Blog Post: Christi Rajnes

As usual in the UM Wind Orchestra, we have another unusual program. As a flute player, I play on two of the pieces: The Messiaen "Oiseaux Exotiques," and the McPhee "Concerto for Wind Orchestra."

The Messiaen will cetainly always stand out in my mind as one of the most difficult pieces I've ever played in an ensemble. It is very exposed (especially if you're playing piccolo!), has no constant meter, and includes a great deal of difficult runs. However, it is very obvious to the listener that the composer portrays birds successfully. It has no detectable meter because birds themselves are quite unconcerned with singing in any metric pattern. It is atonal, because birdsong is not required to be tonal. The piece itself really does make more sense than it would appear at first glance.

The McPhee is also a piece where careful listening is required to understand it. Even when I play it with the ensemble, I have to constantly push myself to hear the many different layers of instrumentation, and appreciate every one!

-Christi Rajnes, flute

Blog Post: Erin Shupe

As a regular member of UMWE, this was my first time playing in an UMWO concert rotation. Messiaen's Oiseaux exotiques is by far unlike any other piece I have played before, but luckily my part (temple blocks) isn't too challenging. However, I have been really impressed with my fellow percussionists Arielle and Donnie with their incredibly difficult mallet parts. The ensemble has really pulled this piece together quite quickly and I am excited to finally perform it at the end of the week.

-Erin Shupe, percussion

Blog Post: Pedro Paz

Being a part of the Wind Orchestra always brings surprises. Some are good and some are not quite as good. I have to admit that the only thing I knew about Messiaen prior to playing Exotic Birds was that everyone hated playing his music last year. There were so many fervent opinions that I was naturally a little apprehensive about facing his music. The first few practice sessions with my part to Exotic Birds had me thinking that those people were right. However, the story ends well as a few rehearsal the piece was brought to life and I began to really enjoy being a part of the experience. The writing is genius. If you listen to each individual part, it sounds like some random notes. In the ensemble, the music becomes literally birds. It has been fascinating to sit in the group and take in the environment being created. If you are expecting Brahms or Beethoven, you may not like the piece, but I strongly believe that with a more abstract approach anyone can appreciate and enjoy this piece.

-Pedro Paz, horn

Blog Post: Noelle Drewes

In preparation for my upcoming lecture recital, I have been researching Antal Dorati. Though mostly famous as a conductor (he recorded all of Haydn's symphonies) he also wrote music. Six of his compositions feature the oboe (sonatas, concertos, chamber music, etc). What does this have to do with the UMWO concert? Not much, but while reading Dorati's autobiography Notes of Seven Decades I came across an amusing snippet. While describing his early attempts at composition, Dorati writes, "Perhaps the most original was the piece for wind instruments called Bird-whistle, after actual bird-calls listened to in the countryside. (Messiaen was then eight years old.)" Made me smile!

-Noelle Drewes, oboe

Blog Post: Robby Bowen

This is my third concert rotation with UMWO, and I have to say that it has definitely been the most laid back so far. As a percussionist, the last two rotations were extremely complicated on my part (both musically and logistically). However, the amount of equipment, setup time, etc for this concert has been far simpler. I have been extremely fortunate in receiving the snare drum part on Exotic Birds. I give my fellow percussionists Donnie Johns and Arielle Miller gratitude for playing the most difficult xylophone/glock parts I’ve ever glanced over. That said, I am having my own fair share of difficulty on the Torke piece, “Adjustable Wrench.” In this piece, I am the only percussionist in a very small ensemble. My part is entirely on marimba, however, everything I play is chordal. While most of my tricky syncopated rhythms are mirrored in the brass, I am always playing several notes at a time, and I am constantly twisting and turning my arms to keep up with the quick, jazzy tempo. Although it is extremely difficult, I’m thoroughly enjoying it and I’m sure that it will all fit together in time for the concert next month!

-Robby Bowen, percussion

Blog Post: Donnie Johns

Performing this concert is particularly exciting and challenging for me. I'm playing the xylophone part for Messiaen's Oiseaux exotiques and it is unlike anything I have done before. The xylophone part is very soloistic and I'm in front of most of the ensemble (not typical for most percussion assignments)! I had never realized how different it is playing in front of a group as opposed to the back. Timing, dynamics, and NERVES are all very different for me with this piece! I also can't make jokes like I usually do in the back....

-Donnie Johns, percussion

Blog Post: Arielle Miller

Remember the bluebirds from Snow White? Friendly, melodious, and so helpful with the housework, they are a friend to any furry woodland creature and magical singing princess.

These are not those birds.

These are the birds that sit outside your window, ca-cawing loudly hours before your alarm is set to go off. After rudely awakening you on some Sunday morning, they proceed to peck out your eyes. Your day is ruined.

"Exotic Birds" is not a symphony of birdsong, but a cacophony. In a more realistic but less pleasant representation of nature, each voice trills, whistles, and trumpets over the others in hopes of being heard. The musicians are soloists for the majority of the piece and each lends his own timbre to the chaos.

Yet, if you listen closely, you will hear personality in those voices. Some float lightly over the orchestra, flitting rapidly over an instruments range. Others, upon entering, command the other voices to halt so that the orchestra can declare their presence in unison figures. Still others screech and squawk, climbing to higher and higher pitches with each repetition.

Perhaps if you have never visited the Amazonian rainforest, we can provide you with a glimpse of the experience. But fair warning: you may decide to cancel your jungle safari. These birds do not sound happy.

-Arielle Miller, percussion