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Journal of the Conductors Guild Journal of the Conductors Guild Volume 31, Number 1 2013 719 Twinridge Lane Richmond, VA 23235-5270 T: (804) 553-1378; F: (804) 553-1876 Table of Contents E-mail: [email protected] [email protected] A New Direction: page 1 . Advancing the Art and Profession Website: www.conductorsguild.org Educational Outreach that Moves Officers Beyond Exposure James Allen Anderson, President John Farrer, Secretary by Dr. Eugenie Burkett Gordon J. Johnson, President-Elect Lawrence J. Fried, Treasurer Paula K. Holcomb, Vice-President Michael Griffith, Past President Board of Directors An Analysis of Britten’s War page 13 Christopher Blair Reginald Houze Lyn Schenbeck Requiem, Op.66 (Words from the David Bowden John Koshak Jonathan Sternberg* Missa John P. Boyd Anthony LaGruth Emily Threinen pro defunctis and the poems of Wilfred Brooke Creswell Brenda Lynne Leach Julius Williams Owen) Stephen Czarkowski David Leibowitz Amanda Winger* by Dr. David A. McConnell Erin R. Freeman Sasha Mäkilä Burton A. Zipser* Andrew George Michael Mishra *ex officio Jacob Harrison* Philip Morehead Claire Fox Hillard John Gordon Ross Villa-Lobos: “Bachianas page 27 Advisory Council Brasileiras” Editions as of 1/ 2013 Pierre Boulez Samuel Jones Maurice Peress Compiled by Clinton F. Nieweg, with Emily Freeman Brown Tonu Kalam Donald Portnoy assistance from Nancy M. Bradburd, Michael Charry Wes Kenney Barbara Schubert David Daniels, Wilson Ochoa, Greg Sandra Dackow Daniel Lewis Gunther Schuller Vaught, David Stybr (Chicago, Il), Harold Farberman Larry Newland Leonard Slatkin Marcelo Rodolfo (Museu Villa-Lobos), Adrian Gnam Harlan D. Parker Stuart Serio (Fleisher Collection), Eric Swanson (JoAnn Kane Music Service), Theodore Thomas Award Winners Dean Fry (Villa-Lobos website), Charles Claudio Abbado Sir Colin Davis Robert Shaw Harmon. Original chart 2004. Update Maurice Abravanel Frederick Fennell Leonard Slatkin 2013. Links accessed 1/1/2013. Marin Alsop Margaret Hillis Esa-Pekka Salonen Leon Barzin James Levine Sir Georg Solti Leonard Bernstein Kurt Masur Michael Tilson Thomas Pierre Boulez Max Rudolf David Zinman Thelma A. Robinson Award Winners Beatrice Jona Affron Carolyn Kuan Jamie Reeves Eric Bell Katherine Kilburn Laura Rexroth Miriam Burns Matilda Hofman Annunziata Tomaro Kevin Geraldi Octavio Más-Arocas Steven Martyn Zike The publication date of the present issue of Max Rudolf Award Winners the Journal of the Conductors Guild is June, 2013. Due to a change in editors, publication Herbert Blomstedt Daniel Lewis Gunther Schuller has been delayed. The Conductors Guild David M. Epstein Gustav Meier Jonathan Sternberg reserves the right to approve and edit all Donald Hunsberger Otto-Werner Mueller Paul Vermel material submitted for publication. Publication of advertising is not necessarily Conductors Guild an endorsement and the Conductors Guild Staff reserves the right to refuse to print any advertisement. Library of Congress No. 82- 644733. Copyright © 2013 by Conductors Executive Director Amanda Winger Guild, Inc. All rights reserved. ISSN: 0734- Assistant Director Scott Winger 1032. CONDUCTORS GUILD ...Advancing the Art and Profession Mission of the Conductors Guild The Conductors Guild is dedicated to encouraging and promoting the highest standards in the art and profession of conducting. The Conductors Guild is the only music service organization devoted exclusively to the advancement of the art of conducting and to serving the artistic and professional needs of conductors. The Guild is international in scope, with a membership of over 1,600 individual and institutional members representing all fifty states and more than thirty countries, including conduc- tors of major stature and international renown. Membership is open to all conductors and institutions involved with instru- mental and/or vocal music, including symphony and chamber orchestra, opera, ballet/dance, chorus, music theatre, wind ensemble and band. History of the Conductors Guild The Conductors Guild was founded in 1975 at the San Diego Conference of the American Symphony Orchestra League, and it continued for a decade as a subsidiary of that organization. In 1985 the Guild became independent. Since then, it has expand- ed its services and solidified its role as a collective voice for conductors’ interest everywhere. It is supported by membership dues, grants, donations and program fees and is registered with the Internal Revenue Service as a 501(c) 3 not-for-profit cor- poration. Purposes of the Conductors Guild 1. To share and exchange relevant musical and professional information about the art of conducting orchestras, bands, choruses, opera, ballet, musical theater and other instrumental and vocal ensembles; 2. To support the development and training of conductors through workshops seminars, and symposia on the art of con- ducting, including, but not limited to, its history, development and current practice; 3. To publish periodicals, newsletters and other writings on the art, history and practice of the profession of conducting; 4. To enhance the professionalism of conductors by serving as a clearing house for knowledge and information regarding the art and practice of conducting; 5. To serve as an advocate for conductors throughout the world; 6. To support the artistic growth of orchestras, bands, choruses and other conducted ensembles; and to communicate to the music community the views and opinions of the Guild. A New Direction: Educational Outreach that Moves Beyond Exposure By Dr. Eugenie Burkett Educational outreach programs are designed to interactive workshops, group composition sessions, assist orchestras in creating a bridge between the podcasts, interactive web-based games through the public (usually kindergarten through grade 12 orchestra’s website, and in-school concerts as well students) and the symphony experience. These serve as professional development for designated an important purpose as a means of community partner teachers. These programs are designed and engagement, public relations, and advocacy in implemented with the local urban constituency addition to the numerous materials and resources in mind and, as a rule, do not reach smaller offered to schools and teachers that help to enrich communities. Second, third, and fourth tier students’ musical experience and communicate and orchestras also offer many of the more traditional interpret the mission of the orchestra. Educational educational outreach programs, particularly youth or programs are also important venues for conductors family concerts. The recent economic situation, because they serve to cross the boundary from however, has forced many orchestras to focus on podium to public by providing another means for maintaining fiscal solvency and curtailed their conductors to extend their reach to new listeners. ability to increase budgets and funding for Generally, the educational offerings range from educational outreach. exposure (family concerts, in-school programs, music demonstrations, and young persons’ concerts) The importance of live performance in engaging to more in-depth experiences that may include new audiences cannot be underestimated. The thrill sequentially based lesson plans, podcasts, interactive of seeing and hearing musicians perform has websites, and coaching. For selected students and converted many non-adherents to classical music. promising young artists, there may be mentoring However, even with pre-concert preparation through opportunities, pre-professional orchestras or informal talks, lesson plans and supplementary ensembles, and training programs that provide materials, many live performances are solely advanced study to encourage career development. exposure oriented and dwell on the experience Activities and experiences such as these have to increase appreciation in the listener. Less become a significant part of many school and frequently do the educational programs attempt to community music programs and can be influential in address students’ personal performance skills and developing new audiences for classical music. understandings or teachers’ skills in increasing the level of student learning and musicality. Symphony orchestras have incorporated educational outreach programs as an integral part of their Educational aspects related to student and teacher offerings for more than 40 years. For large performance quality and musicality traditionally organizations, the robust economic basis of their have been the domain of colleges and universities or donors in larger metropolitan areas combined with summer institutes. While institutions of higher gifts and grants from corporations enables orchestras education and state arts councils appeal to a broader among the top tier to offer school partnership population across a state, their reach is limited programs in addition to the more traditional by financial, geographic, and schedule issues, youth concerts. The New York Philharmonic offers particularly for schools and teachers located in rural JCG Vol. 31 No. 1 1 areas. Many schools and teachers in remote Research on the professional development of locations cannot afford tuition or time away from teachers is also limited. La Bombard (2009) family in order to attend programs or courses. studied the instructional practices of professional Although this has the potential to be addressed development staff to improve teachers’ knowledge through Internet access and distance learning and skills in classroom practices, and Sparks (2004) programs, the freshness
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