How does being stuck in a stuffy room listening to uninspired renditions of unapproachable music originally written by dead Europeans sound? If you’re one of the few who finds this description appealing, do not go anywhere near the UCLA Wind Ensemble’s annual spring performance.
Music professor and world-renowned conductor Thomas Lee and his graduate students Leo Sakomoto and Ricardo J. Espinosa will lead the 50-member troupe through their own interpretations of the chosen pieces. To complement the hedonism of spring nights, this evening’s performance promises to be the wind ensemble’s most accessible and enjoyable performance of the year, but not at the expense of the group’s technical prowess and their choice of powerful and reputable pieces.
The spring performance will begin at 8 p.m. in Schoenberg Hall and is only $3 for students seeking out music that is appealing but still has little in common with the pop music inundating today’s airwaves.
“Exposing that quality of literature ““ of good music, in general ““ to as many people as I can is why I am into (conducting),” Sakomoto said. “(The music will be) very crowd-pleasing. Most of the pieces you can walk out of the concert and be able to hum.”
“When’s the last time you heard wind ensemble music on the radio? It’s really amazing to hear it,” said Matthew Sandler, a second-year saxophone performance student and member of the ensemble. “The show will be great for those listening who are really into wind ensemble and have a lot of experience listening to this genre of music, but we have pieces that will be (showy) crowd-pleasers.”
By mixing genres and highlighting the contemporary, the conductors also managed to maintain the group’s credibility as one of the nation’s most respected musical collectives. For example, one of the night’s pieces comes from Pulitzer Prize-winning conductor Steven Stucky and his rendition of the Henry Purcell classic “Funeral Music for Queen Mary.”
“It isn’t as depressing as it sounds,” Espinosa said. “(Stucky) has taken 17th-century music and has set it for a modern orchestra.”
Another element that will enhance the accessibility of tonight’s performance comes directly from the individual judgments of the conductors.
“Dr. Lee is one of the foremost experts. His interpretation is usually the standard or a great interpretation of a classical piece,” Sandler said. “He knows all the music inside and out. (Sakomoto and Espinosa) are awesome. They get really good tutelage from Dr. Lee.”
As well as exuding self-confidence, communicating as effectively and efficiently as possible via the movements of the baton, and controlling a large group, Espinosa cites “knowing what the music is trying to achieve” as one of the most crucial elements to successful conducting. Lee’s conducting of Eric Whitacre’s “October” is likely to embody this prized dexterity.
“I 100 percent believe that (Lee) has a good interpretation of the music. Some play “October” very straight and dry with no slow down and no push and pull,” Espinosa said. “What it comes down to is what the score says and what the conductor feels like. Lee takes his time in the right moments and pushes ahead in the moments you have to get through.”
In addition to the inspiring Dr. Lee, the graduate student conductors praise the dedication and aptitude of the members of the ensemble.
“We’ve got the jokers and clowns outside of the rehearsal, but once we get started on business, everyone is focused on one goal ““ to make music and to achieve the highest artistry as possible with the short time frame we have,” Sakomoto said.
Students in the ensemble practice twice a week for two hours each session, in addition to countless hours of individual practice.
“We’re really privileged to have such a talented staff. It’s always fun to work with people who are so motivated to make such good music,” Sandler said. “These pieces will be performed flawlessly in terms of musicality and technique.”
A combination of skilled players, canonical conducting, and pleasing pieces, tonight’s Wind Ensemble performance is meant to be heard, rather than explained.
“You almost can’t teach it, you just have to experience it,” Sakomoto said.