A Musical "Colossus"

 COLOSSUS

anything colossal, gigantic, or very powerful

extraordinarily great

  Colossus of Rhodes

~*~*~

 

I read the following today:

Beethoven was the colossus, 

a figure whose titanic energy and sublime originality 

went on to define the cult of the hero-musician in the nineteenth century.

Even today in the 21st century Beethoven is still regarded as a titan of classical music.

And rightly so.

But today, about whom could this statement be said?

[Fill-in-the-blank] was the colossus, 

a figure whose titanic energy and sublime originality 

went on to define the cult of the hero-musician in the 20th century.

Sometimes when I asked students this question they are tempted to fill in their current favorite musician/group.

But, when they think about it they often end up choosing someone who has, if only by longevity in the music field, proved to be a colossus.

I find it interesting that in music, because of the very nature of the business, there can be found a colossus in every area not just composition as the above quote may imply.

However, if we focus only on composition there is, I believe, within this one area several divisions of composition that would have to be recognized: classical music, film or movie music, popular music, etc.  

Another area of music in which a colossus might be found is conducting - this again could be divided into different types of conducting: choral/instrumental, symphony orchestra/Broadway orchestra, school ensemble/professional ensemble, etc.

Don't forget the actual performers of the music. 

Vocal and instrumental areas would have to be divided by the seemingly infinite number of different types of vocalists and instrumentalists.

Even in music education there are those we call "master teachers."

They too could also be colossus.

It wearies my brain to even think about trying to name a colossus in any area given above.

Sure, there are those that I admire. Sit in on a few of my classes and their names will be very familiar to you.

I do believe that given time the "cream rises to the top" (as the old saying goes) and that longevity in and impact on whatever music area being explored does play into the labeling of someone as a colossus.

Everyone has their favorites.

But, who would you honor with the label "colossus?"

 

B-O-S-S

A colleague once told me, as a young-ish teacher, that regardless of how one feels about one's principal one should always remember that the principal has the title of B-O-S-S.

That advice has stuck with me all these years.

Not just in regards to my principal or supervisors, but also in my music.

In the classroom the teacher is usually the B-O-S-S.

In the ensemble - band, chorus, orchestra, etc. - the conductor is the B-O-S-S.

Despite not always agreeing with the directors I have had in my nearly 40 years of ensemble work, I have always respected their position as "the one in charge."

40 years.

Wow!

I started ensemble work in 5th grade with both band and choir.

I have played/sung in nearly every type of ensemble possible.

Mainly because I'm a music nerd.

But also because I have had wonderful opportunities which resulted in wonderful experiences.

When I think about all the directors I have had since 5th grade I really can't begin to name all of them [some I can though], but I can recall the places/times I've rehearsed/performed over the years.

Counting all the directors at schools, music camps, honor bands/choirs, workshops, community groups...

A guess of 150 is plausible.

Wow!

I have been "under the baton" of nearly 150 conductors.

I have observed perhaps 75 more.

To their credit I have respected each one and have been privileged to be in one of their ensembles.

Sure, I've seen the majority of these directors throw some sort of fit - in varying degrees of anger from: stomping from the room and slamming the door, a baton thrown to the floor, suit jackets flung across the room, to megaphones bouncing down the practice field, to chairs and/or stands thrown being smashed against the wall.

Sure, I've been the target of some of these fits. And usually deservedly so. (My precocious behavior of my youth is not the topic of this post.)

However, I have been fortunate to have never had one of these conductors abuse their role of B-O-S-S and direct personal jabs at me or a fellow band/choir/orchestra mate.

Fits were a response to behavior, frustration, ....whatever.

But none...out of 150...have made the tirade a personal tirade against any one student.

I believe that when a conductor, especially one who is also in the role of teacher (but then, they are all teachers in some way, are they not?), abuses that position he/she loses a bit of respect in the eyes of the ensemble.

And once that is lost, it is difficult to regain.

Part of the responsibility of being a conductor is self-control, integrity, patience, and understanding.

Actually, the characteristics of a conductor could go on and on.

Don't get me wrong, there are countless phenomenal conductors out there.

Sadly, the few rotten apples ruin the whole basket.

Today's post is dedicated to them.

Sadly, they more than likely don't know who they are.

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.

Who's in Charge Here???

 

The answer to the question: "Who's in charge here?" is quite simple.
If there is a musician in the group, it would be the musician.
And, it doesn't even have to be a music setting.
*smile*

Musicians tend to be "take charge" sort of people.

Musicians tend to be...yes, I'll say it...control freaks.

We like being in control of the situation, especially when it relates to a musical situation.

Think, if you will, back to an experience you might have had in a choral or band ensemble.

Directors of these ensembles are (should be) very much in charge. They control not only the musical direction of the ensemble, but also the general atmosphere and attitudes of the ensemble's members.

A strong, confident director leads and inspires students to be strong, confident musicians.

A weak, uncertain director leads and inspires students to be weak, uncertain musicians.

As I look back over those who I have had the privilege to make music under their batons I see strong, confident directors. I was certainly blessed to be under their tutelage.

Their influence on me as a musician, a teacher, and a conductor is obvious. I have often caught myself doing something in the classroom or on the podium and realized "_______ used to do/say/etc. that!"

Now, young musicians, it is important to remember to project the qualities of strength and confidence in the classroom and on the podium. Doing so does more to exude control than demonstrating the "freak" aspect of  the phrase "control freak."

So, rather than brag about being a control freak:

Focus more on building your strength and confidence as a musician, as a teacher, and as a director.

The control will be perceived and respected.

Under the Baton

Over my career I have been impressed by many outstanding musicians - performers, composers, teachers, conductors...

I never cease to be impressed by conductors who conduct concerts without music scores in front of them. 

This amazement began under the baton of Col. Arnald Gabriel at the University of Iowa's summer music camp. He served as Commander/Conductor of the internationally renowned U.S. Air Force Band, Symphony Orchestra, and Singing Sergeants from 1964 to 1985. 

                 

Not only did Col Gabriel not use scores in performance, he did not use a score during rehearsals either. I still recall how my jaw dropped when he would say, "Trumpets, measure 57 should be B natural, not B flat." He knew the most minute detail about the music. Sure, one of he works was the famous band suite by Holst, but still that is a long piece of music. I got to play the trombone solo for him in the piece Tam O'Shanter. I loved that solo!

Many years later (nearly 35 years) I had occasion to sit in on his rehearsal of the TMEA All-State band. Once again I was thrilled to see that Col Gabriel, nearing 80-85 years old, still did not use scores during rehearsal. I eagerly approached him during a break and introduced myself to him & reminded him of that time long ago at summer camp. I mentioned how he had impressed me then and how often I have remembered the example he was for me. I told him I was proud to have played Tam O'Shanter for him. His eyes grew large and he said, "You're that young girl that played that solo? Do you remember I told you to play it like a drunk man?" I laughed and told him I remembered and admitted to him I'd never been drunk so I hoped I played it correctly. He said he remembered me because I was the only girl trombone player to have played that solo. :)

I asked him about his conducting without scores - how did he do that? He said "Study! Then study some more. A lot more!"

His break was over so I moved to stand behind the trombones (others directors/observers were in the room too) so I could watch from a remembered vantage point. He stopped to rehearse the trombones and, when they couldn't give him what he was asking for he said, "I could have that woman standing behind you play it and she hasn't been practicing it for 2 days!" Flattered and a bit embarrassed for being called out I just smiled.

~*~

              

A choral colleague does not conduct with music. She told me, "If I expect the singers to sing the music by memory then I should too." Good point. I wonder how many directors have this expectation of their singers, but not of themselves?

As a choral director I made a point to KNOW the music I was directing in performances. I always had music on a stand in front of me, but that did not necessarily mean that I used it. Oftentimes it was just there. Now when I have opportunity to direct I am mindful of Col Gabriel's advice to STUDY then study MORE!

~*~

Tonight's concert performed by the Jackson Symphony Orchestra led by potential JSO music director candidate, Maestro Peter Shannon, was yet another tally in my scoreless conductor list.

Sure, the pieces were well-known orchestra works (Beethoven's Egmont Overture, Mendelssohn's Violin Concerto, Glinka's Russlan and Ludmilla Overture, and Stravinsky's Firebird Suite (1919)) but still being able to conduct the entire concert without music is impressive. 

This concert brought back some memories for me.

Always proud to have learned under the baton of Col Arnald Gabriel.

Leopold Stokowski

A painter paints pictures on canvas.  But musicians paint their pictures on silence.  

                                                                                               ~Leopold Stokowski

This quote appeared in my concert programs the last few years I lived in Illinois. A not so subtle way of encouraging audiences to be quiet while the students were performing. It was starting to work when I left there. I saw the quote and wanted to explore a little about the man who said it.

                                    

Leopold Stokowski (nicknamed "Stoki") was an English-born American orchestral conductor for nearly 60 years during the twentieth century. He spent a good deal of his career in Philadelphia, PA.  He conducted many recordings of classical music and was responsible for making this music available to many people in the first half of the century.

                                   

A relentless innovator, Stokowski experimented with orchestral seating. He also had spotlights directed on his hands and his impressively prominent hair to make concerts more theatrical. He gave up the use of the baton, instead employing graceful, almost hypnotic, hand gestures when he conducted.

Stokowski was the first conductor to become a true superstar. He was the conductor in Disney's Fantasia movie.

                                  

Stokowski was noted for his advocacy of new music. Records show he conducted the music of Stravinsky, Mahler, and other noted 20th century composers.  He was a pioneer in the use of hi-fi sound and bringing music to the silver screen.

   

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.

Do you listen to music? Absolutely not!

                       

Pictured above is Maestro Marin Alsop. She is the music director of the Baltimore Symphony Orchestra and principal conductor of Brazil's Sao Paulo Symphony Orchestra.

Oh, yes...and she's a woman.

The significance of this has been in the news recently especially since she is one of a few female conductors of symphony orchestras and in light of recent chauvinistic comments made by a newly appointed male conductor in Norway. (His new employer is doing frantic damage control.)

This post is not about her role as a conductor nor that she is a woman.  It is a response to an interview where she was asked the following:

      Do you listen to music, or is that too much like work?

               Alsop: Absolutely not.

Most would consider this an odd response from someone whose life is music. 

However, I agree with her sentiments. In fact, upon reading this I found comfort and validation for something at I'd always felt made me different.

You see, while I enjoy, nay, I LOVE music, I do not listen to it all the time.

Why? 

Because I find when I listen to it, pure enjoyment is not possible because I either find myself analyzing the musical form/harmony/melody/etc or listening to the piece and ascertaining whether and how I might use it in the classroom.

It becomes, as Alsop implies, too close to work.

I have been in situations where a piece of music was played and it totally ruined the experience for me. Not because I was hearing a bad piece of music, but because my listening moved from enjoyment to analytical - which equals work.

That is why I find I must purposefully listen to music. And at those times I am listening for the reasons given above - to analyze or find use for it in the classroom.

When given the choice I listen to talk radio (KMOX in St. Louis is a favorite) or NPR.  I listen to NPR for the entertaining/thought-provoking  programs, but when programming switches to classical music one of two things occurs: 1) I turn it off or change stations; or 2) I leave it on, but only as white noise to tune out environmental sounds.

This difficulty listening to music for music's sake has hindered my enjoyment of many concerts. 

Don't get me wrong, I so want to enjoy the concert, but that which I've been trained to do, that which is my vocation, is difficult to turn off.

I guess this blog offers odd insight into the brain of a musician.

My brain.

I'm relieved that I'm not the only one.

I've thought all these years I was.

Whew!!

:)