Its evident that we have what it takes to perform Bruckner at an outstanding level. However, it seems too easy to slip into an “auto-pilot mode” and accept the occasional missed entrance or ambiguous transition between different sections. Last night, the viola section missed a solo by eight measures because we accidentally counted in 4 instead of 2. We all laughed after Mr. Edwards pointed out our mistake. I think it will be a great concert nevertheless.

Its hard to believe that this will be my last season concert with PYP. Six years ago, I was still playing lobby concerts in YSE with Mr. Hubbard. “Courage violas!” …. “Mo-ther” I think we’re all going to miss Mr. Hubbard.

Brian Ki, Viola, Co-Principal

Last night’s rehearsal was a bit rocky to start, as we just returned from spring break, but it was still rewarding and productive. I feel as though playing the Bruckner will never grow old, even in the wake of Mahler 5. And it couldn’t have ended better than with the exciting news that David Hattner will be conducting PYP next year.

Tom Salata, Clarinet, Principal

Every time we play the Benjamin Britten, I imagine all these terrified and traumatized children that’ll be forced to sit through it’s cannons and artillery instead of the Magic School Bus reruns they watch when teachers run out of things to teach. Those poor little elementary schoolers won’t know what to think! My dad was a perfect example tonight; he came into the balcony after his trip to Subway, but during the frantic trumpet shouts and percussive whiplashes he made his way to the front row and leaned over till he looked about ready to fall out. He was surprised to discover that written (and published) music could sound so spontaneous and ‘messed up’.

Come next Wednesday, I figure we’ll either ignite musical fires in the minds of these kids, or bomb the piece so bad they won’t know where to rebuild.

Hannah Dexter, Bass, Asst. Principal

After not getting enough sleep, having to worry about big projects and tests coming up, and exhausting myself at track practice trying to get ready for an upcoming meet, I honestly wasn’t quite looking forward to Monday night’s rehearsal. However, just half an hour into the rehearsal, I was already quite enjoying the rehearsal even though playing the 2nd movement of Britten takes an incredible amount of counting and concentration. Mr. Edward’s continuous energy and funny remarks kept rehearsal very interesting and lively as well!

Natalie Yu, violin, Asst. Concertmaster

As we begin work on Bruckner 4, our greatest challenge has been the transition from the emotional and fiery Mahler to the broad and poised attitude of Bruckner. We were reminded recently of Ms. Chen’s chicken/eagle vision concept and are now faced with a gigantic example of it. In the next few weeks we need to adjust and learn to step back and let the music breathe. After putting forth such effort to illustrate sudden mood swings and sparks of anger in Mahler 5, we will have to exercise discipline in “getting out of the way”. I find these drastic programming adjustments to be very valuable, and this year has been full of such changes. i look forward the the challenge ahead of us with Bruckner 4.

Boris Popadiuk, Cello, Principal

Today’s rehearsal seemed to go very well. The trombonists worked with Aaron LaVere of the Oregon Symphony beforehand and I feel that what he had to say and demonstrate really made a difference on the trombone section’s contribution to the orchestra. I feel very grateful that we are able to work with such talented musicians before our rehearsals. Every time we get the opportunity to work with Mr. LaVere, I learn a lot and gain new perspective on the art of trombone playing and musicality.

Jonathan Spooner, Trombone, Co-Principal

After each movement, we sort of sat there in relief and apprehension. It was silent for a while. Then, Alastair Willis reminded us how that was only half of Mahler 5. Yes, much progress has been made, but there is still room for lots of improvement. With less than two weeks till our first performance, Mr. Willis strongly encouraged us to take this piece seriously. For the strings, we just had 3 nights in a row filled with sectionals, conductor auditions and combined rehearsals. Many of us are physically and emotionally exhausted from the rehearsals and it will require even more concentration and focus individually for the last two weeks. This is the ultimate test of endurance!

On Saturday, Jun Iwasaki helped the strings with some technical aspects helped us understand the stylistic elements that make Mahler so unique. Oh and how can you forget the “shire melody” in the 3rd movement?

Brian Ki, Viola, Co-principal

Rehearsal today, with Alastair Willlis, was intense - as it has been for the past few weeks that he has been with us. Playing Mahler’s 5th Symphony has been an immense stretch for the basses, as it is ten times as physically and intellectually demanding then any other piece we have played in the past. I know that the bass section, along with all of the others, have been practicing diligently so as to play the best we can for our concert on March 1st, which I know we are all eager to play.

Chris Granat, Bass, Principal

This morning a great deal of the musicians breathed a sigh of relief waking up to snow and ice which meant one more day of the weekend. As the west side of Portland Public Schools closed its doors for the day, musicians alike wondered whether we were going to have rehearsal still that night.

It turns out this rehearsal was one of our best. We accomplished so much and we were really sounding good by the end of the night as we finished the final movement of the Mahler. With parents gathering in the wings and a group of very tired young musicians the music was sounding more and more like that of recordings of the incredible work. Though individual parts still need attention to finally iron out all the details, Alastair seemed genuinely pleased with the work that had been accomplished this evening. Exasperated at one point he exclaimed that “We better not lose any of this progress made today, in the weeks to come”. His intensity never fading or even withdrawing he kept the orchestra focused up until the final chord and with a final stare almost dared the orchestra to come unprepared for next week.

We are making exceptional progress and this concert is going to turn out a fantastic recording that is bound to go down as one of PYP’s best.

Josh John, Bassoon, Co-Principal

With 30 minutes left until 8:30, we were nearing the end of the 5th movement and rehersal. The triumphant cries of the trumpets could be heard over the strings endless eight notes, and at the moment I was cast under the spell of Mahler. Many people have told us that Mahler has been so powerful to them that they will remember playing it for the rest of their lives, or they were inspired to make a career out of music because of the piece. I was so naive to the world of Mahler that I thought it was impossible to be moved so much by one piece of music- man was I wrong! If playing the 3rd and 5th movements today for the first time made that much of an impact on me, I can’t wait for what happens when we all know Mahler like the back of our hands!

Emma Davis, Flute, Co-Principal

Tonight we struggled with the challenging demands of Mahler’s 5th symphony. The third movement is full of tempo changes and stylistic traditions that we had a hard time getting a hold of. As the night went on, however, and Mr. Willis continued to demand a better sound, we started to get the hang of what Mahler really intended. Tonight’s rehearsal was a wake up call about how big of a challenge the preparation of this piece will be!

Max Blair, Oboe, Principal

Just this week we started working on Mahler 5. Alastair Willis, the conductor for the Winter Concert,i s very energetic and he knows a lot about the particular piece, and how he wants it to sound. Mr. Willis seemed to get full attention and focus from us during our first full rehearsal, which will be very important in conquering Mahler. I think already, we are off to a good start.

Brandon Garbot, Violin

It’s been quite a learning experience with Ms. Chen. Not only in terms of musicality, but also, I’ve never been frightened into playing well before.

Erin Ohashi, Oboe, Asst. Principal

During the night of the last PYP rehearsal, my mood went from sore to good to ecstatic. My second experience with Ms. Chen was intense, and even a little frightening, but it was one of the most worthwhile rehearsals I’ve ever had. After a lousy day dealing with some of the most immature and petty dramas of high school, I entered a rehearsal that made me confront and overcome a challenge that was important to me. I walked out of Glencoe surprised at how drastically my mood changed over the course of the day — from exhausted and frustrated to optimistic and refreshed.

There was one more mood swing in store for me that evening, however. I walked into my living room to find smiling parents and a large, thick packet sitting on the sofa. Seconds later I held in my shaking hands two letters: one, an acceptance letter to the Ithaca College of Music, and the other, a generous merit and music scholarship. The gloomy Monday completely turned itself around, and has made my week before it has hardly started. I’d like to thank PYP and Ms. Chen for putting me in a better mood before coming home to the exciting things that awaited me, and more importantly, for giving me a reason to get through my Mondays.

Alex Van Rysselberghe, Percussion, Co-Principal

From “Asian Stir-Fry Chefs” to “Cliff Jumping” and “Bubble Baths,” it seemed that Mei-Ann Chen had just about a million different images to get us apathetic high schoolers playing at a professional level. I had never played beneath her before, but I now understand why she’s in such high demand across the country. When she described the fireworks that should be exploding across the the tops of our heads, the cello chairs in front of our section were rocking back and forth so violently I was afraid the musicians would topple over and land on me (and that would certainly have made me an angry tomato). None the less, it was quite a show she presented me tonight, and when I got into my car to drive back home, the U2 album in the cd player didn’t seem as impressive as it did on the ride up. It’s rehearsals like this one that remind me good music can’t be recorded, because there’s so much more that goes into it than just what our ears can sense.

On a side note; Ben’s Tuba playing is mind-blowing, my section leader gives really good hugs, AND!! Mei-Ann Chen didn’t do that obnoxious snake-charmer dance that seems to frequent conductors. Maybe it’s a guy thing.

Hannah Dexter, Stringed Bass, Asst. Principal

Ms. Chen is known for her exclamations and enthusiasm during rehearsal.
Example: today she shouted “Don’t rush your apple!!” at the
percussionists. Ms. Chen is very good at making things that would
otherwise seem random fit perfectly into place. That sentence, so weird
when taken out of context, makes perfect sense to me. That, combined
with the unbelievable amount of energy she unleashes from the podium,
makes me really glad to have her back, even if it is only for three
weeks or so.

Michael P. Lee, Clarinet, Asst. Principal

My entire Monday dragged by at a snail’s pace after the all-too-short Thanksgiving break. Apart from over-sleeping and running to catch the bus, my school day was just fine, the pop quizzes and college apprehensions have become commonplace. I have to admit, after a long day of school, teaching a violin lesson, and facing a seemingly endless amount of homework, I was not exactly thrilled to be headed to PYP rehearsal. The traffic on the way was no help either…However, as always, when I got there, I somehow seemed to forget about all of my homework and college stress for a little while.

Rehearsal was just as energizing as talking to my friends. We were lucky to have Mark Perlman as a guest conductor. He was very friendly and positive and I think we all enjoyed playing under him. It is always interesting to see the music from different perspectives and experience each conductor’s interpretation. Playing with different conductors has taught me the importance of flexibility as a musician. This development of flexibility has helped me listen actively and work more closely with my peers across the sections, not only those in my own. So while I am extremely excited for Ms. Chen’s return for the Concert at Christmas, I feel very lucky to be able to work closely with so many excellent conductors in one season and have fun with all the wonderful friends I would not have were it not for PYP.

Lindsay Olson, Violin, Asst. Principal

Marc Perlman became the third of three conductors to do the snake-charmer wiggle in the 2nd movement of De Falla. Very amusing! A great way to perk us all up, seeing as Mother Nature decided to dump buckets on us today.

Michelle Leipzig, Cello, Asst. Principal

Marc Perlman was our guest conductor tonight, and having someone new definitely keeps you on your toes! He had a great attitude and was eager to teach us. I, like many others, have been having Mr. Selden withdrawal, but because all of our guests so far have been so energetic and fun, transitioning from conductor to conductor has been a breeze. We got a lot accomplished on both pieces tonight, and it is a very positive learning experience being able to change up who is telling us what to do at rehearsal!

Emma Davis, Flute, Co-Principal

Tonight the orchestra was privileged to work with former conductor Huw Edwards. From the time he walked in, stretching in preparation for the rehearsal to the very end when he just sat and talked with a few musicians before everyone parted ways, he gave absolutely 100% of his energy into the rehearsal. Not long into the music Edwards birthed a ring of sweat around his brow and he never slowed once with his enthusiasm or determination. I spent the evening sitting next to Tom, our principal Clarinet, and he and I both just looked at each other after the rehearsal and were both jaw-dropped impressed with how intense, and yet fun, rehearsal was. There was a level of commitment and passion and understanding that came from Edwards that seemed to emanate from every motion of his arms that captivated and drew us closer to his guidance and closer to the music as a whole. By the end of the rehearsal we sounded really good. It was obvious that there was indeed music coming out of us. Though PYP is known for its excellence it was very reassuring to see how he could take a piece that was relatively new to the majority of the musicians and turn it into a presentable work by the end of the night in just three to four hours.

Josh John, Bassoon, Co-Principal