Side-by-Side Performance Impacts Local Students

"It wasn't until the mentoring session on Saturday that I realized the amount of joy I take in playing in a symphony," said 16-year-old violinist Jody Chou of Okemos, a participant in the LSO's Side-by-Side Performance of Tchaikovsky's Nutcracker Suite at December's Holiday Pops concert.

Over 50 students from all over mid-Michigan auditioned for the chance to rehearse and perform side-by-side with Lansing Symphony musicians, and 20 talented students were chosen by a panel of LSO musicians for their technique, musicianship and preparation. The students had their mentoring session with Timothy Muffitt and a selection of LSO musicians, followed by rehearsal and performance with the entire orchestra the next day. It was an amazing weekend for young musicians like 15-year-old violist Sarah Bacon of Charlotte who said the program "... really pushed me, not only in my musical life, but also in my personal life to strive for higher things because sometimes the things you want most are within your grasp."

"Everybody in the orchestra made the atmosphere in rehearsal very joyful and festive," said 14-year-old violinist Debra Yan of Okemos. "Playing with musicians who obviously enjoy their music so much brings a lot of love into the air."

Timothy Muffitt repaid the compliments: "The students came very well-prepared for the first rehearsal and performed beautifully. It was a great public showcase for the young talent in our community and an extraordinary opportunity for these students to experience music making on a professional level.”

VIEW PHOTOS FROM THE SIDE-BY-SIDE REHEARSAL

Teaming Up with Happendance

Saturday, February 19, 2011 - 8pm
Sunday, February 20, 2011 - 3pm
Dart Auditorium, LCC campus (map)

In celebration of Happendance Contemporary Dance Company's 35th Anniversary, we are proud to be a part of CONNECT: Lansing Symphony & Happendance, a collaborative concert that will combine modern dance and chamber music in a truly "connected" performance. Don't miss a chance to experience two of Lansing's great arts organizations at once!

Professional dancers from Happendance will present original choroegraphy to live music provided by Lansing Symphony musicians. Works to be featured include Samuel Barber's Adagio for Strings, Fratres by Arvo Part, Aaron Copland's Movement for String Quartet, Coldplay's Viva La Vida and more.

Carlotta Amargos-Rubio, Violin - Yoonah Na, Violin
Johnathan McNurlen, Viola - Carrie Pierce, Cello - A Ram Lee, Piano

BUY TICKETS

MUSICIAN PROFILE:
Principal Clarinet Emmanuel Toledo
Emmanuel Toledo joined the Lansing Symphony as Principal Clarinet in December. He has quickly earned praise from local critics for his "absolutely lovely and liquid clarinet" playing. (Glickman, GlickArts blog)

Tell us a bit about yourself: I was born and raised in Wichita, Kansas, and began taking private clarinet lessons during my sophomore year of high school. I was immediately captivated by music at my first lesson and knew that I wanted to pursue a career in music. In 2008, I received my Bachelor of Music Eduation from Baylor University in Waco, Texas, and thereafter received my Master of Music in Clarinet Performance in the 2010 from the University of Michigan.

What interested you in the position with the LSO? Of all of the great experiences I can have in music, playing in a symphony orchestra is by far the most fulfilling. There is nothing like the thrill of being able to play the great historic and modern orchestral repertoire that we have at our disposal. I knew that the Lansing Symphony Orchestra was one of the best orchestras in Michigan, and I jumped at the opportunity to be able to be a part of this great organization.

How have the first few months in your position been? In comparison to my school ensemble experience, in which groups prepare concert repertoire for three or four weeks, my LSO experience has been professional in the finest sense: three or four rehearsals for a concert, and we're ready to perform. For Pops concerts: one read-through and then the concert. This is only possible because of the very high level of talent throughout the orchestra. I feel right at home in this ensemble. At my first rehearsal, individual musicians made it a point to introduce themselves to me and make me feel welcome. During rehearsals, there is a very clear sense of support and camaraderie. Maestro Timothy Muffitt sees this element as vital to rehearsal, and this friendly atmosphere permeates through the rest of the orchestra.

Why did you choose the clarinet? Do/did you play any other instruments? It's funny, actually. My older sister Isabel began band playing clarinet. After a year, she was placed in the advanced band on bass clarinet, and I inherited her instrument the following year. I wasn't terribly excited to be in band, but my parents made me do it anyway. I wished I could have played the saxophone, and especially percussion. I remember jealously watching my friends practicing their snare drums.

My band teacher saw potential in me and urged me to take private lessons. I finally gave in, although reluctantly. I went to my first lesson with Jeff Pelischek not knowing what to expect. Jeff placed Etude #1 from David Hite's Melodious and Progressive Studies on the music stand and performed it for me at a very quick tempo. I had no idea that my instrument was capable of something so impressive! I was immediately hooked.

However, my percussion envy remained. In my senior year of high school, I auditioned for the drumline and was placed on bass drum #2. I began attending drumline clinics and camps and made it into the Baylor Drumline. There, I had the opportunity to learn about marching percussion from students who had marched in Drum Corps International. I practiced diligently in this area and eventually had the opportunity to train with the Bluecoats Drum and Bugle Corps.

What other jobs do you hold? I maintain a studio of 25 private clarinet students in Ann Arbor and surrounding areas, and also I served as Woodwind Specialist and Visual Assistant for the Walled Lake Central Marching Band last fall.

Why are orchestras important in today's society? History has shown us that the symphony orchestra is one of man's most powerful tools of expression. It truly is a vast arsenal of sound, capable of moving us to our greatest of emotions. Works such as Stravinsky's The Rite of Spring and Shostakovich's Symphony No. 5 are some of the most monumental displays of humanity, and composers today continue to use this to speak to the depths of our spirits. Whether it is Beethoven, Mozart, Tchaikovsky, Respighi or Corigliano, we need this music to challenge our minds. We need to understand the expression of man through all moments in history. The symphony orchestra is one of the ways we make sense of the life we see around us. It is entertainment, art and philosophy all at the same time.

The greatest task that we as musicians can achieve is to create a compelling connection with the ears that fill the orchestra halls. These people come to hear something spectacular, and it is our duty and privilege to meet these eager minds and deliver a fulfilling experience. I am fortunate to have the opportunity to be a part of such an enduring and celebrated musical tradition.