by Jason Posnock, Associate Artistic Administrator
December means only one thing for classical musicians: holiday concerts. Whether it’s Messiah, Nutcracker, or a holiday pops show, musicians across the country are busy bringing Christmas cheer to millions of concert-goers. As I write this I have just finished the Asheville Symphony Holiday Pops concert, complete with the ASO chorus and children’s chorus.
We all know the recipe: traditional works such as Leroy Anderson’s Sleigh Ride and A Christmas Festival, a dash of Trepak and Sugar Plum Fairy, throw in a Hanukkah Festival and a carol sing-along and, voilà, a holiday concert. As usual, the Asheville program of fan favorites was enjoyed by all, although in a sign of these difficult times, the audience was 20% smaller than last year's.
Considering the economic climate and knowing that tough times cut deeply into support for the arts, you would think that my friends in the orchestral world would be grateful for the all the work that appears around the holidays. Yet I can't count how many complaints I hear; we all know musicians like to complain, but this is different. It's not just the desire for a better conductor or more space in the pit. It's almost wishing they didn't have to play one more holiday concert—ever.
Keep this in mind: many freelancers make up to a third of their annual income during the holiday weeks. That’s right, one third. However you do the math, that's a significant chunk of work.
How do we approach the holidays with a positive attitude? Let's put the checkbook aside for a moment. The fact is, The Nutcracker and Messiah are great works. I am not Tchaikovsky's biggest fan and Handel is what it is, but these are truly magnificent pieces with gold on every page. The opportunity to play these works in their entirety, which only presents itself at this time of year, should be regarded as a privilege. Whenever I revisit favorites such as Beethoven 9, Brahms 4, or Mozart 39, I always find new moments of beauty, rhythmic and harmonic nuance, or interesting lines in other parts (you may recall that I am a violinist). I do the same thing with these "holiday" classics. Moreover, someone in the audience is hearing these works for the first time. We owe it to the public to give the best possible performance of any work we're playing, at any time. That's the job.
So with all of this in mind, Happy Holidays from from Brevard, North Carolina. We have an exciting year ahead of us, and I look forward to sharing more thoughts here as we head towards the Brevard Music Center's 2009 season.
Friday, December 19, 2008
Friday, December 12, 2008
Anticipation of the season
by Dorothy Knowles, Admissions Coordinator
According to the latest census, the city of Brevard, North Carolina, has a population of 6643. Even though Brevard home to a world-renowned cultural institution (the Brevard Music Center, of course), it displays many aspects of small-town life.
Each December I look forward to Brevard’s annual “Twilight Tour” to inspire me into the holiday spirit. The Twilight Tour took place last weekend. It was cold—"northern" cold—which only added to the holiday spirit. Store fronts displayed beautiful decorations, and lights glittered in the windows. Vendors sold spiced cider and hot chocolate. Candy canes were tossed from the parade floats to excited children. Carols wafted from the courthouse gazebo and from various other corners of town.
It strikes me that I look forward to each Brevard Music Center season in a similar way. Now the relative calm of the post-season and autumn has passed. Repertoire and faculty appointments are being settled; scheduling and logistical challenges will soon be resolved. In mid-January the pace gradually increases to the pre-season bustle of calls, email, applications, auditions, enrollment, registration. Countless details are worked out as the summer approaches. You feel the anticipation with every breath.
Finally, students, faculty, and staff arrive on campus. Rehearsals begin. We hit opening night and seven weeks fly by. Suddenly.
Just like a holiday.
According to the latest census, the city of Brevard, North Carolina, has a population of 6643. Even though Brevard home to a world-renowned cultural institution (the Brevard Music Center, of course), it displays many aspects of small-town life.
Each December I look forward to Brevard’s annual “Twilight Tour” to inspire me into the holiday spirit. The Twilight Tour took place last weekend. It was cold—"northern" cold—which only added to the holiday spirit. Store fronts displayed beautiful decorations, and lights glittered in the windows. Vendors sold spiced cider and hot chocolate. Candy canes were tossed from the parade floats to excited children. Carols wafted from the courthouse gazebo and from various other corners of town.
It strikes me that I look forward to each Brevard Music Center season in a similar way. Now the relative calm of the post-season and autumn has passed. Repertoire and faculty appointments are being settled; scheduling and logistical challenges will soon be resolved. In mid-January the pace gradually increases to the pre-season bustle of calls, email, applications, auditions, enrollment, registration. Countless details are worked out as the summer approaches. You feel the anticipation with every breath.
Finally, students, faculty, and staff arrive on campus. Rehearsals begin. We hit opening night and seven weeks fly by. Suddenly.
Just like a holiday.
Monday, December 8, 2008
Learning music 2 fast 2 furious
by Jason Posnock, Associate Artistic Administrator
So, today is Monday and I have to play a concert on Friday. Five days from now. Normally no problem. The catch is that I'm performing two works that are completely new to me, and—please keep this between us—I haven't really started working on them yet. Therefore, the question is, how do you learn new pieces quickly? And not just learn them, but have them ready to perform in public?
My first step is to study the score while listening to a good recording. I'm not looking for anything out on the edge here, just a solid, standard reading of the piece that gives me an idea of how it's meant to go. Then I identify the tricky passages and do some condensed woodshedding. I'll practice the work in blocks, trying to be very systematic and organized. I will have to trust certain aspects of my playing such as sound quality, vibrato, and...gulp....intonation, as I really don't have the time to practice these into the performance. (FYI I'm a violinist.) Right now it's more important to get the right notes in the right order.
Now it's time for the first rehearsal. I'll concentrate on rhythm and ensemble. One piece is a duo and the other is a quintet, so there are very different demands in terms of the approach to listening and teamwork. My score study ought to pay off here, especially in the quintet. The duo is fairly straightforward; as long as I count correctly I should be okay. By the second rehearsal (if there is a
second rehearsal) I can try different shifts/slides/fingerings, timbres, dynamics, etc. This way I can at least have a considered musical arsenal with which I can create and explore during the actual performance.
That's my plan for the week. Wish me luck, and check back next week to find out if I pulled it off. I don't recommend leaving things to the last possible second, but sometimes circumstance conspires against you (more about circumstance in a future post).
UPDATE: Well, I survived. Actually, against all odds, it turned out to be quite a good concert. There were about six hundred people in attendance, including some from the local media, so the pressure was on. First up for me was the violin/piano duo. I decided beforehand that I would just go for it—no playing it safe. I didn't hold back the tempos, really brought out all the musical gestures I could muster, and did anything and everything to bring the work to life. Sure, I left a few notes on the floor, but this is live music after all, and things do happen. It was the first hearing of the piece for the vast majority of the audience, and they had a very positive response. OK, one down one to go. The quintet was on after intermission. Keep it together, keep it together. The performance had a couple of "moments" but overall had shape, passion, and a visceral excitement that whipped the audience into a frenzy, or at least got them to clap after we finished. So, it was a successful evening, better than it had any right to be. This is certainly one way to keep it interesting, but clearly I am getting too old for this...
So, today is Monday and I have to play a concert on Friday. Five days from now. Normally no problem. The catch is that I'm performing two works that are completely new to me, and—please keep this between us—I haven't really started working on them yet. Therefore, the question is, how do you learn new pieces quickly? And not just learn them, but have them ready to perform in public?
My first step is to study the score while listening to a good recording. I'm not looking for anything out on the edge here, just a solid, standard reading of the piece that gives me an idea of how it's meant to go. Then I identify the tricky passages and do some condensed woodshedding. I'll practice the work in blocks, trying to be very systematic and organized. I will have to trust certain aspects of my playing such as sound quality, vibrato, and...gulp....intonation, as I really don't have the time to practice these into the performance. (FYI I'm a violinist.) Right now it's more important to get the right notes in the right order.
Now it's time for the first rehearsal. I'll concentrate on rhythm and ensemble. One piece is a duo and the other is a quintet, so there are very different demands in terms of the approach to listening and teamwork. My score study ought to pay off here, especially in the quintet. The duo is fairly straightforward; as long as I count correctly I should be okay. By the second rehearsal (if there is a
second rehearsal) I can try different shifts/slides/fingerings, timbres, dynamics, etc. This way I can at least have a considered musical arsenal with which I can create and explore during the actual performance.
That's my plan for the week. Wish me luck, and check back next week to find out if I pulled it off. I don't recommend leaving things to the last possible second, but sometimes circumstance conspires against you (more about circumstance in a future post).
UPDATE: Well, I survived. Actually, against all odds, it turned out to be quite a good concert. There were about six hundred people in attendance, including some from the local media, so the pressure was on. First up for me was the violin/piano duo. I decided beforehand that I would just go for it—no playing it safe. I didn't hold back the tempos, really brought out all the musical gestures I could muster, and did anything and everything to bring the work to life. Sure, I left a few notes on the floor, but this is live music after all, and things do happen. It was the first hearing of the piece for the vast majority of the audience, and they had a very positive response. OK, one down one to go. The quintet was on after intermission. Keep it together, keep it together. The performance had a couple of "moments" but overall had shape, passion, and a visceral excitement that whipped the audience into a frenzy, or at least got them to clap after we finished. So, it was a successful evening, better than it had any right to be. This is certainly one way to keep it interesting, but clearly I am getting too old for this...
Sunday, December 7, 2008
Finding financial support
by Dorothy Knowles, Admissions Coordinator
You’ve applied, auditioned, waited patiently, and now you’ve been accepted to Brevard Music Center for the summer. You are excited to have received a merit award and some work study from the Music Center, but the amount isn’t quite what you need. Now what? You should look for outside help. Third-party scholarship opportunities are numerous, but they may be hard to find.
Suggestion #1: check with your school to see whether there are funds for "student professional development" or similar. If there is a student government association at your school, check there. Check with your school's alumni association. If you are enrolled in music school, walk down the hall and ask your dean for support. Be persuasive. Make the case, for example, that a summer at Brevard will make you a stronger musician, and your school orchestra will benefit from your enhanced skills.
Every year, Brevard students receive support from local music clubs and civic organizations. Check with your school or private teacher about local scholarships.
Some businesses offer scholarship support for children of employees; ask your parents to check with their employers. Ask even if you are college students and formally independent from your parents. For some companies the benefit is age-related (up to 18 or 21) and is not contingent upon financial status.
Many Brevard students are entrepreneurial. Some have performed public concerts for donations or held bake sales. Busking is a time-honored tradition if you live in a place where it is appropriate (and legal).
Financial support for Brevard can make a splendid holiday or birthday gift--it beats that sweater or new iPod. Grandparents are [particularly] big on this.
Dare we mention the "wealthy patron?"
Michigan State University has posted a guide to music scholarships for individuals.
Most importantly, assume that you will receive less than you need from Brevard, and start looking early for other financial help. If you find someone to support your cause, thank them in writing. You never know when you'll need them again.
You’ve applied, auditioned, waited patiently, and now you’ve been accepted to Brevard Music Center for the summer. You are excited to have received a merit award and some work study from the Music Center, but the amount isn’t quite what you need. Now what? You should look for outside help. Third-party scholarship opportunities are numerous, but they may be hard to find.
Suggestion #1: check with your school to see whether there are funds for "student professional development" or similar. If there is a student government association at your school, check there. Check with your school's alumni association. If you are enrolled in music school, walk down the hall and ask your dean for support. Be persuasive. Make the case, for example, that a summer at Brevard will make you a stronger musician, and your school orchestra will benefit from your enhanced skills.
Every year, Brevard students receive support from local music clubs and civic organizations. Check with your school or private teacher about local scholarships.
Some businesses offer scholarship support for children of employees; ask your parents to check with their employers. Ask even if you are college students and formally independent from your parents. For some companies the benefit is age-related (up to 18 or 21) and is not contingent upon financial status.
Many Brevard students are entrepreneurial. Some have performed public concerts for donations or held bake sales. Busking is a time-honored tradition if you live in a place where it is appropriate (and legal).
Financial support for Brevard can make a splendid holiday or birthday gift--it beats that sweater or new iPod. Grandparents are [particularly] big on this.
Dare we mention the "wealthy patron?"
Michigan State University has posted a guide to music scholarships for individuals.
Most importantly, assume that you will receive less than you need from Brevard, and start looking early for other financial help. If you find someone to support your cause, thank them in writing. You never know when you'll need them again.
Wednesday, December 3, 2008
Audio software for auditions
Students applying to the Brevard Music Center must audition. Details are on the Auditions page.
Singers must audition in person or by submitting a DVD video by mail.
Instrumentalists submit audio recordings, and they may send audio CDs or upload audition files to the Brevard server. If you are planning to upload your audition, here is some advice for making files that will work for you and work for Brevard Music Center. Ideally you will end up with mp3 files that are neither too large nor too compressed.
If you already have an audition recording, you only need to put it in a form that can be uploaded.
Singers must audition in person or by submitting a DVD video by mail.
Instrumentalists submit audio recordings, and they may send audio CDs or upload audition files to the Brevard server. If you are planning to upload your audition, here is some advice for making files that will work for you and work for Brevard Music Center. Ideally you will end up with mp3 files that are neither too large nor too compressed.
If you already have an audition recording, you only need to put it in a form that can be uploaded.
- If you already have mp3 files, then you're good to go.
- If you have an audio CD, you can rip the CD onto your computer using CDex, which is free software. CDex will rip directly (almost directly) to mp3 files, perfect for uploading to Brevard Music Center. If you use CDex to rip and transcode, be certain to set the mp3 options to "high quality" or "very high quality." CDex will output either a separate file for each track or a single file that aggregates all of your tracks. The single file option is simpler.
- If you happen to have your audition files on your computer in wav format, you can likewise use CDex (or any number of software programs) to make mp3s.
- If you need to edit your files or even make a recording from scratch, you might try the free audio software called Audacity. For simple cutting and pasting of files, Audacity works in the manner of many other music editors. If you configure the software properly, it will save directly as mp3.
- Please don't use iTunes to make audition recordings.
- The best solution is to engage a recording professional to work with you, creating an audition recording with excellent audio quality that will reflect your ability in an appropriate way.
Sunday, November 23, 2008
Fall update
Application: The online application for the Brevard Music Center is available. The deadline for instrumentalists, composers, and high school singers to apply is March 3, 2009.
Opera: If you are an opera singer, auditions for Brevard Music Center are earlier this year than in the past. Our opera team of David Gately and Patrick Hansen will travel around the U.S. and Canada in early December, so application for admission should be made within the next few days if you intend to do a live audition.
Media: Brevard Music Center's internet radio station is up and running, streaming live recordings from Brevard's archive, which spans 60 years by the way. The podcast feed is live, and a new program appears each week. Vodcasts are coming soon. Visit the Media page to connect.
Webcast: Brevard Music Center will host a live webcast with Keith Lockhart on December 1. Watch the website for information.
CD: The long-awaited compact disc from the Brevard Music Center (codename "Chinese Democracy") will be released December 10. Keep an eye on the website for purchase details.
Opera: If you are an opera singer, auditions for Brevard Music Center are earlier this year than in the past. Our opera team of David Gately and Patrick Hansen will travel around the U.S. and Canada in early December, so application for admission should be made within the next few days if you intend to do a live audition.
Media: Brevard Music Center's internet radio station is up and running, streaming live recordings from Brevard's archive, which spans 60 years by the way. The podcast feed is live, and a new program appears each week. Vodcasts are coming soon. Visit the Media page to connect.
Webcast: Brevard Music Center will host a live webcast with Keith Lockhart on December 1. Watch the website for information.
CD: The long-awaited compact disc from the Brevard Music Center (codename "Chinese Democracy") will be released December 10. Keep an eye on the website for purchase details.
Monday, November 17, 2008
In Memorium: Linda Candler
Linda Candler, wife of Brevard Music Center president John Candler, passed away on November 9, 2009, following a long illness.
Linda will be remembered for many things. To name a few: her warmth, her welcoming and encouraging spirit, her intense interest in all the people who studied, taught, and worked at Brevard.
A memorial service was held on November 15 at St. Philip's Episcopal Church in Brevard. Rev. Rob Field presided, and Peter Candler, Linda's brother-in-law, addressed the congregation. The number of attendees was too large to count.
The family requests that memorials may be sent to:
Brevard Music Center
P.O. Box 312
Brevard, NC 28712
Linda will be remembered for many things. To name a few: her warmth, her welcoming and encouraging spirit, her intense interest in all the people who studied, taught, and worked at Brevard.
A memorial service was held on November 15 at St. Philip's Episcopal Church in Brevard. Rev. Rob Field presided, and Peter Candler, Linda's brother-in-law, addressed the congregation. The number of attendees was too large to count.
The family requests that memorials may be sent to:
Brevard Music Center
P.O. Box 312
Brevard, NC 28712
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