Tag Archives: orchestra

Do You Hear?

What time is it?

Do You Hear?

Awwwww yeah, it’s that time! This is the orchestral interlude to the epic Christmas opener for this year. The sound is straight out of Sibelius, so … be gracious. I’m including the score for those who wish to geek out. The section you hear starts on page 5, bar 48.

XMAS-OPENER_11x17_SCORE

What’s That Stank? Oh, It’s Just This Christmas that I’m Laying Down

To me, my men and women of valor! To me, in my hour of need! To me, and aid me, so that I don’t have to do my own work!

I’m writing a big epic opener for the 2010 APU Christmas Concert, with soloists, handbells, orchestra, choirs, the whole shebang. The piece opens with “Do You Hear What I Hear” sung by antiphonal choirs, and then into the final verse of that song:

Said the king to the people everywhere
Listen to what I say
Pray for peace people everywhere
Listen to what I say
The child, the child
Sleeping in the night
He will bring us goodness and light
He will bring us goodness and light

The piece is not quite epic enough to sustain the energy through the end of the piece, so I’m looking to transition from the song “Do You See” to something else. This is the part where you help me out. Any suggestions?

APU School of Music, 1999 vs 2009

Today was a mid-year faculty retreat for the APU School of Music. A major part of the retreat was developing concrete goals for the next 5 years, how we wanted to see our program grow and change as we move forward. To prepare us for that, we looked at a similar list of goals that was set by the faculty in Spring of 2000, and how those goals had been met. The goals for 2000 were based on data from the 1999 school year, which gave us a great perspective on how the School of Music has changed in these last 10 years.

Here are some of the highlights:

  1. In 1999, we had 142 undergraduates, and 7 graduate students. In 2009, we have 250 undergraduates, 70 graduates, and 15 artist certificate students.
  2. In 1999, we had 43 total faculty, 16 full-time, 19 adjunct, and 8 private professionals (those are professional musicians who run on-campus teaching studios). In 2009, we have 96 total faculty, 27 full-time, 39 adjunct, and 20 private professionals.
  3. In 1999, four full-time faculty had terminal degrees (PhD or similar). In 2009, 14 full-time faculty have terminal degrees, and 5 are in process.
  4. In 1999, the MIDI lab was crammed into an unused storeroom under the back staircase. In 2009, we have a 12-seat teaching lab, with fully integrated media (projection, speakers, screen sharing, Logic, Sibelius, Finale, Pro Tools, etc.)
  5. In 1999, we had 4 choirs: UCO, Bel Canto, Male Choral, and Oratorio. In 2009, we’ve added to that a Gospel Choir, Chamber Singers, and Vocal Jazz ensembles.
  6. In 1999, we did not have a Symphony Orchestra (we had a chamber orchestra that hired outside professionals to cover vacant instruments). In 2009, we have a thriving Symphony Orchestra that recently gave the North American debut of a symphony by Esa-Pekka Salonen. Yup, we did it before the LA Phil did it.
  7. In 1999, we had one jazz band that was not fully instrumented. In 2009, we have 2 jazz bands with full instrumentation, and multiple jazz lab ensembles teaching improvisation.
  8. In 1999, we had no ongoing service activity for our local community. In 2009, the Azusa Conservatory offers free and subsidized lessons to 60 local children, taught by APU students. I think this is one of the most outstanding things we do. A few years ago, I heard a 9-year-old boy whose single-mother speaks only Spanish, who goes to an elementary school that is failing on every level, and he played excerpts from a Bach violin concerto. This boy’s life had been fundamentally altered by the conservatory program. It brought tears to my eyes.
  9. In 1999, we only offered a Bachelor of Arts degree. In 2009, we offer a Bachelor of Music degree in Performance, and in the next year we’ll be adding them in Church Music and Commercial Music (the BA is a liberal arts degree, the BMus is a professional degree with a higher concentration of courses in music, and more credibility in the professional world).
  10. In 1999, we offered nothing for commercial music. In 2009, we have 75 students studying in the Commercial Music degree program, making it the fastest growing degree in our school.
  11. In 1999, we were not sending ensembles internationally to perform and record. The last time a large ensemble had toured outside of North America was 1992. In 2009, we’ve sent every ensemble on an international tour in the past 7 years, including tours to Armenia, Romania, Germany, Thailand, Australia, Korea, and Italy.
  12. In 1999, we offered no senior thesis course. In 2009, we have a dedicated Senior Seminar in Music Ethics.
  13. In 1999, we offered no artist certificate program. In 2009, we have 15 students in that program, where they study technique and literature in their instrument intensively and exclusively for a year. Students studying piano and strings in this program place and win at international competitions regularly.
  14. In 1999, we offered no graduate scholarships. In 2009, we award almost a quarter of a million dollars a year in graduate scholarships.
  15. In 1999, we didn’t offered a graduate degree in composition. In 2009, we have our first class of students working toward a Master of Music in Composition.
  16. In 1999, our program was accredited only as part of our university, not independently. In 2009, we have full accreditation through the National Association of Schools of Music. In a very rare move for the NASM, they bypassed the normal provisional membership stage, and inducted us as full members at our first application.
  17. In 1999, we offered no international study for music students. In 2009, we just welcomed back our first group of students from Heidelberg, Germany, where they studied for a semester. We are one of the only Schools of Music in North America to offer this kind of opportunity, where students go internationally for a semester in a program designed specifically for music, study with local instructors, perform in local ensembles, and learn about the history and culture of the place from resident scholars. We heard the report back from those students this morning, and they uniformly agreed that it was a life-changing experience.

I hope that I never take for granted the blessing I’ve been given, to teach at a place like this. It’s wonderful to look at this list, and to think, “I was part of this, I got to help build this into what it has become.” I can look at this list and see specific things that I had a hand in. It’s humbling to think that I have a part in this, and more than a little overwhelming to realize the awesome responsibility that comes from shaping the future of the program.

God is at work in our little corner of the world. Today was a great reminder of that.

Classical Fantasy Camp!

I got a call yesterday from the contractor for the Antelope Valley Symphony, asking if I would come play with them. They’re doing Stravinsky’s “Symphony of Psalms” this next Saturday, and they need a pianist.

Because when I think “Pianist who is should be playing 20th Century Art Music with a Symphony at the last minute”, I think Mike Lee! (This is only funny if you realize that I make my living on songs that max out at 4 chords).

I graciously declined, and gave them Joel Clifft’s number, which is who they should have called in the first place. As much as the 12-year-old kid in me wanted to live out the fantasy of sitting up in front with an orchestra, playing piano on some monster classical piece, the 31-year-old kid in me thought better of it.

It left me wondering two things. Who the heck has my name in their book with “Call 4 Stravinsky” scribbled underneath it? And, more to the point, what would they have done if I had actually said yes? Now that, my friends, would have been a ticket worth having.