Welcome. The theme of this quarter’s varied issue is young musicians honing their craft and learning the musical ropes. It features an interview on Benjamin Britten’s first orchestral work, an article by an academic on bowing, and a summary of recent research carried out by Notes from the Podium into in the role of the conductor in higher education.
In April I was thrilled to have another chance to speak with conductor Thomas Jung, who featured in the last Notes issue discussing Tchaikovsky’s The Nutcracker. He requested that this time we discuss a work very close to his heart – Britten’s Sinfonia da Requiem – a piece Britten dedicated to the memory of his parents (who both died in 1937). Thomas first conducted this piece for Birmingham Royal Ballet, with choreography by Jiří Kylián (a short extract can be seen here). Sinfonia da Requiem was Britten’s first orchestral work, written for the 2,600th anniversary of the Japanese Empire. It was subsequently rejected for its inappropriate theme and atmosphere, but the pacifist composer nonetheless produced an orchestral funeral mass that is a powerful anti-war statement.
Following Thomas is another one from across the pond: Dr. Thomas Taylor Dickey from Oklahoma State University. Thomas has also contributed to Notes from the Podium before with his article ‘Progress, Not Perfection: Practical Ways of Integrating DEI into Student Orchestra Programs’. This time his focus is on something rather different: ‘A Pedagogy of Orchestral Bowings: What Conductors and Students can Learn from them’ is another comprehensive, practical and well laid-out article complete with numerous musical examples. It includes sections on print and online resources, down bows, up bows, dynamics, hooked bows and how to involve students in the process of bowing preparation. This article is a must read for students wanting to familiarise themselves with the subject.
And finally, in May Notes from the Podium sent out a questionnaire to selected university music departments worldwide on conducting in higher education. Conductors leading at this level provide fundamental training to the future generation of musicians, as well as gifting their students with some of the most precious memories of their university years. The skills required are numerous, and differ to those needed by conductors working in a purely professional environment. I was delighted with the detailed and insightful responses I received from the sixteen conductors that were involved, and have found it fascinating to read about the variety of ways in which conductors work in an academic environment. The article includes a summary/synopsis written by myself followed by the conductors’ unedited responses so that readers can draw their own conclusions and inspiration from the conductors’ experiences and insights.
Huge thanks to Thomas, Thomas and all of the conductors that contributed to the questionnaire research. I hope you enjoy the read.
Dr. Hannah Baxter (Editor)