Archive for April, 2013|Monthly archive page
Last week we had the first of this year’s 2-day workshops for the 2013 MSO ArtPlay Ensemble. Twenty-seven children aged between 8 and 13 gathered at 10am on Monday morning, and by 3pm Tuesday afternoon we had created our first group composition. Have a listen to our music while you read the rest of the post:
This year’s Ensemble is full of characters (every year’s Ensemble is actually – read here to learn about our selection process), and lots of talent. We spent the first hour of the first day getting the group’s energy up and flowing. I allow quite a lot of time for warm-up games on the first day, because no-one knows anyone else and it is important to get everyone relaxed and bouncing ideas off each other. We played a few old favourites – the Chair Game, a game of strategy and forward-thinking that involves a lot of very rapid switching of chairs; Introductions, which involves memory work and listening; and Shape-Making, which gets people working collaboratively and to time limits.
Our music focus was the British composer Thomas Ades, and in particular, his Four Scenes from The Tempest. We used short extracts from the libretto to create four musical scenes of our own, depicting Ariel’s very rhythmic, fast-paced description of the shipwreck, an argument between Ariel and Prospero in which Ariel is denied his request for freedom, a very simple, beautiful interpretation of ‘Full fathom five’ (re-written as Five Fathoms Deep by Ades’ librettist) with eery, shimmering sounds from bowed crotales and submerged bells, and a sweet romantic theme, growing in intensity, depicting the love between Ferdinand and Miranda.
It always interesting to see the mix of children that we meet in the Open Workshops settle into becoming an Ensemble, experimenting, being courageous, and learning from each other. Some older children start the project with a certain amount of shyness or self-consciousness but then blossom into peer leaders. In this project I saw two of the older members of the group, both violinists, take on a task of making up their own bluegrass-style melody with a certain amount of trepidation and shyness. The melody they came up with was infectious, and pretty soon, other violinists were clamoring to learn it. I saw the two older children grow in stature and confidence as they saw the group respond so positively to their music, and they became unofficial leaders of the violin section.
There is always space for children to take up the challenge of improvising a short solo. The points in the music where these solos happen are often only chosen halfway through the second day. In this project, we had two improvised solos – one from a saxophonist who did a wild, savage squawking solo, using all the side keys and trill keys on his instrument and playing as loudly as possible; and one from a flautist who traded short riffs with the MSO cellist who was working on the project. Every person who takes on a solo is modeling this role for the other players, giving them an idea of how this ‘territory’ works.
We have an incredibly strong percussion section in this year’s Ensemble. One of the three boys is particularly interesting. He is intensely musical – ideas just burst out of him constantly – but I wasn’t sure (from the Open Workshop experience) how he’d go working in a group this size, with such long stretches of waiting in silence or standing by. Well, he did just great. I could see it was hard work for him at times, but it is for all the children in different ways, and it was lovely to see how much joy he was getting from being part of the group, and how much he was contributing to the music we were creating. I am so happy to know that we have created an Ensemble where there is a lot of space for the children to simply be themselves. The focus on creating our own work means that everyone’s different skill levels, strengths, personality quirks and interests can be accommodated as the music comes together.
One of the things that the children work out in this first 2-day workshop is that I say ‘Yes’ a lot. When a child says, “Can I play that melody?” or “I’ve had an idea – can I play it like this?” I say “Yes, sure!” By asking questions like this, the children start to learn that this music really is theirs to shape. After a while, they ask less, and just play their ideas, trying them out and seeing how they sound. For some, the speed with which new ideas may be introduced can make things feel quite confusing. As one boy said, “It’s good, but it’s also a bit weird when you are doing it [making up a piece in a group] for the first time. It takes getting used to.”
My favourite comment from the project was sent to me by one of the children’s mothers. Her daughter told her at the end of the first day, “”I loved it SO much today, that I completely forgot to eat the chocolate in my lunchbox!”
Sounds like a definite vote of confidence to me. I am really looking forward to working with this group of children this year.