Arthur Jordan Conservatory of Music - Opus Yearbook (Indianapolis, IN)

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Dr. Fabien Sevitzky Director of Orchestra Department A HEART TO HEART TALK WITH MR. PACINI (Assistant Conductor, Conservatory Orchestra) (Mr. Pacini is the tireless, conscientious conductor ivho does all the ' ' ivoodshedding so to speak, of the Conservatory Symphony Orchestra — ivho prepares us for our rehearsals with Dr. Sevitzky. Here he sets forth for the first time, some of the problems and difficulties that must he met and solved by the orchestra and its mem- bers. These problems are augmented by the unsettled conditions that prevail every- where today. Some salient points are brought out in the following article.) The war has taken a great many orchestra members. So instead of relaxing their vigilance, care, and enthusiasm, it is now more than ever, necessary to attend rehearsals regularly, and with serious intent. Many students go about complaining that they are not getting anything out of the rehearsals, that they lack inspiration, that they are stopped too often for com- ment. If these students would be perfectly honest with themselves, and admit the truth as it confronts them, they would realize several things: That in music, as in anything else, you have to put something in, before you can get anything out! Music is an art where you must push yourself. You must

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many officers in the WAACS, WAVES, Army, Navy, and Marine Corps. Yes, we are still getting around, even though the distances aren ' t quite as far as they used to be and as we wish they could be. The soldiers at Fort Harrison and Camp Atter- bury have been so grateful for our programs, and they invariably still clap before that final chord in Oh Suzanna . Yep, that ' s still in the repertoire and it gets more zip each time we do it. That ' s just the way with those old-timers, though — we still fall back on them and how the people love it! I see that it ' s 3:3 5 already. Papa will really glare at me as I walk in late, but before I dash, I ' ll just have to tell you that Joe Lewis (our heavy-weight champ!) has donned the familiar uniform to do his bit, too. My, how we miss him, but we ' re just doing our best to fill in until the happy days when he walks into the rehearsal again with the rest of you swell guys. Gee, won ' t that be a happv dav? X ait until Oh Suzanna rings then — the people will surely stand on their chairs afterwards! Oh my word! There ' s the bang on the piano — rehearsal has started and here I stand, still. I ' ll just Ijciic to breeze up to the third floor now. When you see the rest of our ex-members, be sure to tell them that we ' re doing our darndest to keep up the choir, and their chairs will all be waiting for them on that glorious day when Hitler and Hirohito, and all their little pals are nothing but history-book characters with the others of their lot. So long! Drop in again as soon as possible. A Welcome always will await each one of you.

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furnish much of your own inspiration; and when there is none, plug away just the same, because you want to excel; because music is so strong in you that you must get it out — you work hard at it because you love it. Take advantage of all the experience you can get in the course of your schooling while you have the opportunity. In the Conservatory Orchestra, you receive first hand training in symphonic literature and orchestral procedure from experienced instructors. It is an apprentice orchestra from which capable, thorough musicians may be produced to supply large professional orchestras. Take their tips — keep them in mind when practicing. Be a veal musician while you ' re at it. A green musician who pays no attention to the conductor, or who fails to prac- tice, or learn the nuance and dynamic ma rks, and makes the same mistakes every rehearsal, wastes his own time, the conductor ' s, and everybody else ' s in the whole organization! It ' s not fair! An orchestra which could give many more concerts a year, and which is held down by a few careless, poor-spirited students who take it just for the credit, or to help out , (we don ' t know who), is getting nowhere. Keep your ears open for other parts of the orchestra score besides that which you ' re playing. Learn how the other instruments come in, what combinations sound well, and balance well. This intimate knowledge of the orchestra and orchestrations may come in handy someday, particularly if you happen to have a job teaching in a city without a symphony orchestra. Where your students are totally unfamiliar with a symphony, you must be equipped to tell them many things without having to look them up first. Students who make the most of every rehearsal, who get something out of it, whether anyone else does or not; who practice faithfully; who play every time it is possible, for public and audience experience; who become experienced in large ensemble work; who are aware at all times of the conductor and what he is doing, and who are out of the stage of gluing their eyes to the music irregardless of what may be happening all around them, will be able to play a visiting show, which of necessity requires little rehearsing (sometimes none). They may find opportunity to substitute for a buddy absent at the last minute; at a concert on short notice, or a radio broadcast, or play in the symphony, a professional organization which must be able to do many things on short notice; to play with no rehearsal, a new composition. A student who is taking Music Education and who studies his instrument merely because it is required, does himself and his future pupils no good. He allows him- self to get into a mental and musical rut. He lets his instrument go down, and his morale concerning it goes down, too. Thus he has no enthusiasm, inspiration, im- agination, no true or outstanding musicianship with which to kindle the ambi- tions of the young, untutored pupils which will fall under his jurisdiction when he becomes a teacher. Thus many fine talents are lost or stunted, simply because the teacher at that critical period in the pupil ' s artistic life failed to have the vision, the ability, and the knowledge to feed him. A music teacher ' s importance and worth in the growth of new generations is greatly underestimated. Don ' t just get bv on the minimum that ' s required to graduate. DEMAND THE MAXIMUM OF YOURSELF, AND YOU CAN DEMAND THE MAXI- MUM OF OTHERS all during your career. The law tries to eliminate shysters among lawyers, and quacks among doctors. There shouldn ' t be any quacks among musicians. Keep this ugly word from apply- ing to you! — Mercedes Banks Russow