Top Class Music Solo Performance - Music Solo Compere Speech Notes by Eddie Dorn

VCE Season of Excellence 2011 Top Class Music Solo Performance Music Solo Compere Speech Notes by Eddie Dorn

Concert 1 11.00am

Julian Zheng French Horn Melbourne Grammar School, Melbourne Horn Concerto 1, Ist Movement by R.Strauss Accompanist: Kevin Suherman

This next bracket of soloists are Brass performances - from Torelli, to Ravel, Strauss to Vaughan Williams and Larseen.

Some aspects of the criteria to listen for today include:  Technical control (C. 3 Skill in performing a range of techniques with control and fluency)  Historically informed (C. 8 Skill in presenting an informed interpretation of a range of styles) Torelli was influential in the development of the baroque Concerto Grosso and solo concerto, Ravel, sometimes called a French Impressionist composer composed the work as a vocalise for bass voice (song without words)  Range of tonal qualities C. 4  Expressive communication C. 5  Skill in performing with musicality and creativity (C.9) – personal interpretation.  Skill in differentiating the structures and characters of each work C7 – listen for a range of structures, both short and long and how the performer uses musical devices such as dynamics, articulation, rubato (tension and relaxation) to highlight the structure and to create interesting performances

David Bowden Trumpet Christian College Institute of Senior Education, Warun Ponds ‘Sinfonia in D for Piccolo Trumpet’ by G.Torelli Piece en Forme De Habanera by M. Ravel Accompanist: Alison Conrau

Callum Hicks Tuba Christian College Institute of Senior Education, Waurrn Ponds Concerto for Bass Tuba, 1st Movement By V. Williams Accompanist Regina Thomae

Adrian King Bass Trombone St Joseph's College, Newtown Concertino for Trombone Movements 2 & 3 by L. E. Larseen Accompanist: Regina Thomae

Moving from the brass family to the percussion family. Each instrument has certain programming requirements, which need to be fulfilled in order to comply with the task in hand. Percussionists are required to perform a minimum of five works, complying with the following conditions: • one unaccompanied work • two works which are examples of music composed since 1910 • at least one work with accompaniment • one work from each of the following four categories: (5th & subsequent works from any category) - Timpani - Multiple percussion/Drumkit - Mallet percussion - Snare Drum

1 The next performance by Nicole Ng demonstrates a distinct Latin feel and demands excellent control and demonstration of a wide range of techniques.

Nicole Ng Percussion (marimba) Victorian College of the Arts Secondary School, Southbank Marimba Dances by Australian composer, Ross Edwards

Staying with the percussion family, we present 3 pianists who each will perform works of quite contrasting styles, demonstrating very different techniques and structures. Valley of the Rocks is quite a thickly textured work, recalling the sunset grandeur of the Valley of Rocks, near Lynton, North Devon. It is a programmatic work, with lots of scope for a performer to demonstrate something of their own personality. Schuman’s ‘In der Nacht’ is a work typical of the height of the Romantic era with its obsession with both lyricism and virtuosity. Grainger’s Handel in the Strand is a fiendishly difficult work, that depicts a more light hearted aspect of music. It can only sound so at the hands of master technician who can make it sound like a simple frolic in the park.

Our first performer in this bracket, Claire Di Lalo, is a joint recipient of the Schofield Award with Geordan Gullock. This scholarship was established by the family of the late Margaret Schofield in recognition of her achievements as a musician and her commitment to both music education and the provision of educational opportunities for all.

The scholarship is open to students who have completed their VCE at a government secondary school and provides assistance in funding ongoing music study at a tertiary institution.

More information is available on the VCAA website, including application forms, and selection criteria

Claire Di Lallo Pianoforte Victorian College of the Arts Secondary School, Southbank Valley Of Rocks by Miriam Hyde

Michael Byrne Pianoforte Scotch College, Hawthorn “In der Nacht” From Fantasiestuck, Op. 12 By R.Schumann

David Soo Pianoforte Victorian College of The Arts Secondary School, Southbank “Handel in the Strand” By Percy Grainger

As we move to a bracket of string players, I would like to remind students at this point of the importance of the role of the accompanist. Whilst the accompanist is obviously not assessed, the soloists’ interaction with the accompaniment is. C. 6, ‘Skill in the differentiating of the musical lines’. To achieve their potential in this criterion, students need to work with an accompanist who is highly skilled, empathetic, and has an excellent understanding of the stylistic genre performance. You have already heard and will hear more, exceptional accompanists who support the soloists and enable them to maximise their potential. Much commentary is made about accompanists by assessors, and this is summarised in the Chief Assessors’ report on the VCAA website.

In introducing Stephanie Stamopoulos, cellists in the audience who are familiar with the prescribed list might be aware that Dance of the Elves is not listed. That is because it was an approved Alternative work. Remember that there is a process where students may apply to perform a work not listed on the syllabus. The justification for approving such a work for performance is usually that the style is not represented in the published list, or there are techniques that the student wants to explore that are not represented in other works on the current list. Again, more information is available on the VCAA

2 website. The deadline for applying is Friday March 4

Stephanie Stamopoulos Violoncello Ruyton Girls' School, Kew “Dance of the Elves” by D. Popper (Late Romantic period 1843-1913 – Bohemian [Czech] cellist) Accompanist: Tomoe Kawabata

Anita Voon Violoncello Presbyterian Ladies' College, Burwood “Qui Mariam” from Requium by Peter Sculthorpe

Pepita Emmerichs Violin Victorian College of the Arts Secondary School, Southbank Sarabande & Tambourin, from Sonata No 3, J.M Leclair Accompanist: Claire Di Lallo

Ioana Tache Violin Victorian College of the Arts Secondary School, Southbank “Nigun” from Baal Shem by E. Bloch Accompanist: Anne Lewitzka

I talked at the start of the concert about the importance of crafting a suitable program that will enable a student to maximise her or his potential. Whilst you have heard only a short selection from a variety of students today, one thing in common with all performers in their performance exam last year was their ability to craft interesting programs. In the voice lists, both classical and contemporary popular, there is a huge range of works from which to choose. Sometimes assessors however comment on very small range of works actually performed. I’m not sure if this reflects sale items at the start of the year in the music shops, or just a reluctance to try to move out of the comfort zone. These two performances by Josephine and Jacob, each demonstrate one work rarely performed (Non t’amo piu! And En Svane). They also demonstrate new interpretations and best practice of more familiar works.

Josephine Grech Voice - Classical Victorian College of The Arts Secondary School, Southbank Non t'amo piu! by Francesco Paolo Tosti (Clasical Romantic list) ‘Love Is My Reason’ by Ivor Novello (Musical Theatre and Operetta) Accompanist: Jodie Lockyer

Jacob Lawrence Voice - Classical The University High School, Parkville ‘Amarilli, Mia Bella’ by G. Caccini ‘En Svane’ by E. Grieg Accompanist: Elizabeth Anderson

Concert 2 3.30 pm

Some aspects of the criteria to listen for today include:  Technical control (C. 3 Skill in performing a range of techniques with control and fluency)  Skill in differentiating the structures and characters of each work C7 – listen for a range of structures, both short and long and how the performer uses musical devices such as dynamics, articulation, rubato (tension and relaxation) to highlight the structure and to create interesting performances  Historically informed (C. 8 Skill in presenting an informed interpretation of a range of styles  Skill in performing with musicality and creativity (C.9) – personal interpretation.  Range of tonal qualities C. 4

3  Expressive communication C. 5

First is Lucinda Franco with CD Backing – Note the strong sense of rhythm and syncopation, the extent to which the styles are captured, and particularly the easy quality of belting technique.

Lucinda Franco Voice - Contemporary Popular Sandringham College, Sandringham ‘Natural Woman’ (You Make Me Feel) by Carole King ‘Signed Sealed Delivered’ by Stevie Wonder

In the next performance note how well Jayden captures the character of the beast, particularly in the way the vocal tone and phrasing is altered to achieve this, including use of speech quality where appropriate.

Jayden Ordner Voice - Contemporary Popular Box Hill Senior Secondary College, Mont Albert North ‘If I Can't Love Her’ (Beauty and the Beast) by Ashman, Mencken & Rice CD Backing

Some aspects to note in the next performance are: (I’ll Fly Away) maintenance of pitch, country inflections, and a huge range of contrast. (Still Hurting) Note how well the story is told with much subtlety and contrast. She is able to convey much emotion without losing any control.

Stephanie Burt Voice - Contemporary Popular Oxley College, Chirnside Park ‘I'll Fly Away’ by A. Brumley (unaccompanied) ‘Still Hurting’ (The Last 5 Years) by Jason Robert Brown Accompanist: Simon Stone

This next instrumental work demands an understanding of the performers role as both soloist and accompanist at different times. It also provides the opportunity for students to create their own improvised bass line.

Lachlan Kirkbright Electric Bass St Paul's Anglican Grammar School, Warragul ‘Nigerian marketplace’ by Oscar Peterson Accompanist: Christ Staben

I would like to remind students at this point of the importance of the role of the accompanist. Whilst the accompanist is obviously not assessed, the soloists’ interaction with the accompaniment is. C. 6, ‘Skill in the differentiating of the musical lines’. To achieve their potential in this criterion, students need to work with an accompanist who is highly skilled, empathetic, and has an excellent understanding of the stylistic genre performance, as you will hear in Nigerian Marketplace. If you use a backing track to accompany you, make sure it is the referenced track in the prescribed list or one that is at least as good. Also, make sure that you use at least reasonable playback equipment so that there is good balance between the solo line and the accompaniment. Much commentary is made about accompanists and backings by assessors, and this is summarised in the Chief Assessors’ report on the VCAA Website.

We now move to performances by 4 wind players, performing Bach, late 19th C French works by Messager and Busser, as well as contemporary works by Melbourne composer Lachlan

4 Davidson, and American composer Bob Mintzer. Note how each of the works are approached with a different attitude to tone, style & technique.

Cameron Smith Clarinet Christian College Institute Of Senior Education, Waurn Ponds ‘Solo De Concours’ by Andre Messager (French composer 1853-1929) Accompanist: Regina Thomae

Lauren Gorman Flute Mowbray College, Melton ‘Prelude et Scherzo’ by Henri Busser (French 1872-1973) – wrote 15 operas Accompanist:

Jarrod Brereton Tenor Saxophone Victorian College of the Arts Secondary School, Southbank The Listener, Lachlan Davidson Accompanist: Anne Lewitzka

In the next performance Chris demonstrates a range of styles from a transcription of a Bach Cello suite to a work in a jazz/rock style. Certainly a challenge for any musician.

Chris Street Alto Saxophone Yarra Valley Grammar School, Ringwood Suite No. 3, ‘Bouree’ by J.S Bach (Unaccompanied) ‘Slammin'’ by B. Mintzer (CD Backing)

Just a couple of brief comments about performance logistics. Most music performance examinations are structured so there is a 5 minute change over between exams. For electric guitar and electric bass that time is 10 minutes, and for drumkit and percussion 30 minutes. It is important that students rehearse doing a quick and efficient set up of equipment. Part of the trick is to be appropriate in the amount of equipment you bring to the exam. Make sure you have all your cables, especially for connecting MP3 players if you use them for the backings. Think about levels of volume – they must comply with OHS standards, but need to project well.

For the following performances -these 2 kit pieces from the jazz era, require an understanding of metric modulation and a confident approach to the technique required to achieve a musical performance.

Joshua Joe Koop Drumkit Victorian College of the Arts Secondary School, Southbank ‘Haversack’ by Graham Morgan (Unaccompanied) ‘Philly’ by Murray Houllif

This next piece demands a strong understanding of a variety of styles and techniques, in order to achieve the ethereal nature of this work. This is what we call an Alternative work as it is not listed on the prescribed list. Remember that there is a process where students may apply to perform a work not listed on the syllabus. The justification for approving such a work for performance is usually that the style is not represented in the published list, or there are techniques that the student wants to explore that are not represented in other works on the current list. Again, more information is available on the VCAA website. The deadline for applying is Friday March 4.

Claire Jackson Drumkit Macleod College, Macleod ‘Endure’ By Tommy Igoe (Alt Work)

It is important to craft a suitable program that will enable a student to maximise her or his potential. Whilst you have heard only a short selection from a variety of students today, one thing in common with all performers in their performance exam last year was their ability to craft interesting programs. Geordan’s program for example consisted of For the Love of God, Billie’s

5 Bounce, Led Boots, In a Sentimental Mood, Take the A Train, Minor Swing, Al Nino, and Panama.

Jesse Hunter Guitar - Contemporary Popular Haileybury College, Keysborough ‘Ye Banks and Braes’ Traditional Arranged by Tony McManus

Zach Butler Guitar - Contemporary Popular Essendon Keilor College, Essendon ‘El Nino’ by Steve Erquiaga

Just before introducing our last performer, Geordan Gullock, I would like to congratulate him on being a joint recipient of the Margaret Schofield Award, along with Claire Di Lalo who performed in the first concert. This scholarship was established by the family of the late Margaret Schofield in recognition of her achievements as a musician and her commitment to both music education and the provision of educational opportunities for all.

The scholarship is open to students who have completed their VCE at a government secondary school and provides assistance in funding ongoing music study at a tertiary institution.

More information is available on the VCAA website, including application forms, and selection criteria.

Geordan Gullock Guitar - Contemporary Popular Wonthaggi Secondary College (Mcbride Campus), Wonthaggi ‘Take the ‘A’ Train’ by Duke Ellington ‘Led Boots’ by Jeff Beck

The end.