Congratulations to everyone involved in the George Walker Piano Concerto recording project last year. The CD had been produced and officially released on August 24, 2024. It is available worldwide on Apple Music, Spotify, and YouTube Music.

https://www.naxos.com/CatalogueDetail/?id=8.559942

The UOSO is pleased to announce applications are open for the 2024 Orchestral Conducting Institute.

The University of Oregon Summer Conducting Institute is designed for 10-12 experienced, pre-professional conductors to learn how to better use both musical creativity and gesture to get more of what you want from the orchestra. Master teacher Neil Varon from the Eastman School of Music will show participants how to achieve both technical and musical clarity to their beat, while offering interpretive insights into orchestral masterworks. There will be piano/string quartet sessions, two full orchestra sessions with the University of Oregon Symphony, and a chamber session with the Oregon Camerata. Dr. David Jacobs, Director of Orchestral Studies at the University of Oregon will assist Maestro Varon, providing one-on-one debriefing sessions to each participant during the course. 

In addition to the conducting sessions, there will be interactive sessions on subjects selected from topics such as technique, opera conducting, score study, and career development.

Applicants who are not offered participant status are encouraged to attend as auditors. Auditors may observe all podium sessions and participate fully in all lectures. Auditors may also have some one-on-one contact with the workshop faculty as the schedule permits. First-time workshop attendees and those who are considering graduate conducting studies are particularly encouraged to attend as auditors to gain valuable workshop experience.

Each conducting participant will receive more than one hour of podium time. Participants will be video recorded, so please bring a high-speed SD card to ensure quality. Expect to play your primary instrument during string quintet/piano sessions when not conducting.

Please join us for a fun and exciting three and half days of musical exploration in beautiful Eugene, Oregon.  Social gatherings are also arranged throughout the institute to allow time to network with colleagues and clinicians.

https://oregon.qualtrics.com/jfe/form/SV_3UWq0IyTTxcYz7o

This is seating for our April 28, 2023 concert. There will be another piece added conducted by Rodrigo that will be announced next week. Please begin to prepare the Dvorak for week one. Parts can be found at https://imslp.org/wiki/Symphony_No.8%2C_Op.88_(Dvořák%2C_Anton%C3%ADn) We are using the Novello version.

Bowed copies can be found at https://www.dropbox.com/sh/kn1h016ano4oggn/AAAa8WWAMovkYq6fuB_ROHO8a?dl=0 Violin I, Violin II, Viola and Bass use “Jacobs Clean Copies.” For cellos, use Prof. Pologe’s part.

Please visit the auditions tab to get excerpts and instructions for this year’s audition. For those of you returning, note that we are splitting the audition day into two days (one for lower strings, and one for upper strings).

Audition information is now posted under the Audition Tab–>Auditions for Fall Term

Hello all,

I know this has been a crazy year so far. Between my sabbatical and COVID-19, we have not met together since last Fall. Despite President Schill’s announcement of most things going remote for the Fall, orchestra is still planning to meet and rehearse in person. I have developed a plan to divide the orchestra into three groups utilizing myself and our G.E. conductors. The highest priority is to be able to make music while following guidelines and restrictions that research has shown to mitigate the spread of the virus. Your health and safety is of the utmost importance to me and the university community.

In creating a plan, I have been guided by several principals that I wanted to share with you.

• Continue to be an orchestra with str, ww, brass, and perc, not just strings as some universities are doing.
• Be able to rehearse three ensembles simultaneously so that we can social distance.
• Never be in a room for more than 30m to allow the HVAC system to recirculate the air.
• Program worthwhile repertoire
• Having each student work with me as some point and not just G.E. conductors
• As much equity is possible between string, ww, brass, and percussion opportunities (e.g., each student should play more than one piece)

I decided repertoire in July, but have held back on posting it in case we have to make changes. I hope to be able to share that information with you as soon as possible so that you can get excited about making music together again.

I hope that all of you are healthy and safe as we navigate these unprecedented times.

Sincerely, Dr. Jacobs

Click here for Mozart Requiem Performance Practice Tips with images

Listen: https://www.youtube.com/playlist?list=PLX0kohQJQ9zWtb7Yq4DxaaJ-o5QKqrZBt

• General principle: the NOTATION is NOT the MUSIC !
• Staccato  =  buoyant, circular motion of the right hand in touching the strings with the bow
• Fermata =  abrupt stop, no ritardando
• Long notes need to have direction and grow towards what follows
• Chords = bottom of the chord happens on the beat
• Appoggiaturas are almost always long and ON the beat
• Bowing = start  on strong beats,  on weak beats, bow as it comes whenever possible
• Phrasing = when in doubt, follow the text
• Cadences = strong penultimate note, weak final note
• Vibrato = a special ornament to be used sparingly; no continuous vibrato!
• Strings use 1^st position and open strings whenever possible
• “In the 18^th century the bow lives off the string and goes on when needed”
• Accented beats are not stronger than normal, but unaccented beats are weaker!