(audience clapping) (lively music) (lively music continues) - How would you describe this orchestra from your podium?

- You know, I have to say that one of the reasons that I continue to work with youth orchestras, with this youth orchestra in particular, is because my own experience as a young musician was so strongly determined by being a member of the youth orchestra.

I think there's something really remarkable about the fact that when we're young musicians, we're trained in a lot of ways to become self-aware, to hear what's not working, to learn how to analyze that and improve upon it.

That's really great.

I think that's a really great skill musically and otherwise in one's life.

But there's also a flip side to that.

You also start to perceive how you're just not quite as good as someone you might look up to yet.

But the beautiful thing about an orchestra, and this is what I realized when I was still in high school, is that when you mass all these people together, right, everyone's shortcomings kinda get covered over by someone else's strengths.

So it's a situation not where it's, an orchestra's only as good as its weakest link, but instead, no, an orchestra's greater than the sum of its parts.

(tender music) - Where are you getting these talented kids?

- Well, from all over Kalamazoo County, certainly, and some even from farther afield occasionally.

The orchestra is, I'm proud to say, in terms of being an inclusive place for students of color, for students of any kind of background, I think we're doing a better job at that than we ever have in the history of this organization.

And I do wanna speak for a second to the fact that classical music has, as so many sectors of our society, been often exclusionary place.

And it's absolutely part of our stated purpose at the Junior Symphony that that is something that we are going to actively work to correct, that this is a place where everyone is made to feel welcome.

(soulful music) - Are you bringing students in from all different walks of life, and different high schools, and again, friendships that could be established for life?

- Yes, I definitely think so.

Musicians are, no matter what instrument, what grade, where you're from, we're all very motivated, and we all have a lot of self-discipline, I feel.

And there's just something special about musicians that, yeah, that connects us all.

- What's special about this orchestra?

- Well, first of all, everyone is very motivated to be there.

It was an option for them to be there.

They picked to be here, so everyone wants to be there.

There's a lot of energy and camaraderie that goes on in the orchestra, a lot of synergy, like people really care about what others are doing in the orchestra, and they pay attention because they're developed musically.

And that's just, like, a whole new energy compared to the other experiences that I've had.

(soulful music) - And why did you choose the viola way back when?

- (laughs) Well, I chose the viola because, like, at first I started on violin.

I think that's, like, how every string player starts off, honestly.

But I wanted to play something that, like, is more unique, you know, like, you don't see many viola players out there.

So I was like, "Hmm, maybe I'll settle on playing viola," you know?

- What's it like to be with other guys and gals of similar talents?

Are there friendships being made?

Is there competition on stage?

How do you make music happen?

- It's honestly, it's kind of diverse, you know?

Like, at one end there's a lot of people that are definitely in it for the competition, like healthy competition is, but there's also other people there for their talent, and also just to make friends.

And the KJSO, I would say it would foster those friendships.

- In the end, you're all together as a team - Yeah.

to make one thing happen - We're all together as a team, yep.

- for the audience, right?

You hear of this orchestra, you have to audition, and then you have to go to rehearsals, and then you have to do performances.

What do you get out of this?

- So, first you audition.

Then you receive an email saying, "Congratulations, you made it into the orchestra."

- It was a good day, wasn't it?

- It was a very good day.

I was very excited.

And then later on in July, or early July, you get another email from Mr. Koehler about the season information as well as excerpts because we have to do chair auditions at the end of August, and that determines where we're sitting for the different cycles throughout the season.

(dramatic music) - And how has this participation thus far helped you in other areas of life?

- Well, first of all, just the level of music definitely taught me new discipline for other areas of life.

That helps with school, like getting hard material learned.

It taught me how to, like I was saying earlier, work synergistically with others and work well with other people.

And it just taught me more about just what it is, music, and how to play well in a pretty good orchestra.

- So, let's have you talk about the team, and specially your music director, and trusting his lead, but he trusts you too, right?

- I hope so.

(laughs) Yeah.

It's a wonderful team.

Everyone is so dedicated, and we're all here in the KJSO for a reason.

We love music, and we practice the music, and Mr. Koehler's a great conductor.

I love the rehearsal schedules that he sends out every week so that we get a better understanding of what we should practice to help prepare for the upcoming rehearsal.

And I think Mr. Koehler does a wonderful job of allotting our time to practice specific sections and pieces that we really need to work on.

And it's very efficient, and I think it's just all very organized very well.

- How important is your conductor, your music director in front of you?

- Very.

(laughs) I would say that he's like the backbone of our orchestra.

We produce the music, but he's the one that's conducting.

He's, like, telling us that certain parts should be expressed more so, like, the music sounds better.

So, I would say that, like, his musical taste, and his passion and character, he reflects that with our music.

So, I would say he's very important to our orchestra and its characteristics.

(jaunty music) - It's a wonderful experience.

I've learned so much, and I feel like I've grown so much in my understanding of music as well.

I also play the piano, so that's quite a solo instrument.

But getting to participate in the KJSO has taught me more about playing together as a community.

There's so many differences, like listening to other people, reading your music while also keeping an eye out for the conductor.

And I just say KJSO is, it's a great program.

I'm so happy I can be a part of it, and I really encourage anyone who's thinking about, like, auditioning to just go for it next year, and come to our concerts, and I'm so happy that we can have such an awesome program here in Kalamazoo.

- Do you see yourself being involved with your viola forever?

- Yes, I love playing.

It gives me, like, a sense of joy.

My viola is very important for me to play, and I actually do a lot with playing pieces at gigs.

It's just, like, driven by pure happiness to just continue to pursue the viola.

- You know, the interesting thing is that I think when a performance is going best, what I actually feel is, like, my mind is almost entirely clear.

And I know that sounds maybe contradictory, like I ought to be thinking more about the music.

But I find that when things are going well, when I feel that there's a real sense of trust and faith going both ways, right?

That the orchestra is believing in the leadership that I'm offering, but I'm also trusting them to do the work, and everyone is feeling that sense of connection.

You feel, almost, the concentration.

When that happens, time almost feels like it slows down for me.

And I no longer perceive any active thoughts in my brain about how this is going.

That is a hard thing to let go of because so much of our musical life has to be in that zone of self-awareness where I'm thinking, "Okay, here's what I'm hearing.

Here's what we need to fix in the rehearsal."

And then afterwards, "Ooh, it's a little out of tune here, and little this, little that."

So, it's a really beautiful thing when you can get to a performance and not be thinking about "This is what I would want to rehearse afterwards," nor regretting what just happened but being truly in that moment only and experiencing the music as the audience is experiencing it, and feeling very much that you are connected in both directions, both with the musicians with whom you feel to be in a silent kind of dialogue.

Well, I suppose it's not silent in a way, right?

It's a musical dialogue, perhaps I should say.

But also with the audience, whom you feel are listening intently and sort of understanding the musical content of what we're trying to transmit to them.

(elegant music) (elegant music continues) (elegant music continues) (elegant music continues) (elegant music continues) (elegant music continues) (elegant music fades) (dramatic music) (dramatic music continues) (dramatic music continues) (dramatic music continues) (dramatic music continues) (dramatic music continues) (uneasy music) (uneasy music swells) (elegant music) (elegant music continues) (elegant music continues) (elegant music swells) (majestic music) (dramatic music) (dramatic music continues) (dramatic music continues) (dramatic music swells) (dramatic music fades) (uneasy music) (uneasy music continues) (gentle bright music) (gentle bright music continues) (gentle bright music continues) (gentle bright music continues) (dramatic music) (audience clapping and cheering) - Thank you so much for watching.

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