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OTHER LOCAL MUSICAL EVENTS...

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Spotlight: Kendall Strings Project

Kendall String Project 2019 @ The Kendall School of Arts March 8- 11 2019

Presented by Kendall National Violin Competition & Pentimento Northhaven
A project for community string players to get together, improve playing skills and have some fun. 

Registration for classes and sessions by March 6 by email ([email protected]). 
Kendall String Festival 2019
A community project supported by the Kendall Op-Shop

This project is instructive and fun! Play alongside young, talented musicians from the Sydney Conservatorium and benefit from workshops run by Goetz Richter, A/Prof. at the Conservatorium of Music and artistic director of the Kendall National Violin Competition and visiting tutors.

Friday, March 8
5.30- 7 pm Let's get going. Some really useful exercises and warm-ups for string players. Work on methods to improve your playing.... fast 
Saturday March 9
10.30 Workshop time... 
12.30 lunch (byo)
2 pm String Orchestra - play alongside other talented musicians.
3.30 pm sectional Sinfonia Mid-North Coast (tbc)
Sunday March 10
11 am Rehearsal - be ready to join the fun. We will work towards a performance in the afternoon of some great music for string orchestra
2 pm Concert
Monday March 11 
9 am String Workshop for St Columba Anglican School, Port Macquarie 

Registration: $ 10 Friday; $ 15 Saturday, Sunday
Concert Admission (Spectacular Strings): $ 20/ Children $ 10

Dr. Goetz Richter AM
A/Professor Sydney Conservatorium of Music
Find me on instagram https://www.instagram.com/goetzrichter/
Sydney Conservatorium of Music
Building C 41 | UNIVERSITY OF SYDNEY NSW 2006
P: +61-404-407 686

Concert Bookings
Mavis Barnes (KNVC) Ph. (02) 6559  4339 To register for workshops, please send an email to [email protected] by March 6  indicating the days/ events you will attend. Registration payment at the door in cash or by bank transfer##.

##Please contact us for Bank Details

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QUOTES

JOKES & CARTOONS

While at a concert being performed by a very bad orchestra, George Bernard Shaw was asked what he'd like them to play next. "Dominoes," he replied.
"Said Oscar Wild; 'Each man kills the thing he loves.' For example, the amateur musician" - H.L. Mencken (1880-1956)
Q: How do you get a viola section to play spiccato?
A: Write a whole note with "solo" above it.
"If you feel like singing along, don't" - James Taylor (b. 1948)
"I know two kinds of audience only - one coughing and one not coughing" -
Artur Schnabel (1882-1951)
"There's no reason we can't be friends. We both play Bach.  You in your way, I in his." -
Wanda Landawaska (1877-1959)
A young child says to his mother, "Mom, when I grow up I'd like to be a musician." She replies, "Well honey, you know you can't do both."
Q: How do you make musicians complain? - A: Pay them.
Q: How many conductors does it take to screw in a light bulb?
A: No one knows, no one ever looks at him.
Q: What's the difference between a pianist and god?
A: god doesn't think he's a pianist
Q: How many drummers does it take to change a light bulb? - A: "oops, I broke it!"
Q:Whats the difference between Terrorists and Accordion players?
A:Terrorists have sympathizers
Q:How many Folk Singers does it take to change a light bulb?
A:One to change it and 5 to sing about how good the old one was
Q: What do you call a beautiful woman on a trombonist's arm? - A: A tattoo.
Q: What's the difference between a banjo and an onion?
A: Nobody cries when you chop up a banjo.
Q: What is the definition of a Soviet String Quartet?
A:  A Soviet Symphony Orchestra after a tour of the USA!
"To be played with both hands in the pocket" - Erik Satie (1866-1925) - French composer, giving instructions for one of his piano pieces
"Music hath charms to soothe the savage beast, but I'd try a revolver first" - Josh Billings (1818-85)
"If thine enemy offend thee, give his child a drum" - Anon.
"Don't do unto others as you would have them do unto you- their tastes may be different" - George Bernard Shaw (1856-1950)
Q: What's the definition of a gentleman?
A: One who knows how to play the saxophone, but doesn't!
"When a piece gets difficult, make faces" - Artur Schnabel(1882-1951)
A note left for a pianist from his wife - "Gone Chopin, (have Liszt), Bach in a Minuet."

A Choristers' Guide To Keeping
Conductors In Line

The basic training of every singer should, of course, include myriad types of practical and theoretical emphases. One important area which is often neglected, however, is the art of one-upmanship. The following rules are intended as guides to the development of habits which will promote the proper type of relationship between singer and conductor.

1.  Never be satisfied with the starting pitch. If the conductor uses a pitch-pipe, make known your preference for pitches from the piano and vice-versa.
   
2. Complain about the temperature of the rehearsal room, the lighting, crowded space, and of a draft. It's best to do this when the conductor is under pressure.
   
3. Bury your head in the music just before cues.
   
4. Ask for a re-audition or seating change. Ask often. Give the impression you're about to quit. Let the conductor know you're there as a personal favour.
   
5. Loudly clear your throat during pauses (tenors are trained to do this from birth). Quiet instrumental interludes are a good chance to blow your nose.
   
6. Long after a passage has gone by, ask the conductor if your C# was in tune. This is especially effective if you had no C# or were not singing at the time.
   
7. At dramatic moments in the music (which the conductor is emoting), be busy marking your music so that the climaxes will sound empty and disappointing.
   
8. Wait until well into a rehearsal before letting the conductor know that you don't have the music.
   
9. Look at your watch frequently. Shake it in disbelief occasionally.
   
10. When possible, sing your part either an octave above or below what is written. This is excellent ear-training for the conductor. If he hears the pitch, deny it vehemently and claim that it must have been the combination tone.
    
11. Tell the conductor, "I can't find the beat." Conductors are always sensitive about their "stick technique" so challenge it frequently.
    
12. If you are singing in a language with which the conductor is the least bit unfamiliar, ask her as many questions as possible about the meaning of individual words. If this fails, ask her about the pronunciation of the most difficult words. Occasionally, say the word twice and ask her preference, making to say it exactly the same both times. If she remarks on their similarity, give her a look of utter disdain and mumble under your breath about the "subtleties of inflection".
    
13. Ask the conductor if he has listened to the von Karajan recording of the piece. Imply that he could learn a thing or two from it. Also good: ask, "Is this the first time you've conducted this piece?"
    
14. If your articulation differs from that of others singing the same phrase, stick to your guns. Do not ask the conductor which is correct until backstage just before the concert.
    
15. Find an excuse to leave the rehearsal about 15 minutes early so that others will become restless and start to fidget.
    

Make every effort to take the attention away from the podium and put it on you, where it belongs!

RESOURCES & LESSONS

PICS OF SINFONIA