Playing tests for the Stravinsky and Bartok will take place May 5, 6, 7, and 8. Instead of doing a separate playing test and journal assignment, you exam will be inclusive and include the following:
Playing portions of the two works at the performance tempo. Have planned in advance any simplification to get through the most difficult passages. (50 points)
Bring a sheet of paper typed with the following information (25 points)
At least one source that you consulted in your research of these composers/works. Scholarly articles are preferred
Two recordings that you have listened to in preparation of your part and understanding how it fits into the whole. Cite name of orchestra and conductor.
I will ask you to discuss things you learned in your research of the piece. Mention anything interesting about an article you read. Your success in teaching me more about the piece is evaluated. I may also ask you about the recordings you consulted and about what you liked best and/or didn’t care for and why? (25 points)
This test will constitute 15% of your total grade.
For those of you not enrolled in orchestra, talk to Dr. Jacobs to discuss your options for this playing test.
So as you heard today in rehearsal, the conducting students of Dr. Dorsey are putting together a Harmoniemusik ensemble (also known as “the original wind band”) group on Tuesdays at 7:30 or 8 pm. We will be playing serenades from composers such as Mozart, Beethoven, Dvorak, Gounod, and Strauss, in a reading rehearsal environment. The purpose is to provide an open space for students to engage in wonderful chamber literature, while being able to give conducting students the opportunity to conduct. The general instrument make-up is 2 oboes, 2 clarinets, 2 bassoons, and 2 horns. If we get more players per section, we can rotate in. In latter sessions, we may branch out to include 2 flutes, and strings. If you are interested at all (flutes and strings included), please email Michelle Stuart at firstname.lastname@example.org. There are five potential reading sessions left in the term, and we want to delve in ASAP! Thanks so much for considering 🙂
Below is the link to the audio file recorded yesterday from our Scheherazade run-through. Please download, give it a listen, and make helpful notes on how to improve your part for the next rehearsal. Like Zeke said, don’t dwell on the silly mistakes too much; just make a note & move on!
Hello everyone! I have updated the personnel list for this term. It is located on this website under “About”, then “Musicians”, and is a word document that will be downloaded. The list will also be posted on the UOSO bulletin board outside of room 173 by tonight, Sunday, where you signed up for seating auditions. I apologize for those of you who currently only have last names on the list; I will update it as soon as I get some first names!
Also, if you haven’t noticed on this website already, the rehearsal schedule for this week is posted. This will happen every week, and even during the week if necessary. I would always check here first, as the schedule posted on the board outside 173 may not get updated as quickly. (I get busy, too!)
See you all tomorrow! I can’t wait to see you all, new & old faces alike.
Hello all. We will be performing Tchaikovsky Symphony #4 to begin next season. Here is a great introduction to the piece with the Chicago Symphony and Alexander Polianichko, incidentally whom I studied Tchaikovsky #5 with in St. Petersburg a few years ago. Please watch it and get excited!
Last night’s concert was incredible on many levels. I think most of us found it it especially exciting to play on a professional stage. It brought a new level of energy that invigorated our performance. The Bach was well done and felt very comfortable last night. Bravo Zeke. The Faure was beautiful with lovely wind solos and the choir sounded fantastic. The Ravel was sublime. The opening was truly transcendent. The Pantomime had some wonderful solos (congrats to Sarah, Bashar, Annissa, oboe trio, etc), and the Danse Gènèrale was over the top! Amazing energy and preparation. I think this one really impressed. Bravo. I consider it a great honor to be your conductor and I am so proud of your accomplishment!
Next week, we host an international level conducting workshop. Please do your very best for these young talented conductors as they work with you and Maestro Varon from Eastman. Let’s represent the University of Oregon School of Music and Dance well as these musicians get their first impression of you so they share with others how great you are. See the rehearsal schedule for details.
Last night, I witnessed an incredible, albeit marathon concert last night. It was a joy to see such talent from our school on display and I want to congratulate both finalists, and the honorable mentions and finalists from the orchestra.
Ednaldo Borba – Brahms: Piano Concerto #1 in D Minor, Op.15
Maykin Lerttamrab – Rachmaninov: Piano Concerto in D Minor, Op.30
Honorable mentions from our ranks in the orchestra:
Sarah Benton – Reinecke: Concerto for Flute and Orchestra, Op.283
Application deadline for the UO Conducting workshop is March 20. As long as you complete the online application by March 21 you will have full consideration. Application fee can be mailed separately and must be received by March 30. See below for full post.
The University of Oregon Summer Conducting Institute is designed for nine experienced, pre-professonal 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 in both piano/string quintet and full orchestra sessions. Dr. David Jacobs, Director of Orchestral Studies at the University of Oregon will assist Maestro Varon and give a one-on-one debriefing session to each participant during the course.
Applicants who 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 ample podium time in both string quintet/piano sessions and full orchestra sessions. Every participant will conduct at each one of the conducting sessions. 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.
Bruckner- Symphony #4
Beethoven- Symphony #5
Shostakovich- Symphony #5 (Finale)
Berlioz- Symphonie Fantastique (March)
Copland- Appalachian Spring (13 instrument version)
*All participants will prepare the Copland. In addition, you may choose 1-2 pieces in which to focus. Each movement of a symphony is considered a separate choice for this purpose.
To apply: Click here to complete the application. To complete your application, you must submit a $35 application fee made payable to University of Oregon SOMD. Application deadline is March 20.
Questions? e-mail David Jacobs at email@example.com
What last year’s participants are saying:
“I thought that I would be expanding my gestural vocabulary, I didn’t realize the workshop would revolutionize how I approach being a musician as a whole.”
“Very constructive atmosphere maintained by the instructors.”
“My expectations were exceeded due to the quality of the orchestra, the knowledge of Dr. Jacobs and Dr. Girard, and the friendly, helpful nature of Maestro Varon”
“Cost, podium time, teachers, quality of orchestra, all make this a very good workshop to attend.”