Nineteen musicians in grades 8-12 participated in the concerto competition with six outstanding musicians moving on to the finals. The finalists were Paul Schubert, cello; Blake Giesting, string bass; Alexandra Traini, bassoon; Phillip Nicol, marimba; Michael Chen, piano; and Abigail Bachelor, harp. The judges were Mark Rudoff, professor of cello at The Ohio State University, Dr. Caroline B. Salido-Barta of Otterbein College, Jack Jenny, Columbus Symphony percussionist, and myself.
So what must a student do in order to participate? Well, the first task is to fill out and send in the application. Next is the fun part - the preparation. How does a student go about preparing a winning performance?
First, it's important to choose repertoire carefully. Often, a candidate's choice of repertoire influences the outcome. My recommendation would be to choose your rep considering the audience or judges and the strengths in your playing. If you are gifted with unusual technical facility, then it might be smart to choose a virtuosic showpiece, for example.
Once you've chosen it, live with it. I recall a musician friend of mine stating that when he prepared for a competition, he lived, breathed, ate, slept his concerto. It became an ever-present focus in his life. (He was always the winner of any competition he entered, so I took his advice seriously.)
Realistically, though, most students have other responsibilities, like, oh, homework, let's say. Perhaps a compromise between complete obsession and inadequate preparation is possible. That means at the very least a couple of hours of practice per day, just on the concerto. (I believe that many successful young string players and pianists are accustomed to much more than a couple of hours of practice per day, however!)
Memorization is required for this competition. Most contestants probably would have memorized anyway, but memorization is not always part of standard preparation for wind players. Of course, it's a reasonable assumption that if a musician is adequately prepared for a concerto competition, the prep will have automatically resulted in memorization. But like most skills, memorization ability varies from person to person.
I suggest taking a three-pronged approach to memorization. First, be able to write out the concerto on staff paper. Second, be able to sing the entire concerto. Third, be able to silently finger the entire concerto on your instrument. If all three aspects are under control, then one can rest assured that memorization is complete.
Concerto prep can be greatly enhanced by endeavors away from the instrument. Total preparation of a work includes obtaining knowledge of the composer and the background of the work. What is its historical context? Are there programmatic elements which may add to your interpretation?
It's wise to listen to lots of recordings and watch Youtube performances of the piece being prepared. This is not for the purpose of imitating the performances of others, but rather for the development of one's own preferences regarding style, musicianship and technical nuances.
During a competition, it's likely that each contestant will display at least one area of weakness, such as tone quality, intonation, rhythmic, or dynamic contrast. I think that tone quality is the one most often overlooked by performers and their teachers, since most students are already aware of shortcomings in intonation and rhythm.
I vividly recall a comment on my adjudication sheet from my high school days. The judge wrote, "Tone is the first basic of any performance." I don't think he was saying that to indicate that I had properly aligned my priorities - I think he was giving me advice! Back then, I had no idea how to improve my sound on the bassoon. (I had all I could do to just get the bassoon to work, since my instrument, a rickety old Linton bassoon belonging to my school, had a predilection for mechanical malfunction.)
|old Linton bassoon|
Congratulations to Philip Nicol, a freshman at Marion Harding HS, whose performance on the marimba took first place. Philip and his accompanist John Holsinger performed the first movement of the Rosauro Concerto for Marimba and Orchestra. Phillip will receive a first prize purse of $500, generously provided by the Women’s Association of the Columbus Symphony.
Why was Phillip chosen as the winner? I'd say it's because his performance was captivating, exciting and did not reveal any flaws or weaknesses. (His competitors performed at a very high level as well, so Phillip had his work cut out for him!)
When he began playing, I had to glance at his accompanist to see whether the accompanist was playing. Yes, both were playing - their blend was so amazing that it sounded almost like one instrument with one player. What an incredible level of synchronization between soloist and pianist! Philip used four mallets at once in his performance, and it sounded as though each voice balanced perfectly with the others (and also with the piano accompaniment).
My advice to future winners is to just follow Phillip's example. Play with perfection and commitment. Make the judges forget about writing on their score sheets - make them put down their pens to just sit back and enjoy your performance!
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