Rubinstein’s Symphony No. 5

Listen to the entire Symphony No. 5 at: http://www.youtube.com/watch?v=XJbclX2CfD4

Thanks to GoldieG89 for posting it. (You can also buy the entire CD at Amazon.)

Get Rid Of Those Old Musicians!

Recently, a colleague was asking advice of the proper way of “firing” the older musicians of his regional orchestra. His complaint was that these seniors were just not up to the high standards he was trying to achieve with his orchestra. Nothing wrong with raising the bar, but at what cost?

When I first arrived 25 years ago, my Orchestra was an amateur group with members of various degrees of achievement. Now, my Orchestra consists of excellent area professionals as well a select group of fabulous music students. So how did I get rid of those old guys who were dead weights and contributed absolutely nothing to the Orchestra? A horrible statement to make and one that is so wrong.

If it wasn’t for those older musicians, there wouldn’t be an Orchestra in the first place. My Orchestra was for the community to enjoy and if anyone felt they wanted to be a member, far be it from me to say you can’t come in.

What happened over the span of two decades was a complete transformation of the Orchestra through a natural process. I’ve had so many beautiful, sweet people in my orchestra through the years. Some of them have passed on and some have switched roles and became audience members. I have never fired a community player. On the contrary, community players have religiously, before each season, come to me and quite apologetically ask me if “you still want me to play?” I respond always by saying, “See that chair? That’s yours forever. You play when you want.”

Seniors are not stupid people. They are to be revered and respected. They truly understand when it is time to leave the orchestra. No fanfare. They enjoyed the time with the group and it’s time to move to the audience. As the standards rise and the size of our audience increases along with an expectation that the concert they are about to hear will be of a certain high quality, members know when it is time for their final bow.

Recently, I learned of a former cellist who passed away. He was a friend and a great supporter of the Orchestra. Awhile ago, a violist died and last year a bass clarinetist had a fatal accident. These people were my friends. Get rid of them? How cruel! A violinist, who has been on the Orchestra longer than I and plays when she can, always gives me a hug and thanks me for bringing such quality music to the community. I am humbled by that simple act.

These seniors are gold; they will be your biggest supporters. They are all a buzz at Sunday Church about Saturday’s concert. You can’t buy PR like that.

There is so much emphasis on youth these days; we forget that those sitting in the back have so much to offer. Do not ignore them. You can’t buy such experience and dedication. You might learn a few things from them; treat them with respect and be honored that they wish to become part of something they hold so dear. They have enriched your life.

barrymaestro#531C

The cellist János Starker has died

http://www.gramophone.co.uk/classical-music-news/the-cellist-jános-starker-has-died

János Starker, the Hungarian-born Jewish-American cellist has died; he was 88. Starker started playing the cello aged only five and gave his first public performances a year later. He studied at the Franz Liszt Music Academy in Budapest where his cello teacher was Adolf Schiffer; he was also greatly influenced by the composer and faculty member Leo Weiner. He made his professional debut aged 14 when he stepped in, on three hours’ notice, and played the Dvořák Cello Concerto.

One of the great musicians of our time.

delosde3341April 28, 2013

Reflections on “Music from the Americas”

The University Shenandoah Symphony Orchestra and I will present the “Music from the Americas” concert this Saturday, March 30, 2013 at 8 PM in Wilson Hall, Lexington Virginia. Tickets are required. Go to the University’s website for information and to purchase tickets >click here.

The program includes the beautiful music from the Americas featuring Villa-Lobos (Brazil), Ginastera (Argentina) and Randall Thompson (United States). MaryAnne Vardaman will perform Bruch‘s Kol Nidre.

As I study the two pieces from South America, I can’t help but recall and reflect on my visits to both countries.

Hector Villa-Lobos 1887-1959

Hector Villa-Lobos 1887-1959 (photo credit: Last.fm)

Villa Lobos’ Bachianas Brasileiras No. 2, with its sensual and suave tenor sax solos juxtaposed to the rustling sounds of the desert and the chugging sounds of the little countryside train of Caipira, capture the swaying rhythms of a country I proudly call my second home. Villa Lobos’ homage to Bach, captures the unique spirit of Brazilians; kind-hearted, full of humor, and proud of their beautiful country.

In contrast, the stylized more aggressive percussive style of Estancia by Ginastera portrays a country which gave birth to Tango; not only the dance but the song. Tango dancing contains sharp, definitive moves that often bring the two dances close in proximity but far in a personal sense; almost a battle of two wills. The songs of Tango are sad melodramas perhaps influenced by the difficult history of a country still defining itself.  “Maambo,” the final dance is a wild, out of control dance that ends the Suite in an explosive fashion–so different from the train from Caipira.

I met many Argentinians in my travels; often sharing stories with me of sadness and profound loss. It is a humbling experience hearing about a friend who passed away, leaving a loving family to grieve or a talented singer going it alone even after so many disappointments. The long melodic lines of the second movement of the Ballet gives us time to pause and pray for a better life.

Thompson’s home-spun Second Symphony is from an era of innocence and patriotism. Though parts of each movement often reflect the new machine age with its repeated highly rhythmic motifs, there are countless singable, folk-like melodies that dot the entire work. Though the composition doesn’t incorporate the jazz rhythms that were showing up in concert pieces during the same time, the “American sound” sung by the strings at the end of the last movement leaves us with feeling of pride and hope. Whatever country you call home, we all cling to hope…all of us.

Van Cliburn, Cold War Musical Envoy, Dies at 78

Van Cliburn won the International Tchaikovsky Competition in Moscow in 1958 - NYTimes.com

Van Cliburn won the International Tchaikovsky Competition in Moscow in 1958 – NYTimes.com

An international legend for over five decades, a great humanitarian and a brilliant musician whose light will continue to shine through his extraordinary legacy. Van Cliburn was the American pianist whose first-place award at the 1958 International Tchaikovsky Competition in Moscow made him an overnight sensation and propelled him to a phenomenally successful and lucrative career. Perhaps it was the pressure of stardom thrusted upon a 23-year old was too much and as a result, by 1978, he retired from the stage. He was praised for his technical strength, musical poise, and manly lyricism unmarred by eccentricity.

Lovely story about my daughter and “her

Lovely story about my daughter and “her gift” of music via The News Leader Feb 25, 2013 http://ow.ly/i4yCG http://ow.ly/i/1AxWM