Boston University Tanglewood Institute
||This article appears to be written like an advertisement. (September 2014)|
|Boston University Tanglewood Institute|
|Lenox, Massachusetts, USA|
|Type||Summer music program for advanced high school-aged musicians|
|Campus||just outside of Lenox, MA|
The Boston University Tanglewood Institute (BUTI) is recognized internationally as a premiere summer training program for aspiring high school-age musicians and is the only program of its kind associated with one of the world’s great symphony orchestras. Under the guidance of distinguished professionals and in the presence of the Boston Symphony Orchestra (BSO), young people devote themselves to an artistic experience without parallel. The high artistic standards, rich culture of learning, and diverse programs make BUTI a unique opportunity for young artists, a starting point on the path to a future in classical music.
- 1 History
- 2 Programs
- 3 Alumni
- 4 External links
In 1966, the music director of the Boston Symphony Orchestra, Erich Leinsdorf, invited Edward Stein, Dean of the Boston University College of Fine Arts, to create a summer training program for high school musicians as a counterpart to the BSO’s Tanglewood Music Center (TMC). Leinsdorf’s vision was of a program to challenge young musicians to perform at the highest level and allow them unprecedented access to the Tanglewood Music Festival. Stein approached Wilbur Fullbright, the newly appointed director of the Boston University School of Music at the College of Fine Arts. Fullbright’s enthusiasm for the project transformed Leinsdorf’s dream into reality, and the Boston University Tanglewood Institute opened for its inaugural season in July 1966.
The Tanglewood Music Center, established in 1940 by the legendary Boston Symphony Orchestra music director Serge Koussevitzky, provides a broad range of intensive musical learning and experience for emerging professionals of exceptional ability. The students of the Boston University Tanglewood Institute (BUTI) share rehearsal and performance spaces, and attend a selection of TMC master classes, rehearsals, and activities – many led by BSO members. BUTI students also enjoy free, unlimited access to all performances of the BSO and the TMC. This all makes for an exceptionally stimulating atmosphere.
Affiliated Ensembles and Organizations
Muir String Quartet
Winner of the 1981 Naumburg Chamber Music Award and 1980 Evian International String Quartet Competition, the Muir String Quartet first appeared on the scene in 1980, and was greeted with rave reviews and an extensive feature in the New Yorker. The quartet was also featured on the internationally acclaimed PBS broadcast, In Performance at the White House for President and Mrs. Reagan. Formed in 1979 following graduation from the Curtis Institute of Music, the Muir String Quartet’s principal chamber music teachers were Felix Galimir and members of the Guarneri and Budapeset Quartets.
In its commitment to advancing contemporary American music, the Muir Quartet has had commissioned works written for them by such distinguished composers as Joan Tower (Night Fields), Sheila Silver (From Darkness Emerging), Richard Danielpour (Shadow Dances and Psalms of Sorrow – featured on CBS Sunday Morning), Richard Wilson (Third String Quartet), and Charles Fussell (Being Music – based on poetry of Walt Whitman). The quartet also gave the World Premiere performance of the Native American collaborative work, Circle of Faith, featured on National Public Radio. Recently premiered works include those by esteemed American composers Richard Danielpour (Feast of Fools – for bassoon and string quartet), Lucas Foss (String Quartet #4), Ezra Laderman (String Quartets #9 and #10), and Joelle Wallach (String Quartet #3), and Ronald Perera’s first Quartet. In 07-08, in addition to their annual appearances at Rhode Island College, the Quartet continues its series at Boston University, and performs throughout the North America, along with fall concerts in the Netherlands.
The Muir Quartet has been in residence at Boston University’s College of Fine Arts since 1983, and gives annual summer workshops at the Boston University Tanglewood Institute (BUTI). The Muir Quartet has also given master classes at schools nationwide, including the Eastman School of Music, the Curtis Institute, Oberlin Conservatory, and the Shepherd School of Music at Rice University. Since 1989, the quartet has taught, coached, and administered the Emerging Quartets and Composers Program in Utah with eminent composer Joan Tower. This program is now part of the Muir’s role as resident chamber ensemble with the Deer Valley Festival, in partnership with the Utah Symphony/Opera.
Vento Chiaro Woodwind Quintet
Vento Chiaro has served on the faculty of the Boston University Tanglewood Institute’s Young Artists Wind Ensemble since 2002. As an award-winning ensemble, Vento Chiaro is captivating audiences across the country with their visionary artistry. After winning the Saunderson Award at the Coleman Chamber Music Competition in April 2000, the LA Times declared, “the day of the woodwind quintet may be dawning.” Vento Chiaro went on to receive the Silver Medal at the Fischoff Chamber Music Competition in 2000 and was a semi-finalist at the Concert Artists Guild Competition in 2001.
Founded in 1997 at the Peabody Conservatory in Baltimore, MD, Vento Chiaro relocated to Boston in 1999 and is now the Ensemble-in-Residence at the Longy School in Cambridge, MA. In addition to their Longy appearances, the ensemble has performed several times on WGBH’s radio program hosted by Richard Knisley and at Symphony Hall (including the 2000-01 Centennial Celebration) and across the Eastern Seaboard at such venues as The Settlement School in Philadelphia, PA and ArtScape in Baltimore, MD.
Their varied repertoire ranges from the standards to arrangements of orchestral favorites and newly written works. A part of the ensemble’s mission involves working with musicians and students of all levels. Every spring, Vento Chiaro works with Longy’s Preparatory Composition students, reading their works, offering suggestions, and ultimately performing their music. The ensemble was the Quintet-in-Residence at the 2001 International Clarinet Connection.
Axiom Brass Quintet
As the only Brass Quintet in 27 years to ever win the prestigious Chamber Music Yellow Springs Competition (2012), and the only American ensemble to ever win the Preis der Europa-Stadt Passau in Germany (2012), Axiom has also been named winners of the 2008 International Chamber Brass Competition and prize-winners of the 2010 Fischoff Chamber Music Competition, the Plowman Chamber Music Competition, and the Jeju City International Brass Quintet Competition in South Korea. The Axiom Brass is dedicated to enhancing the musical life of communities across the globe and educating the next generation of musicians.
Axiom’s commitment to education and their blend of virtuosic performances and dynamic teaching have inspired young audiences around the nation, earning the ensemble the 2011 Fischoff Educator Award. Their educational concert “Let’s Make Music” has captivated thousands of elementary and middle school students in the U.S. Since 2011 the ensemble has been featured as brass quintet-in-residence for the National Brass Symposium, sharing the stage with principal brass players from the Chicago Symphony, Boston Symphony, Cleveland Orchestra, New York Philharmonic, Philadelphia Orchestra, Los Angeles Philharmonic, and Atlanta Symphony.
Internationally recognized for their groundbreaking programming, their repertoire ranges from jazz and Latin music to string quartet transcriptions, as well as original compositions for brass quintet. Axiom Brass’ performances have captured the hearts and imaginations of their audiences, leading the ensemble to national radio and television appearances as well as concerts in Asia, Europe and across the U.S. Axiom’s dedication to brass repertoire has led the ensemble to commission and premiere several new works, including recent premieres of Celestial Suite by James Stephenson and For Then and Now by Laurence Bitensky. For Celestial Suite, Axiom Brass partnered with the New York Philharmonic Brass Quintet, the Chicago Symphony Brass Quintet, the Chicago Chamber Musicians and the Fischoff Chamber Music Society, as well as with the Digital Visualization Theater of the University of Notre Dame and Professor Keith Davis.
Highlights of Axiom’s past seasons have included: concerts in Dominican Republic, Germany, Portugal, Spain, South Korea and Japan, a four-week residency at the Grand Tetons Music Festival, the release of their debut album New Standards, clinics and performances at the 2009, 2010 and 2012 Midwest Clinic, their New York debut at Symphony Space, masterclasses at The Juilliard School, Northwestern University, Manhattan School of Music, New England Conservatory, Boston University, as well as recitals, masterclasses and solo appearances with orchestras and bands around the U.S. In 2013-14, Axiom will continue its rigorous concert schedule, taking the ensemble on their first tour of South America, as well as concerts in Europe, Asia and around the USA. In October, Axiom will give the American premier of J. Vincent Egea’s Fantasia Flamenca and the world premier of Raimundo Penaforte’s new composition for brass quintet and orchestra under the baton of David Lockington and the Modesto Symphony. This season will also mark the release of two new albums, Sacred Brass, which will include the world premiere recording of Celestial Suite, and Astor, featuring original arrangements of Astor Piazzolla's music.
Axiom Brass is an Ensemble-in-Residence at the Music Institute of Chicago, the Boston University Tanglewood Institute and Rush Hour Concerts’ Back of the Yards program.
Young Artists Orchestra
The Young Artists Orchestra has earned a reputation as the preeminent summer orchestra program in the nation, exposing instrumentalists to the expectations and standards of a professional-level symphonic orchestra. Under the guidance of professional conductors, artists/teachers, and BSO members, students experience high-quality training through the intensive study and performance of orchestral and chamber music repertoire. The discipline, focus, and energy of performing at an advanced level is the tradition and magic of a summer at Tanglewood.
Daily rehearsals of the orchestra are exhilarating, covering a varied repertoire of both standard and contemporary works. Each concert is presented by the Young Artists Orchestra in a public concert on the Tanglewood Main Grounds in either Ozawa Concert Hall or the legendary Koussevitzky Music Shed. Orchestral techniques, balance, texture, interpretation and historical background are all addressed in the context of the full orchestra and separate sectional rehearsals. Seating in each section rotates with every concert.
Chamber music provides an important and dynamic compliment to the orchestral experience. Coached by experienced artists faculty members, students are assigned to chamber music groups for preparation and presentation of various works on the Tanglewood Main Grounds as well as throughout the Berkshire community. Guest artists from the BSO and TMC faculty are frequently on hand to coach chamber music as well. Master class guests in chamber music have included Lynn Harrell, Daniel Muller-Schott, John Harbison, Norman Fischer, James, Buswell, Nico Muhly, and Marc Johnson.
Solo repertoire and technique are given special attention in guest master classes as well as question and answer sessions with BSO guest artists. In recent summers artists have included visits with Joshua Bell, Hilary Hahn, Yo-Yo Ma, and Midori, and classes with Pinchas Zuckerman, Christian Tetzlaff, Daniel Hope, Lynn Harrell, and Daniel Muller-Schott.
Master classes have also been given by additional distinguished artists such as James Buswell, Norman Fischer, Pamela Frank, Richie Hawley, Kim Kashkashian, David Krauss, Adam Luftman, Chris Olka, Bayla Keyes, Michelle LaCourse, and Peter Zazofsky.
Because of BUTI’s unique relationship with the BSO, many of the orchestra players also are available to offer students master classes. Recent BSO artists include: Steve Answell, Edwin Barker, Ronald Barron, Cathy Basrak, John Ferrillo, Edward Gazouleas, Tim Genis, William Hudgins, Daniel Katzen, Ben Levy, Tom Martins, Ikuko Mizuno, Suzanne Nelsen, Toby Oft, Kevin Owen, Richard Ranti, Mike Roylance, Robert Sheena, Richard Sebring, James Somerville, Owen Young, and Elita Kang.
Young Artists Wind Ensemble
The Young Artists Wind Ensemble is an exceptional and challenging program for young instrumentalists. The objective is to foster the development of every student’s artistic and creative potential. The Young Artists Wind Ensemble is the nation’s premiere summer youth music ensemble of its type and draws outstanding wind, brass, and percussion players from across the globe. It provides opportunities to study and perform works from the repertoire of great literature composed from the sixteenth through the twenty-first centuries.
Under the guidance of outstanding wind conductor and pedagogue David L. Martins, director of the wind ensemble at Boston University, and internationally renowned wind ensemble conductor H. Robert Reynolds, the Young Artists Wind Ensemble students study instrumental works in a broad range of styles, including pieces for full wind ensemble, chamber music, and solo performance under the guidance of artist conductors and teachers such as Vento Chiaro and Axiom Brass Quintet. Students participate in two full wind ensemble concerts and four chamber music recitals during the summer. All concerts are presented in Ozawa Hall or elsewhere on the Tanglewood Main Grounds.
In an effort to prevent stress-related injuries and performance anxiety, BUTI is pleased to offer Alexander Technique classes to the Wind Ensemble program. Led by Betsy Polatin, Assistant Professor in the School of Theater at Boston University, these important sessions provide students with an introduction to the basic principles of Alexander Technique, in small groups, with a special focus on the specific issues of concern unique to each instrument group in the ensemble.
Master classes for all instruments are given by members of the Boston Symphony Orchestra and distinguished visiting artists. Recent guests have included Daniel Katzen, Ronald Barron, Mike Roylance, Linda Toote, Richie Hawley, Robert Sheena, Richard Ranti, Tim Genis, John Heiss, David Krauss, Dan Grabois, and the United States Marine Band Percussion. Students are invited to attend selected master classes presented by the Tanglewood Music Center. BUTI students also have the rare opportunity to observe and listen to the rehearsals and concerts of the Boston Symphony Orchestra and other artists and ensembles rehearsing and performing at Tanglewood each summer.
Young Artists Vocal Program
The Young Artists Vocal Program has been an important stepping-stone for young vocalists seeking to enroll in one of the competitive music schools and/or conservatories. Many vocal program alumni have gone on to be winners of prestigious competitions and are successful professionals in opera, oratorio, and recital.
As one of the leading summer institutes for advanced young singers, The Young Artists Vocal Program nurtures and encourages the development of gifted high-school-aged singers geared toward professional studies. The intensive curriculum provides a conservatory model of training in the components essential for well-educated singers: vocal technique, musicianship, and performance.
Emphasizing the importance of solo training, daily voice classes, taught by dynamic and eminent vocal pedagogue Phyllis Hoffman, and alternately by master teachers Penelope Bitzas and James Demler, focus on healthy vocal technique and performance practice. In addition, each student receives one weekly private lesson and a repertoire coaching session from experienced staff instructors. Solo vocal training culminates in recitals presenting each student in performance.
Each student sings in the Young Artists Chorus, conducted by Ann Howard Jones. A protegee of the late Robert Shaw, Dr. Jones is recognized for her expertise in conducting technique, rehearsal procedures, and performance practice. Daily rehearsals culminate in the performance of works representing a broad range of styles and periods, from Renaissance motets to 21st-century choral masterpieces. The full chorus of 75-85 singers performs each season with Dr. Jones in Ozawa Hall and in the Koussevitzky Music Shed for Tanglewood on Parade.
Students are assigned to carefully selected opera scenes at the start of the program. Each scene meets several times a week in musical and staging rehearsals that address the fundamental skills needed to be a successful singer-actor. Two opera-scene programs are presented during the final week of the program.
Equally essential for the development of young singers are the courses provided in music theory, music history, sigh-singing, foreign language diction, movement, and acting. Students are placed in level-appropriate classes. Stage and screen actress (and BUTI alum) Lauren Ambrose recently offered a class in movement and acting.
The program is enriched each year by frequent master classes. Most recently, distinguished BSO guest artists Christine Brewer, Stephanie Blythe, Renee Fleming, Jane Bunnell, Marcus Haddock, and Heidi Grant Murphy met and worked with BUTI singers. Master teachers, such as Phyllis Curtin, Penelope Bitzas, Sharon Daniels, Simon Estes, and Jerrold Pope have led classes and classes focused on movement and acting have been offered by Lauren Ambrose and Judith Chaffee also offer classes during the program.
In recent summers, the Young Artists Chorus has performed in the Koussevitzky Shed with the Boston Pops under the baton of John Williams for Film Night at Tanglewood, and has sung with the Boston Symphony Orchestra, conducted by Seiji Ozawa and John Williams. Collaborations with the Tanglewood Music Center included performances conducted by Robert Spano, Craig Smith, and Stephan Asbury.
Young Artists Composition Program
Directed by highly regarded ASCAP composer, teacher, and pianist Martin Amlin, The Young Artists Composition Program offers talented high school composers the unique opportunity to focus for six weeks solely on exploring and refining their compositional skills. The challenging and stimulating environment includes exposure to all Boston Symphony Orchestra concerts and the resources of the Tanglewood Music Center. Students also attend rehearsals and performances of the Festival of Contemporary Music at the Tanglewood Music Center and meet visiting composers throughout the summer – a rare chance to learn and hear firsthand from some of the world’s leading composers.
Student composers attend daily classes in analysis, score-reading, and compositional techniques. Weekly private lessons are enhanced by classes in music theory and aural skills. Each week, composers write pieces for a small ensemble; these pieces are read and recorded at the end of the week, providing the students with a valuable archive and learning tool. The BUTI Young Artists Orchestra also has a reading session of composers’ works. A full evening concert showcases pieces composed during the summer. Additional performance opportunities are available in chamber music and through other BUTI programs.
Recent visiting composers to BUTI include John Harbison, David Del Tredici, Michael Gandolfi, Nico Muhly, Marti Epstein, Richard Cornell, Joshua Fineberg, Jonathan Newman, and Eilliot Carter. Special events are also arranged with the Composition Fellows of the Tanglewood Music Center, exchanging ideas with guest composers, faculty and students.
Young Artists Piano Program
The Young Artists Piano Program is a high-level, intensive summer program for advanced high school age pianists. Admission to the program is highly competitive, with a class size of 15 students per session. The program offers young pianists private lessons, master classes, and a variety of performance opportunities. Students enhance individual development through the study of technique, style, tonal quality, and repertoire. Each year the program attracts students from around the world, most recently including students from Israel, Brazil, Chile, China, Korea, Germany, Italy, United Kingdom, and Canada.
Boaz Sharon, professor, international recording artist, and master teacher, directs the Young Artists Piano Program. Professor Sharon is Chair of the Piano Department at Boston University and a visiting Professor of Piano at China Conservatory in Beijing. He is active as a master class guest as well as a judge for major piano competitions around the world.
Clara Jung-Yang Shin, Associate Director for the Piano Program, teaches at Korean National University of Arts while actively performing throughout Europe, Asia, and North America.
Each summer, visiting guest artist faculty offer opportunities to work with them through master classes and private lessons. The past summers have included several dynamic and world renowned piano artists/teachers: Professors Zhe Tang and Tang Zhi, piano faculty members at the Shanghai Conservatory, Professor Yuan Sheng from the Central Conservatory of Music in Beijing, and Professor Jay Pengjie Sun from Xinghai Conservatory in Guangzhou. THIS SUMMER, Professor Sharon will be joined by returning guest artist Professor Gila Goldstein, Israeli born pianist and faculty member at Boston University and Hyuong-Joon Chang, Professor of Piano and Director of the International Piano Academy, Seoul National University, Korea.
Students receive weekly private lessons and perform in master classes. While all master classes focus on technique and performance practice, occasionally the entire session can be devoted to one specific composer. Guest artists such as Emanuel Ax, Kirill Gerstein, Claude Frank, Anthony di Bonaventura, Tatyana Dodochkin, Frank Glazer, Maxim Moglievsky, Paul Posnak, Sergey Schepkin, Lang Lang, and Garrick Ohlsson have conducted master classes with BUTI pianists and provide opportunities for question and answer sessions.
Along with solo repertoire assignments, several students are selected each session to collaborate with members of the Young Artists Orchestra in piano chamber music for study and performance.
There are a variety of solo recital opportunities all summer including community outreach concerts throughout the Berkshires as well as on the BUTI campus and the Tanglewood Main Grounds.
Young Artist Harp Program
The Young Artists Harp Program is a full-immersion program providing young players a comprehensive overview of all facets of harp playing. Students receive weekly lessons with world famous artist/teacher Ann Hobson Pilot, former principal harp of the Boston Symphony Orchestra, and her assistant director for the seminar. Lessons focus on technique, the interpretation and performance practices of standard harp repertoire, and the study of the important orchestral excerpts required of every serious harpist. Students in the program also perform chamber music, participate in harp ensemble, and are enrolled in music theory classes. In daily classes, students are coached in preparation for future auditions and competitions, and practice repertoire for a harp recital given in the final week of the program.
Guest artists such as Paula Page, Alice Giles, Elizabeth Morse, and Elisabeth Remy Johnson give master classes during the session. Each summer, harpists enjoy a rotation between the Young Artists Orchestra and the Young Artists Wind Ensemble as members of those large ensembles.
Each season, harpists are chosen from the Harp Seminar to participate in the Young Artists Orchestra and/or Wind Ensemble.
- The Flute Workshop addresses a broad range of important topics related to flute performance. Under the direction of outstanding artist/teacher Linda Toote, principal flutist of the Boston Lyric Opera, participants receive individual attention during regularly scheduled master classes and coaching sessions, with time given each day for individual practice. Classes will focus on the foundations of the instrument such as tone, technique, intonation, phrasing, dynamic control, articulation, scales, arpeggios and vibrato.
- John Ferrillo, BSO Principal oboe, and Robert Sheena, BSO English horn/oboe, offers oboists the opportunity to learn from the best! Both Mr. Ferrillo and Mr. Sheena provide instruction in many areas critical to good oboe and English horn playing. These will include, but are not limited to, the important fundamentals of “long-tones”, slow scales, Barret and Ferling etudes, and orchestral and recital repertoire. Daily classes, lessons, and master classes will be devoted to practice techniques, breath and embouchure control, audition preparation, and instrument maintenance. Specifically, Mr. Sheena will devote some class time to the English horn as well as the oboe. Classes will also cover many aspects of reed-making: knife-sharpening, gouging, tieing, and scraping. Students are expected to bring the appropriate equipment and supplies for reed-making sessions.
- Under the direction of Boston Symphony Orchestra bassoonists Suzanne Nelsen and Richard Svoboda (principal), the Bassoon Workshop will present a comprehensive pedagogical approach to bassoon playing and performance in a fun and relaxed environment. Directors will work with individuals in private lessons and master classes working on solo repertoire, orchestral excerpts, and chamber music with the goal of exploring every aspect of being a bassoonist as well as preparing individuals for future auditions. Daily class sessions will cover a variety of topics: technique, musicality, orchestral excerpts and chamber playing. Reed classes will cover blank-making and reed adjustment.
- Ethan Sloane, eminent soloist, recording artist, and teacher, directs the Clarinet Workshop and provides a collaborative yet challenging atmosphere for learning where participants will explore clarinet techniques, repertoire, and musical styles. Classes will address a broad range of topics related to clarinet performance: tone production, articulation, intonation, breath, reed adjustment, practice techniques, recital/audition preparation, and other specific technical and musical issues.
- Standard solo literature studied will include works by Mozart, Weber, Brahms, Schumann, Hindemith, and Saint-Saens and orchestral excerpts, in preparation for college and solo auditions, include the major symphonic works of Beethoven, Brahms, Schubert, and Mendelssohn.
- Students will work individually with Professor Sloane in daily technique classes and repertoire master classes. Guest artists for master classes on specific topics typically join Professor Sloane each summer. Past guest artist/teachers have included Larry Guy, Paul Green, and Vincent Marinelli.
- "Auxiliary instruments will also be discussed: Eb clarinet, bass and contra-bass clarinets and all students will have the opportunity to participate in a Clarinet Choir. Students receive individual coaching sessions with an accompanist in preparation for a solo and clarinet ensemble workshop recital at the conclusion of the workshop period.
- A typical week will include up to twenty hours of classes and coaching. Mornings and afternoons will be devoted to sessions addressing a broad range of topics related to clarinet performance: tone production, articulation, intonation, reed adjustment, practice techniques, recital/audition preparation and other specific technical and musical issues. Special master classes will be given by guest artists.
- World-renowned saxophonist Kenneth Radnofsky directs the Saxophone Workshop with Assistant Director, Boston University Saxophone Lecturer, Jennifer Bill. Students will participate in seminars, private lessons, chamber music, solo performances, and master classes. Seminars will focus on finding and developing musical and artistic expression concurrent with the development of technique and musicianship. The workshop will cover all aspects of playing including reed selection and adjustment, intonation, practice techniques, recital and audition preparation, modern saxophone techniques, and saxophone quartet playing.
- The workshop will also address all aspects of saxophone performance, including the study of masterworks by Bach, Rachmaninoff, Creston, Ibert, Albright, Denisov, and Lauba. In addition, each student will have the opportunity to perform on the family of saxophones: soprano, alto, tenor, and baritone saxophone.
- Students each receive weekly private lessons with the workshop director and assistant director as well as individual time with an accompanist. The program will conclude with a saxophone solo and ensemble student recital.
- Directed by Terry Everson, outstanding pedagogue, soloist, chamber and orchestral musician, the Trumpet Workshop addresses all aspects of trumpet playing and technique, including warm-up routines, breathing, set-up, intonation, phrasing, articulation, and embouchure. Both standard solo repertoire and orchestral excerpts are covered in the workshop. Students also play in trumpet quartets and larger trumpet ensembles. Students participate in daily master classes with material drawn from solo, chamber, and orchestral literature. Each student works with the director in a weekly performance class to practice audition and recital techniques in an informal setting.
- The complete trumpet family is discussed and reviewed during the workshop. Master classes by guest artists are offered throughout the session and provide students an opportunity to work with artist/teachers such as David Krauss, Adam Luftman, and other distinguished guests. Students have the opportunity to work individually with a coach/accompanist in preparation for master classes and the closing solo and ensemble trumpet workshop recital.
- The French horn workshop offers students the unique opportunity to work with Eric Ruske, distinguished soloist, recording artist, and pedagogue. The workshop addresses all aspects of horn playing ranging from basic technical aspects to style and musicianship. Students participate in daily master classes, working individually with Mr. Ruske, on both solo and orchestral repertoire.
- Each summer students are assigned, in advance, the complete set of orchestral parts for symphonic repertoire that are prepared to be worked on in a sectional setting. These works have included: Bruckner, Symphony No. 4; Schumann, Symphony No. 3; Brahms, Symphony No. 4; Strauss, Till Eulenspiegel lustige Streiche; Mahler, Symphony No. 1; Beethoven, Symphony No. 3; Brahms, Symphony No. 3, and Strauss, Don Juan.
- Students are also expected to prepare and present in master classes solo repertoire of their choice. Each summer Professor Ruske is joined by guest artists/teachers such as Daniel Katzen, Richard Mackey, Richard Sebring, and James Sommerville. Students receive weekly coachings with an accompanist. Performance classes and informal recitals will provide students the opportunity to prepare for auditions and recitals. Performance classes are audio and video taped for review and discussion with Mr. Ruske and the workshop participants.
- The Trombone Workshop, led by Don Lucas and Gabe Langfur, internationally recognized performers and master teachers, is for serious trombonists who wish to develop and strengthen their technique and musicianship through two weeks of intensive study.
- Mornings will be focused on discussing the fundamentals and technical aspects of trombone: sound, rhythm, intonation, articulation, balance, vibrato, embouchure, air control, and slide technique. Afternoons and master classes offer students the opportunity to work one-on-one with the director and guest artists on solo repertoire and orchestra excerpts. Master classes are also structured to teach students better practice techniques and focus on achieving successful results in auditions, recitals, and ensemble performances. Guests have included Ronald Barron, Norman Bolter, Toby Oft, Steve Lange, James Markey, Thomas Riccobono, Gregory Langfur, and David Stein.
- Students will be part of a trombone ensemble, which will be rehearsed and directed by Mr. Lucas. Students will work with an accompanist on solo repertoire in preparation for master classes and the final solo and trombone ensemble workshop recital.
- Professor Lucas will offer daily instruction in slide technique, embouchure, air control, and orchestral excerpts. Master classes are structured to prepare students for auditions and recitals. Students develop ensemble skills in trombone choir and chamber groups, coached by professor Lucas, and perform in weekly recitals and performance classes.
Tuba and Euphonium
- Boston Symphony Orchestra principal tuba Mike Roylance, directs the Tuba/Euphonium Workshop. Through individual attention in daily classes, the workshop addresses the technical and musical aspects of playing the tuba and euphonium. Each day will be spent working on fundamentals, technique, musicianship, and performance skills. Master classes offered by the director and guest artists will focus on technique, solo repertoire, orchestral excerpts, and audition preparation.
- As an integral part of the workshop, students will be organized into quartets and a tuba/euphonium choir working on standard works as well as new compositions for these instruments. With the guidance of Mr. Roylance, weekly performance classes provide opportunities for students to develop and refine their stage presence and audition and recital skills. The program will conclude with a student solo and ensemble tuba and euphonium workshop recital.
- The Percussion Workshop led by Director Tim Genis, principal timpanist of the Boston Symphony Orchestra, and Assistant Director Kyle Brightwell, percussionist of the BSO, offers accomplished percussionists an opportunity to work with some of the most prominent artist/teachers in the nation.
- The workshop covers a wide-range of topics including: snare drum, timpani and mallet technique, as well as equipment maintenance, such as wrapping mallets and changing timpani heads. Mr. Genis also offers instruction in the preparation of standard orchestral excerpts for auditions. Mock auditions are held at the end of the workshop period that are videotaped for review and feedback by students and faculty.
- Members of the Boston Symphony Orchestra percussion section as well as invited guest artists, offer master classes throughout the workshop period. In addition, video sessions with discussion by both workshop participants and professional percussionists provide useful feedback and direction.
- Along with individual practice, students have the opportunity to play in chamber groups and large ensembles culminating in a Percussion Workshop Recital featuring all of the members of the workshop in a variety of large and small ensembles.
- The String Quartet Workshop is highly competitive and intended for advanced players who have had considerable chamber music experience. Under the direction of eminent pedagogue, chamber musician, and violinist Peter Zazofsky, students devote two intensive weeks to learning major works from the string quartet repertoire.
- Students are placed in a string quartet prior to the start of the program and work with coaches twice daily in preparation for a recital at the end of each week. Students are assigned to a new group and work for the second week of the program.
- Each day begins with a string “orchestra” reading a different quartet, covering all of the assigned works for that week. These reading sessions allow the entire group to become familiar with all of the quartets that will be performed and allows the director the opportunity to address specific technical and artistic challenges of each work being prepared. Quartet coaching sessions take place each morning and afternoon in preparation for a recital at the end of each week.
- Students participate in master classes both individually and as part of an ensemble, playing and being coached in front of the rest of the students in the workshop. Students will also have the unique opportunity to observe coachings of the String Quartet Program at the Tanglewood Music Center. In the past, members of the Juilliard String Quartet, the Emerson String Quartet, and various members of the Boston Symphony Orchestra have led these sessions.
- The Double Bass Workshop, under the direction of Boston Symphony Orchestra member Todd Seeber, is an exciting and intensive two weeks, addressing the fundamentals of technique such as intonation, posture, strokes, facility, sound production, scales, and vibrato. The workshop offers students an opportunity to work on solo repertoire and orchestral excerpts in preparation for college or ensemble auditions as well as to explore new repertoire and technical studies for the instrument.
- Students work and perform throughout the seminar to improve musicianship, listening, practice skills, ear-training, and ensemble playing. Daily classes preparation of orchestral repertoire that all bass players should know, mock auditions, demonstrations, sight-reading and solo master classes with the director and guest artists.
- Students have the opportunity to coach with an accompanist on solo repertoire and participate in double bass chamber ensembles in preparation for the concluding workshop student recital.
Many students at the Boston University Tanglewood Institute go on to have many successes in their musical careers, including:
- Lauren Ambrose, actress
- Kenneth Amis, tuba, Empire Brass
- Alexandra Bacon, Vice President-Vocal Division, Barrett Vantage Artists
- Andrew Balio, principal trumpet, Baltimore Symphony Orchestra
- Mason Bates, composer
- Jeffrey Beecher, principal double bass, Toroton Symphony Orchestra, Silk Road Ensemble
- David Bernard, Music Director, Park Avenue Chamber Symphony
- Karin Bliznik, associate principal trumpet, Atlanta Symphony Orchestra
- Frederick Bronstein, President and Executive Director, Saint Louis Symphony Orchestra
- Jennifer Cameron, soprano, Dallas Opera
- Harry Connick, Jr., jazz vocalist and pianist
- Oliver de Clercq, principal horn, Vancouver Symphony
- Joseph Conyers, assistant principal double bass, Philadelphia Orchestra
- John Deverman, Director of Orchestra Personnel, Chicago Symphony Orchestra
- Disa English, principal oboe, Barcelona Symphony Orchestra
- James Gaffigan, associate conductor, San Francisco Symphony
- Kirill Gerstein, solo pianist, winner of the 2010 Gilmore Artist Award
- Gary Ginstling, General Manager, Cleveland Orchestra
- Paul Haas, Artistic Director and conductor, Sympho
- Heidi Turner Harris, associate concertmaster, Saint Louis Symphony Orchestra
- Richard Hawley, principal clarinet, Cincinnati Symphony Orchestra
- Georgia Jarman, soprano, International Artist
- Katherine Jolly, coloratura soprano, New York City Opera
- Joseph Kaiser, tenor, Metropolitan Opera
- Yumi Kendall, assistant principal cello, Philadelphia Orchestra
- David Korn, male soprano, New York City Opera
- David Krauss, principal trumpet, Metropolitan Opera
- Andrew Litton, Music Director, Bergen Philharmonic Orchestra
- Adam Luftman, principal trumpet, San Francisco Opera
- Missy Mazzoli, composer
- Andrew McCandless, principal trumpet, Toronto Symphony Orchestra
- Jennifer Montone, principal horn, Philadelphia Orchestra
- Nico Muhly, composer
- Jonathan Newman, composer
- Steve Olsen, Vice Chancellor, University of California Los Angeles
- Paul Serna, tenor, Houston Grand Opera
- Jeffrey Sharkey, Director, Peabody Institute of the Johns Hopkins University
- Amanda Stewart, associate principal trombone, New York Philharmonic
- Rebecca Young, associate principal viola, New York Philharmonic
- Josh Page, Tenor, Forte Tenors