088/Maura_McCune_Corvington/" target="_blank">Maura McCune Corvington</a>, a member of the RPO horn section and chair of the 2017 Awards committee.“I would not have pursued and succeeded in music without stellar classroom and private music instruction."<br /><br />
Administrators, educators, parents and students submit nominations that are then reviewed by a committee comprised of community educators and RPO musicians. Five outstanding local music educators' were chosen. Educators like Al Heary, who has taught vocal and general music at DeWitt Elementary School in Webster for 30 years.<br /><br />"It’s rewarding to see former students in other performances or continuing in music knowing their first music experiences started in our school." said Heary. "I enjoy working with my students and creating musical experiences that will hopefully 'plant the seed' for them to continue enjoying music throughout life, whether that means singing, playing an instrument, performing on the stage, or by attending concerts and shows."<br /><br />The educators will be honored prior to intermission at next Thursday's RPO concert featuring performances of Slatkin's <i>Kinah</i> and Mahler 5. Tickets start at $23 and are available at <a href="http://ev12.evenue.net/cgi-bin/ncommerce3/SEGetEventInfo?ticketCode=GS%3ARPO%3A2017%3APH0420%3A&linkID=rpo&shopperContext=&pc=&caller=&appCode=&groupCode=PHILS&cgc=#__utma=147456628.2097156953.1470923551.1492107408.1492112216.378&__utmb=147456628.16.10.1492112216&__utmc=147456628&__utmx=-&__utmz=147456628.1491409625.353.14.utmcsr=dcdigital|utmccn=david-bowie|utmcmd=display&__utmv=-&__utmk=154531128">rpo.org</a> or by calling 454-2100.<br /><br /> <b><u>2017 Music Educator Award Winners</u></b><br />
<br /><b>Award: Instrumental Music - Band (K-12)</b><br /> Jeanne Coonan of Spry Middle School in Webster<br />
<br /><b>Award: Classroom Music Specialist (General Music K-12)</b><br />Al Heary of DeWitt Elementary School in Webster<br />
<br /><b>Award: Instrumental Music - Band (K-12)</b><br />M. David Shemancik of Sutherland High School in Pittsford<br />
<br /><b>Award: Special Award</b><br />Beverly Smoker, Professor and Department Chair at Nazareth College<br />
<br /><b>Award: Choral Director (K-12) </b><br />
Douglas Steves of Oliver Middle School in Brockport<br />
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</span></b></b>MShippershttp://www.blogger.com/profile/10453126618147156082noreply@blogger.com0tag:blogger.com,1999:blog-3487851786137607927.post-21216615531009834652017-04-10T17:05:00.000-04:002017-04-10T17:05:34.375-04:00From the Stage: Charles Wetherbee, guest violinMusician and professor Charles Wetherbee will serve as guest artist on the RPO's Sunday Matinee program on April 30 at Hochstein Performance Hall. Wetherbee is first violinist of the esteemed <a href="http://www.cdsq.org/about/about.php" rel="nofollow" target="_blank">Carpe Diem String Quartet</a>, which plays to packed houses across the U.S. and is known for programming that includes elements of Gypsy, tango, folk, rock, pop and jazz-music alongside the classical repertoire. Wetherbee will perform a piece he commissioned himself by Carpe Diem violist/composer Korine Fujiwara called "The Storyteller."<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrzE4MCZ4RLDU90H-RqvDpN2RvV7TI_kEmnOyY7y0ApjTK6GSYDeDfOkvxmNr6Sediwt3GEXSfzEW-1ONXwsRSpTZ8sP8KV6EOKEOW8V4s7T6kqS2xSIykpMwpIB4bBfOWrYljRVaEMo0/s1600/wetherbee_2.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrzE4MCZ4RLDU90H-RqvDpN2RvV7TI_kEmnOyY7y0ApjTK6GSYDeDfOkvxmNr6Sediwt3GEXSfzEW-1ONXwsRSpTZ8sP8KV6EOKEOW8V4s7T6kqS2xSIykpMwpIB4bBfOWrYljRVaEMo0/s320/wetherbee_2.jpg" width="221" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Charles Wetherbee</td></tr>
</tbody></table>
<br />
"I have always loved performing that portion of the violin solo repertoire that was written by violinist/composers," said Wetherbee, who is also assistant professor of violin at the University of Colorado Boulder. "There is something exciting and fitting about a composer who plays the
instrument that they are writing for, and this knowledge often
translates into the way things get voiced, orchestrated, and expressed."<br />
<br />
To compose "The Storyteller," Fujiwara drew inspiration from the beloved Japanese folk tales of her youth which were told by her father and grandfather.<br />
<br />
"The traditions of storytelling exist in every culture, and for many families, it is a familiar bedtime ritual," said Fujiwara. "The concerto is inspired in part by the haunting sounds of Kangen, a type of instrumental Gagaku (Japanese court music), and populated by a motley cast of characters from Japanese folk tales."<br />
<br />
So how does a violinist mimic the sounds of Japanese instruments? <br />
<br />
“It's a challenge to get the right flavor, the right timbre, the right
color of those instruments,” said Wetherbee. “At the
same time all of these effects all of these characters in the stories
... it's all incorporated in a very melodic and romantic language.”<br />
<br />
"The Storyteller" received its world premiere in 2012 by the National Gallery Orchestra.<br />
<br />
"The work emerged as one with some very traditional elements, and some
that are much more contemporary," added Wetherbee. "It is a pleasure to play, and it does
also, I think, resurrect at times the use of the violin as an instrument
that can mimic the qualities of the human voice."<br />
<br />
<b>If you go:</b><br /><a href="http://www.rpo.org/p_2153/Ravel%27s_Mother_Goose_Suite/" target="_blank">Ravel's Mother Goose Suite, also featuring "The Storyteller"</a><br />Sunday, April 30 at 2 PM<br />Hochstein Performance Hall<br />Tickets $27<br />
<br />
<br />
<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/zyv-18J8IWo" width="560"></iframe>
MShippershttp://www.blogger.com/profile/10453126618147156082noreply@blogger.com0tag:blogger.com,1999:blog-3487851786137607927.post-13813438056910230502017-02-24T11:00:00.000-05:002017-02-24T11:00:08.228-05:00Musicians to perform world-premiere by Eastman alum<!--[if gte mso 9]><xml>
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<tr><td class="tr-caption" style="text-align: center;">composer Daniel Pesca</td></tr>
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
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<w:LsdException Locked="false" Priority="31" QFormat="true"
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<w:LsdException Locked="false" Priority="32" QFormat="true"
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<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
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<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
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<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
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<w:LsdException Locked="false" Priority="52"
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<w:LsdException Locked="false" Priority="46"
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<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
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<![endif]-->While you can’t catch an RPO concert this week, several RPO musicians will perform a world-premiere by composer and Eastman alumni Daniel Pesca on Sunday night as part of the First Muse concert series. <i>Piano Trio</i> will feature the RPO’s <a href="http://www.rpo.org/s_3/s_31/p_70/Liana_Koteva_Kirvan/" target="_blank">Liana Koteva Kirvan </a>(violin), <a href="http://www.rpo.org/s_3/s_31/p_758/Lars_Kirvan/" rel="nofollow" target="_blank">Lars Kirvan</a> (cello), and Eastman staff pianist Chiao-Wen Chang. <br />
<br />
"I wanted to write a piece that both reflected on the year 1967--the musical and cultural currents of that era--and also something that has something to say about what it means to be alive in 2017," said Pesca, who holds a doctorate in composition from the Eastman School of Music and has written new works for the University of Michigan Symphony Band and Eastman School among others.<br />
<br />
Founded in 2007 by RPO Principal Violist <a href="http://www.rpo.org/s_3/s_31/p_76/Melissa_Matson/" target="_blank">Melissa Matson</a>, First Muse performs chamber works ranging
from the familiar to fresh at First Unitarian Church. Concerts feature
RPO musicians as well as other talented musicians from the Rochester
area. <i>Piano Trio</i> is the third work that Pesca has written for First Muse, and commissions are underwritten by generous donors.<br />
<br />
To compose his work, Pesca drew poetic inspiration from the late songwriter Leonard Cohen, "the great exponant of the lament," according to Pesca. "As I watched the [political] events of late 2016 unfold, I decided my piece would consist of two large elegies, separated by a shorter interlude that would provide some relief. Both elegies have titles that reference Cohen--whose first album was released in 1967."<br />
<br />
The concert also features chamber works by Schubert, Debussy, and Henri Duparc. 25 percent of ticket proceeds will benefit RAIHN (Rochester Area Interfaith Hospitality Network), a nonprofit that offers assistance to homeless families.<br />
<br />
<b>If you go</b><br />
First Muse Chamber Music presents<br />
Argos Trio: Music of Sevens<br />
Sunday, February 26 at 7:30 PM<br />
First Unitarian Church (220 Winton Road South, Rochester, 14610)<br />
Tickets available <a href="http://www.firstmuse.org/Home/about-first-muse/purchasing-tickets">online</a> or at the door: $10 general/$5 student/ $20 family max<br />
<br />MShippershttp://www.blogger.com/profile/10453126618147156082noreply@blogger.com0tag:blogger.com,1999:blog-3487851786137607927.post-564778281492470912017-01-17T17:23:00.000-05:002017-01-17T17:23:19.932-05:00Legacy of a Music Lover: William F. GambleWhen he was in his early sixties, Rochester’s William “Bill” F. Gamble told his half-sister Sonja Robson that he was leaving a bequest to the Rochester Philharmonic Orchestra in his will. <br />
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“He was very excited about the prospect of having a legacy of some sort at the RPO-especially since he didn't have any children,” remembered Robson. “I think he felt a deep connection to the music he heard while going to the symphony.” <br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXEyocLyTh79ylVIg9C9jQr-X3Ot3-6MuN9Msj88vOPnqF1RQjRF4cA6XYB7PsbeH006-4TB3s99spaoV6Z61ZyGUg6s3y7vo9uQfRhZE5DcXb1pjPocInQftfeSFVEHNnihXpCC-2XT4/s1600/Sonja+and+Bill.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXEyocLyTh79ylVIg9C9jQr-X3Ot3-6MuN9Msj88vOPnqF1RQjRF4cA6XYB7PsbeH006-4TB3s99spaoV6Z61ZyGUg6s3y7vo9uQfRhZE5DcXb1pjPocInQftfeSFVEHNnihXpCC-2XT4/s320/Sonja+and+Bill.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Sonja Robson and William "Bill" Gamble</td></tr>
</tbody></table>
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Mr. Gamble’s love of music extended to other genres as well. He was a member of the Golden Link Folk Singing Society and the Hoot’n Holler’n Hotshots Band, and had a vast vinyl collection that included folk, rock, and classical albums. Music, however, was not his only passion. <br />
<br />
The retired DuPont Chemical Corporation engineer was very active in the Genesee Valley and Eastern Divisions of the National Ski Patrol and the Hunt Hollow Ski Patrol in Naples, N.Y. He was also a respected photographer for regional foxhunting groups that included the Hopper Hills and Genesee Valley Hunts. He had his pilot’s license as well, and at one time owned a small airplane from which he would take aerial photos. <br />
<br />
“My brother and I were very close,” added Robson. “I was orphaned when our father died, my mother having died two years earlier, and Bill took me under his wing many times during my teenage years.”<br />
<br />
<br />
Perhaps it is that compassionate spirit that led him to arrange for the RPO bequest, which endowed the Principal Viola position for 15 years following his death last year at age 72.<br />
<br />
<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEho8u96BqLd4e4RJ43IJkXJPEELdAb3EiYij7St8-JWBWuO1ct_Y3EjF0cyp1Rb2cno5w1s3fZeW1FPChFgLDvFXZCIB_wpIGLBQ29D5lZMtXdGSDaFl_FVPZ3RoOldFz2H2mOBsj6FoCs/s1600/Melissa-Matson_credit_Roger-Mastroianni.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEho8u96BqLd4e4RJ43IJkXJPEELdAb3EiYij7St8-JWBWuO1ct_Y3EjF0cyp1Rb2cno5w1s3fZeW1FPChFgLDvFXZCIB_wpIGLBQ29D5lZMtXdGSDaFl_FVPZ3RoOldFz2H2mOBsj6FoCs/s320/Melissa-Matson_credit_Roger-Mastroianni.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Melissa Matson</td></tr>
</tbody></table>
Principal Viola <a href="http://www.rpo.org/s_3/s_31/p_76/Melissa_Matson/" target="_blank">Melissa Matson</a> is the current William F. Gamble Chair. While the news of his bequest was entirely unexpected, and she had never met Mr. Gamble, she knew the perfect way to pay tribute. She was already scheduled to perform Mozart's <i>Sinfonie Concertante</i> for violin and viola with Concertmaster <a href="http://www.rpo.org/s_3/s_31/p_47/Juliana_Athayde/" target="_blank">Juliana Athayde</a> (The Caroline W.Gannett & Clayla Ward Chair) on January 22nd's Sunday Matinee, <i>Music of Mozart</i>. <br />
<br />
“What could be better? It's such an amazing piece, and is the only concerto Mozart wrote that features the viola," explained Matson. "The solo violin and solo viola are treated as equals, and in the orchestra, Mozart matches the usual two violin sections with two viola sections. This adds to the richness of the work. I especially enjoy the operatic slow movement, with its heartfelt harmonies and long, supple lines." <br />
<br />
Gamble's half sister will travel to Rochester to attend the concert and a special post-concert dinner that will also honor Matson, who adds: "The concert is a wonderful tribute to someone who recognized the importance of classical music in the community, and who cared enough to make such a generous bequest."<br />
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<br />
<b>If you go</b><br />
<a href="http://www.rpo.org/s_1/s_280/p_2151/Music_of_Mozart/" target="_blank">Music of Mozart</a><br />
Sunday, January 22 at 2 PM<br />
Hochstein Performance Hall<br />
<a href="http://ev12.evenue.net/cgi-bin/ncommerce3/SEGetEventInfo?ticketCode=GS%3ARPO%3A2017%3AM0122%3A&linkID=rpo&shopperContext=&pc=&caller=&appCode=&groupCode=SUN&cgc=#__utma=147456628.2097156953.1470923551.1484672131.1484689776.184&__utmb=147456628.14.10.1484689776&__utmc=147456628&__utmx=-&__utmz=147456628.1483558072.167.8.utmcsr=google|utmccn=(organic)|utmcmd=organic|utmctr=(not%20provided)&__utmv=-&__utmk=174511522" target="_blank">Tickets</a> are $27<br />
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<span style="font-size: x-small;"><i><b>This story was written by Sally Cohen, RPO Publicist</b></i></span>MShippershttp://www.blogger.com/profile/10453126618147156082noreply@blogger.com0tag:blogger.com,1999:blog-3487851786137607927.post-7406084818903081682016-10-03T16:43:00.001-04:002016-10-03T16:43:34.252-04:00Musical Melting Pot: A Preview of the RPO's American Music Festival<blockquote class="tr_bq">
“If I had to sum up this season in one sentence, I’d say it’s a celebration of who we are as an Orchestra, who we are as a city, and who we are as a country.” – Ward Stare</blockquote>
<br />
What does “American Music” bring to mind for you? For many, it might be the ‘wide-open prairie’ sound often associated with Aaron Copland. Others might think of George Gershwin’s jazzy downtown swing, or, perhaps, of a favorite movie theme or musical theater song.<br />
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Of course, American music is all of this and so much more. In little more than 200 years, American composers have added a distinct and indelible note to the classical canon, one that both builds upon the European tradition and injects aspects of other styles, from jazz and folk to pop and electronic. This season, RPO audiences will get the unique chance to explore America’s vast and varied musical landscape as Ward Stare leads the Orchestra’s first-ever <b>American Music Festival, October 23–November 5</b>. This multi-week celebration will feature music by 20th century greats like <b>Copland</b>, <b>Gershwin</b>, <b>Barber</b>, and <b>Bernstein</b>, alongside some of the brightest musical voices of today, including Pulitzer Prize winners <b>Christopher Rouse</b>, <b>John Adams</b>, and <b>Jennifer Higdon</b>.<br />
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From familiar favorites to new discoveries, this special festival will be characterized by a spirit of musical excitement and adventure, and promises to be a concert experience that will be remembered for years to come. <b>Join us!</b><br />
<br />
<a href="http://www.rpo.org/s_80/p_2235/American_Music_Festival/" target="_blank"><b>Click here to get your American Music Festival tickets now</b></a>, or call 585-454-2100.<br />
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<h3>
Festival highlights</h3>
Here’s a closer look at what’s in store:<br />
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1. <b>Celebrating Rochester</b>: The RPO’s 2016 festival harkens back to the days of Rochester’s annual Festival of American Music, which took place from 1930–71. Initiated by former Eastman School of Music Director Howard Hanson, the festivals premiered over 200 American works and made Rochester a center for American Music. The RPO’s festival also salutes famed composer and Rochester native David Diamond, whose <i>Rounds for String Orchestra</i> kick off the whole event on <b><a href="http://www.rpo.org/p_2150/Diamond%2C_Gershwin_and_Copland/" target="_blank">October 23</a></b>.<br />
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2. <b>Movies and Musicals</b>: In the festival's second concert (<b><a href="http://www.rpo.org/p_2124/American_Music%3A_Stage_and_Screen/" target="_blank">Oct. 27 & 29</a></b>), we’ll pay homage to the music of Hollywood and Broadway. John Williams’ <i>For New York</i> takes up the well-known tunes of Bernstein’s “New York, New York” and “America.” Gershwin’s famous “I Got Rhythm” gets the virtuoso treatment as it’s woven into a series of dazzling piano variations, performed by Andrew Russo. And, we’ll dive into the gritty world of <i>On the Waterfront</i> with music from Bernstein’s powerful film score.<br />
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<iframe allowfullscreen="" frameborder="0" height="253" src="https://www.youtube.com/embed/qPkHTeqNro8" width="450"></iframe><br />
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3. <b>Modern Chaos, Age-Old Questions</b>: Few works tackle as complex a topic as John Adams’ 2005 opera <i>Dr. Atomic</i>, which centers on “father of the atomic bomb” J. Robert Oppenheimer in the days leading up to the first test detonation. The opera, and its derivative symphony, explore the paradoxical atmosphere of scientific breakthrough and moral abhorrence experienced by those who worked on the bomb. The anarchy of Adams’ music is poignantly paired with Charles Ives’ haunting quest for meaning, <i>The Unanswered Question.</i><br />
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4. <b>“The world’s finest percussionist”</b>: Scottish percussionist Colin Currie has been hailed as “the world’s finest and most daring percussionist” (<i>The Spectator</i>), and he’ll join the RPO <b><a href="http://www.rpo.org/p_2125/Higdon%2C_Copland_and_Barber/" target="_blank">November 3 & 5</a></b> for Jennifer Higdon’s Percussion Concerto, a piece which was composed specifically for him. The concerto won the 2010 Grammy Award for Best Classical Contemporary Composition and traverses the spectrum of the percussion sound, including everything from marimba to Peking Opera gong.<br />
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5. <b>A finale to remember</b>: Few pieces are as soul-stirring as Aaron Copland’s <i>Fanfare for the Common Man</i>, and he incorporates fragments of this iconic theme throughout his Third Symphony, which the RPO will perform in the festival’s closing concerts (<b><a href="http://www.rpo.org/p_2125/Higdon%2C_Copland_and_Barber/" target="_blank">November 3 & 5</a></b>). At the very end of the symphony, the entire <i>Fanfare</i> is played in all its brassy, unbridled glory. It’s as exciting as it gets, and the perfect way to end this festival.<br />
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<iframe allowfullscreen="" frameborder="0" height="253" src="https://www.youtube.com/embed/XgjC2H4zA0k" width="450"></iframe>
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<hr />
<h3>
<b>RPO American Music Festival Details and Dates:</b></h3>
<b><a href="http://www.rpo.org/p_2150/Diamond%2C_Gershwin_and_Copland/" target="_blank">Diamond, Gershwin & Copland</a>: </b>Sunday, Oct. 23 (2 PM)<br />
Performance Hall at Hochstein<br />
Ward Stare, conductor<br />
<br />
DIAMOND <i>Rounds </i> <br />
GERSHWIN <i>Lullaby</i> <br />
CHRISTOPHER ROUSE <i> Iscariot </i> <br />
ALAN FLETCHER <i>If on a Winter’s Night a Traveler </i> <br />
COPLAND <i>The Tender Land Suite</i><br />
<br />
<b><a href="http://www.rpo.org/p_2124/American_Music%3A_Stage_and_Screen/" target="_blank">American Music: Stage & Screen</a>: </b>Thursday, Oct. 27, 7:30 PM & Saturday, Oct. 29, 8 PM<br />
Kodak Hall at Eastman Theatre<br />
Ward Stare, conductor | Andrew Russo, piano<br />
<br />
JOHN WILLIAMS <i>For New York </i>(Variations on Themes of Leonard Bernstein)<br />
GERSHWIN “I Got Rhythm” Variations <br />
BERNSTEIN Symphonic Suite from <i>On the Waterfront</i><br />
IVES <i>The Unanswered Question </i> <br />
JOHN ADAMS <i>Dr. Atomic Symphony<br /><br />Concert sponsor: Constellation Brands</i><br />
<br />
<b><a href="http://www.rpo.org/p_2125/Higdon%2C_Copland_and_Barber/" target="_blank">Higdon, Copland & Barber</a>: </b>Thursday, Nov. 3 (7:30 PM) & Saturday, Nov. 5 (8 PM)<br />
Kodak Hall at Eastman Theatre<br />
Ward Stare, conductor | Colin Currie, percussion<br />
<br />
BARBER <i>Medea's Meditation and Dance of Vengeance</i><br />
JENNIFER HIGDON Percussion Concerto<br />
COPLAND Symphony No. 3<br />
<div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3487851786137607927.post-18077068689954112042016-10-03T11:00:00.000-04:002016-10-03T11:00:06.937-04:00Volunteer Spotlight: Michele BelloFor many RPO volunteers, maintaining the positive social experience that the RPO provides is priority number one. Going to the orchestra is a wonderful way to connect with old friends and new through a shared love of music, and there’s no shortage of RPO volunteers helping to keep that atmosphere alive. <br /><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqBz0EE8jjIX0cTIbz3VATBmU_10W4CrSveRlkRLaS-aTTZ_pLSZPTmA0qNOOmM0N-9mltRqD7U3fLL2elMmHwSa-4yh9U_4fyIYAl44XgMIq9j1hWpIrNyrCIuBQCaVBSH0wJhR-Krnc/s1600/20160901_100822.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqBz0EE8jjIX0cTIbz3VATBmU_10W4CrSveRlkRLaS-aTTZ_pLSZPTmA0qNOOmM0N-9mltRqD7U3fLL2elMmHwSa-4yh9U_4fyIYAl44XgMIq9j1hWpIrNyrCIuBQCaVBSH0wJhR-Krnc/s320/20160901_100822.jpg" width="180" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Michele Bello</td></tr>
</tbody></table>
<br />RPO volunteer and <a href="http://www.rpo.org/s_5/p_389/Volunteer/" target="_blank">Give-A-Lift Program</a> founder Michele Bello, however, wanted to take this idea one step further. With the Give-A-Lift program, Bello is helping to bring people to and from the RPO who would otherwise have trouble getting there on their own. <br /><br />“Simply put, the Give-A-Lift program brings patrons to and from concerts,” said Bello. “It enables people who are no longer able to drive themselves to continue to attend concerts. Many patrons have sat in the same seats, surrounded by the same people, for decades. Being able to attend concerts allows them to continue an important social and cultural activity.” <br /><br /> The idea for Give-A-Lift was born in 2007 and the organization’s first ride was given in 2008. Former RPO Manager of Volunteers and Special Events Marilyn Merrigan founded Give-A-Lift with help from Lifespan, another Monroe County-centered organization that gives rides to people unable to drive themselves. <br /><br />“The program has been so effective because of the drivers,” said Bello. “They are a wonderful and dedicated group of people whose services are greatly valued by both the RPO and the patrons. We couldn't do it without them.” <br /><br />Although the RPO and Give-A-Lift are Bello’s two main passions, she’s also an amateur violinist who plays in various groups. Bello also enjoys passing the time by knitting and reading, but Give-A-Lift is what she spends the most of her time on. <br /><br /> Overall, it’s been a terrific experience. <br /><br />“I have met such wonderful people and been involved in so many interesting activities,” said Bello. “Seeing the orchestra and the workings of the organization has been great fun.” <br /><br />For more information about volunteering for the RPO, visit <a class="external" href="http://www.rpo.org/s_5/p_389/Volunteer/" target="_blank" title="Opens new window">rpo.org</a>. <br /><br /><i><b>Written by Alexander Jones, a graduate of RIT's journalism
program and recent marketing and communications intern at the RPO.</b></i><br /><br /> <br />MShippershttp://www.blogger.com/profile/10453126618147156082noreply@blogger.com0tag:blogger.com,1999:blog-3487851786137607927.post-16309903203541016772016-09-30T11:00:00.000-04:002016-09-30T11:00:27.039-04:00Ray Charles protegé Ellis Hall returns to the RPO<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhynR1nrp5Tc8lduKDipJfm4fAPrN52iV05Fs56d32okH-inqdPx1iGQZhFgA7d2KjZWNqe4r86xd8C8mQKfEjdqw3AebfSvQd3AjWD-1w0Cwp3OZoxB0vKXE8VhdO3zN8tqyR-qb0slGw/s1600/Ellis+Hall.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhynR1nrp5Tc8lduKDipJfm4fAPrN52iV05Fs56d32okH-inqdPx1iGQZhFgA7d2KjZWNqe4r86xd8C8mQKfEjdqw3AebfSvQd3AjWD-1w0Cwp3OZoxB0vKXE8VhdO3zN8tqyR-qb0slGw/s1600/Ellis+Hall.jpg" /></a></div>
Ellis Hall is a rare breed. A soul musician in the truest sense of the word, Hall brims with joy and seemingly limitless positivity. Even just speaking with him becomes somewhat of a musical experience in itself, as he waxes poetic and frequently cracks himself up when recanting his long, storied career.<br />
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It’s no small wonder that he’s been dubbed the “ambassador of soul”—a title given to him right here in Rochester by RPO Principal Pops Conductor <a href="http://www.rpo.org/s_3/p_45/Jeff_Tyzik/" target="_blank">Jeff Tyzik</a>.<br />
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“Jeff was the first person to ever give me the title,” Hall said. “I love him to pieces! The first time we met was when I played trumpet for the Rochester Symphony Orchestra back in the 70s, and immediately we were like brothers joined at the hip.” <br />
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This season, Hall and Tyzik are bringing a fiercely unique blend of soul, orchestral, and pop music to the RPO with “Soul Unlimited”. The show takes standards from all sides of the soul and R&B spectrum, from Stevie Wonder to Marvin Gaye and beyond, and injects them with Hall’s soaring vocals and Tyzik with the RPO. <br />
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For Hall, performing in any capacity is a pleasure unlike any other, but performing with a whole orchestra feels almost too good to be true. <br />
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“I tell folks all the time, I’m in the middle of it but I still don’t believe it!”, Hall laughed. “When I sing and play, the gates of heaven open up and I walk on through. The orchestra just enhances that. It’s a delicious thing, and I get to share my box of crayons. I have so many musical colors, and we’re all painting pictures with sound.” <br />
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A protegé and signee of Ray Charles (or “Papa Ray” as Hall calls him), it’s safe to say that Hall studied his craft with the best. Their time together is something Hall holds near and dear to his heart, and the lessons he learned from Charles‘ tutelage are things he hopes to pass on through his music. <br />
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“Working with Ray for the last few years of his life was just amazing,” Hall said. “If you were bringing it like you were supposed to be bringing it from the heart, he was in his true glory. We had a lot of things in common, our sight, our love for our Mothers, and living in the great state of Georgia. Even up until the end of his life he was fascinated with helping me get my music out there.” <br />
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With “Soul Unlimited”, Hall is continuing to do just that. For Hall, music and the joy it brings is a gift to be shared, and he has no plans to stop sharing it any time soon. <br />
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“Jeff and I are getting ready to bring our shows all around the world,” Hall said. “Right now I’m just too blessed to be stressed!” <br />
<br /><b>If you go</b><br />Soul Unlimited with Ellis Hall<br /><a href="http://ev12.evenue.net/cgi-bin/ncommerce3/SEGetEventInfo?ticketCode=GS%3ARPO%3A2017%3APO1021%3A&linkID=rpo&shopperContext=&pc=&caller=&appCode=&groupCode=POPS&cgc=" target="_blank">Friday, October 21 at 8 PM</a><br />
<a href="http://ev12.evenue.net/cgi-bin/ncommerce3/SEGetEventInfo?ticketCode=GS%3ARPO%3A2017%3APO1022%3A&linkID=rpo&shopperContext=&pc=&caller=&appCode=&groupCode=POPS&cgc=" target="_blank">Saturday, October 22 at 8 PM</a><br />
Kodak Hall at Eastman Theatre<br />
Tickets start at $23<br /><br /><i><b>Written by Alexander Jones, a graduate of RIT's journalism
program and recent marketing and communications intern at the RPO.</b></i><span style="font-family: "calibri" , sans-serif; font-size: 11.0pt; line-height: 107%;"></span><br />
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Learn more about Ellis and his career in this promo reel.<br />
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<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/C8jLeVKv6XQ" width="560"></iframe>MShippershttp://www.blogger.com/profile/10453126618147156082noreply@blogger.com0tag:blogger.com,1999:blog-3487851786137607927.post-59482822313259952122016-09-26T11:00:00.000-04:002016-09-26T11:00:30.626-04:00Series Spotlight: RPO Around the TownServing the Rochester community is a top priority for the RPO. The RPO’s free semi-annual <i><a href="http://www.rpo.org/p_2226/Around_the_Town%3A_The_Sounds_of_America/" target="_blank">Around the Town</a> </i>Concert Series serves as a way to reach communities who might not otherwise attend concerts at the Eastman Theatre. The RPO's next <i>Around the Town</i> series will be held in three different locations October 6 through 8 under the baton of guest conductor Steven Byess. Orchestral and symphonic music may not be readily available to everyone who’s interested in it, so it’s important to bring it out of the concert halls and into new neighborhoods. Finding specific spaces in these neighborhoods to host concerts can be quite a challenge, but RPO Director of Education Barbara Brown is more than up for the task. <br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzOXkxqExVXy1QFWan_ppz8JXvzcnTTNu99mCCBkwOgCmSJ-cF1K0h7w5w7uszAl8Hgos7o7EZHwGCO0JLifnqJkUzQQ0iTMYju54DOJAaq_Iu1PDVda2rrvffmIuTtCFbxfpZvEW5NLA/s1600/sounds.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="161" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzOXkxqExVXy1QFWan_ppz8JXvzcnTTNu99mCCBkwOgCmSJ-cF1K0h7w5w7uszAl8Hgos7o7EZHwGCO0JLifnqJkUzQQ0iTMYju54DOJAaq_Iu1PDVda2rrvffmIuTtCFbxfpZvEW5NLA/s320/sounds.jpg" width="320" /></a><br />
“I have worked with churches, schools, recreation centers, and hospitals, so the types of venues we perform in can vary quite a bit,” Brown said. “I act as the RPO’s liaison to the venue—the venues we have worked with have been incredible and want to get every detail just right. If it is a venue we are going to for the first time, there can be a lot of questions to answer.” <br />
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For Brown, bringing the RPO to new areas and communities around Rochester has been an inspiring experience. <br />
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“One of my favorite <i>Around the Town</i> experiences was when we played a concert at Monroe Community Hospital,” Brown continued. “The auditorium was packed with patients and their families. For those patients in more serious condition not able to leave their rooms, we were able to send a live feed of the concert directly to the TVs in their hospital room. I believe we were able to bring a sense of peace and normalcy to the patients and families who were going through a tough time.” <br />
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Beyond the task of organizing the concerts and finding spaces to host them in, creating a program for the <i>Around the Town </i>series is its own separate challenge. <i>Around the Town</i> concert programs must be simultaneously accessible enough for new audiences while still representative of what the RPO has to offer across the board. This is something that RPO Vice President of Artistic Administration Richard Decker recognizes, and this year the <i>Around the Town</i> program he helped put together is truly one-of-a-kind.<br />
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“The program was selected to serve as a kind of preview concert to the upcoming American Music Festival that RPO Music Director Ward Stare programmed, with the additional hope that the program would be experienced positively as both an educational and entertaining event,” said Decker. All of the works featured on the <i>Around the Town</i> program are by
American composers, as is the repertoire that will be performed in
Stare's American Music Festival later that month as part of the RPO's
2016-17 season. The <i>Around the Town</i> programming includes familiar tunes from <i>West Side Story</i> (composer Leonard Bernstein) and <i>Raiders of the Lost Ark</i> (composer John Williams) juxtaposed with Howard Hanson's "Romantic" Symphony No. 2 and Aaron Copland's "Hoedown" from <i>Rodeo</i>.<br />
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“We work very hard to create concert experiences where the audience will always walk away with the sentiment that they have not only heard a well-played concert, but that they heard engaging music that hopefully resonated with them in some personal way.” <br />
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Despite the organization and time commitment that goes into the <i>Around the Town</i> series, it’s still largely a grassroots effort. Beyond that, it’s truly a labor of love for those involved. <br />
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“We do what we can by advertising on our website, social media, sending out a press release, and creating fliers for the use of each venue to promote the concert,” said Brown. “When we have the chance to play a concert that is free to the public, we want everyone to take advantage of the opportunity and see those seats full of people!” <br />
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<b>If you go:</b><br />
What: Around the Town community concert series<br />
When: Thursday-Saturday, October 6-8<br />
Where: See below<br />
Time: All concerts at 7:30 p.m.<br />
$$$: Free<br />
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<span class="userContent" data-ft="{"tn":"K"}"><a href="http://www.rpo.org/p_2226/Around_the_Town%3A_The_Sounds_of_America/" target="_blank">Thursday, October 6</a><br />Eastridge High School<br /> 2350 East Ridge Rd., Rochester, NY 14622 <br /> <a href="http://www.rpo.org/p_2226/Around_the_Town%3A_The_Sounds_of_America/" target="_blank"><br />Friday</a><span class="text_exposed_show"><a href="http://www.rpo.org/p_2226/Around_the_Town%3A_The_Sounds_of_America/" target="_blank">, October 7</a><br />Fairport High School <br /> 1 Dave Paddock Way, Rochester, NY 14450 <br /> <a href="http://www.rpo.org/p_2226/Around_the_Town%3A_The_Sounds_of_America/" target="_blank"> <br />Saturday, October 8</a><br />Churchville-Chili High School<br /> 5786 Buffalo Rd., Churchville, NY 14428</span></span><br />
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<i><b>Written by Alexander Jones, a graduate of RIT's journalism
program and recent marketing and communications intern at the RPO.</b></i><br />
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<br />MShippershttp://www.blogger.com/profile/10453126618147156082noreply@blogger.com0tag:blogger.com,1999:blog-3487851786137607927.post-60484212421754611602016-09-12T12:00:00.000-04:002016-09-12T14:12:49.342-04:00From the Stage: RPO Principal Cellist Ahrim KimThe RPO presents the first Sunday Matinee concert of the 2016-17 season on <a href="http://www.rpo.org/s_1/s_280/p_2149/Beethoven_and_Haydn/" target="_blank">Sunday, October 2</a> at Hochstein Performance Hall at 2 PM. This concert features principal cellist Ahrim Kim’s RPO solo debut; <a href="http://www.rpo.org/s_3/s_31/p_2105/Ahrim_Kim/" target="_blank">Kim</a> joined the RPO at the beginning of the 2015-16 season. Kim will perform Haydn’s Cello Concerto No. 2 in D Major. Haydn wrote the piece in 1783 for cellist Anton Kraft, and it’s a complex piece that requires a lot of the performer. <br />
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We caught up with Ahrim Kim to learn more about her personal history with the piece, as well as why she is looking forward to performing it with the RPO! <br />
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<b>Ahrim Kim, cellist</b><br />
<i>The Clara and Edwin Strasenburgh Chair </i><br />
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"It's an honor to play this magnificent piece with the RPO! It's a required concerto for many major orchestra auditions, and it's quite terrifying to play it in those settings. It's technically quite challenging and exposed—often musically delicate and elegant. Therefore, I'm so excited that I’ll get to fully enjoy the piece with the proper accompaniment and support this time! I played it as a soloist with my school orchestra back when I was still in Korea, but revisiting it this time will feel very different since I'm more mature (hopefully) and will have more things to say. <br />
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"I can't wait to share this beautiful piece with everyone, and I wish that they might cherish the beauty and joy it brings" <br />
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<b>Learn more about Ahrim Kim in this <a href="http://rochesterphilharmonic.blogspot.com/2015/09/meet-ahrim-kim-new-principal-cellist-of.html" target="_blank">Q and A</a>.</b><br />
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<b>If you go:</b><br />
<b><i>Beethoven & Haydn</i></b><br />
Sunday, October 2 at 2 PM<br />
Hochstein Performance Hall<br />
Tickets are $27<br />
<a href="http://www.rpo.org/s_1/s_280/p_2149/Beethoven_and_Haydn/" target="_blank">Visit rpo.org for more details</a><br />
<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/5tAvhIyw-BY" width="560"></iframe>MShippershttp://www.blogger.com/profile/10453126618147156082noreply@blogger.com0