Tag Archives: BSO Academy

Media Coverage of BSO Academy

WBAL-TV attended our rehearsal on Friday morning, while our group was performing the Hindemith, and did a story on their newscast which you can see here.  I play second violin on this piece, and am seated immediately in front of (or behind, if you will) the conductor.   Marin Alsop was caught in traffic and was late for rehearsal, so in this story, you’ll see her “intern” filling in.

WJZ-TV, the CBS Affiliate in Baltimore, aired this story on Thursday.  More media are expected to attend our rehearsal on Friday.  Check back for additional links!

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BSO Academy: Day 5-Talent on Display (Georgeann)

After a lighter day yesterday and a much-needed break, it was back to intense music today at the BSO Academy.  Our group’s rehearsal with the full orchestra and Marin Alsop wasn’t scheduled until 11:30am, so I had some time this morning for intense practice of some of my “trouble spots” in the orchestra program, and in the movement from the Dvorak String Quintet my chamber group is performing Friday night.

At the orchestra rehearsal, we received our final seating assignments, and I was surprised and pleased to see that I had been assigned to the 3rd desk in both the Second and the First Violins.  I’m sitting next to Assistant Concertmaster Igor Yusefovich in the First Violins.  He’s the engaging Russian who led our violin sectional on Monday. The assignment was even more surprising when the afternoon and evening showcased the amazing talent that is here among the 88 amateur (and mostly midlife!) musicians attending the academy.

BSO Concertmaster Jonathan Carney coaches a BSO Academy player.

BSO Concertmaster Jonathan Carney coaches a BSO Academy player.

During the afternoon, Concertmaster Jonathan Carney led a master class for violin and viola players.  Eight musicians played.  Carney proved himself to be a master teacher, gently coaching each musician into a better sound or more musical approach to their playing.  I learned a lot from watching and listening, and am sure my own abilities to play will be greatly enhanced.   (I am planning to post many of the tips and concepts I’ve learned this week elsewhere on this blog in the next few weeks.  Stay tuned!)

After dinner, 24 musicians from the BSO Academy class played in recital at Meyerhoff hall.  Most were solo performances, with a few small groups thrown in.  There were performances by every kind of woodwind, brass instrument, and stringed instrument from the orchestra, but the real star of the night was BSO Violist Mary Woehr, who in less than two months prepared the piano accompaniment for all the musicians: 24 different pieces of music!  She endured hours at the keyboard helping the musicians prepare this week for what turned out to be a delightful evening.

Tomorrow, a long rehearsal is on tap, then a break for some yoga.  In the evening, 16 different chamber groups will perform.  I’m in group #2, along with Viola Judy, an ER doctor from Hershey, PA on cello, a doctor from DC on string base, and Rebecca Nichols, a BSO violinist and Interlochen Arts Academy graduate.

Wish me luck!

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BSO Academy, Day 4 (Georgeann)

Baltimore Symphony Orchestra Music Director Marin Alsop took the podium in our string sectionals this morning to work through some of the rough spots in Paul Hindemith’s Symphonic Metamorphoses.  At one point, in the second movement, she turned to the violins and said, “Let’s do that section with the nightmare triplets.”

About three minutes into the movement, the first violins, second violins, and violas have about 30 measures of triplets – sometimes in chromatic scales, but other times in unpredictable patterns that we are all struggling to master.

Tonight at dinner, we did the math and realized what we are trying to do.  The movement is in 2/2 time, with each half note having an assigned value of 96 beats per minute.   That means each quarter note has a metronome value of 192 beats per measure.  Subdivide those quarters into triplets, and that means we are trying to play 576 beats per minute. Put another way, we are playing more about 9-1/2 notes PER SECOND!  Sheez …

The other night, on the phone with Chuck, I told him I didn’t think I had ever played this fast in my life.  Now, I have an idea what my speed limit is!

The good news, I suppose, is that Marin and many of the top players in the orchestra have told us repeatedly to “focus on the rhythm, not the notes, because the brass is so noisy no one will notice if you make a mistake!”

The section I’m talking about can be heard in this YouTube video – just when the worst run of the “nightmare triplets” for violins begin.  It sounds on the video like one continuous line, but let me assure you, we are sawing our hearts out!

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BSO Academy, Day 3 (Georgeann)

A marathon day of playing in Baltimore, starting with my own need to practice and work out some issues, followed by strings sectional.  Then, one of the key moments of the week, our first rehearsal on-stage at Meyerhoff Hall sharing stands with the professional musicians of the BSO, rehearsing with Marin Alsop.

In all, the rehearsal was very business-like and moved quickly.   In the middle of the Rimskey-Korsakov, I heard something remarkable:  the shuffling of musicians feet on the floor in applause for an extremely beautiful harp cadenza performed by our amateur harpist.   It was very cool.

After a break for lunch (and another hour for me in the practice room), BSO concert master Jonathan Carney led a string orchestra workshop, and I was proud to hear Mike, the cellist from our string quintet, performing another beautiful solo in the middle of Grieg’s Holberg Suite.

Then it was on to chamber music rehearsal, with our quintet coming together astonishingly well on the piece we plan to at Friday night’s concert.  Then another break for dinner, and class on getting most out of practice time.

In all, I calculated that the violin had been under my chin for at least seven full hours today.  Made me recall another quote from Monday’s session with the physical therapist:  “People don’t realize musicians are elite athletes.  It takes great strength to hold and play your instrument.”    Amen.

Sidenote:  Along with the intense schedule, the midlife musicians who decided to stay in the nearby dorm for the week were promised today they would finally have hot water tonight.   Can’t imagine what they’ve been putting up with!

 

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BSO Academy, Day 2 (Georgeann)

A very jam-packed day in Baltimore, with six hours of playing and a whole lot of music.  Some phrases that stick in my mind from the day:

  • “Use less bow.”  From my private lesson this morning with Gregory Kuperstein, a BSO first violinist, originally from Russia, and a long-time orchestra member.
  • “In this section, it’s very noisy with drums and horns, so if you get the notes wrong, it’s not a big deal.”  GK, again, commenting on the Hindemith.  (You have to imagine the Russian accent).
  • “Balance your skull over your spine, and release your legs to the floor.”   From this morning’s class on the Alexander Technique.
  • “When you are exhausted, you start muscling through, and that’s when injuries happen.”  From this morning’s session with a physical therapist, who warned that unless a therapist specializes in musicians, they may give you the wrong treatment.
  • “Here’s a simple stretch for string players to relieve tension in your hands before and after you play.”  Advice from same physical therapist.  One hour later, therapist is mentally subjected to some choice language when stretching results in a cramp in my left hand (the one that fingers the strings) just as sectional practice is beginning.
  • “Have any of you tried playing the first violin solos in the Rimskey-Korsakov”.  In violin sectional practice. Several players start demonstrating their proficiency.  I am firmly shaking my head — isn’t the concertmaster supposed to play those and let me just do the pizzicato?
  • “In this section, it’s very noisy with drums and horns, so if you get the notes wrong, it’s not a big deal.” Igor Yuzefovich, Assistant Concertmaster leading the string sectional, commenting on the Hindemith.  He was born in Russian, but doesn’t have the accent.
  • “Each of you WILL play a violin solo in the Rimskey-Korsakov.  Expect Marin to call on you during rehearsal tomorrow.”  IY’s announcement at the end of the string sectional.  Yikes!  Where is the practice room?
  • “WE DID IT.”  Group chorus after our string quintet manages to sight-read through the entire Dvorak Quintet in G Major, before deciding to focus on the Scherzo (2nd movement) only for Friday night’s concert.

And finally,

  • “Thank goodness we decided not to stay in the dorm.”  Viola Judy and myself, as we return to our hotel room after a 12 hour day of music to freshly made beds and clean towels.  The folks staying in the dorm have been without hot water because of a malfunction, and have to get through the week using only one towel.
Tomorrow, our first full rehearsal with the musicians of the BSO and Marin Alsop.   That will be me ducking when the Rimskey-Korsakov solos are assigned!

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BSO Academy, Day 1

The afternoon performance of Verdi’s Requiem, with more than 120 voices joining the Baltimore Symphony Orchestra, was alternately stunning, ethereal, and emotionally moving.  So it was amusing to learn, talking to members of the brass section after the performance, that they nearly “lost it” midway through the performance when a cell phone went off at a critical moment, with a ringtone that was perfectly in key.

Marin Alsop addresses the BSO Academy Musicians

BSO Music Director Marin Alsop addresses the BSO Academy Musicians

That casual, companions-in-music camaraderie, set a great tone for the opening day of the BSO Academy.   As music director Marin Alsop told the assembled musicians (mostly midlifers like me), “it’s about the passion we all share for music.”   The BSO Academy, now in its second year, is a very different experience for the musicians, too, she says.

“We are here to help,” she told us.  “It’s not about pressure.  Any pressure you feel, you are putting on yourself.  We just want to help you improve your skill set and music making, so you can reach new goals.”

At the same time, Alsop warned that she would not go easy on the BSO Academy musicians, just because we are amateurs.  “I can’t help it,” she said.  “I work with every orchestra as if it is a major orchestra.”  But she also promised that the experience would “take you where you are and move you ten levels up.”

There are a lot of people here who do other things for a living:  a doctor, a nuclear physicist, a retired marketing executive, and so on, with home addresses that include Maryland, Pennsylvania, Colorado, Massachusetts, and California.

Crab Cake Sandwich at Phillips Seafood at Harborplace in Baltimore

As the schedules were passed out over dinner, it’s clear it will be a challenging week.  I have my first private lesson at 8:30 a.m. on Monday morning, followed by classes on preventing injury, Alexander Technique, sectional rehearsal, chamber music rehearsal, and — after dinner — another class on sight reading.

Good thing I got my crab cake fix at lunch today!

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On The Road To Baltimore …

Tomorrow (Sunday) is check-in day at the BSO Academy.   Viola Judy and I drove 500 miles today from Michigan to Frederick, Maryland — only about an hour away from downtown Baltimore. We both are nervous about the upcoming week, but at the same time, excited to be taking part. Continue reading

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The Tempo of Life

I’ve been thinking a lot about tempo lately.

BSO AcademySome of the thinking has its roots in the music I’m struggling to master for next week’s BSO Academy.  I’m starting to get my fingers and bow around most of it — but at half-speed.  I’m nowhere near as fast as the recordings I’ve been listening to of Hindemith, Rimskey-Korsakov, and now the Dvorak String Quintet in G (my designated chamber music piece – 2nd violin).  And the thought of trying to play as fast as the music demands fills me with terror. Continue reading

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Symphony Fantasy Camp

BSO AcademyThe envelope was large, brown, and addressed by hand.

“Dear Georgeann,

“Congratulations!  After careful review of your application, the Baltimore Symphony Orchestra is pleased to offer you admission to the second annual BSO Academy …”

I’m in. Continue reading

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