Orchestra and kids: constant commotion!

Lincoln's Symphony Orchestra (LSO) performed their fall Family Concert this afternoon at O'Donnell Auditorium on the Wesleyan Campus. Maestro Polochick became a lovable father figure of the orchestra as they went about introducing the instrument families to the lost dog, "Treble," actor T. Adam Goos.

For those who've never attended a Family Concert, it's preceded by crafts, photo booth, and instrument "petting zoo" (where kids can take turns playing different instruments). As you head in for the concert, kids receive their programs and a pack of crayons--they can color the picture on their programs and turn it in at the end of the concert for a chance to win a prize!

The concert never lasts more than an hour and yet it's full of a variety of classics and the fun interactions between the orchestra and the actor.

This performance kept the kids moving and learning rhythm, dynamics, conducting, low/high, and all the sections of the orchestra! Each section took turns introducing itself and playing "Linus and Lucy"--strings, brass, woodwinds, and percussion!

A perfect introduction to the orchestra and the world of music and fun for all ages. Save the date for the next Family Concert with LSO on March 4th, 2018.

Lincoln's Symphony Orchestra: family, fun, and the future of music

This afternoon was a busy one in the area's Classical music scene with a variety of concerts in Lincoln and Omaha from orchestras and flute choirs to pianists and operas. One crowded event was Lincoln's Symphony Orchestra's "Three Little Pigs" Family Concert. What a sight to see as families with children of all ages, from babies on up, crowded into Wesleyan's O'Donnell Auditorium for the afternoon's entertainment.

LSO is doing a tremendous service to the community by holding these family concerts: encouraging children to come, listen, and experience orchestral music while also keeping it short, entertaining, and engaging. Maestro Edward Polochick, although forced to remain seated throughout the concert due to a broken foot, was warm and welcoming to the children as actor Tim Marrone came along in the character of Mother Goose, then Mr. Pig, and finally, the Big Bad Wolf.

Not only is clapping and noise allowed and encouraged (as laughter or boos resounded throughout the auditorium depending on the antics and character of Marrone), but children also had the opportunity beforehand to play various instruments, have their faces painted, do crafts, then color on their programs and help conduct on stage. Although some of the music is lost behind the laughter, it is heard, and the next time children hear Beethoven's 5th or the music of Ravel, they'll have a happy memory associated with it and want to learn more!

A wonderful way to inspire a love of orchestra and perhaps the next generation of musicians!

Chamber Music: Personal skills to a new level

The Lincoln Music Teachers’ Association (LMTA) provides many wonderful opportunities to teachers and students in the community and features in many past interviews and articles. On January 17th, LMTA hosted a Chamber Music Festival featuring members of Lincoln’s Symphony Orchestra, Lincoln Suzuki Talent Education members, members of the Home School Orchestra, and Nebraska Chamber Players (NCP).

Students of LMTA teachers working on their ensemble performance.
photo courtesy: LMTA

Kathleen Nguyen, a student who participated in the event, shared that she put in “a lot of practicing for the festival song” and worked hard “trying to perfect it.” Kathleen enjoyed “learning to play in a group, making new friends, and see[ing] lots of instruments and talented students.”

A string ensemble rehearses.
photo courtesy: LMTA

Parents commented on the opportunity it gave their children to learn to work, like Juanita Trexel put it, as “part of a team,” another mother, Kristen Plock, appreciated the opportunity it gave her daughter, a piano student, to “be exposed to chamber music and meet others who enjoy playing this type of music.”

Besides learning to work together to create music, students had the opportunity to be coached by NCP members and learn a little about conducting. NCP also gave a performance for the students—a chance to hear professional musicians who work together in chamber groups on a regular basis.

This was the second time that NCP participated in the Chamber Music Festival. Becky Van de Bogart, a member of NCP, says that they are “fortunate to be asked to participate.” Because of the level of work and effort that the LMTA teachers and their students have put into preparation for the festival, NCP is able to contribute a lot to the event:

“The Nebraska Chamber Players have the opportunity to coach the chamber ensembles the teachers in LMTA have put together and offer our insights as professional chamber players and soloists/teachers. The young musicians are completely prepared and have spent time working together before the festival so we are able to offer valuable suggestions about playing as an ensemble, tuning, communication and style.  The LMTA teachers are to be congratulated on getting these groups prepared.”

It was the beginning of the day when participants were able to hear NCP’s performance, “before the kids broke into the small groups.” That weekend, all of the participants were also given tickets to attend an NCP concert.

Van de Bogart’s comments are certainly complimentary to the work of LMTA in our community and also describe a little of what goes into performing as an ensemble at any level:

Clark Potter, a member of LSO and NCP,
coaches a trio at the Chamber Music Festival.
photo courtesy: LMTA

“LMTA has created a wonderful opportunity for young musicians to take their personal skills to a new level in the chamber music environment.  Each player must have total command of their own part, no matter how young they are, in order to be an equal partner in a group.  Then they have to be willing to compromise and be a productive ensemble musician with the goal of creating a quality ensemble performance.  There is quite a level of maturity needed to make this all happen.  The fantastic studio instruction the kids receive make this possible.  There are not enough kudos for the teachers and the kids!”

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Cirque de la Symphonie and another stunning performance in Lincoln

The Lincoln's Symphony Orchestra season opener with Cirque de la Symphonie played to a nearly full house last night. Couples dressed up for a formal date, college students in jeans, and families with small children all came together for the evening. 

LSO opened immediately with a rousing performance of the Star Spangled Banner--perhaps a new tradition for each concert? It was certainly well met as the audience leapt to their feet to salute the flag. 

But the highlight? The amazing feats of the cirque artists. Having the children in the audience aided the sense of wonder and awe for all--the children would sing along to the music and scream as the aerialists swung and twirled high above us on the ropes or silks. 

The aerial performances by Shana Lord, Alexander Fedortchev, and Vitalii Buza seemed to be the crowd favorite. The grand finale, a duo aerial act performed by Lord and Fedortchev, elicited many gasps of awe and bursts of applause. 

The other acts were equally impressive from the contortionist to the juggler, perhaps the most well choreographed, the performances that most matched the mood and rhythm of the music were the hula hoop act to Manuel de Falla's Ritual Fire Dance and the Cyr wheel performance to Bernstein's Overture to Candide--another breathtaking performance!

A few pieces were orchestra only--they were wonderful pieces! The Tchaikovsky Finale from Symphony from no. 4 and Strauss' Thunder and Lightning Polka were particularly delightful and wonderful!  

Bravo, LSO!

Cirque de la Symphonie returns to Lincoln

This Friday, Sept. 20, at 7:30pm, LSO and Cirque de la Symphonie reunite on stage for what's sure to be another stunning performance. It was in October, 2011, that Lincoln's Symphony Orchestra opened it's season with the spectacular performance of the Cirque de la Symphonie. The audience was awed by the production.

Shana Lord - who will
be performing in Lincoln
on Friday night.

The LCM News review described the audience's reaction:

"As the aerial artists spun and twisted with graceful, athletic skill, and spun or flipped almost to the ground, the audience would gasp... and then sigh with relief."

What is the Cirque de la Symphonie? Shana Lord, one of the aerialists on this Friday's performance, described what the Cirque does as "a marriage" of "physical artistry and musical artistry." In Lord's exclusive interview with LincolnCMN, she said that the audience should be prepared for: 

"A big surprise! Be along for the ride. 

We would love to inspire people to listen to Classical music and become a part of it in their community as people who play and listen to it--enjoy it!"

 Having started as a gymnast and a dancer, Lord describes herself as first an athlete who, with her experience in dance, learned to combine the two into an art form. Canadian based Cirque du Soleil was an important part in the development of her career in this style.

Photos courtesy of Cirque de la Symphonie

Besides performances with Cirque du Soleil, Lord has enjoyed performances with Gwen Stefani, Will Smith, and most recently, Anastacia. Lord shared with LincolnCMN a touching memory from her tour with Anastacia. Just as Lord had finished her act, Anastacia called her back on stage and completely surprised her by singing "Happy Birthday" to her in front of 10,000 people in a stadium. "Traveling together," Lord said, "you become a family."

Cirque de la Symphonie has three troupes of performers, and Lord was not among the troupe that came to perform in Lincoln in 2011. But she is looking forward to performing this Friday in Lincoln:

"Performing with the symphony is really a special treat—we don’t always get to work with live music. My favorite part is really just that--getting to work with the live music. With the different tempos and working as a team, it becomes a more organic, seamless performance."

Lord does all of her own choreography for the show. In Lincoln, she will be performing with Khachaturian's Valse from Masquerade in the first half and, in the second half, an aerial duo with Alexander Fedortchev to music by Rimsky-Korsakov.

Besides the aerial artists like Lord, the Lincoln audience will experience performances with juggling batons, contortion, spinning frame and cubes, hula hoops, acrobatic dance, juggling hats, and more.

If you haven't purchased tickets already, do so right now! All ticket information can be found at the LSO website. On Friday--be there and be amazed!

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Cirque de la Symphonie and the LSO: Breathtaking

First published over a year ago, this review is of the Cirque de la Symphonie and their performance with Lincoln's Symphony Orchestra.

Cirque de la Symphonie will be performing with LSO again in the 2013-2014 season! Visit the Lincoln Symphony website today for more info and ticket purchases!
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To a near capacity crowd, conductor Edward Polochick warmly expressed his appreciation for what he considers “the best audience in the world.” Friday night, the Lincoln audience gasped, sighed, laughed, and cheered—responding as one to the thrilling performance on stage.

Lincoln’s Symphony Orchestra (LSO) opened its season last night, Sept. 16th. Having just made the move from the smaller venue of Kimball Recital Hall, some may have wondered if LSO could fill the 2,210 capacity of the Lied Center. With the help of Cirque de la Symphonie, LSO played to a packed house.

Performing such favorites as Tchaikovsky’s Sleeping Beauty Waltz and Swan Lake, John Philip Sousa’s The Stars and Stripes Forever, Saint-Saens’ Danse Macabre, and Rimsky-Korsakov’s Snow Maiden: Suite and Danse des bouffons, LSO could have brought down the house with the music alone, but paired with the artistry and acrobatics of Cirque de la Symphonie, the audience was blown away.
As the aerial artists spun and twisted with graceful, athletic skill, and spun or flipped almost to the ground, the audience would gasp... and then sigh with relief. Christine Van Loo and Elena Tsarkova were graceful artists with silk aerials, and Aloysia Gavre astounded everyone as she hung by one hand or just her feet while spinning with the rhythm of the music.

Vladimir Tsarkov was a favorite with the children in the audience, a bright glittery costume, and a face painted like a mime. Feats of juggling prowess and moments of clownish silliness kept the audience full of applause and laughter. The strength of Jarek and Darek’s “Duo Design” was yet another show stopping performance.
Alexander Streltsov first came on stage with his spinning cube act, but he stole the show completely during his aerial performance. Perhaps it was the masculine quality of his dance and performance, soaring out over the audience and back over the orchestra with the silks like a cloak, or the exceptional, exquisite, and perfect choreography. The music and acrobat were one in this performance—drawing in the audience and taking their breath away.

Bravo, LSO on your season opener! The spontaneous standing ovation at the end was absolutely deserved.

Anton Miller to communicate things 'only expressible through music'

On Saturday, March 16, at 7:30pm, Lincoln’s Symphony Orchestra will perform a program entitled “Brahms Meets Beethoven” at the Lied Center. This concert is the first of two remaining concerts in the 2012-2013 season. Tickets are still available by visiting the LSO website.
Anton Miller, longtime concertmaster in the LSO, sat down with this Examiner to talk about Brahms and Beethoven. First off, Miller explained what the title “concertmaster” entails. The concertmaster is “basically the leader of the orchestra—in the history of orchestras, the concertmaster acted as the conductor or could step in to direct the orchestra for the conductor. In short, the concertmaster is a leader, certainly the leader of the strings, making sure all the bowing goes the same way for instance.” Other ways that the concertmaster leads the orchestra today include “translating” and “serving as a conduit” between orchestra and conductor; “in performance,” Miller shared, “my job is to do everything I can to help the conductor get everyone playing together.”
How does Miller accomplish all of this the LSO when he lives in New York and has a busy performing schedule?

“I’ve been doing this for about 25 years now. I come out for rehearsals the week before the performance, and I spend the entire week out in Lincoln. I travel to all kinds of different places, but I’m always there in Lincoln for a week of rehearsals. I always love coming out, and it’s a wonderful place.”

Miller is not only concertmaster but also soloist at this week’s performance. He will be performing Beethoven’s Violin Concerto in D Major. He has played this concerto about three times before: “The first time was about 20 years ago with the Westfield Symphony in New Jersey, and I’ve played it again a couple times with various smaller orchestras in New York.”
When asked if he had a favorite between Brahms and Beethoven, Miller laughed, and then groaned. “If you held my feet to the fire and MADE me choose, my two favorite composers would be Brahms and Beethoven. If I had kids, it’d be like trying to make me say which of my two kids I liked better.” In the end, he admitted, he would choose Beethoven, who “came first and is probably the greatest composer... If I had to live without one of them (which I would hate to have to do!), it would be Brahms; I just couldn’t do without Beethoven.”
Miller also shared what his goal is when performing. He wants the audience to be “inspired, and that the concert communicates emotions and feelings to the audience. Music is it’s own language. Certain things are only expressible through music.” Miller admitted that he loves performances where he can talk to the audience and tell them what the music is about. In a way, of course, that opens up the doors for the audience to understand what the music is communicating.
To that end, Miller explained a little of what to listen for in the Beethoven work on Saturday:

“This concerto is incredibly beautiful. The first movement is incredibly lyrical and filled with an immense amount of emotion. What I want to do is show that...and get the audience to feel those different types of emotions. Many emotions, a lot of joy and sorrow, come to a head at the end of the first movement.
The slow movement is like a recitation, so soft, and it almost dies away—you feel like the music could last forever in a beautiful way. The last movement is like a dance that’s fun and joyous and a little tongue in cheek. This music lends itself to knowing the feelings.”

Miller has one experience of communicating with music that stands out especially. “I played a concert many years ago in Switzerland for an audience of mentally handicapped people. It was very noisy as I came out on stage, not applause, just chaos. I started playing—and I played for an hour and a half—and there was dead silence the entire time. I knew I was communicating at a high emotional level.”
That memory helped to inspire Miller to always “find something that touches people” as he performs.
“Something that’s beyond what would normally be talked about or communicated.”
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'The Four Seasons' was wild and stunning

The audience as it eagerly awaited the performance "The Four Seasons" at the Lied Center

Amy Flamminio

Lincoln’s Symphony Orchestra wowed the audience again with their second concert of the season, The Four Seasons. As Conductor Edward Polochick explained to the audience, the idea for this evening’s performance came to him several years ago. At the time, Polochick conducted the premiere of César Olguin’s arrangement of Astor Piazzolla’s Las Cuatro Estaciones Porteñas. At last, for a Lincoln audience, Polochick’s inspiration came to life—a program featuring both Vivaldi’s and Piazzolla’s Four Seasons.

Piazzolla

“Remember,” the Maestro told the audience, “we really have eight different seasons here because Piazzolla is writing about seasons in the southern hemisphere, and Vivaldi is writing from sunny Italy in the northern hemisphere.”

The Chiara String Quartet took the stage with a string orchestra and piano, and the beginning of Piazzolla opened with what could have been Vivaldi, but suddenly broke into tango rhythms. The audience couldn’t contain itself and broke into spontaneous applause after hearing “Summer.”

“Autumn” could be described as wild. That is, wild and fast, wild and dissonant, and wild and lonely during Jonah Sirota’s achingly beautiful viola solo during this piece. “Winter” had a beautiful and peaceful ending that could have left you wondering what century it was written in because of it’s timeless harmonies. Closing with “Spring,” LSO and the Chiara String Quartet played with unabated energy, wild southern springtime rhythms.

Vivaldi

After Piazzolla, the audience was left wondering how Vivaldi’s Four Seasons could follow such a work. But as Rachel Barton Pine took the stage and described the story told by Vivaldi’s work, the audience were wrapped up in the music. Without ever mentioning a technical term, Pine described the motives, or musical ideas, that would be present in each movement. She described the trilling birds, flowing stream, and light thunderstorm in first movement of “Spring.” The second movement, she told the story of a napping shephered, “That’s me!” she grinned, and told how the violins are rustling leaves, the violas are a barking hound, what she declared was “Vivaldi’s version of an 18th century viola joke!” as the audience laughed.

Without throwing terms like “concerto grosso, ripieno, motives, or programmatic music,” Pine made Vivaldi’s music engaging for everyone, and her virtuosic performance was spectacular without drawing attention to itself. It may best be summed with her description of the first movement of “Autumn,” “I represent a particularly drunken guy, stumbling around, and basically making a fool of himself...” This comical account won the audience’s attention to the story told by the music, almost forgetting the brilliance and vivacity with which Pine’s violin played the virtuosic passages of the “drunken fool.”

Another wonderful part of the performance was Polochick at the harpsichord performing as harpsichordist and as conductor. Just to hear the harpsichord on stage gave a vital and delightful authenticity to the performance.

After a thoroughly engaging and flawless performance of the Four Seasons, Pine was called back on stage by a standing ovation and gave an encore from her latest CD. Fittingly, she chose to play Piazzolla’s Liberetude in closing, and give us a taste of the wild tango rhythms and an exciting finish to a stunning concert.

Lincoln's Symphony Orchestra brings you the 'Four Seasons'

Lincoln’s Symphony Orchestra brings you the ‘Four Seasons’

As weather in Lincoln changes every five minutes between summer, fall, and winter, Lincoln’s Symphony Orchestra will perform a concert called, “The Four Seasons.” This event takes place at the Lied Center for Performing Arts on Friday, October 14, 2011. At 7:30pm, audience members will be treated to Piazzolla’s Four Seasons of Buenos Aires performed by the LSO and the Chiara String Quartet.

Piazzolla, an Argentinian composer, is famous for bringing tango and jazz together with classical music. This performance will show the Latin and tango inspiration in Four Seasons of Buenos Aires.

Violinist Rachel Barton will join with LSO to perform the famous work ofVivaldi, also entitled The Four Seasons. Born in Venice in 1678, Vivaldi became music instructor at the girls' school in 1703 and worked there for roughly 15 years. Although a celebrated violinist, Vivaldi composed for many instruments in order to feature different students in concerts at the school.

One piece from The Four Seasons is "Summer." It starts out calm, serene. In Lincoln, this may be compared to early on a summer morning, but it becomes agitated and excited briefly, perhaps to indicate the rising temperature. The second movement sounds like one might imagine the stillness of a hot afternoon. This movement reminds us that it is cool and calm if one stays in the shade or indoors, but intermittently, there is a threat of a coming storm, which then breaks upon us in the third movement.

The third movement of "Summer" may arguably be the most famous movement from all the concertos of "The Four Seasons." A search for "Summer by Vivaldi" on iTunes yields hundreds of albums featuring this concerto. The albums may feature all Vivaldi pieces, or may be collections of summer music, Baroque music, or even rock and techno as this famous piece has been adapted by some artists in those modern genres.

Although summer weather seems to have subsided now, be sure to attend LSO’s The Four Seasons on Friday. Ticket information is available at: 402-476-2211 or the LSO website.

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Summer: A link between Lincoln and Vivaldi

A picture taken as storm clouds loomed over Lincoln, taken at 14th and Old Cheney.

Credits: Michael Cornelius, via flickr

While Lincoln and the surrounding areas experience days of sweltering heat alternating with furious thunderstorms, many people are trying to stay put in their air conditioned homes and offices. Long before air conditioning, a man known as the Red Priest experienced just such summers in Venice and was inspired to write "Summer."

The Red Priest was nicknamed such because of his red hair, although he was a Roman Catholic priest, his main job was that of music instructor and master of violin at a girls' orphanage. Born in Venice in 1678, Vivaldi became music instructor at the girls' school in 1703 and worked there for roughly 15 years. Although a celebrated violinist, Vivaldi composed for many instruments in order to feature different students in concerts at the school. Perhaps one of his most famous and well-loved pieces, and especially appropriate as Lincoln experiences extreme summer weather conditions is the second in a series of violin concertos of entitled "The Four Seasons."

Summer from the Four Seasons

"Summer" starts out calm, serene. In Lincoln, this may be compared to early on a summer morning, but it becomes agitated and excited briefly, perhaps to indicate the rising temperature. The second movement sounds like one might imagine the stillness of a hot afternoon. This movement reminds us that it is cool and calm if one stays in the shade or indoors, but intermittently, there is a threat of a coming storm which then breaks upon us in the third movement.

The third movement of "Summer" may arguably be the most famous movement from all the concertos of "The Four Seasons." A search for "Summer by Vivaldi" on iTunes yields hundreds of albums featuring this concerto. The albums may feature all Vivaldi pieces, or may be collections of summer music, Baroque music, or even rock and techno as this famous piece has been adapted by some artists in those modern genres.

The third movement is exciting, thrilling, and grips you like the thunder and lightning storm that it is meant to represent--and just like the grandiose, powerful storms that Nebraskans are used to seeing this time of year. One of these hot, summer afternoons, or maybe during the next thunderstorm, take a listen and feel how well the music matches the season!

Although summer weather may have subsided by the time October rolls around, Lincoln can also look forward to hearing Vivaldi's "The Four Seasons" on the opening concert of the LSO 2011-2012 season. This performance will feature the Chiara String Quartet and Rachel Barton Pine, violin. The performance will be at the LSO's new home, the Lied Center for the Performing Arts, and is on Friday, October 14 at 7:30pm.

Lincoln Symphony Orchestra: Cheaper tickets and bigger venue

Kimball Recital Hall seating a capacity of 850 will no longer be the home of the Lincoln Symphony Orchestra starting next season, they are moving to the Lied Center, capacity 2,200.

Credits: Amy Flamminio

Breaking news this past Friday was the announcement by the Lincoln Symphony Orchestra of a number of changes for the upcoming season. While many orchestras are struggling financially, and are tempted to raise their prices, the LSO is making tickets more affordable. In the symphony’s official press release, it is stated that “more than half of the seats will be available for the same price as a movie” and Executive Director Barbara Zach stated that “The lower ticket prices are the final piece of the puzzle in terms of truly becoming Lincoln’s Symphony Orchestra by making live classical music financially accessible to everyone in our community.”

Concerts this year cost $24.99, $34.99, or $44.99 based on seating, and the costs during the next year are as follows:

• Premium seats (approximately half of the venue) will cost $25, and remaining seats will cost $10
• 20|30 Club members (anyone ages 18-39 who joins the club by calling the LSO office and providing their email address and date of birth) will receive premium seats for only $10
• Tickets for children ages 5-17 will cost $5
• Ticketing fees will be added to every ticket

The lower ticket prices will attract a larger audience, and by moving the principal venue from Kimball Recital Hall to the Lied Center for Performing Arts, the capacity goes from 850 to 2,200, the LSO will be able to accommodate their growing attendees. The move to the Lied Center is helped by donations from John and Rhonda Seacrest and the Lienemann foundation as well as by many smaller donations and season ticket holders.

Clark Potter, principal viola for LSO, told this examiner that he looks forward to playing more at the Lied Center, although he also loves playing in Kimball and stated that “the sound in there is excellent. I love the feeling that the audience is right there close and, like any musician, I love playing for a packed house. No one in the orchestra was disappointed with Kimball.” At the same time, however, Potter states that “the sound in the Lied is terrific” and that having played there a lot in his 15 years in Lincoln, it won’t feel strange to be there.

In regards to the ticket prices, Potter said he thought it sounded like a good experiment. “I really like that the orchestra is trying to make something happen,” Potter said, “it would be easy in ‘these economic times’ to sit back and just try to weather the storm. The fact that the orchestra is being proactive is a terrific sign of forward motion.”

The LSO is certainly doing its part to keep Classical music alive in Lincoln—now anyone can attend for a reasonable price and experience great, live music. However you’re dressed, whatever your tastes in music, and even on a low budget, you can enjoy an evening with the orchestra!

Ideas and inspiration from Andy Strain

Recently, Lincolnites were treated to performances by Andy Strain and the Lincoln Symphony Orchestra where Andy shared some of his unique talents on the trombone, improvisation, and interpretations of music and light using video-game technology. Now, he is sharing a little more with Lincoln readers through an interview about some of his experiences, inspiration, and advice.

How long have you been playing the trombone?
I've played since I was 12. I'm 33. wow! 21 years! I started on the baritone horn, and switched to trombone because I wanted to play jazz in middle school. I never really thought I'd still be playing all these years later! Sure glad I am!!

How did you first get the idea to work with video game technology and trombone performance together?I had seen graffiti artists using laser pointers to paint with projected light on buildings, and I wondered how that would fly with the trombone. At Mills College where I was working on my Masters degree in Free Improvisation, I teamed up with a computer musician and programmer to put together an experimental duet. We used both visual and audio tracking to create live projected imagery and processed sound. It was all improvised stuff. What we performed at Kimball last week was a simplified and more refined version of that project.

Andy Strain performs trombone for children and adults.

Photo credit: courtesy of Andy Strain

How long have you been working with Yotam Mann and Jerry Smith?
I've been working with Jerry for about a year now - we met at a performance a few years back, and I really liked his work. So I asked him to join me. When we realized we needed more help, we found Yotam through a friend. We work amazing as a trio, and I'm excited to see what comes next.

What draws you to performing for school children?
There is a certain and fantastic energy surrounding young people and sound. They are curious, as I am, why music can make us feel certain ways. With young people, it's not about perfection, but detail. It's about showing them what honesty sounds like and looks like in performance. When young people experience new sounds for the first time, so do I. And when we have a discussion about it, young people are unafraid to ask questions and get involved. We are using the addition of projected light as a tool to help young people relate to and perhaps better understand existing classical music, modern music, and improvised music.

What advice do you have for children to learn more about music?
Follow your ears! Try to imagine the birds and the cars on the street as music. try to imagine classical music as birds and cars. It's okay to like any kind of music out there - find what you like, and listen to the bass, the melody, the words, the loud, the drone, the fun, the rhythm… and then listen to how they all relate to each other. Hint: they are just like people - sometimes they work in harmony and sometimes they work against each other. I think music holds a lot of clues to life!

What advice do you have for adults who aren't familiar with Classical music?
Be a child again, unabashed, and without fear. When you hear something you like, find more of it. If you see a good concert coming up in town, listen to the music they will perform as much as you can before you hear it live. And lastly, if you encounter music that is difficult to focus on, challenge yourself to find something inside it that is interesting, even if it's the lonely triangle player in the back.

Life as a member of the Lincoln Symphony Orchestra

Jessica Dussault is a young member of the Lincoln Symphony Orchestra

Credits: courtesy of Jessica Dussault

Jessica Dussault is a senior at the University of Nebraska-Lincoln, and also a member of the Lincoln Symphony Orchestra(LSO). While double majoring in Music and History, she still finds time to devote to being a member of the Lincoln Symphony Orchestra. Last year, she had the honor of performing with her chamber music group, the Argyle Quartet, in a master class with the world-famous cellist, Yo-Yo Ma. Here are some of her thoughts and experiences about being a member of the LSO.

Danse Macabre by Camille Saint-Saëns

When did you first attend a Lincoln Symphony Orchestra concert?
The first time I saw the Lincoln Symphony was during a field trip to the Lied Center in elementary school. I remember watching all of the bows of the stringed musicians and wondering how the players knew which direction they were supposed to be going.

What instrument do you play?
I play the cello, an instrument that I picked in fourth grade because I was looking for an excuse to avoid standing up all the time. I was also a bit concerned that playing violin would cause me to get a permanent crick in my neck, and so cello presented itself as the ideal instrument. I rented a cello until sixth grade, when I got Chloe. My senior year of high school I decided I would be a music major and my grandma bought me my current cello, Kip Austin. It took months of searching violin shops as far away as Chicago, but I found him just as hope was beginning to fade.

Was it difficult to get into the LSO?
My teacher when I was growing up, Tracy Sands, holds the current record for the youngest LSO member on record at 16 years of age. I had a secret plan to steal her glory at the age of 15, but I didn't actually audition until I was a junior in college. I had been subbing for the Lincoln Symphony since I was 18 and knew that I could contribute to the orchestra, but I had to prove to a panel that I was a worthwhile member. I spent a few weeks working on the audition excerpts and polishing up a concerto and Bach suite, and then took the audition. The luck wasn't with me, and I had to wait another year to audition again. The second time, I listened to a number of recordings, including some with audition specific commentary, recorded and critiqued myself playing the excerpts, and performed them for other music majors. I was awarded a contract and have been playing in the symphony for two years now.

What is it like for you being a college student and a member of the symphony at the same time?
Being in college and symphony has rarely been a hindrance. Besides the symphony's uncanny ability to schedule concerts during midterms and finals weeks, I have never had a school conflict. The Lincoln Symphony schedules concerts and rehearsals months in advance, so I have always been able to plan other activities around LSO services. It's also fun working with faculty members on a peer level instead of on the normal teacher-student level during rehearsals.

How has your experience with LSO been and what have you learned from performing with the orchestra?My experience in the Symphony has been fantastic. Professional rehearsals move quickly and demand a lot from the performers, but they're often enjoyable because everyone in the room is prepared and attentive. At the university level, the rehearsal process can be frustrating because individual musicians do not yet know the music. At the professional level, musicians know the music, write down notes from the conductor constantly, and listen attentively to instructions in between. It's exhausting, but very rewarding because so little time is wasted. Any frustration comes from disagreements of musical interpretation or a sense of pressure because of the need to get through a large amount of repertoire in a short amount of time.

During my time in the symphony, I have learned a great deal about the amount of business that goes on behind the symphony. The musicians' union regulates the rehearsals, from the wages and time commitments of the musicians to the temperature range, humidity, and even the lighting of the hall. The Symphony's Board of Directors, Guild members, and Foundation members are constantly fundraising, planning events, and working on public relations. Without them, the Symphony would not exist.

I have also grown as a musician. Patience, attentiveness, and a good memory are marks of a strong orchestral player, and I have matured since becoming a part of the symphony.

What's your favorite piece that you performed with the orchestra?
I grew up listening to Danse Macabre by Saint-Saëns, and so I was delighted to be given the opportunity to play it with the Lincoln Symphony. One of the more pleasant surprises I've had while playing in the LSO was when we played Beethoven's 3rd Symphony, the "Eroica" or "Heroic" Symphony. I do not normally enjoy playing Beethoven, and I wasn't expecting to enjoy working on the Eroica, but the LSO's conductor, Edward Polochick, made me change my mind. Polochick explained to us why he was making stylistic decisions, as he wanted to convey his own personal convictions that the 3rd symphony was the first Romantic era symphony. His admiration and love of the piece transferred to me, and I have since considered the Eroica to be my favorite of Beethoven's symphonies.

'Lights and Music:' Andy Strain brings musical magic to Lincoln children

Andy Strain and the Lincoln Symphony Orchestra introduced children and families to the "magic" of music and imagery during the March 20, 2011, concert.

Credits: Amy Flamminio

Yesterday, March 20, 2011, Lincoln was treated to the performance of trombonist Andy Strain with the Lincoln Symphony Orchestra. This concert was titled “Lights and Music,” and the audience was full of families with children. Beforehand, the Sheldon Museum of Art was open to children who wanted their face painted or visit the “musical petting zoo,” a few instruments that the children (and adults) were invited to try playing.

Andy Strain, a Lincoln native and UNL alumni, currently resides in California and has made it his mission to reach out to elementary school children with his music. According to Strain’s own program notes, “the trombonist: a roaming occasionally down-trodden, troubadour of sound. The trombonist especially enjoys playing music for young ears (which, unscientifically speaking, can be opener than older ears). More importantly, the trombonist believes in miracles, which are sort of like magic.” In his performance, Strain makes those “miracles” take place for his audience.

Andy Strain visits Morley Elementary School

Strain combines his musical efforts with the technological and visual work of Jerry Smith and Yotam Mann. Together, they create a stunning visual and musical picture. The most fascinating part of the concert was the performance of Pablo de Sarasate’s “Zigeunerweisen” or “Gypsy Airs.” Originally written for a violin solo, Strain performs this virtuosic piece with his trombone. Upon his trombone, he has tied a ping-pong ball with infrared lights in it—this is where the work of Smith and Mann come into play. Suddenly, instead of just hearing the music, we are treated to see images projected on a screen that help visualize the music. Strain’s program notes enlighten us:

“We took a video game camera that watches for infrared light (something our eyes can’t even see!) and turned its lens onto a trombonist, who not a lot of people can see either. Then, we took a ping-pong ball filled with infrared light and attached it to the trombonist’s trombone slide. Then, we got these really cool guys named Jerry and Yotam to write a computer program that uses that camera to track the ping-pong ball of light…Together, they figured out how to do cool things with infrared tracking. For example, the trombonist can play a lullaby for a digital butterfly, serenade dancing leaves, or offer a bouquet of sound to that girl on a hill.”

The effect held the audience, young and old alike, quite spellbound. “Gypsy Airs” was certainly the most fascinating part of the concert as Strain’s trombone/ping-pong ball concoction controlled a moon as it danced across the night sky, growing larger or smaller as the volume of the music swelled or diminished.

Best of all, Strain encouraged the children in the audience to go home and listen to classical music themselves, and to imagine or draw pictures according to what they feel or hear in the music. It’s never to soon to experience the magic of music!
Lincoln children can thank Andy Strain for bringing this magic a little closer to them this weekend.

Enjoy live, Classical music with Lincoln's Symphony Orchestra

You may see this logo here and there on billboards throughout Lincoln. The LSO gives Lincolnites an opportunity to hear and enjoy live, Classical music on a regular basis.

Credits: from www.artscene.org

“An orchestra is a sizable instrumental ensemble that contains sections of string, brass, woodwind, and percussion instruments,” so says the “Orchestra” Wikipedia page, which goes on to detail the history and development of the orchestra from ancient Egypt to today. Orchestras have a long, distinguished history as part of Western Civilization and Lincoln, Nebraska can be broad to boast of its own Symphony Orchestra.

The Lincoln Symphony Orchestra (LSO) was founded in 1927 by a small group of musicians who were proud of the education and culture to be found in this small midwestern city. Throughout the years, they have offered Lincolnites the opportunity to hear great Classical music in live performances. Not only have audiences been delighted with the works of Beethoven, Tchaikovsky, Brahms, and others, but they have also been treated to guest performances of such virtuosos as violinist Isaac Stern, soprano Renee Fleming, and pianist Van Cliburn.

Edward Polochick, who resides in Baltimore, Maryland, has been the conductor of the LSO since 1998. Besides his frequent trips to Lincoln to conduct the LSO in rehearsals and performances, he also serves on the faculty of the Peabody Conservatory of Music and is the founder and artistic director of the Concert Artists of Baltimore. He contributes a great deal to the LSO with his time and talent.
Other ways that the LSO promotes and keeps alive Classical music in Lincoln are by offering “Young People’s Concerts,” family events, and by giving college Music majors opportunities to perform with them and sometimes offering jobs with the LSO. The Young People’s Concerts are engaging, interactive, and educative, in this way, the LSO attracts the next generation of concertgoers and musicians—insuring that the legacy of the LSO will continue!

If you are interested in attending concerts given by the LSO, keep an eye on their Season Schedule and “like” the Lincoln Symphony Orchestra Facebook page.