Orchestra ensemble – 10 Nyo http://10nyo.net/ Fri, 20 May 2022 03:59:38 +0000 en-US hourly 1 https://wordpress.org/?v=5.9.3 https://10nyo.net/wp-content/uploads/2021/11/cropped-icon-32x32.png Orchestra ensemble – 10 Nyo http://10nyo.net/ 32 32 The Cal Poly Arab Music Ensemble and the Zaryab Ensemble will perform in the spring https://10nyo.net/the-cal-poly-arab-music-ensemble-and-the-zaryab-ensemble-will-perform-in-the-spring/ Thu, 19 May 2022 16:00:00 +0000 https://10nyo.net/the-cal-poly-arab-music-ensemble-and-the-zaryab-ensemble-will-perform-in-the-spring/

The Cal Poly Arab Music Ensemble will perform their spring concert with the Zaryab Ensemble at 7:30 p.m. on June 4.

This year’s spring concert will be joined by the Zaryab Ensemble, a group of musicians from Iran and Tajikistan based in the San Francisco Bay Area and greater Sacramento area.

“The [spring concert] is particularly significant as it concludes the year of the return of COVID isolation,” Kenneth Habib, director of the Cal Poly Arab Ensemble and music teacher at Cal Poly.

During the quarantine, the ensemble members had to switch to a virtual format. Habib said the ensemble “has done an amazing job adapting to virtual encounter, continuing to be musically active, and breaking new thresholds in performing and producing music.”

When home orders were lifted, the ensemble had to rebuild as a live performance group. He also had to catch up on previous plans and commitments that fell through due to COVID-19, Habib said.

This will be the third year that the Zaryab Ensemble joins the Cal Poly Arab Music Ensemble which is a combined orchestra and choir with vocal and instrumental soloists.

“The last time they were supposed to be here was in March 2020, when I had to cancel the concert two days in advance due to COVID – a difficult task indeed,” Habib said.

Both ensembles perform independently and in collaboration. These performances include a regional folk song sung in both Arabic, Persian and Sephardi. There will also be a dance troupe led by San Luis Obispo dance director Jenna Mitchell. The troupe will perform “original choreography as an extension of a long collaboration of music and dance in the concerts of the Arab Music Ensemble”, according to a press release.

“One of the missions of the Arab Music Ensemble is for its members and audiences to experience high quality Arabic and related music at Cal Poly and the Central Coast,” Habib said. “The amount of associated diversity in the South West Asia and North Africa region is huge, and while we can’t cover it all, we bring the parts of it that we can do well to the community. .”

The Cal Poly Music Department’s Arabic Music Ensemble performs quarterly.

]]> Oscoda High School Group Announces Solo and Ensemble Results | Entertainment https://10nyo.net/oscoda-high-school-group-announces-solo-and-ensemble-results-entertainment/ Wed, 18 May 2022 13:10:00 +0000 https://10nyo.net/oscoda-high-school-group-announces-solo-and-ensemble-results-entertainment/

OSCODA – On Saturday, February 5, 18, the students of Oscoda High School Band traveled to Clare High School to participate in the Michigan School Band and Orchestra Association’s District 9 Solo and Ensemble Festival.

The students were judged in the areas of tone, intonation, rhythm, technique and interpretation. It was possible during this event to obtain the following ratings: Division I (Superior), Division II (Excellent), Division III (Good), Division IV (Fair) or Division V (Poor). All Oscoda events have earned Division I or II ratings, and 13 of Oscoda’s 18 attendees have earned a Division I rating in at least one event.

Division I Rankings (Higher): Saxophone Chamber Ensemble: Axel Raybourn, 11 (soprano saxophone), Aidan Taylor, 11 (alto saxophone), Julian Gawne, 11 (alto saxophone), Hannah Moore, 9 (alto saxophone), Shelby Bergquist, 9 (alto saxophone), Maggie Thibault, 11 (tenor saxophone), Grace Bergquist, 11 (tenor saxophone), Andrew Benton, 11 (tenor saxophone), Patrick Boje, 11 (baritone saxophone) Bacchanal Dance, Op. 47 by Camille Saint-Saens arranged by Bruske.

Flute duo: Nichole Leeseberg, 11 years old and Karissa Beach, 11 years old barter and Evening star and conversationall by Gregory M. Kerkorian.

Solo Trumpet: Raymond Cowles, 10 performers The executor by RM Endresen.

Mixed quartet: Hannah Moore, 9 (alto saxophone), Shelby Bergquist, 9 (alto saxophone), Grace Bergquist, 11 (tenor saxophone), Andrew Moore, 10 (marimba) Spring by Antonio Vivaldi arranged by Karen Lopez.

Tenor saxophone solo: Andrew Benton, 11 performers Piece in G minorOp. 5 by Gabriel Pierne, edited by H. Voxman.

Division II Ranking (Excellent): Flute Duo: Ruby Wakeman, 9, and Karissa Beach, 11 performers Free flight by Larry Clark.

Flute Solo: Karissa Beach in concert Sonata in F by Telemann.

Principal Trumpet: John Melendez, 11 years old The bullfighter by Stanley Thomas.

Solo trumpet: Alyssa Reker in concert Cavatina by WA Mozart.

Principal clarinet: Stephanie Oakes, 10 performers Dance of Death by Camille Saint-Saens arranged by Tyler Arcari.

Trumpet trio: John Melendez, 11, Alyssa Reker, 10, Raymond Cowles in concert Military Rondo by Ignaz J. Pleyel arranged by Acton Ostling.

Flute Solo: Nichole Leeseberg, 11 performers Serenade by Haydn.

Tenor saxophone solo: Joshua McDonald, 9 years old Minuet in D minor by JS Bach arranged by Willis Coggins.

Bass Clarinet Solo: Stephanie Oake, 10 performances earth song by Tyler Arcari.

Solo baritone saxophone: Patrick Boje, 11 years old Fusion Suite by Catherine McMichael.

Duo of baritone saxophones: Andrew Benton, 12 years old and Patrick Boje, 11 years old playing a Telemann’s Canonical Sonata.

Mixed trio: Andrew Benton, 11 years old (tenor saxophone), Patrick Boje, 11 years old (baritone saxophone), John Melendez, 11 years old (trumpet) Allegro in B flat by WA Mozart.

Also participating, but playing for judge’s comment only: Piano Solo: Stephanie Oakes, 10 performers Moonlight Sonata by Ludwig van Beethoven.

Of the five events that earned Division I rankings and qualified for this year’s virtual MSBOA State Solo and Ensemble Festival, only tenor saxophone soloist Andrew Benton and solo trumpeter Raymonc Cowles chose to continue working on their events. and participate at the state level. Both earned Division I ratings at the MSBOA Virtual State Solo and Ensemble Festival this year.

Set of rave-engers! Classic Ibiza perfects Burghley House return https://10nyo.net/set-of-rave-engers-classic-ibiza-perfects-burghley-house-return/ Wed, 18 May 2022 11:24:07 +0000 https://10nyo.net/set-of-rave-engers-classic-ibiza-perfects-burghley-house-return/

With less than 12 weeks until Classic Ibiza make their highly anticipated return to Burghley House on Saturday July 30, the Urban Soul Orchestra (USO) met last week at a London music studio to complete this year’s performance. . With 15 new tracks added to the orchestral ensemble of over 30 house classics, including some crowd favorites, the concert organizers promise their best show yet.

USO brings a rich house music pedigree to Classic Ibiza, having worked for over 25 years alongside many big names including Groove Armada, Nightmares On Wax and Robert Miles.

USO’s Stephen Hussey, bandleader, arranger and music producer for Classic Ibiza, says: “I get goosebumps just thinking about the great tracks we have put together for the summer. We’re headed for the stratosphere! The Urban Soul Orchestra is in top form, and we can’t wait to feel the energy of Burghley’s incredible audience when they hear what we have in store for them.

Five of the set’s 15 new tracks were chosen by Classic Ibiza’s 28,000 Facebook followers at Easter. They are: the Miracle of Toca, Fragma; Dreamer, Livin’ Joy; Wait all night, rudimentary; (I want to give you) Devotion, nomad; and Push The Feeling On, Nightcrawlers.

As well as the impressive performance by the USO, Classic Ibiza’s four-hour celebration of majestic house music also includes DJ sets from Goldierocks and Jose Luis. Jose Luis made his Classic Ibiza debut last year and is kicking things off. Since arriving from Venezuela over 20 years ago, he has pioneered the Urban Latin/Reggaeton sound in Europe and was resident DJ at Pacha (Ibiza) and Ministry of Sound (London).

Commenting on what to expect from his chill-out set, Jose Luis says, “I’m bringing a whole new vibe to ’22. The Afro-Latin sound is definitely back in Ibiza, so I feel in my zone. Expect a fresh mix of floor fillers and new classics, all thrown in my casual, mash-up style!”

Tickets for the Burghley House show are selling out fast and are expected to sell out. Parking is free and you can bring your own food and drink. All you have to do is remember your dancing shoes and embrace the family vibe.

Classic Ibiza in Burghley is proud to support East Anglia Children’s Hospices. Various fundraising initiatives will take place in the evening, including a £2.50 donation for each program sold.

Tickets and information: classicibiza.co.uk

Prices: Adults (over 18): £45, Children (5-17): £20, Under 5: free

Image credit: David Evans

The Broad Stage presents Mark Morris Dance Group & Music Ensemble in MOZART DANCES https://10nyo.net/the-broad-stage-presents-mark-morris-dance-group-music-ensemble-in-mozart-dances/ Tue, 17 May 2022 23:17:07 +0000 https://10nyo.net/the-broad-stage-presents-mark-morris-dance-group-music-ensemble-in-mozart-dances/

The Broad Stage presents the stage debut of Marc Morris Dance Group (MMDG) with the MMDG Music Ensemble in Mozart Dances, June 9-12. Mozart Dances has been hailed as music incarnate, featuring three exquisite piano works by Mozart set to Morris’ dynamic and uplifting choreography. The program includes a world premiere chamber arrangement of Piano Concerto No. 27 by MMDG Music Director Colin Fowler, as well as Piano Concerto No. 11 and Sonata for Two Pianos, all performed live on stage Main of The Broad Stage.

Choreographer Marc Morris has been called the “Mozart of modern dance” for its common characteristics with the musical genius Wolfgang Amadeus Mozart. Marc MorrisProlific dance creation, devotion to music and early expression of his talent distinguished him as a choreographer and director of modern dance, ballet and opera.

In honor of the European composer to whom he is assimilated, Marc Morris was commissioned by the Lincoln Center for the Performing Arts to create a dance for Mozart’s 250th birthday celebration. The result was the much-loved Mozart Dances, which his company, Marc Morris Dance Group, established in 2006. Three piano compositions inspired these dances and are performed live as its company of dancers perform what critics and fans have called “musical visualizations”. Marc Morris is so skilled in music that he often creates his dances by reading sheet music and responding to the notes with his own invention of movement.

Vital for Marc Morristhe creative process of are his collaborators, who for this work include set designer Howard Hodgkin; costume designer Martin Pakledinaz; and lighting design James F. Ingallswho are all recognized artists in their field and partners in the production Marc Morris‘ vision for each dance work.

Marc Morris said of Mozart’s dances, “I began to hear the concertos as characters…there is an incredible and touching relationship between the piano and the orchestra. The music for me is exciting, strange in its unusual combination, and that’s exactly what this dance comes from where.”

Andrew Blackmore-Dobbyn said on Bachtrack.com: “In the three works that make up Mozart’s Dances, Morris engages in a beautiful conversation with the music. It illuminates the themes and instrumental vocals but is never confined by the structure of the music. Mozart’s music is filled with intelligence, wit and even passion, but it’s always held back by an overlay of civility and Morris found an effective way to convey all of this in his Mozart Dances. Marc Morris distinguishes himself as a choreographer by his remarkable use of music. He has many different ways to express what he hears and it all adds up to the joy.”

Alastair Macaulay said in the New York Times, “Throughout Mozart’s dances, Marc Morris emerges as the most artistically alive musical choreographer. »

Judith Mackrell said in The Guardian: “Seeing Mozart through Morris’ eyes is even better…what makes this evening…is the very human voice that Morris finds in the beauty of the music All the audience has to do is be wowed by the experience.”

The Times UK proclaims: “If you could capture the essence of childhood play – boundless energy; unconscious immersion in simulation; relentless inventiveness; the pure pleasure of creativity… you would have the Marc Morris Dance group in the dances of Mozart.”

The Australian adds: “Mozart Dances reveals Marc Morris as the great magician of contemporary dance and its optimist par excellence. In this seemingly carefree work, he offers principles of profound beauty, not didactically but with simplicity and grace.”

Founded in New York in 1980 by artistic director and choreographer Marc Morristhe Marc Morris Dance Group (MMDG) has been called “the preeminent modern dance organization of our time” (Yo-Yo Ma), with its members receiving “highest praise for their technical poise, musicality and sheer human authenticity”. (Bloomberg News). Live music and community involvement are essential elements of the dance group, which has been touring with its own musicians, the MMDG Music Ensemble, since 1996. Marc Morris The dance center was opened in 2001 to provide a home for the dance group, subsidized rental space for local artists, programs for local children and seniors, and dance lessons for students of all ages and abilities.

The music ensemble MMDG, formed in 1996, is an integral part of the dance group. “With the dancers come the musicians…and what a difference that makes” (Classical Voice of North Carolina). The Ensemble’s repertoire includes works from the 17th and 18th centuries by John Wilson and Henry Purcell to more recent scores by Ethan Iverson, Lou Harrison and Henry Cowell. The musicians also participate in the dance group’s educational and community programming at home and on tour. The Music Ensemble is directed by Colin Fowler, who began collaborating with MMDG in 2005 when they premiered Les Danses de Mozart.

Tickets starting at $60 are available at thebroadstage.org or by calling 310.434.3200, or visiting the box office at 1310 11thSt. Santa Monica CA 90401, beginning two hours before the performance.

]]> Bath Festival Orchestra/Manning review – aquatic theme fails to float together revived | Classical music https://10nyo.net/bath-festival-orchestra-manning-review-aquatic-theme-fails-to-float-together-revived-classical-music/ Tue, 17 May 2022 12:15:00 +0000 https://10nyo.net/bath-festival-orchestra-manning-review-aquatic-theme-fails-to-float-together-revived-classical-music/

Jhe Bath Festival Orchestra was established by Yehudi Menuhin in 1959, when he began his 10-festival tenure as director. It has now been revived under the direction of Peter Manning and aims to invoke the status and reputation of the original band while providing a platform for emerging talent. However, it would seem from this exhibition at this year bath partyeven taking into account the pandemic issues and the delays, that the orchestra still has a long way to go before it can respond to some of the outlandish claims made about it.

There was already something slightly surreal about an evening of sea-inspired string music taking place in the city’s ancient Roman baths, even though the cry of seagulls, spinning and spinning above the head, contributed to vanity. And, although all four pieces have titles specifying their maritime connection, the combination of established works with new ones did not come together as a neat flotilla.

Bath Festival Orchestra performing in the Roman Baths. Photo: PR IMAGE

The program opener was Takemitsu’s Toward the Sea in 1981, commissioned by Greenpeace for its Save the Whales campaign and referencing Herman Melville’s Moby Dick – its awareness-raising focus is arguably even more needed today. Takemitsu’s inclusion of the sultry alto flute (Frederico Paixão) and harp (Alis Huws) with the texture of the strings gives the piece its distinctly French aura but, the playing of the strings – 16 in number – lacked character. to invest the music with the meditative element that is part of its fundamental quality.

american composer Daniel Temkin‘s Ocean’s Call, created in 2015, is inspired by the vastness of the Pacific and California’s Big Sur. As a percussionist, one might have expected Temkin to be preoccupied with rhythmic sensibilities, but these were not apparent and, given the overwhelming feeling that had inspired the piece, it was underwhelming and tasteless.

Visions at Sea (2011) by Dutch composer Joey Roukens was, like the Temkin, first conceived for string quartet. Ostensibly conveying a sense of the Netherlands’ relationship with the sea over time, it has weaved quotes from the past into the fabric, as well as pieces of traditional bagpipes and sea shanties. Yet, with its mix of tonal and atonal elements, it never quite achieved an organic whole.

Between these two relatively recent works were interposed Grace Williamsfrom 1944, the work Sea Sketches. Evoking the most robust string playing of the evening, there were also expressive moments that hinted at the ultimate viability of the whole thing but, overall, it was an underwhelming occasion.

]]> The Ensemble de Violoncelles de Montréal gives young musicians the chance to excel, at no cost – Montreal https://10nyo.net/the-ensemble-de-violoncelles-de-montreal-gives-young-musicians-the-chance-to-excel-at-no-cost-montreal/ Sun, 15 May 2022 20:15:18 +0000 https://10nyo.net/the-ensemble-de-violoncelles-de-montreal-gives-young-musicians-the-chance-to-excel-at-no-cost-montreal/

The Ensemble de Violoncelles de Montréal offers free equipment and music lessons to children who may never have had the opportunity to play.

Six-year-old Amaka Idaboh was the first-ever student to apply to the program two years ago. Today, the freshman plays the cello at college level and even released her first song called “I love my Barbie doll.”

“I don’t know how I could have afforded to pay for these kinds of lessons with the experienced instructors she has, if it weren’t for the generosity of the foundation,” said her mother, Joan Idaboh.

Aside from banging on the piano keys, her daughter had never played an instrument. When the family moved from Nigeria to Montreal in 2018, Joan didn’t even know the cello existed.

“Before coming to Canada, I mean, I had heard of the violin. I had heard of the guitar. I had never, ever, ever seen a cello,” the mother told Global News.

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When Amaka was four years old, the family could not afford daycare in Montreal. The mother and daughter were staying at home together when a neighbor suggested that a four-year-old child audition for a new group, the Montreal Cello Ensemble.

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The Montreal Cello Ensemble offers Montreal children a full scholarship and the opportunity to learn and play with cellists Geneviève Guimond and Gary Russell of the Montreal Symphony Orchestra.

Guimond told Global News that Idaboh is the exact child the program is trying to reach.

“A kid who has this enormous talent and this enormous ability and something that he probably wouldn’t have sought on his own.”

Idaboh auditioned at the age of four and was “thrilled” with the cello, according to her mother.

“I saw the glint in his eyes and I was like, okay, that’s good,” Joan said.

His teachers said he was not just a glimmer, but a natural talent from the start.

“I remember the wonderful audition she did,” Russell said. “She is clearly a performer and she sang beautifully in tune.”

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Idaboh was one of 15 children chosen from 100 auditions. Now the freshman practices almost every day and plays with the set once a week on Saturdays.

“It’s just awesome,” she said of the cello, adding, “There are so many songs to play.”

Idaboh’s mother is continually surprised by her daughter’s talent, joking that she doesn’t come from a musical family.

“It can’t be me, it can’t be his father. I guess she was born with it,” she laughed.

The six-year-old girl dreams of one day becoming “an expert at gambling and making money” to provide for her future children.

“Like, if my kids want hot dogs, I’ll buy them for them,” she said.

For now, Idaboh plans to write more songs and encourage other children to play the cello.

“It’s hard, but it’s fun to learn.”

© 2022 Global News, a division of Corus Entertainment Inc.

Lyric Opera of Chicago announces roster of artists for 2022/23 ensemble https://10nyo.net/lyric-opera-of-chicago-announces-roster-of-artists-for-2022-23-ensemble/ Wed, 11 May 2022 19:07:26 +0000 https://10nyo.net/lyric-opera-of-chicago-announces-roster-of-artists-for-2022-23-ensemble/

The Patrick G. and Shirley W. Ryan Opera Center, the professional artist development program of Lyric Opera of Chicago, has announced the full roster of 16 artists making up its 2022/23 Ensemble. The Ensemble begins its rigorous program this month in Chicago. Freshman sopranos Kathryn Henry and Lindsey Reynolds, tenors Ryan Capozzo and Alejandro Luévanos, baritones Laureano Quant and Ian Rucker, and basses Ron Dukes and William Clay Thompson join six returning Ensemble members: soprano Denis Vélez , mezzo-soprano Katherine DeYoung, tenors Martin Luther Clark and Lunga Eric Hallam, conductor/pianist Donald Lee III and pianist Chris Reynolds.

Additionally, the Ryan Opera Center is expanding its ranks in 2022/23 to include two new positions: Director and Stage Manager. Filling those roles for the first time in the program’s history will be Ryan Opera Center director Luther H. Lewis III and stage manager Tess Naval. Each will be offered a full range of training activities and performance experiences that will be tailored to individual artists and provide them with the skills, expertise and professional network needed to launch a successful career.

For nearly five decades, the Ryan Opera Center has nurtured the talents of a wide range of the most promising singers and pianists. Building on this legacy, the program has launched an expansion of its Ensemble to include top emerging conductors/pianists (from 2021/22), directors and stage managers (both from 2022/23). This important pipeline initiative further demonstrates the Ryan Opera Center’s longstanding support of Lyric’s principles of Inclusion, Diversity, Equity, and Access (IDEA), through which the company aims to continuously reshape the form and the opera industry to better reflect the dynamic diversity of our city. and our country. The 2022/23 Ensemble is the most diverse in Ryan Opera Center history, with 10 of the 16 Ensemble members identifying as BIPOC.

2022/23 Ryan Opera Center Ensemble


Kathryn Henry (Sheboygan, Wis.)
Lindsey Reynolds (New Orleans, Louisiana)
Denis Velez (Puebla, Pue, Mexico)


Katherine DeYoung (Traverse City, Michigan)


Ryan Capozzo (Huntington, New York)
Martin Luther Clark (Marshall, TX)
Lunga Eric Hallam (Khayelitsha, South Africa)
Alejandro Luevanos (Durango, Mexico)


Laureano Quant (Barranquilla, Colombia)
Ian Rucker (Oshkosh, Wis.)


Ron Dukes (Indianapolis, Indiana)
William Clay Thompson (Lexington, Kentucky)


Donald Lee III (Hampton, Virginia)


Chris Reynolds (Ithaca, New York)


Luther H. Lewis III (Evansville, Indiana)


Tess Naval (Chicago, Ill.)

From left to right: Luther H. Lewis III (director of the Ryan Opera Center), Tess Naval (stage manager of the Ryan Opera Center), Chris Reynolds (pianist of the Ryan Opera Center), Donald Lee III (conductor/pianist of the Ryan Opera Center)

About Lyric

Lyric Opera of Chicago is committed to redefining what it means to experience great opera. The company is committed to delivering consistently excellent artistry through innovative, relevant and festive programming that engages and energizes new and traditional audiences.

Under the leadership of Managing Director, President and CEO Anthony Freud, Music Director Enrique Mazzola and Special Projects Advisor Renée Fleming, Lyric is dedicated to reflecting and drawing strength from Chicago’s diversity. Lyric delivers, through innovation, collaboration, and evolving learning opportunities, audience and community experiences that are ever more exciting, accessible, and engaging. We are also committed to training the artists of the future, through the Patrick G. and Shirley W. Ryan Opera Center; and to become increasingly diverse among our audiences, staff, programming, and artists, magnifying the welcoming appeal of our art form, our business, and our city.

Through the timeless power of voice, the splendor of a great orchestra and choir, theater, dance, design and truly magnificent scenography, Lyric is dedicated to immersing audiences in worlds both familiar and unexpected, creating shared experiences that resonate long after the curtain goes up. down.

For more information, visit lyricopera.org.

About Ryan Opera Center

The Patrick G. and Shirley W. Ryan Opera Center is Lyric’s premier artist development program that nurtures the talents of some of the most promising opera artists of every generation. Members of the Program’s Ensemble earn their coveted spot by successfully auditioning among more than 400 artists from around the world. Its alumni are among the dominant names in opera today. The generosity of donors ensures unparalleled continuing education, performance experience and professional preparation for Ensemble members. This highly competitive program, established in 1974, is honored to have the support of acclaimed soprano Renée Fleming as an advisor, as well as full-time director Dan Novak, music director Craig Terry and director of vocal studies Julia Faulkner .

For more information, visit lyricopera.org/ryanoperacenter.

]]> FHS Jazz Ensemble reaches another high note with second place at the Ellington Jazz Festival | Local News https://10nyo.net/fhs-jazz-ensemble-reaches-another-high-note-with-second-place-at-the-ellington-jazz-festival-local-news/ Wed, 11 May 2022 12:30:00 +0000 https://10nyo.net/fhs-jazz-ensemble-reaches-another-high-note-with-second-place-at-the-ellington-jazz-festival-local-news/

Decades after he was first invited to perform at the annual Essentially Ellington Jazz Festival at Lincoln Center in New York, the song remains much the same for the Foxboro High School Jazz Ensemble.

Sharing the stage last weekend with 14 other high school jazz bands from across the country, the FHS Jazz Ensemble, under the direction of Aaron Bush, finished behind the Osceola School for the Arts in Kissimmee, Florida.

Foxboro’s runner-up trophy came with a $2,500 prize to be used to improve high school jazz instruction programs.

Orange County School of the Arts in Santa Ana, Calif., took third place.

This year’s performance marked the 20th time in the festival’s 27-year history that Foxboro has been selected for Ellington’s 15 finals. top groups on nine other occasions, including last year.

In addition to winning the Ellington Contest in 1997, Foxboro received runner-up honors in 1998, 2004, and 2022; ranked third in 2007, 2010 and 2019; and earned an honorable mention in 1999, 2000 and 2001.

Accepting the runner-up award at Saturday’s ceremony, Bush said Duke Ellington’s music continues to resonate in American culture, celebrating diversity and giving listeners the opportunity to create an individual voice.

“Thank you to all of our supporters back home in Foxboro,” Bush concluded. “Thank you to our administration and, above all, thank you to the Foxboro High School Jazz Ensemble. I love you all very deeply.

In addition to overall second place, Foxboro was recognized for its outstanding brass and saxophone sections as well as five local musicians nominated for soloist awards.

They included guitarist Ben Carter and trombonist Sean Kelly, both seniors who won honorable mention awards, and fellow senior Cameron Shave, who was named one of the festival’s outstanding performers on trumpet.

They also included Foxboro junior Emma Lacy, who received the “Outstanding Doubler” award for her virtuosity on clarinet and alto sax, as well as the Ella Fitzgerald Outstanding Soloist Award as the festival’s best individual performer – the second year consecutively, she was single out for this honor.

When announcing Lacy as the 2022 Fitzgerald Laureate, jazz legend Wynton Marsalis, executive and artistic director of jazz at Lincoln Center, noted that she displayed stylistic flourishes on various instruments, as well as harmonic clarity, a sophistication, a soul, an intelligence and a “personal poetic sense.

“What can we say – we’re ready to give her a gig,” smiled Marsalis, inviting the young musician to a thunderous ovation from her assembled peers.

After giving Lacy time to return to her seat in the auditorium, Marsalis went on to recall the impact she had on the jury, especially Grammy Award-winning saxophonist Joe Lovano.

“I also want Emma to know that Joe Lovano insisted on [selecting her for the Ella Fitzgerald award],” he said. “He said, ‘Look, he’s someone who’s serious about acting.

“And when we started talking about you, we were all unanimous in our understanding of the level of your game – the consistency, the intelligence, the depth and the passion of it. So congratulations.

Commenting on this week’s experience, Lacy said she was especially grateful that the Ellington Festival had strengthened the bonds between the band members.

“It was an honor to be on a stage that so many great musicians had played before me,” she said, adding, “there was no one else I would rather have played with. .”

Throughout the weekend program, the 15 finalist bands were immersed in mentorship, jam sessions and workshops. The competition culminated with Saturday night’s concert on the iconic Jazz at Lincoln Center stage, where each top-ranked band performed with their chosen Jazz at Lincoln Center Orchestra member as a soloist.

For Shave, that meant exchanging licks with Kenny Rampton of the Jazz at Lincoln Center Orchestra, not to mention enjoying the atmosphere and spirit of support shared by young musicians across the country.

“I’ve never seen anything like it in my life before,” he said. “It was really inspiring to see the amount of hard work and incredible bands and these musicians and these people. There was a really encouraging atmosphere and spirit.

Cami Tedoldi, music director for K-12 at Foxboro Schools, said last weekend’s performance was emotionally charged, given what the young musicians had endured during the COVID pandemic. -19.

“I am so thrilled and proud of our students and their teachers for all they have achieved,” Tedoldi said this week. “Their dedication, hard work and commitment provide them with these incredible life-changing opportunities.”

His remarks echoed Marsalis’ final statement at the awards show, when he asked student musicians to reflect on what their respective band managers had endured in order to continue music programming during the pandemic.

“I want you to think about how difficult it has been in these 2 and a half years to maintain the momentum of the program, to keep you engaged and to continue to work with the administration of the school, with the parents , to be an adviser and a friend,” he said, prompting a 10-minute standing ovation. “I want you to think about the depth of what they’ve given you – what they want for you goes way beyond a festival and an award.”

There will be two more opportunities to hear the FHS Jazz Ensemble this year, the first being a performance on Wednesday, May 11 highlighting the Foxboro Music Assoc Annual Meeting. Spring Jazz Festival. This concert, featuring guest artist Tucker Antell, begins at 7 p.m. and will be held in the high school auditorium.

The Jazz Ensemble will make its final public performance on Thursday, June 9 to launch the 2022 Foxboro Jaycees Concerts on the Common series. This concert is scheduled for 6 p.m. at the Common bandstand.

Brand new East Lothian Schools Brass Ensemble take second place https://10nyo.net/brand-new-east-lothian-schools-brass-ensemble-take-second-place/ Wed, 11 May 2022 08:16:42 +0000 https://10nyo.net/brand-new-east-lothian-schools-brass-ensemble-take-second-place/ A GROUP of musicians who had their first rehearsal less than four weeks before a national competition finished second.

The East Lothian Schools Brass Ensemble were among the entrants to the Brass Ensemble of the Year.

The online music competition is open to ensembles of up to 10 musicians, ages 18 and under, who regularly play together at school or in their local marching band. Each local authority, independent schools and groups may only submit one application.

The Senior Brass Ensemble of East Lothian, who finished behind the Stranraer Brass Ensemble in the competition, brought together nine of the best brass instruments from the county’s six secondary schools.

The newly formed band had their first rehearsal on March 16 and recorded their entry as part of the East Lothian Council Young Musician of the Year on April 2 at St Mary’s Parish Church in Haddington.

Jonathan Gawn, East Lothian Council Instrumental Music Service Team Leader, said: “This was our first ensemble project at authority level since the pandemic.

“It was a privilege to attend these rehearsals, under the expert guidance of IMS (Instrumental Music Service) instructor David Robb, and to watch the band’s confidence grow over the four weeks.

“We had full attendance at all four rehearsals and our young musicians really embraced this challenging program to achieve this great performance and result.”

Ensembles perform a contrasting two-piece program lasting no more than 10 minutes in total, which is submitted as an unedited video, with all participants performing in one venue at the same time.

The group performed two pieces: Renaissance Dances, by 16th century composer Tielman Susato, and Danny Boy.

In response to Renaissance Dances, the members of the jury – Arlene MacFarlane, Director of the Scottish Schools Orchestra Trust; John Wallace, head of the Music Education Partnership Group; and John Miller, former head of winds and percussion at the Royal Northern College of Music, praised the rich, warm sound with dynamic interest and consistent note lengths throughout.

The judges also praised the trombonist (Sula McDonald, in S6 at Preston Lodge High School), who performed Danny Boy’s solo line, saying “she did it so well”.

The band’s tuba player, Jamie McDonald, also a S6 pupil at Prestonpans Secondary School, recently represented East Lothian as a tuba player in the National Youth Concert Band.

Mr Gawn added: “It is great to see our authority represented at this national level and I hope Jamie inspires others to audition and get involved in the years to come.

“We are already looking forward to next year’s brass ensemble competition.”

From Companion to Mentor: Meet the Next Generation in APEX Together’s Season Finale https://10nyo.net/from-companion-to-mentor-meet-the-next-generation-in-apex-togethers-season-finale/ Tue, 10 May 2022 15:00:26 +0000 https://10nyo.net/from-companion-to-mentor-meet-the-next-generation-in-apex-togethers-season-finale/
Soprano Felicia Moore and baritone John Brancy

Ensemble APEX’s season finale performance this Sunday in Montclair features soprano Felicia Moore and baritone John Brancy of the Juilliard Vocal Arts Program, joined by the next generation of orchestra musicians led by Music Director and Conductor conductor David Chan, in a moving celebration of song, featuring the music of Coleridge-Taylor, Mahler, Wagner and Liszt.

APEX set is much more than a community orchestra — it is a training orchestra. Chan is the concertmaster of the prestigious Metropolitan Opera Orchestra in New York. More than 150 scholarship students from the region’s top conservatory programs perform alongside mentor musicians from the Metropolitan Opera, New York Philharmonic, New Jersey Symphony, Orpheus Chamber Orchestra and the ‘St. Luke’s Orchestra, performing throughout the season.

This one-of-a-kind playing and training environment has resulted in a full-circle experience, says Andre Weker, APEX founder and president of the organization, founded in 2016 as Orchester Montclair and renamed APEX in 2021.

“APEX Ensemble’s mission is to give young musicians the opportunity to perform at a professional level,” says Weker. “Students don’t just play with their peers, they play alongside working professionals. It’s a different experience and you have to adapt quickly.

APEX has fulfilled its mission. Quianwen Shen, a former violinist, won a scholarship for New World Symphony and now plays with the Met Opera. Shen, who returned to APEX as mentor, is just one of APEX’s success stories. Double bass player Alex Bickard is another.

“It’s the second time we’ve had someone who was a comrade, who then got a job and came back to us as a mentor,” says Weker de Bickard, whose winning audition won him the assistant principal bass position at the New Jersey Symphony.

Bickard comes full circle on Sunday when he returns to perform with the APEX Ensemble for the first time since winning his New Jersey Symphony audition.

Alex Bicker. Photo: New Jersey Symphony Orchestra

Bickard first connected to APEX, when it was still the Orchester de Montclair, when he was a master’s student at Juilliard.

“When I heard the name David Chan and that some of the mentors would be Met members, I said yes right away,” Bickard recalled.

During the first rehearsal, Bickard finds himself playing alongside Brendan Kanea bassist in the Metropolitan Opera Orchestra and someone he had followed and admired for years.

“When you play with seasoned pros and experienced veterans, it’s a different kind of learning than playing with students. The students all do their best and can bring that kind of energy to the performance, but you see in these professionals that unspoken confidence and intention and ease that you can learn so much from,” says Bickard.

Playing with professionals in an environment where they choose to be mentors and which showcases their love of music has been particularly inspiring and empowering for Bickard.

“The type of atmosphere that’s created is such a positive and special environment, and such a supportive one,” adds Bickard.

This support became even more significant when Bickard decided to audition for the New Jersey Symphony in March 2019.

Bickard was able to contact Kane, performing for him before the audition to prepare and get feedback. Then the auditions happened to conflict with some rehearsals for a performance by the Orchester de Montclair that Bickard was to play.

“Montclair wanted me to play and didn’t make me choose,” Bickard said. “They said ‘let’s do both’ and accommodated my schedule.”

Bickard went through the New Jersey Symphony audition cycle, progressing from the preliminary round to the semifinals and then finally to the final round.

When Bickard learned that he had won a spot as assistant principal bass just before the Orchester Montclair performance, he was greeted with a round of applause from his fellow musicians and congratulations from Chan on the podium. This Sunday’s APEX performance will be the first time Bickard will join many of these same musicians, this time performing as a mentor.

“I’m excited because I wanted to come back as a mentor and give back and create that same kind of positive energy,” Bickard says. “Students who perform with APEX are the best students in their class who sound and act like professionals who haven’t gotten that break or that job yet. It’s validating as a mentor to complete the circle and help others achieve their goals.

Bickard says the collaborative experience APEX provides is rare and wants it to be more extensive.

“In school, you have this illustrious faculty that you only experience in lessons and coaching. It’s a completely different kind of learning when you play next to someone of that caliber.

Weker is thrilled to see the list of APEX Fellows who have won auditions for the New World Symphony, Baltimore Symphony, National Symphony, Royal Stockholm and Met Opera continue to grow and see an even younger group of musicians to experience mentoring, expanding that circle.

Buy tickets or access the live stream for Emerging Voices, APEX Together’s season finale performance this Sunday, May 15 at 4 p.m. at Montclair Central Presbyterian Church here.