VYO Winter Concert – scores and recordings!

For the VYO Winter Concert, here is a guide to some online resources and favorite recordings!

Franck, Symphony in D-Minor

Scores

PDF: via IMSLP (the single movement scans are better quality than the complete score scan)

Dover reprint: purchase via Amazon

Fancy-pants: The Breitkopf critical edition is quite nice, but not revelatory (via Juilliard Bookstore)

Hard core: View Bernstein’s score from the NY Phil digital archive!

Videos

http://www.youtube.com/watch?v=0I0scAMBz9g (not quite the entire first movement, Bernstein & Orchestra Nationale de France)

Recordings

Index of recordings in print at Arkivmusic.com

http://www.youtube.com/watch?v=6xVMfD_V3ac (in 5 parts, Carlo Maria Giulini/Philharmonia Orchestra, 1959)

One of the greatest recordings of any piece by anyone: Pierre Monteux conducting the Chicago Symphony (not available on ITunes, unfortunately)

Other recommended recordings: Muti & Philadelphia, De Sabata & NYPO.

Rossini, Overture to La Gazza Ladra (aka The Thieving Magpie, Die diebische Elster)

Scores

Edition note: Rossini’s authentic version is scored for a single trombone and two snare drums; the more frequently heard German edition has a full low brass section and one snare drum part. We are playing the German edition with corrections to dynamics and articulations that bring it closer to Rossini’s original; we also will use the original version’s percussion scoring.

PDF (of German edition): via IMSLP

Dover reprint (of German edition): For purchase via Amazon (includes 5 overtures). These are the “old school” German reorchestrations. Flashy but inauthentic.

Ricordi critical edition: For purchase via Compumusic (includes 6 overtures). Edited based on original sources using contemporary musicological standards; worth having.

Videos

Abbado on New Year’s Day 1991 with Vienna Phil

The Dude with Vienna Phil

Recordings

Fascinating recording of Sergiu Celibidache conducting the Curtis Orchestra at Carnegie Hall in 1984. Note the testimonial from one of the performers (David McGill, principal bassoon of Chicago SO) in the comments below the clip

Arkivmusic.com index — can’t go wrong with Abbado or Muti

Happy listening/viewing!

— Jeff

One Jeff, Two Jeffs… And So Much More

This week is a personal milestone for me, as it marks the end of the second year of my three-year residency with VYOA. It has been an awesome first two years!

During my most recent VYOA week, I visited three schools: Winooski High School, Burlington High School and Edmunds Middle School. I have visited Winooski High and Edmunds Middle School before, but this was my first time visiting Burlington High School. Each experience was incredibly unique and each classroom filled with talented and thoughtful music students that represented a large cross-section of Chittenden County’s youth.

At Burlington High School, I spoke about my music for a guitar class and also a combined class of students taking band and chorus, and they asked some great questions. They seemed very intrigued by what my wife does (she’s the concertmaster for The Addams Family on Broadway) and also by how I structure my day. It seems that a common concern is how to deal with modern distractions such as Facebook and Twitter. I explained my daily schedule and how weekends basically don’t exist in my world. They seemed fascinated by this.

In Winooski High School, I once again sat in on a piano class led by Cathy Mander-Adams. This class consists of ELL (English Language Learning) students from all over the world. I also attended her choir class and listened to a nice choral arrangement of “These Green Mountains” that Cathy was teaching the class. We had an in-depth discussion about the challenges of working with kids from around the world, particularly with regard to communicating, since many speak little or no English when they arrive to the school.

At Edmunds Middle School, I met with band director Tim Buckingham and choral instructor Betsy Nolan, talked to students in just about every grade level and listened to pieces they had composed. Many of the students are currently participating in the VT MIDI Project, so it’s encouraging to see that composing music is being so successfully integrated into the music curriculum. The titles of their pieces were quite colorful, even one about squirrels being run over by a tractor, (or something like that). Interestingly, their titles were often not really related to the music they’d composed, so we discussed how to create titles that better reflect what the music sounds like. I also participated in a huge drumming circle led by UVM student teacher Allie Campbell, with approximately twenty students playing African-style hand drums. As a percussionist, I’ll be the first one to say that keeping twenty kids in line while holding anything that makes a loud noise is pretty difficult, but Allie did a great job as ringleader. We all had fun with call and response and playing small pieces Allie had written on the board.

I received a lot of intriguing questions at all of the schools, everything from “What’s your favorite note?” (for the record, I love them all equally!), to the disturbingly frequent question of how much money I make (that varies considerably depending on the length of the piece, instrumentation, etc.), to how long it takes me to write a piece of music (also variable, but I can usually write anywhere from 10 seconds to a half a minute of music a day).

At the invitation of UVM composition professor David Feurzeig, I gave a lecture for his composition students and played a few of my pieces. The class even included a VYO alum who is now studying composition! That made my heart proud.

Towards the end of the week, I met with the two Jeff’s for the first time: Jeffrey Buetner, VYOA Choral Conductor, and Jeffrey Domoto, the new VYOA Music Director. I am trying to come up with a way to distinguish between the two in conversation, so I propose either calling them CJ and OJ (choral Jeff and orchestral Jeff, respectively) or JB and JD.

Brief survey:

[polldaddy poll=4901018]

We discussed the Big Commission for 2012: the twenty-minute work for The VYO & VYO Choruses that I will be composing for next season’s spring concert – my final event with VYOA. Our discussion centered on what, exactly, the piece will be about (top secret for now). The choir will most likely be greatly expanded for this performance and we hope to incorporate additional local singers not currently involved with VYOA. I may also design the piece so that a few of the choral parts can be extracted and programmed on separate choral concerts as arrangements for piano instead of orchestra. We are at the beginning stages so there is still a lot to figure out, but I am certain it will turn out to be an amazing project that will bring the VYOA a lot of positive attention.

My next blog entry will be about Did You Hear?, my most recent work written for the VYO Chorus & VT Youth Concert Chorale that was premiered by last week in Stowe and in Colchester. I will also write about my experiences with the choruses during the past week. Until then…

Robert Paterson is the Music Alive Composer-in-Residence with the VYOA. Music Alive is a national residency program of the League of American Orchestras and Meet The Composer.

First week with VYOA!

Just as the week I spent at Elley-Long sped by, so has the week since my first rehearsal last Sunday with the VYO and second with the Sinfonia. As I write this, I’m waiting at the JetBlue terminal at JFK with some unexpected downtime as the late night Burlington flight is delayed. I’d been hoping to get my first blog post up much sooner, but there’s been a tremendous amount of other writing to do as we leap into the final third of the season and start planning for 2011-12 in earnest. The week of February 5-13 was a whirlwind of activity (and thundersnow!) from the start; I was able to meet with each of the wonderful artist-teachers we have on our artistic staff and work closely with our amazing administrative staff. I had the chance to say hello to just about every one of our students at rehearsals during the week and did one-on-one coachings with four VYO seniors who are in the midst of college auditions. Randy Rowland (who is already doing superb work as our interim Executive Director) and I attended our first board meeting and saw first hand the passion each of the board members has for the VYOA and its musicians.

Everything I saw and heard and every person I met during that week has made me feel blessed to have the opportunity to serve the VYOA as music director – I honestly feel that we will have the opportunity to build the VYOA into one of the best music training and performance organizations in the country, including full-time performing arts high schools and conservatory pre-college programs. Exciting times ahead!

Jeff Domoto, VYOA Music Director Designate

Freezing-in-Residence: Composer Rob Paterson Spends a January Week in Vermont

My recent residency week was a roller coaster ride of mostly wonderful, amazing and fun experiences. I arrived on Sunday afternoon, and experienced one of the coldest days (in some places it was 28 degrees below zero!) in Vermont in recent memory. Everyone warned me: “Bundle up!” “Bring your fleeces!” “It’s going to be very cold!” (You know it’s serious when a Vermonter says that.) I grew up in Buffalo, and even lived in Burlington back in the 90s, so I thought I knew cold, but nothing prepared me for that day. It was absolutely freezing! Luckily it quickly warmed up to “normal” Vermont cold (read: shorts weather for Vermonters).

On Sunday, I heard the orchestra rehearse my Suite for String Orchestra. After a rough start, it sounded pretty good at the performance at Harwood Union High School (still a few rough edges, but not bad), and significantly better at the VYO Winter Concert at the Flynn Center for the Performing Arts that Sunday.

The week was a whirlwind of activity. I was interviewed by Ellen Gurwitz for the online Stone Soup Radio show, as well as by Cheryl Wiloughby for Vermont Public Radio. Both interviews were great ways to reach larger Vermont audiences than I can at concerts or by visiting specific populations.

I also visited Winooski High School and Harwood Union High School. At Harwood Union High School, I met with two different classes. The jazz instructor was in the audience and he was so into my music and what I addressed in the first class that he invited his entire big band for the second class, so I spoke to a huge room full of students. They all asked great questions, and seemed excited by my telling them what it’s like to make a living doing something you love. We also talked about technology, and how distracting Facebook and email can be.

At Winooski High School, I met with a few different classes taught by Cathy Mander-Adam. Her beginning piano class consisted entirely of ELL (English Language Learning) students who are part of Vermont’s Refugee Resettlement Program. These students are from all over the world, from countries as diverse as Thailand, India and Africa. Watching them connect – and facilitating this connection – through creating a short piano composition was a fabulous experience.

Between classes, Cathy told me a heartbreaking story. Before arriving in the U.S., some of these students had never heard music before as it had largely been banned in their particular villages and towns. Many of these students are experiencing music for the first time, right here in Vermont. I think many of us live privileged lives without even realizing it. We think of music as a normal part of our everyday existence, but there are places in the world where people are simply not so lucky. I hope the Vermont music community realizes what an important role it plays in offering students the experience of music. Music is something we should never take for granted.

At the University of Vermont, I gave a lecture entitled “How to Make It As a Musician: Twelve Secrets to Success I Never Learned in College” for the UVM music department. Also at UVM, I was interviewed by Daniel Lynch on UVMtv, UVM’s student-run television station. I also attended many meetings with VYOA and other collaborating organizations.

A highlight of my week was making dinner for Katherine Kjelleren and her family. At the VYOA online auction in November they bid on and won my offer of preparing a vegan dinner in their home. I commend them for trusting that I would make them something that actually tastes good!  I love to cook and have been vegan for almost twenty years, and I am actually working on a recipe book so I am well-prepared for a fun job like this. The menu consisted of a Thai Red Curry dish, Chinese Tofu and Black Bean sauce and stir-fried bok choy. We spent a few hours talking while I cooked so I got acquainted with her sons Kameron (a VYO tuba player) and Thomas, who plays trumpet. My primary interaction with individual VYO musicians has been from afar, while they are on stage rehearsing, so it is especially nice to have a chance to engage one-on-one. I hope I’ll have more chances to interact with the orchestral musicians in a more personal way next summer at Reveille! I also hope they may feel freer to approach me as I continue to residency work next season.

The Flynn concert was a bittersweet experience. Post-concert, I attended a going away reception for Ronald Braunstein and Caroline Whiddon. I’ve known Caroline for twenty-three years and she is a good friend of mine. In addition, I enjoyed the time I spent working with Maestro Braunstein. Looking forward, I’m eager to work with Jeffrey Domoto, the music director designate and with Randy Rowland, the interim executive director.

Finally, I’m especially excited about working with Jeffrey Buettner and the VYO Chorus this April when they premiere my new choral work. Entitled Did You Hear?, I wrote it specifically for this choir, with their input, and it contains theatrical elements and includes allusions to Twitter via Tweeting sopranos – among other things! I’ll be working with the Chorus during April 4 – 9 as they put the finishing touches on their presentation of the piece. I look forward to seeing you there!

Rob Paterson, Music Alive Composer-in-Residence
Robert Paterson is the Music Alive Composer-in-Residence with the VYOA. Music Alive is a national residency program of the League of American Orchestras & Meet the Composer.

The Paterson Effect: Reveille!, Gossip and Crisp Whites

It has been a great week at the Reveille! Music Festival! Although, I miss the intimacy of Reveille! taking place at the Elley-Long Music Center at Saint Michael’s College, the main campus is very beautiful, and the weather has been gorgeous so I have no complaints about camp being moved this year.

One of the biggest highlights of the week for me was meeting with Jeffrey Buettner and members of the VYO Chorus. I will be writing a piece for the Chorus (a cappella or with piano accompaniment) for their annual spring concert in 2011. This piece will serve as a “warm-up” of sorts for a twenty-minute composition I will be writing for the VYO and the VYO Chorus. This larger piece will be premiered by the two groups at the end of my third year in residence with the VYOA in 2012.

Jeff had an idea for a piece with the theme of “gossip.” I told him that I would rather see what the chorus members thought first. If they were really interested in this topic, I would pursue it. At first, the choir members were a little reserved, but once they figured out that Jeff and I really wanted their input, they opened up. We devised a whole scenario and even discussed form and a story line, and whether it should be uplifting or dark. They want a piece that is more humorous than not, and since I am known for my humorous work—and there is so little of it in the world of choral music—I agreed. The next step is to find someone to write the text. I have a few excellent poet and writer friends in NYC who might be interested in helping with this project. Once Jeff reviews it to make sure I am on the right track I will compose the music. The whole project will be a lot of fun. I can’t wait to see what the students will think of it.

Another highlight for me was meeting new VYOA Music Director and Conductor Ronald Braunstein.  He seems to enjoy wearing white! I am astonished that he is able to keep his white clothes so immaculately clean, especially in a cafeteria full of people running around with ice cream cones, fries with ketchup, and bowls of pasta and red sauce. Not once have I seen a stain – that alone is impressive. He is definitely unlike any other conductor I have ever met—and the students seem to really like him. I can’t wait to watch him conduct.

The faculty recital was one of the more interesting concerts I have been to in quite a while. It was an eclectic mix of pieces that included everything from a movement of Schubert’s Trout Quintet with the addition of pianist Annemieke Spoelstra, to an avant-garde piece for bassoon and playback recording played by Rebekah Heller. This sounded like a didgeridoo played Punk Rock style infused with amplifier feedback. There were two violin duets that I didn’t get to hear because I was backstage, but they were a big hit; I hope I’ll have a chance to hear them later. There were also interesting pieces for winds, brass, and percussion, a great bass clarinet and tape piece by Beth Wiemann (an accomplished composer and Reveille! clarinet teacher), and a rocking timpani solo played by Jeremy Levine. Art DeQuasie, VYOA Director of Operations, was the rock star of the evening. The hooting reception he received when he walked on stage to perform a lovely piano solo from memory served as a great measure of student love for him.

Although I am not one of the performance faculty members, Anne Decker graciously allowed me to perform a piece I wrote eleven years ago entitled Duo for Flute and Marimba for flute, alto flute, and marimba (played with four, five and six mallets). I performed this with Deborah Boldin, the wonderful faculty flute player at Reveille! It was fun playing this piece, especially since I’d written this originally for another marimba player, so I had not yet played it myself. My favorite moment occurred after the concert when the percussionists had the chance to play my five-octave DeMorrow marimba, which I’d brought with me from New York.  Penual Leavens seemed particularly excited about it. I told the percussion students that they could all play it if they found a chance to get away from camp activities for a moment or two.

Finally, Caroline Whiddon gathered together a few faculty members for an informal chat with students on the grass outside the dorms. There, we each discussed our individual starts in the music business and the progression of our careers thus far. A good conversation!

In my next posting, I’ll talk a bit more about my general observations on the final concerts and the VYO performance, conducted by Maestro Braunstein.

Robert Paterson is the Music Alive Composer-in-Residence with the VYOA. Music Alive is a national residency program of the League of American Orchestras and Meet The Composer.

When Tears = Wipeout. The Final VYO Concert of 2010.

My first two years as a VYOA member were spent in Chamber Winds on Saturday mornings, followed by a year in Philharmonia. The best two years of my life so far were spent as a member of the VYO.

Last year, I would listen to Kelly Herrmann (VYO flute, 2009) as she played. I was able to take a lot away from her vibrato and tone, which helped me to become a better musician. She really taught me how to lead a section. After she left, I thought, “It will only be a year until I have to leave,” although then, I never thought that the time would ever come when I would actually leave.

To be perfectly honest, it hasn’t quite sunken in yet. We played our final concert yesterday.  I emerged without a single tear. Prior to the concert, Lauren Muckstadt described a potential chain reaction that could have happened if one person started crying…that would be Maggie Connors. If Maggie started crying, Lauren Donnelly and I would have too, and if we started crying, Konrad Herath and Lauren Muckstadt would have, and then Sarah Winokur, Evelyn Reed and Allie Homziak. Within thirty seconds, the entire wind section of the orchestra would be wiped out. It would only take another thiry seconds until the strings were wiped out, too. Fortunately for the sake of the mental health of everyone in the orchestra, Maggie held it together! This shows the type of bond we have created with each other as members of the Vermont Youth Orchestra. Thanks to this Association and my friends here, I have created beautiful music with the best people in the world. There is nothing like it.

I will miss everything I did with the orchestra and everyone I met. Dearly. All of my experiences with the VYOA have built the person I am and I know that I’m ready to move on, however bittersweet it may feel when this reality finally hits me. Like the other seniors, I am about to take a huge step (college) and I wouldn’t be able to do it without the foundation of friendships and amazing memories that I’ve collected as a result of my experience with the VYOA.

Huge thanks again to Mr. Massey and to everyone who works behind the scenes of this organization. What a great five years.

Emily Wiggett, VYO flute, 2010

Photos:

Top: Emily Wiggett – photo by Stina Booth

Middle: VYO Performing at the Flynn Center 5/16/2010 – photo by                       L. Charlesworth

Being Andrew Massey

Riding home from Sunday’s rehearsal with Owen Tatum, we were chatting about it all – the rehearsal, Mr. Massey, and the upcoming concert – our last as VYO members. The conversation began with our memory of the Montgomery Center holiday performance in which Mr. Massey invited a handful of VYO students to participate. Mr. Massey’s wife had graciously brought us water just before the show started. But, we could not figure out how to open these impossible bottles no matter how much we fumbled with the caps! We were tugging, tearing and twisting the caps when Mr. Massey appeared and imparted on us these gentle words of wisdom: “Just imagine a cow and the little teats on her udder, and the bottle will be open in no time at all!” Yes, this was unexpected, yet this story illustrates my point exactly.

If not for Mr. Massey’s oddly hilarious puzzles and commentary, I could never have thought of the violin parts during the Dvorak as moments of virtuostic screaming in the grocery store, or of the harp part in Brigg Fair as a dream involving our most guilty food pleasures. Aside from making us hungry, these vivid scenarios helped us to convert written music into a mental images to further our understanding of the compositions we were exploring. Through this kind of commentary, we became more aware of what the composer actually intended the audience to hear. Also, our ears have learned to listen for subtle nuances and to make adjustments according to this information. It is this working style that is so entirely unexpected in Mr. Massey – so much so that he has become somewhat of a treasure to us all this past season.

Mr. Massey has clear tasks and works relentlessly to achieve them, but in the lightest, most efficient, and decidedly humorous manner. He seemed to know what mistakes we were about to make before they happened –  last fall, during our performance of the Overture to Romeo and Juliet, our rhythm suddenly collapsed, but within one measure and a precise wave of his baton, the problem was righted. Mr. Massey is prepared for anything and everything. (A relief to those of us who sometimes aren’t!)

As for those water bottles referenced in the beginning of my post, we got them open. I remember the look on Owen’s face when Mr. Massey told him to think of a cow’s teats. At first his eyes got really big and then he smiled a huge grin. This comparison was actually puzzling to me, but that’s probably because I grew up on a dairy farm and that more than likely I have a different mental image of  cow teats than the others. This is kind of cool because it demonstrates how different people interpret the same message. Mr. Massey gave us the ideas and left us the liberty to run with them in any direction we pleased…which is exactly how he has conducted our weekly rehearsals. Every week, his instructions have been translated stylistically and expressively –  our reading of the music in this way is what has made the Vermont Youth Orchestra so unique this year.

Mr. Massey has connected with each of us in some way or another during this past season. And, he leaves us with fond musical memories. I will never forget making music with him. He gives us energy and a purpose to play. He has encouraged all of us to push our limits and become better musicians. For me, he inspired my decision to major in music when I go to college next fall. Mostly, though, I thank him for every one of his philosophical comparisons, and for a great final year with the Vermont Youth Orchestra!

Emily Wiggett, flute

Photos:

Top: Andrew Massey conducts the VYO in a live “From The Top” taping at the Flynn Center for the Performing Arts, February 2010 – photo by John Servies

Middle: Taking bows with the VYO and soloist Tim Woos at Winter Concert, January 2010 – photo by L. Charlesworth