Loudoun Symphony Notes

March-April 2008 Issue 2

The Sheila C. Johnson Foundation, 2007-2008 Season Sponsor


Meet The Orchestra
Firsts among equals


We inaugurate this feature with a couple who are truly first among equals within the orchestra. Cathy and David Gilstrap were among the first to join the orchestra; Cathy has played first flute for most concerts since joining; and David is among our first non-musician volunteers, having served as one of the orchestra’s stage managers since the very beginning. So it is only appropriate that they are the first orchestra members to be highlighted.

Cathy’s flute career began early; in fifth grade, as her classmates clowned around at a concert, Cathy sat mesmerized, listening to the music and in particular the flute. She knew then that this was what she wanted to do with her life. She started private lessons in high school and majored in flute at Western Washington University. Her studies there were not without excitement. As she woke up on the Sunday morning of her senior recital, she heard an explosion; Mount St. Helens had erupted. Luckily for Cathy, the wind blew the ash away from her school and she was able to have her recital as planned. Her whole last quarter was somewhat odd; it started on April Fool’s Day and ended with commencement on Friday the 13th!

WWU was also where she first met David, a German language major. No sparks initially flew as they were just friends, but when David moved to Virginia after graduation, Cathy realized she really missed him. A five-year long-distance relationship led to Cathy moving to Virginia and then marrying David. Shortly after that Cathy saw an advertisement for a new musical group forming. She went to the first meeting for the fledgling Loudoun Symphony in November 1990, but surgery on a torn rotator cuff kept her out of the group until after the first concert. The rest, as they say, is history.

Cathy has several fond memories of her time with the LSO. She and David note that the group treated them like family after a 1996 car accident, donating money and hiring a housekeeper for them while they recuperated. Musically, Cathy remembers the terrific flute part in Scherazade, by Rimsky-Korsakov. Another outstanding moment was a Gala Concert in the 1990s at which Willard Scott narrated the Copland Lincoln Portrait and PDQ Bach’s knock-off, the Bach Portrait. Willard also led the orchestra in the Stars and Stripes march and was generally a terrific guest star. There was also a time when former conductor Jed Gaylin asked her to play something just "one eyebrow higher"; Cathy cracked up the group by playing the segment with one eyebrow raised!

David decided to keep his wife company once she joined the LSO, so volunteered to help with stage set up and lighting. David jokes that "chairs are in his blood", since he also helps set up chairs at his church. David is also a regular blood donor, so we are hoping that as the chairs in his blood spread, so will his wonderful volunteer spirit! David prefers to remain "behind the scenes", but you’ll occasionally spot him out on stage, setting up a stand for a guest star, for example. David’s memorable moments usually revolve around things going wrong with the production; one concert was held at a school that had just opened and the lights kept going on and off, only occasionally in time to the music.

So at the next concert, we hope Cathy’s flute playing keeps you mesmerized, but in the breaks, you are able to appreciate David’s contribution to the production as well. As this series continues, we hope to continue to introduce you to the musicians and people "behind the scenes" who bring you every concert. We welcome your comments and suggestions, which can be sent to newsletter@loudounsymphony.org. (Vicki Rundquist)


Did You Know?
  • 1917...the Boston Symphony Orchestra was the first American orchestra to make a recording.
  • Tchaikovsky thought Brahms "giftless". Neither were.
  • Wolfgang Amadeus Mozart composed his first symphony when he was eight.
  • Sergei Rachmaninov was hypnotized (after having lost his confidence as a composer); he then wrote his most famous work, the Second Piano Concerto.
  • Quiz time: what planets are not included in Gustav Holst's "The Planets"? Right! Pluto had not been discovered yet (and now we're told it isn't a planet, after all). But this is a trick question: Earth isn't there either.
  • Richard Wagner's second wife was Franz Liszt's daughter.
  • Pyotr Ilyich Tchaikovsky (1840-93) originally planned to be a lawyer. Hector Berlioz (1803-69) wanted to be a doctor. He learned to play the flute. Good news.
  • Bedrich Smetana (1824-84) was in a string quartet at the age of five. He played the piano in public when he was six.
  • Beethoven introduced trombones to the symphony orchestra. Listen for them, especially, in his Pastorale Symphony.

(Don O'Brien)

Coming Events

Movie Magic Matinee,Loudoun Youth Symphony Orchestra
May 10, 2008, 4 pm, Harper Park MS, Leesburg

Salsa to Salzburg,Loudoun Symphony Orchesta
May 17, 2008, 8 pm, Stone Bridge HS, Ashburn
May 18, 2008, 3 pm, Freedom HS, South Riding

Interested in contributing? Contact us! newsletter@loudounsymphony.org.
Dance Fever Rocked!
A memory...

Our free Family Concert this year, performed on February 23rd, was a diverse program featuring many of the dance forms so vital to classical music. But perhaps the happiest memory concert-goers took away was that of a stage literally jam-packed with musicians of all ages. (Where did we find all those chairs? See the "Meet the Orchestra" segment!)

Adding to the professional caliber of music from the Loudoun Symphony Orchestra players themselves, were the many members of the Loudoun Symphony Youth Orchestra. Created in 2001, this energetic, talented, and deservedly proud group of young musicians has grown in ability and diversity, achieving high marks in both personal dedication to the music at hand, and for the skills required to perform as a group. These skills gave life to the Family Concert's works by Brahms, Wagner, Dvorak, Tchaikovsky and others; names not usually associated with pop culture.

But surely it is Mom and Pop culture that helps us encourage and support music of this quality and value. The LSO, with the guidance of Music Director Mark Allen McCoy, is delighted to help train and present these remarkable individuals.

Remember that your personal support, through tax-deductible contributions to the Symphony, will help us in many ways, including our continued work with the Loudoun Symphony Youth Orchestra. In concert, we can do remarkable things. (Don O'Brien)

March's "Timeless Journeys"
A memory....

(See Loudoun Symphony Notes, Issue 1. For background notes on this concert)

"We are delighted to present this work, it's only 10 years old, you know, as a gift to our audiences!" Mark Allen McCoy, Music Director and Conductor of the Symphony, introduced his comments on the concert's performance of "The Glass Bead Game" in his opening discussion on Saturday evening, March 8th. Guest hornist Larry Williams' interpretation of this modern (though very audience- friendly) work was remarkable. The "...Game" seemed to float, as one audience member remarked, "as a leaf in the wind, at times, and as a powerhouse later, as it rose to rousing, expressive heights.

"Bedrich Smetana's "The Moldau," always an exciting treat in live performance, seemed to be something more this time. With its theme of the Czech river's journey through the countryside, the piece delivered a wide range of lyrical and emotional moments--from gentle streams and raging torrents, to rock-strewn narrows, and to the peace of a quiet afternoon. The work is very visual in its expressions of the life of a river. It presents Smetana's great love of his country.

But then came Tchaikovsky's 6th Symphony. It is not at all immodest to say that this single work on this single night redefined the Loudoun Symphony's reputation as a most distinguished and accomplished orchestra of the classical repertoire. The interpretation was brilliant. From its hushed opening, through the power-packed march of the 3rd movement, to the glorious finale held in the loving arms of the darker strings, it was--it is--a performance to be remembered. David Hughes, Principal Clarinet for the Symphony, said, "I have played clarinet for over 50 years; performing the 6th has given me a rare sense of fulfillment that will stay with me as long as I continue to play. It is a masterwork, and we were all thrilled to perform it."
(Don O'Brien)

Where's the Clarinet?

The orchestra, with violins on the left, cellos and basses on the right, violas, brass, woodwinds, percussion and others in the center and to the left and right behind the strings, has been organized that way since the early part of the 20th century. Why do we have such a set-up? Why not put a few violins on the right, say, or move the clarinets and oboes up front so people can see them.

Perhaps the most important reason why performers are not scattered throughout the orchestra, is that compositions are written in parts. That is, a composer will write a musical part for violins, another for the woodwinds, yet another for the double basses, and so on. Knowing this, it is understandable that all the violins must sit together because all of them are playing the same part of the composition at the same time. A conductor would have an unbelievable job trying to provide guidance and emotional leadership to his violinists if some were sitting here, and some were sitting over there. And that's true for all the performers.

Another reason for grouping instruments together is that every audience member has two ears. The essence of human hearing is the stereo effect--and an orchestra's grouping of instruments provides not only beautiful, coordinated music, but a wide-open, spacial relationship and separation among the diverse sounds. We may hear the major melody from the left, as the violinists perform it, with the deep, sonorous and rhythmic undertones coming from the cellos and basses on the right. At the same instant, percussion, brass, woodwind and other instruments provide their unique tonal effects as the composer intended.

So next time you listen to the Loudoun Symphony play a favorite piece of yours, close your eyes for a few moments. You'll "see" all those violinists on the left, pick-out the clarinet somewhere there in the center, and sense the richness of the other instruments as the swirl of music surrounds you. Such sensations, as your mind (and heart) interpret them, are all the more beautiful because of the way performers are arranged in front of you. Then, open your eyes and watch Conductor Mark Allen McCoy as he gathers all of this rich diversity of sound into a wonderful musical experience.
(Don O'Brien)

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Loudoun Symphony Notes, copyright 2008. All rights reserved.