Oakland Civic Orchestra: Serenade of Strings

Oakland Civic Orchestra: Schumann Symphony #4

Here is the second half of OCO's last concert (October 6th), Robert Schumann's 4th Symphony! I have never played this symphony, though it sounds like fun. Some of the themes are familiar but otherwise it's not a symphony I can even say I knew. Again though, it's a fun piece. Enjoy!

Oakland Civic Orchestra

In OCO's most recent concert Cellist Tim Erickson orchestrated and conducted Two Romances by Clara Schumann. Tim is also part of a quintet I play with (when my wrist is healthy) on Saturday mornings. So, besides all his other talents Tim (a physicist and mathematician) makes some pretty great pancakes --- often with a mystery ingredient we get to guess (and devour) before we get to playing music! I really like both of these Romances, but I love the first one all done with pizzicato!!

Oakland Civic Orchestra: Mendelssohn's 5th Symphony (the "Reformation")

This is, hands down, one of my favorite symphonies and I have played it before with the Oakland Civic Orchestra (which makes the bittersweetness of this performance a bit less bitter and a little sweeter for me). This is only the first movement but I will add videos of further movements as I receive them. Enjoy this amateur community orchestra! We have always played good repertoire without abbreviations or adaptations, and (with the grace of God I am sure) always managed to "come through" and make music with Marty Stoddard's leadership.

Oakland Civic Orchestra: Beethoven's 5th Symphony

One of the most personally important pieces I have ever played is Beethoven's fifth symphony. It is a piece everyone recognizes with its famous first four notes: dut dut dut DUH! These notes are an everpresent reality in most of the symphony; whether we are hearing the intervals involved, the rhythmic motif, the struggle to move from minor to major, etc., these four notes drive everything. When I was in Junior High School I was struck with the thought that "never was so much done with so little"! Remember, Beethoven was struggling to come to terms with his own deafness and the potential crippling of his own genius when he wrote this symphony. It seems appropriate that in situations of personal limitation, deficiency, and also potential, I have come back to this symphony in one way and another.

This last year, when working with my director on a number of areas of personal suffering, limitation, healing, and growth, a friend gave me four tickets to the SF Symphony. It was a lecture on and performance of Beethoven's 5th --- and a great grace for me. "Never was so much done with so little," was the refrain I heard again. Then, the Oakland Civic Orchestra did this same symphony for our last set this June, right at the one year mark of my own intensive work. Again and again, four notes, a simple rhythm, an almost unimaginable potential --- and the new refrain I heard was "Never was so much hidden potential revealed in such a focused way!" For me this is the symphony I associate most with the quality and virtue of hope. I have included OCO playing the first movement above; other movements to come as Carol gets them finished! I hope you enjoy them as much as I enjoyed playing them! (Enlarge the screen for best visibility.)



The last two movements are included below.

Oakland Civic Orchestra: Winter Set: The Bach Double

Every violinist in this (or any) orchestra has played this double violin concerto (universally known simply as "the Bach Double") --- and usually more than once so one plays both first and second violin at some point. Usually it is one of the first concerti violinists learn once they have moved beyond first to third and fifth positions. We don't all get to play it with an orchestra but we all tend to get to play it with our teachers or a mentor or friend at some relatively early point in our violin careers. And yet, like all such things it is an incredibly demanding concerto, not technically perhaps, but emotionally and musically. When violinists return to it as adults (if they have played it as younger students) they find a "new" piece entirely. What is most striking is the way the voices are so incredibly balanced as well as how they echo, blend, intertwine, and hand off passages. The second movement in particular remains the most beautiful I know for two violins.

When I prepared this movement with my own teacher --- after we had gotten all the fingerings and bowings down (for I had not played this as a younger student so it was all new) --- we moved onto the task of  "making music" of the notes. The approach reminded me of some of the dimensions of spiritual direction and/or growth work. First we went through the entire movement deciding on what emotion we would like each passage or section to express, what emotions or feelings the passage evoked in us and those we wanted to evoke in listeners, where it changed in intensity and how abruptly, what it changed to, where we were in tension with one another, where in union, and so forth. Though the musical term for much of this is "dynamics" our vocabulary was first of all that of feelings and nuances of feelings. Then we went through the music again and, as we stopped at the places we had noted emotions, each of us privately made a note about some memory which clearly evoked those feelings for us. The memories remained private but the awe or tenderness or pain or determination --- or whatever it was we personally poured into this music and expressed through it was communal; the intimacy of the experience was and still is hard to describe. (Check the looks exchanged by the two soloists at the end of the third movement in the above video; through all of their own rehearsals and especially in this performance Christina and Thomas have shared something both transcendent and ineffably intimate. They are not merely demonstrating that they are relieved or pleased with the technical performance --- though both of these might also be true.)

At every point my teacher and I had to listen and listen profoundly in attempting to interpret this piece of music --- not only to be faithful to the truth Bach captured there in the manuscript itself, but to our own hearts and the hearts and voices of one another as we attempted to come together in a single unified performance. a single unified heart and voice. In the language of the Camaldolese we were "alone together" in this amazing process.  This was one of the most transcendent experiences I have ever had apart from formal prayer periods --- and one of the most potent experiences of the paradox of solitude in community.  In  some ways I am sure my own sensitivity to the communal nature of eremitical solitude is formed or at least heightened by my experience of learning and playing this concerto.

______________________________________________

A note on the video: In the performance by the OCO and soloists Christina Owens and Thomas Chow you might note that Christina is playing in the Baroque style as violinists would have played Bach's music. She uses little or no vibrato creating a characteristic sound. Thomas tends to be using a more contemporary style with less than usual vibrato but still using it in many instances. Both are also using modern violins and modern bows rather than Baroque instruments or bows. Finally the orchestra is taking their cues by attending to the soloists; there is no conductor. I can't remember another time OCO has played a piece in this manner --- also pretty typical of the Baroque approach to string orchestras and soloists.

Oakland Civic Orchestra 23. October.2016

One of the things I have looked freshly at over the past few months is the place of music in my experiences of the Transcendent throughout my life. From the fourth grade on, but especially from 6th grade through high school, music was the principle way in which God's unceasing presence was mediated to me. Music was a sustaining and empowering reality, a source of coherence, order, beauty, and personal, spiritual, and intellectual growth.

Last year I didn't play with Oakland Civic Orchestra at all, not only because an injury made walking almost impossible at times, but (and more importantly) because of various concerns re eremitical life and some work I needed to do with regard to eremitical solitude. It was a good choice and in some ways I think that work in the Fall and Spring eventuated in the inner work undertaken over the past 4.5-5 months. It has been a challenging, painful, and also wonderful number of months and though there is probably more work to be done, the essential healing seems to be completed. (My injury too is almost entirely healed so that is also pretty cool.) So this year I am back with OCO and our first concert is tomorrow afternoon.

It seems one of those amazing bits of timing I associate with this period that, just a week after completing  a very significant chunk of essential healing, life should be marked by a concert with long-time friends and colleagues. God, of course, is immensely --- infinitely--- good and gracious. And in my life the ability to play orchestral and chamber music with others from diverse backgrounds is most often a kind of eighth Sacrament which nourishes and sustains me and my prayer in the silence of solitude. I am looking forward to the concert and the season as a whole (not least because in the final set we will do Beethoven's 5th symphony once again after a number of years) though I must say I am only just getting back up to speed in terms of playing.

The program this set includes Rimsky-Korsakov's Scheherazade and A Life for the Czar Overture by Glinka as well as a set of "Five Fragments" by Shostakovich --- which, it seems to me. were never meant for public consumption and should have been left in whatever cupboard in which they were found! (Just saying!) I am not ordinarily much of a fan of contemporary music and this piece is one of my least favorite ever. But the Glinka and Scheherazade are terrific --- typically Russian pieces folks will relate to! Meanwhile, the video of Finlandia above is from last season's "Sibelius set". Some of the video, especially of the right side of the orchestra, is quite dark but persevere --- it is a backdrop for the light that is also present.

In the words of Dag Hammarskjöld, "For all that has been, thanks. For all that will be, YES!" (Markings)

Oakland Civic Orchestra's First Set of the Season

I didn't play the first set this season with the Oakland Civic Orchestra, nor am I playing this Advent, though I am still with the orchestra and keep them in my thoughts. I have been waiting for these videos to be available because the concert was supposed to have been really impressive. Here are two of the movements (#3,4) from Tchaikovsky's 4th Symphony, the main offering of the first set.

I personally love the second movement (not included here) while the third (included) is amazingly fun --- not only because the music itself is playful with parts thrown back and forth between instruments, but because the strings are mainly using a fast  and repetitive pizzicato which is not easy, especially for extended passages (never mind an entire movement!). This is simply a technique we (violinists anyway) do not use a lot --- not enough to gain real facility with it! The fourth movement (also included) is one I honestly would not have thought our orchestra could ever play (the string parts are quite difficult and I suspect the same is true for the wind parts), but here it is --- an amazing testimony to the group's growth over the years and the commitment of its members (and director and associates !!!).

Remember, this is an amateur orchestra whose members have day jobs as teachers, professors, nurses, ER physicians, mathematicians, retired park rangers, psychologists, attorneys, librarians, contractors, social workers, hermit nuns, and any number of other fields most of which have little or nothing to do with music --- at least not directly. Rehearsals are held one evening a week for 2.5 hours. Anyone living in the SF Bay Area and interested in playing with the orchestra should go to the website Oakland Civic Orchestra and contact Marty Stoddard, Artistic Director. Strings are always needed and no audition is necessary. Winds (for whom chairs are much more limited) are also welcome but do need to audition for seats.

Oakland Civic Orchestra Plays Again!

This last Sunday OCO played music from the Americas including some little-known and seldom heard pieces. I have included the first movement from Villa Lobos' Symphonietta #1 and a piece by Bruce Reiprich called "Lullaby" played by our own concertmaster Christina Owens. The composer attended from Arizona and you will spot Mr Reiprich at the end when the flowers are handed out!






Addendum: I received the following question regarding the legitimacy (validity) of my playing in an orchestra: I am adding it and my response here rather than starting a new post for it. Others may be wondering about this as well.

[[Dear Sister if you are obligated to live in solitude and silence, then how does playing in an orchestra fit in with this? Apparently there is someone posting that some hermits are not really hermits if they leave their hermitage too much or work fulltime outside the hermitage and I wondered what you thought of this especially since you leave your hermitage each week.]]

Thanks for the question. By way of introduction it is important to realize that Canon 603 reads that I am obligated to stricter separation from the world, assiduous prayer and penance, and the silence of solitude lived according to a Rule I write myself and which is approved and supervised by my Bishop (and other superiors he designates). It should be understood that I am not obligated to reclusion nor to absolute physical silence. The excursions outside the hermitage I choose to make are those which are necessary (shopping, doctor's visits, Mass and parish responsibilities) or, if they are a matter of recreation, something which adds to or enhances "the silence of solitude" (being alone with God for the sake of others) and other non-negotiable elements of eremitical life.

In my own life, music, but especially playing violin (usually a very solitary activity), has always been a profound mediator of God's presence to me while playing music with others has been a significant experience of community. I still remember the first time I played in orchestra; it was a revelation! I was blown away by the sense of power and holiness of what I experienced there. I was only 11 or 12 at the time and that memory is as vivid as any (other) prayer experience I have ever had. It was my first genuine experience of the essence and meaning of community and it awed me.

We practiced our parts at home alone (something that was always akin to prayer for me and a powerful experience of tapping into something greater than myself); we did that during rehearsals too of course, but as a group something entirely new came to be --- something incredibly greater than the sum of the individual parts. Moreover, we came together to play the music and in the process learned to listen to and cooperate with one another, to blend our sound with and anticipate the needs of stand mates and section members, to interpret the silent gestures of the conductor, and to be responsible to one another so the orchestra as a whole could succeed in interpreting the notes and marks on the page of a composer who spoke to us silently and mysteriously over the centuries (another and different experience of transcendence). It might surprise you to learn that during the rehearsal there is actually relatively little talk or socializing in the usual sense; while highly communal, this kind of music-making is also a matter of profound solitude in the best sense of that term. If you look at what I write about eremitical solitude as a dialogical reality and especially about the silence of solitude as the result of communion with God lived for the sake of others, you may see that playing with an orchestra reprises the very same dynamics.

In any case, this activity has been life giving to me and a source of my contem-plative spirituality for more than fifty years --- long before I knew God by name or had embraced Catholicism. It is part of my coming to faith as well as to eremitical life and it is still a source of faith as well as part of understanding the potential of eremitical life. It has helped shape my sense of obedience (hearkening --- listening and responding appropriately), enlightened me regarding the invariable link between eremitical solitude and community, underscored the relation between prayer and penance (any activity or practice that helps prepare for, extend, and regularize prayer), and it has provided many varied inspiring and sustaining experiences of transcendence.

So long as I can truly accommodate orchestral playing with an eremitical life of the silence of solitude,  or more accurately, so long as it contributes to this life rather than detracting from it, it will continue to be a significant part of my life. For this reason I have written the one evening (@3 hours) each week I play with the orchestra into my Rule. I have done something similar with time I come together with friends from the orchestra for breakfast (pancakes!) and either quartets or quintets on some Saturday mornings.

Hermits and Fulltime work or time out of Cell:

I agree that a hermit who leaves her hermitage too often or spends too much time with others is not really a hermit. I have written myself about instances of people who work everyday outside the hermitage in highly social jobs and are not living the terms of the canon. They are not hermits. Flexibility is certainly allowed in any eremitical life and can be important to living it with integrity, but one cannot allow the actual terms of the canon to be contravened in the process; the terms of the canon must truly define and describe the life one lives even when there are necessary adaptations made for the sake of living the life itself. Remember that Carthusians, for instance, take time one day each week for a long walk together which is necessary to their living the solitude of the rest of the week well. I doubt anyone would seriously argue this makes them less than true full-time hermits. In any case, neither this nor 3 hours playing with an orchestra one evening a week, are the same as leaving the hermitage for 10-12 hours five days a week for a highly social job or spending the majority of one's life outside one's cell.

Everyone living eremitical solitude has to take care to build in sufficient recreation of a kind which contributes to one's more usual schedule, prayer, and solitude. The quality of this contribution is discerned and discussed with one's director and superiors. It cannot be an excuse, pretense, or mere distraction; it must truly contribute to the vocation ---  a little like the desert Father's story about the occasional unstringing or relaxation of a bow being important in allowing one to protect the bow's ability to draw and loose arrows with real power the rest of the time (think here of a violin bow instead which must also be loosened between periods of playing if it is to retain its strength and resiliency) --- but far richer too because of the dimension of profound sharing involved. For me one evening a week spent playing orchestral music (that is, working to learn and make music with others) provides many things which are absolutely integral to contemplative life, but not least some of the recreation and community as well as the discipline eremitical life itself requires.

Feast Day Festivities with Oakland Civic Orchestra

Just a taste of part of the way I celebrated my Feast Day this last Sunday (January 25th is ordinarily the Feast of the Conversion of St Paul). I will post more as these videos become available. The program was called A Tribute to St Petersburg and included Balakirev's Overture on Three Russian Folksongs, Prokofiev's Symphony no1, "Classical", and his Lieutenant Kije Suite.

What Hermits do to "Relax"

Of course I don't know what hermits in general do to relax but here is one of the things I do for recreation. On November 24th the Oakland Civic Orchestra opened this season with a program including the following along with the Tchaikovsky waltz from Eugene Onegin and Brahm's 4th Symphony. As I have noted before, we rehearse one evening a week and are an all amateur orchestra with folks from all walks of life. This concert was especially challenging, not only for Brahm's 4th, but because we were accompanying such a fine young musician in a movement from the Dvorak cello concerto in B minor. Accompanying well requires a very different skill set in some ways than does playing a piece written primarily for orchestra. We all continue to learn --- and especially we learn to listen so that together we might make music. In its own way it is a very Benedictine practice.

Tchaikovsky's Polonaise from Eugene Onegin. Conducted by Jason Oestenstad (associate conductor)


Dvorak's Concerto for Cello in B minor, Movement #1. As noted, we are playing with an amazing soloist --- high school senior Jasper Hussong. Conducted by Marty Stoddard (Artistic Director and Conductor) Jasper is in the midst of applying to colleges and sending in audition tapes. Someone will be lucky to get him!

A bit of the Orchestra I play with

Occasionally I get questions about playing with an orchestra, how do I do it, where do I do it, why and so forth. I am not going to answer those questions right now, but partly because of the piece posted on Cyprian Consiglio and references to his music as a piece of his Camaldolese life, and partly because I recently referred to the problem people have understanding this part of my life in the Saturday Evening Post article, I wanted to give folks a taste of the amateur orchestra I do play with. (We all have day jobs, mostly NOT in music, and rehearse one evening a week; we play four sets per school year.) Last season (just finished in June) I missed both of these concerts (and most of the rehearsals!) due to illness, but here is the Oakland Civic Orchestra with movements from two of my favorite symphonies. Ordinarily I would be sitting in the second or third stand of the first violin section or playing principal second. In these concerts I would have been playing first violin.





One blog post I put up last year or the year before referred to working on a Beethoven Symphony; I was trying to illustrate what life in the hermitage was like --- the intensity and struggle, the work, the community, the solitude, the not-so-occasional "failures" or falling short, the life giving quality and the joy of it all. You can find that piece here: Notes From Stillsong Hermitage: On Struggle, Peace, and Authenticity in Eremitical Vocations. These are the people and this is the orchestra I had in mind in the following passage:

[[The hermitage is the place one lives in a conscious way and as constantly as one is able before the face or gaze of God. That is, at once, both a wonderfully affirming and recreating, and a terribly demanding task and experience. All of those things which prevent us from loving well, all of those things which have wounded and distorted us as human beings eventually must be worked through here. Union with God is the primary goal of the hermitage to which all else is ordered; it is the reason hermitages exist, and while this does not mean a stress-filled vocation, it does indicate an intense one. For me it is akin to playing a Beethoven symphony with an orchestra: we work and work intensely --- individually, together in sectionals, with and without the conductor, with the whole orchestra in ways which are physically, intellectually, and emotionally exhausting, and yet, the invigoration and sheer re-creative power of the work is awesome. When the music is allowed to come to life through this orchestra, and through (for instance) my own heart, mind, and muscles as a functioning part of this orchestra, the experience is indescribably exhilarating and joyful even as it exhausts. Life in the hermitage is like that.]]

Questions on the Concert, Oakland Civic Orchestra, etc.

[[Sister Laurel, how was your concert? Will you be playing others? Also, you said this was an amateur orchestra. Are there any pro's [sic] playing in it?]]

Ah, thanks for asking. The concert was really excellent! It went better than we expected even and the audience was very appreciative even giving us a standing ovation. It is an amazing experience for an amateur musician to come away from six or seven rehearsals and a performance and feel like she has actually played a Beethoven Symphony with 45 other performers! It is one thing to struggle and muddle through it, and entirely another to actually play it! Granted, we did not take the fast movements (or the presto climaxing the last movement) at anywhere near the breakneck speed some do, but it was still just fine!

Since I am still excited from the performance, I should note that my earliest significant experience of both transcendence and community was the experience of playing in an orchestra. The degree of interdependence and personal responsibility to make things work for everyone, but also for the greater goal of performing a piece of music is completely exhilarating to me. There's hard work, incredible excitement, joy, disappointment (when there are the occasional inevitable train wrecks), and a real sense of awe, humility, and triumph at what has been accomplished in and through us when all goes well. Yesterday's concert was one of those really satisfying ones when you know everyone did their best and it was what it was supposed to be --- something very much greater than the sum of individual parts. We made MUSIC, and there is something unquestionably holy in that experience.

The orchestra is a completely amateur orchestra. Some of us have played occasionally with pro-am orchestras in the area, but generally we are made up of folks who have full time jobs in something other than music and come to a rehearsal once a week in the evenings. Teachers, attorneys, software developers, psychologists, pastors (or hermit nuns!), nurses, physicians, full time moms, and any number of other fields are represented. Some members are professionals in music somewhere (choral music, for instance), but play an instrument as a secondary interest. Most of us played instruments in school and many desired to play as professionals but were discouraged by the dearth of chairs available (winds especially have this problem), or an inability to play at a professional level. Some went on to teach music, get married, enter the convent, go to medical school, etc. Many of us studied something else in college and may have minored in music. Some, involved in music in other ways most of their lives, picked up the instruments they play with us only as adults. The basic story is always the same though: the desire to make music, to play, and especially to play "real" orchestral music (not just light classical or abridged and simplified works) never really left us and this is the answer: Community Orchestra.

The Oakland Civic Orchestra is really fortunate to have an excellent artistic director and conductor, Marty Stoddard, who does not shy away from playing the classical repertoire. When she auditioned for the "job" (it pays hardly anything!), a number of orchestra members thought she would make us work too hard. They wanted a Wednesday night out, but not a difficult rehearsal, much less commitments to practicing at home! Well, Marty won the audition anyway. Those members left us long ago and we have grown as an orchestra in the intervening years. Next season is our 20th year, and we intend to continue doing so. We now are joined sometimes by the Oakland Symphony Chorus and each season dedicate a portion of a set to a young musician who has taken second place in the Oakland East Bay Symphony Concerto Competition. The second place prize is a chance to play with us (rather than with the OEBS) --- usually the young person's first chance to rehearse and perform as a soloist with a real symphony orchestra. It is an experience which provides an element of musical education that can't be gotten practicing alone. Another set is usually devoted to contemporary music and this allows us to do the work of living composers. (Some preview these works with us.) Sometimes we will do a children's concert. Next season for instance, our first concert is the eve of Halloween so we will do the Sorcerer's Apprentice and some other "scary" stuff for that. (I should note it is also the eve of Harold Camping's revised prediction of the end of the world! He claims it will be quick though!)

This was the last concert of the season (there are ordinarily four from Fall through early Summer or late Spring) with time off during the Summer. This Summer some of the orchestra (not me though) will be playing in productions of Les Miserables, and on Sept 11, 2011 at 5:00pm we will, as a whole, be participating in what is being called a "Rolling Requiem." We will be doing Mozart's Requiem with the Oakland Symphony Chorus at Oakland's new Cathedral, Christ the Light. Other orchestras and choruses will be doing the same all over the country, so you might want to keep an eye open for that in your area.