whole note fall 2014

Cornell University Orchestra Newsletter Fall 2014

WHOLE NOTE

Dear CU Orchestras Friends, Family and Alumni, This year is a particularly exciting year for the Cornell Orchestras. It was a truly memorable experience working with guest conductor Andrés Tolcachir for the first concert. He shared new interpretations that helped us gain a deeper appreciation for the pieces. In addition, during winter break we will be going on tour to Ireland in collaboration with the Royal Irish Academy of Music. We have had great experiences on tour before and hope to continue to learn about different cultures and how music brings them together. We want to thank you for all the support you have provided that has allowed us to continue making music in the Cornell and Ithaca Communities. We are excited for this upcoming year and hope you are as well! Sincerely, Jae Baek and Sarah Baldessari Co-Presidents

A Message from Our Presidents

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Whole Note Fall ‘14

When I was making the difficult decision over two years ago about where to attend university, orchestra was far and away one of the least prevalent topics on my mind. My collegiate musings led me to question typical issues of tuition, academic rigor, and geographic location. Orchestra remained nothing more than an afterthought. Having played viola for almost a decade in my school district, I just assumed that I would continue my musical pursuits in college; orchestra had become so ingrained in my life that I never imagined any alternatives. My brain was on autopilot, and there was no fire in my decision to continue to play as I trudged through my audition pieces that summer.

However, as I stepped into Bailey Hall on that first day of rehearsal freshman year and was greeted by Chris’ masterful name recognition skills, something felt a little different than what I was used to. Yes, the gap in skill level was large – that much was obvious – yet I regretfully could not figure out why the same activity I had been doing for years changed at all in the span of several months. In fact, my epiphany didn’t occur until far into the year, during one of our fall concerts. We

Junior Perspective

By Richard Gold

had just finished playing Shostakovich’s Symphony No. 5, and the fifty-minute piece seemed like it had passed in an instant. I felt a rare emotion – a feeling that I was a part of a group much larger than the sum of its parts, which had just created something truly special and meaningful. As we played those final notes in an epic blast of sound, I couldn’t help but smile to myself, remembering the real reason why I wanted to continue playing in orchestra in college.

Since then, I’ve only grown fonder of CSO. I love getting the chance to play incredible pieces of music; I look forward to the respite that rehearsal offers me from an endless stream of problem sets; I enjoy

listening to Chris’ strange food-related metaphors and feeding off of (no pun intended) his contagious energy. But most of all, my favorite part of CSO is being around other students who take time out of their busy schedules to make music with a passion that I seldom witnessed before coming to Cornell.

Each semester, I have the option to discontinue playing in CSO; I am far beyond the age where

anybody other than myself would care if I quit. And, quite honestly, it is a somewhat tempting offer amid all of the stresses that Cornell puts upon us as students. However, year after year, I find myself drawn back to CSO for no other reason besides the

simple desire to create music with my peers who share the same passion that I do. It may have taken me a long time to realize this, but I can now say with confidence that I wouldn’t trade my experience in CSO for anything.

“simple desire to create music with my peers who share the same passion”

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Consectetuer:

Before coming to Cornell, I made the decision to keep music a priority in my life through college, but I didn’t know exactly what that meant. I knew I wanted to continue private lessons and play in orchestra, but to be honest, I didn’t really enjoy music that much. It was a serious hobby, but looking back, it was merely that. Still, I was nervous. What if I couldn’t keep up with the intense Cornell students? What if I wasn’t accepted into the private lessons studio that I wanted to join? I meekly walked into Chris Kim’s office, completely butchered the Don Juan passage and the Glazunov excerpt that I had prepared, and thought I would just sit in the back of the 2nd violin section and become friends with my hypothetical stand partner. Fortunately, Chris had mercy that day and that wasn’t the case. Joining CCO my freshman fall was one of the best decisions that I have ever made. I was lucky because the group dynamic was exceptionally positive that year, an atmosphere that I have painstakingly tried to maintain throughout my four years as a member. Chris gave me opportunity after opportunity, even letting me play the first

violin solo part of the Elgar Introduction and Allegro as a first year. While the individual achievements helped develop my musicianship, it was the support and comfort that I felt from members of the group that really contributed to my passion for music. I was much more

conscious about how I led a group, often spending a good chunk of my time in the practice room actually practicing cues and breathing. I cared so much more about the ensemble than I expected, maybe too much at times, but I wouldn’t have changed anything about it. It was not until this semester that I decided to

play in CSO, and through an unexpected turn of events, I am currently playing in both orchestras which helps me more accurately address two of the most frequently asked questions from first year and second year students: What is the major difference between the two orchestras,

and which would I recommend for them? My honest opinion is that it is completely your preference. Let me first address the musical aspects. If you want to play your instrument for the repertoire, CSO plays at least one major

Bridging the Orchestras

By Haesoo Cheon

“both orchestras are equally enjoyable, rewarding, and

frustrating, but in very different ways”

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orchestral work every year so you should definitely try to play for that concert. That is what happened to me this year- I was willing to play any piece in CSO just so that I could play Mahler V. But, it is definitely a more ‘standard’ rehearsal—even if you play pianissimo, it doesn’t really make a difference if everyone else doesn’t do it. On the other hand, if you play a wrong note in CCO, everyone will hear it because you’re one of twenty members. With that being said, everyone has an equal voice. We say what we think and make musical recommendations to our own sections and other sections all of the time. However, sometimes I feel that we do this to an extreme and we spend a lot of time trying new ideas when we haven’t even run-through the piece. Thus, both orchestras are equally enjoyable, rewarding, and frustrating, but in very different ways.

The social atmosphere of both orchestras is quite distinct. In CCO, we are almost forced to be friends because Chris doesn’t conduct every piece. We have to constantly adjust for each other’s tendencies and preferences, which in turn, helps us get to know one another. Also, because we all play stringed instruments, we all speak the same musical language, meaning that we discuss bow stroke and pressure, fingerings, left hand articulation, etc. so we can

help each other in that way as well. In CSO, it’s more difficult merely because it is so much larger. Even as a senior, it is hard for me to reach across sections and introduce myself to new people. With that being said, I know that I am at a disadvantage being a violinist in that sense because I see the camaraderie in the smaller sections very clearly; however, I know that everyone isn’t necessarily looking for that tight-knit community through music, so again, it just depends on what you hope to get out of being in an ensemble.

All in all, Cornell Orchestras and private lessons have helped me truly love music. Even though frustrating at times, I will never be able to fully express what violin means to me now. It is what I turn to when I am upset. It is a safety net. It does not judge yet it is sometimes so painfully unforgiving. I used to think that the instrument that rested under my chin was an extension of my body, but it is not. Rather, it is a partner. It has off-days, it is tense when put under stress, and it is incredibly sensitive and emotional, but it deserves to be respected in those situations and it reciprocates that respect when I am also not in the best condition. It has become a part of my identity. I have learned all of this through all of these musical experiences, and I owe all of my growth as a violinist to my musical journey at Cornell.

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Performing Mahler’s 5th symphony is a serious challenge for any professional orchestra. It is an enormous undertaking for any conservatory. For an orchestra of future engineers, doctors, and researchers, it is simply unheard of. Yet, undaunted by this colossal task, the Cornell Symphony Orchestra will present Mahler’s 5th Symphony on November 14th in Bailey Hall, and in January in Dublin, Ireland. For some background, Mahler composed his 5th Symphony in the summers of 1901 and 1902, during his vacation from conducting the Vienna Court Opera. The work is most famous for its Adagietto, which, depending on the interpretation, ranges from a somber mediation on mortality to a youthful expression of love. Additionally, among other instruments, the principal trumpet and principal horn enjoy prominent solo roles in the first and third movements, respectively.

“A symphony must be like the world. It must embrace everything.” - G. Mahler Mahler’s music presents orchestras with many unique challenges. It is not program music in the literal sense of a Strauss Tone Poem, but rather conveys an inner program that often seeks to explore the nature of life, love, and death. As orchestral musicians, it falls to us to draw out these nuances from the music on our stands.

The Cornell Symphony Orchestra has proven before that it is capable of executing difficult repertoire. However, at least in my time with the orchestra, this will be our biggest challenge by far. Mahler’s music demands precise attention to detail like almost no other. The sheer size and scope of the piece alone present unique challenges to the rehearsal process, not to mention the incredible technical difficulty facing each player. Still, the Cornell Symphony Orchestra will surely rise to the occasion and offer a worthy performance. Ultimately, Mahler’s 5th Symphony offers us a once in a lifetime musical opportunity that we will remember long after our time at Cornell has ended.

Program Notes: Gustav Mahler

By Derek Maseloff

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Staying in orchestra through four years of college is difficult. There are plenty of other opportunities to engage in music, and thousands of other activities outside of music on campus. I've been a photographer for the Daily Sun, the professional development director for AIChE (American Institute of Chemical Engineers), and an active leader of Dragon Boating, all the while playing intramural sports, researching recombinant DNA technology, and (perhaps the most time consuming) studying chemical engineering. Yet I've stayed with Chamber Orchestra since my freshman year. At first, I thought it was because of the people. Orchestra has introduced me to people that I am particularly close with, and our conductor can be quite the character himself. Devoting hours of rehearsal together to perform minutes of music brings people together in a very special way. But looking around our orchestra now, I only see one other face in the group that has been here since my freshman year. Then, I thought, it must be because of the

opportunities, which starts to get to the truth. Orchestra has opened the door for me to perform at settings as varied as retirement parties, trustee meetings, Puerto Rico, a cappella shows, and pit orchestras. (Staying plugged in to the music scene keeps many an engineer sane.) All of these experiences were certainly fun, but more importantly, Cornell

Chamber Orchestra

has given me the chance to

perform music in a group that

learns from each other, and I'm not sure I will have that opportunity after I graduate. But in all honesty, the real reason I've stayed in orchestra is that, even after three years, it continues to teach me about music. For example, I've been a section leader in many past orchestras, but I’ve never really led a section. But I still remember a rehearsal in my

first semester with

Chamber Orchestra

when Chris made me cue the entrance after a fermata at least ten times. Out of all of the opportunities to develop in music on campus, I've also found

Chamber Orchestra to be the most fun. Every year brings a new batch of skills and personalities to the group, and learning how to shape and blend

Senior Reflection

By Zach Wu

“CCO has given me the chance to perform music in a group that learns from each other”

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Cornell Symphony Orchestra

Friday, October 14, 2014, 8 pm Chris Younghoon Kim, conductor

CHRISTOPHER STARK: Soldier Asleep at the Tomb with Lucy Fitz Gibbons, soprano, World premiere GUSTAV MAHLER: Symphony No. 5 in C# Minor

@ Bailey Hall, Cornell University

Cornell Chamber Orchestra

Sunday, November 16, 2014, 3 pm Chris Younghoon Kim, conductor

STEVEN STUCKY: Colburn Variations SAMUEL BARBER: Adagio for Strings

DMITRI SHOSTAKOVICH: Concerto in C minor for Piano, Trumpet, and String Orchestra, Op. 35 with

Frank Campos and Miri Yampolsky

@ Barnes Hall, Cornell University

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CSO: http://www.cuorchestra.org CCO: http://cuchamberorchestra.strikingly.com

these differences to make music is a constant challenge that I particularly enjoy. Chamber Orchestra has even taught me to enjoy listening to modern music, although performing it is another story. College is a period where people change a lot, where some even find their calling. I have found mine, and while it isn't music, that hasn't stopped me from indulging in one of my deepest passions while I still can.

Cornell University Orchestra Newsletter Fall 2014

Cornell Orchestras 101 Lincoln Hall Ithaca, NY 14853

Whole Note Executive Board 2014-2015

Jae Baek, Sarah Baldessari Zach Wu President Vice President Mary Nattakom Reade Otto-Moudry Treasurer Secretary Ellen Hong Max Hanson Fundraising Chair Alumni Relations Ellen Hong, Sarah McDonald Andrea Jin Historians Newsletter Editor Lauren Blacker, Yena Kang Zach Wu Social Chairs Photographer Emilie Camera, Mario Carillo, Andrew Distler, Jasmine Edison, Claire Hacker, Jesse Liu Tour Planning Committee

Place Stamp Here

The Cornell Symphony Orchestra is one of the highest caliber musical groups on the Cornell campus. The group's members are drawn from all circles of Cornell life, including undergraduate students, graduate students, and members of the Ithaca community. Under the direction of Chris Younghoon Kim, the Cornell Symphony Orchestra continuously strives to present the best works of contemporary composers as well as compositions by established musical figures. The Cornell Chamber Orchestra is a string orchestra of 18 musicians, comprising students from all colleges on campus. Acceptance into the orchestra is by audition only. The Chamber Orchestra performs a wide variety of works from the 18th century to present time, written expressly for the intimate setting of a smaller chamber orchestra. The Chamber Orchestra rehearses in Barnes Hall and performs many of their concerts in this venue.

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whole note fall 2014

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