Program Notes

For years program notes have accompanied concert programs.

In fact, they have often been included as "liner notes" in LP albums. 

There was a day when researching a musical piece that liner notes would be a primary source about a piece of music.

I haven't seen too many included in recent CD purchases.

That's too bad.

~*~*~*~

By means of explanation, program notes are included in the paper program handed out at concerts. They provide information about a work's composer, a description of the music to be heard, as well as background or trivial information that might be associated with the work.

Sometimes program notes are written by the composer. These are my favorites for they give the most insight into the work.

Other times, the program notes are written by the conductor of the program. These are very good for they not only give factual information, but also the insight of the person recreating the work of the composer.

~*~*~*~

When I attend symphony concerts I find that I will read about a work as it is being played (if it is light enough to read - otherwise I read it all before the concert begins). I like having that background knowledge about the music as I listen to the music.

I also find I don't want it to be just about the music. I like knowing what the composer was up to - where he was, jobs he might have held, etc.

I like hearing about premieres of works, especially those that might have been chaotic or poorly received.  I think sometimes our 21st century ears are not as shocked by works that caused chaos at first performances. Though, I admit to being rather amused during concerts of music that startles the audience with forte sections. Seeing them jump nearly out of their seats is funny.

If they'd read the program notes they could have expected it. :)

~*~*~*~

Tonight I prepared program notes for a small program tomorrow. Nothing extensive, but something to add interest to the program for the listeners. Names and countries of origin for the composers, a description of the pieces - mainly Renaissance dances.

Very basic.

*I* want to learn more, but didn't go overboard for this event. This audience does not require more than I've already accumulated.

I have to remind myself that while I can making this a teaching moment it does not require a lecture.

One of those times when "less is more."

~*~*~*~

I've often felt I would like to prepare program notes as a side job. Sure if I got paid it would be great, but I would do it even if I didn't. 

I think it's the music nerd in me. 

I like learning about musical topics.

Program notes are little capsules of musical information.

Perfect for someone like me!

Symphonic Reflections

Tonight was my local symphony orchestra's concert featuring the conductor candidate I wrote about the other day.

Some things I noticed this evening -

~*~ I found myself watching the conductor's left hand. It was so very expressive. One minute it was flourishing and encouraging the strings. The next his fist might be raised rhythmically for the power of the brass. Then it might be pointing at specific soloists cuing their solos.

I don't know about you, but my left hand is stupid. I am right hand dominant and am happy that when I conduct the meter pattern that it is a mindless task as my focus is on the cues and expressivity of my left hand. 

Many young left-handed conductors fight having to show the beat pattern with their right hands - their non-dominant hand.  I tell them they are lucky as they already have such control of their left hand.  For me, it is definite work.

~*~ I watched the conductor's face and saw joy and smiles as he encouraged the players to play their best.

I enjoyed the concert more because I could see he was enjoying it.

I've often wished they would put a camera on the conductor and project his image on a large screen.  I've been on the other side of the conductor. Many audience members may not have been. It give a different sense of enjoyment to hear the music and see the players and conductor.

~*~ For the first time since I've been attending symphony concerts the soloist played an encore before the intermission.

Hearing a blues piece - played by a (French) horn - at a symphony orchestra concert

Is a rarity.

~*~ I believe the conductor write the program notes for the printed program.  This gives the listener some insight into the works being performed.

Often there is a pre-concert discussion of the works to be played.

Tonight was the first time the conductor talked about the final piece during "Half Time" as he called it. Few people left for intermission.  Some might have wished they could, but since 75% of the audience remained in their seats some who would've have left perhaps thought it impolite to do so.

He talked about Tchaikovsky's Symphony #4 talking for the most part, imitating the sounds the orchestra would make, and even singing the folk tune (Birch Tree) that the fourth movement is based upon.

He was very dramatic in his "Chat"

~*~ I watched the soloist when he wasn't playing. It was interesting to see his stage presence during moments of rest and how he interacted with what the orchestra was playing.

~*~ The timpani player was new. At least I did not recognize him. He was not your normal timpani player. He mouthed along as he played - while that was amusing it wasn't the most noticeable thing about his.

You see, the timpanist had a rather long ponytail hanging down HIS back. As a told a student, you don't often see ponytails on the male members of a symphony orchestra.

~*~ This concert featured the wind sections more than normal. There was power in the brass.  (I could tell the conductor was a brass player.) Delicacy in the woodwinds.

Every section seemed to have a solo part at some point in the program.

It is not every concert where each instrument is featured during a concert.

~*~ I realized tonight how diverse the orchestra players are. I saw at least 3 distinguishable ethnic groups represented - and several of each. There seemed to be equal men and women. There were older and younger players.

It is not common for orchestras to have such diversities.

Diversity, in this case is a very good thing.

~*~ The podium was not a square podium as one normally sees. The podium was in a T-shape.

The conductor commented about how he and the players were wondering if he would fall off of it. I can see why.

I overheard him at the reception mentioning that he usually doesn't fall off the back of the podium, but that because his conducting is so expressive he always had a stand in front of him, regardless of whether he is using scores or not, because he might step off (fall off) the front of the podium.

~*~ Someone congratulated the conductor at the reception saying he'd done a fantastic job. His response was, "That was all the orchestra. I just stand there and wave my arms."

Humility in a conductor is rare.

It impressed me that I saw that.

I have tried to be the same way with my own performances. When people would compliment me I would always say, "Thank you! The students did work hard and did put on a great program, didn't they?."

I have told my future music teachers that they should remember to do this.

It's not about the person standing there waving his/her arms.
It's not really about the performers.
It IS about the music.

And tonight was a great showing of it being about the music.

The Conductor's Interview

Our local symphony is looking for a new conductor.  They began the search process in January of 2012.  In the spring of 2013 they had a final three conductor candidates.

As the executive director said today at lunch: "We are looking for a partner for me. We are looking for a music director."  She would later say, "Being involved in the arts allows you to be creative every day."

I like that. :)

I'd never really thought of it that way - the executive director and music director as partners.

Makes sense for in so many ways they are.

Today I was invited to attended a luncheon at a local school where the second conductor candidate talked with the adults present then talked with some middle school students during their lunch period. (A month ago I attended a luncheon for the first candidate; the third candidate luncheon is in January.)

~*~*~

Here are some comments made by the candidate to the students in a discussion about careers in music. [Yes, I took notes.]

(On what he does)

     "My job is like that of a traffic cop.  I stand in front of them and tell the musicians when and how to play."
    
     "I work professionally as a musician. I get paid to make music."

     "I help the orchestra decide what the music is going to be about."

(On practice)

     "Stinking at something is required before you get better."

     "I liked music and worked really hard to get better at it. Now I'm pretty good at it, but I still must work hard to get better."

(After telling about what he has done in his career)

     "I've had all these experiences and it's all because of music."

~*~*~

This meeting with the students was just one function on the schedule of this candidate. 

Keep in mind the conductor candidate has been in the candidacy/interview/waiting process since January of 2012.

Here is an overview of his WEEK-LONG interview printed in the local paper.

Sunday:
1 p.m.       Meet with Executive Director and Personnel Manager
2 to 4:30 p.m. and 6 to 8:30 p.m.    Rehearsal with musicians

Monday:
11:30 a.m. and Noon    Live TV appearance
5 to 7 p.m.    Board of Directors meet and greet reception patron's home

Tuesday
8:15 a.m.    Meet with president & executive director at local bank (sponsor of symphony concert series)
9:30 a.m.    Coffee with the Symphony League (volunteer organization)
11:10 a.m. - Noon    Lunch at local school, discuss “careers in music” with students with Executive Director
1:45 p.m. (taping at 2 p.m.) Live TV interview

Wednesday
Noon to 1 p.m.   Lunch & open forum for the community at local church
2 to 3 p.m.          Meeting with executive director of local arts council

Thursday
9 a.m. to 9:45 p.m.   Meeting with Local Mayor at City Hall
10 a.m. to 10:45 a.m.   Meeting with County Mayor at County Courthouse
12:15 p.m. to 1 p.m.   Conversations with students at local university
4:35 p.m.   Radio interview
6:30 p.m.   Visit with symphony's youth orchestra

Friday
9 a.m. to 10 a.m. School concert rehearsal
10:30 a.m. School concert
7:30 p.m. to 10 p.m. Orchestra rehearsal

Saturday:
2 p.m. Orchestra rehearsal, Q&A with orchestra musicians at conclusion of rehearsal
7:30 p.m.   Concert, “Twists of Fate,”
Post-concert reception

~*~*~

Whew!

This makes me think that my 7.5 hour interview for my current job was nothing.

I wish this candidate and the other two the best of luck.  I feel privileged that I have had a small part in the process.  I've enjoyed meeting them, learning about their views on music, and watching them conduct.

I can't wait until Saturday's concert.

Music, Maestro!

                                              

My local symphony, the Jackson Symphony Orchestra (TN), is interviewing candidates for the position of music director. They have selected the final three conductors each who will conduct two concerts: a classical/masterworks concert and a pops concert.  This week the first of the three conductors is in town.

From talking with friends who work closely with the symphony this will be a week long interview of schmoozing with the "who's who" of Jackson, TN, and rehearsing for this weekend's concert.

Recently I was offered a gracious invitation to gather with others in a school setting to meet and talk with each of the three conductors when they were in town for their interviews.  

Today I had the opportunity to visit Maestro Peter Shannon. Others who had spent time in his presence yesterday described him as a handsome, charismatic, charming, etc. Irishman with a sexy Irish accent.  I asked what kind of musician he was, what were his visions for the JSO, how would he develop the symphony's image in the community, ... My friends responded with: "His wife plays piano and they have two small children. He's from Savannah, GA."

Um, huh?

Sure, when hiring someone who will take on a very public role it is important that he possesses and portrays an appealing image. However, I, as a musician and a music educator, want to know more. My above questions are a starting point.

Unfortunately, this setting was not planned as a Q&A in the deeper sense. More social with Maestro Shannon sharing his thoughts on various topics.

He spoke about how as a young man he enjoyed singing and that it was his school music teacher who made music come alive for him.

I especially liked his stress on the importance of creativity stating that everyone can be creative and should be encouraged and given opportunities to create.

As all good things must come to an end, I had to excuse myself to get back to campus in time for my afternoon class. 

I felt refreshed and inspired as I talked with my class of students: 

      Musicians and future music educators, conductors, and composers.

      They are, after all, why I teach.