Testimonials from Scholarship Recipients

Memoirs from a Summer Workshop

"Though cliché, my arrival at St. Albert’s Priory in Oakland, California resembled a film-clip from the Sound of Music.  Having traveled all the way from Roanoke, Virginia, I wore a backpack full of instruments and music, rolling my small, carry-on sized suitcase down the sidewalk.  I must have at least resembled Maria von Trapp, with short curly hair sticking to my forehead in the warm, early afternoon.

I had arrived for my first week-long recorder workshop… the kind my teacher, Margaret Newcomb had told me about… the very sort of workshop I had dreamed of attending.  Here I was at the San Francisco Early Music Society’s Recorder Week, compliments of ARS’ scholarship program.

Living in southwest Virginia is altogether lovely.  Roanoke has a well-respected Symphony Orchestra, a new, modernistic Art Museum, not to mention cultural events sponsoring the Arts. However, in my area, opportunities for recorder players are few and far between.  I travel a minimum of two hours for lessons and/or workshops.  Every month or so, I jump in my car after work, eagerly driving to Charlottesville to meet with my teacher.  Maybe Margaret Newcomb and I bonded because of our common first name.  Maybe it’s just our love of the instrument or where we are in life.  All I know is that I always leave her Flauto Dolce studio jazzed about playing.

Like Maria van Trapp, I tend to jump into situations with both feet.  After getting my “dream job” as a Music Educator at Greenfield Elementary, I inherited a fabulously vibrant music program including a Chorus, Orff instruments, and a state-of-the art Music room. 
Only one thing was missing:  a Recorder Consort. Never mind that I only played soprano.  Why worry about teaching alto, adding other lower voices and finding concert venues?  There was a real need for an advanced placement group among my top recorder students.  So, the Greenfield Consort was born.

While starting my little group on soprano duets, I drove to Maryland for monthly lessons on alto.  It wasn’t long before my students were playing their hearts out and hungering for more challenges.  The community responded with open arms; Greenfield played historical venues at Virginia Tech, we added tenors to the group, doing three-part arrangements of Handel’s Water Music.  For three successive years, we’ve also performed concerts with a colleague’s Orff ensemble, providing students with a real comprehensive “Orff-estration” experience.  It has been so thrilling, seeing 5th Graders leave my school, able to sight-read, write major scales, and read multiple parts. Time for Maria to become more proficient herself!

Thumbing through magazines and flyers advertising different workshop venues for upcoming summer months, I kept returning to SFEMS’s workshop description.  It was smaller, where I’d get more personal attention from faculty.  Offerings included Master Classes, Baroque Ornamentation, and Technique, the application questionnaire lengthy and detailed to better place students in beneficial levels. These people meant business!

With advice and help from my school system, Frances Feldon (SFEMS), and Kathy Sherrick (ARS), I was accepted into the event, learning that I had won this year’s ARS Presidential Scholarship for my work in sharing recorder with students.  This led to a busy, music-filled week in July, living among brothers at St. Albert’s Priory, learning from masters.

Norbert Kunst, recorder orchestra conductor from the Netherlands, challenged me with his ear for tuning and use of bass recorders in performance.  Patrick O’Malley creatively added hemiola to my bag of teaching tricks.  Louise Carslake made me yearn to practice for smooth, tasteful ornamentation and harpsichordist Katherine Heater removed the terror from Master Classes, turning the event into an educational experience towards which every player should strive.  Lastly, Rotem Gilbert instilled within me a fire for playing that I will never forget.

In talking with others during my memorable, whirlwind week in Oakland, I sensed that many ARS members are hesitant to committing the time needed to participate in a summer workshop.  Or, perhaps due to finances some players may not apply. Do it!!!

First, decide what workshop is best for you.  Carefully look over location, classes and the expertise of faculty.  Try to match your personal goals and educational needs to a workshop providing them.

Second, apply for scholarships.  Though ARS and some workshops offer them, there are sometimes other resources available, as well.  For Music Teachers, some school systems and professional organizations offer financial support for staff seeking recertification.
 
Lastly, show up HUMBLE.  Workshops are places to meet some of the best players you’ll ever perform with.  Be teachable, willing to try new things, ready for challenges, and expect to practice long hours.  Take extra music, a stand, and any instruments or items you might be interested in trading or selling.  Many venues have opportunities for “shopping”.
 
A day or two after my Master Class, I happened to be talking to Rotem Gilbert. 
“Rotem, you’ve seen me perform.  What is the one thing you think I need to work on more than anything else?” She smiled, every movement, gesture, and phrase full of vibrancy.  “Play,” she responded.  “Just PLAY!”

Thanks ARS for giving me opportunity to do just that this summer.  My intent is to pass Rotem’s advice along to kids at my school." 

By Margaret Courtney, July, 2009

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