Sigma Alpha Iota

sai-national.org • Summer 2023 17 SAI Philanries, Inc. By Paula M. Savastano An SAI Philanthropies, Inc. Professional Development Grant made it possible for me to attend the 2022 National Convention of the National Flute Association (NFA) to perform with the Song of the Angels Flute Orchestra (SOA). e opportunity to be selected to perform with my group at NFA in itself was amazing. Hundreds of ensembles from around the country apply for this honor. SOA performed a 30-minute concert which included Leonard Bernstein's Candide Overture arranged by Caryn Rasmussen; e Summer Knows (Bergman/ Bergman/Legrand), arranged by one of our members, Kim Richmond; and finally, a work composed by our conductor Charles Fernandez, entitled Swamp Tales. I also performed in the NFA Opening Flute Choir which was comprised of approximately 200 flautists from around the world. e opportunity to attend other performances, presentations, and keynote talks, as well as meet, network, and befriend other flautists, far surpassed any of my expectations. Of all of these opportunities, I am choosing to expound upon the most influential, educational, and intriguing of these experiences: to hear Maestro Leonard Slatkin (former conductor of the Chicago Symphony Orchestra) present a Keynote Address entitled "Where Do I Go From Here? A Short Guide rough a Long Path." In this Keynote, Maestro Slatkin spoke about what has changed with the modern orchestra in regard to recruiting, programming, and the overall distinguishing sound between various orchestras. At the beginning of the discussion, Maestro Slatkin asked the reflective question: are we "losing sense of tradition by becoming more diverse in repertoire?" He spoke about how modern symphonies are having to focus their repertoire on programs which will garnish more widespread interests, such as pop, film, and visual aspects, and therefore draw in a greater public audiences. He went on to discuss the audition procedures and processes in place for most orchestras, as well as the youths' paths of auditions, practicing, and preparing for these auditions. He stated that practice and preparation is the key to prevent nerves. Focus should be on the differences between nerves and adrenalin, as adrenalin can by a positive energy, whereas nerves quite oen get in our way. is statement was particularly potent for me, as I have oen struggled with nerves and, when adrenalin hits, it can fuel nervousness to a greater extent. In the months since this Keynote, I have been able to use this distinguishing factor to help my performances and allow the excitement to come through without being inhibited by nervousness. Maestro Slatkin further discussed the changes in selecting members of the symphony since he entered the business in the 1960s. ere have been both positive and negative factors regarding the selection of members. When he began, personality within a section didn't matter. It was more about the style of playing fitting into the overall "sound" of the orchestra, and the players were primarily picked by the conductor to fit the sound. In the 1960s, 1970s, and into the 1980s, orchestras were known for their sounds. For example, the Chicago Symphony was known for their deep, rich brass sounds, Philadelphia for their virtuosic woodwinds, and Boston for their lush strings. Due to social change, as screen auditions became a normalcy, the diversity of the sound from ensemble to ensemble was lost. By not seeing the bio and performer at an audition, players rose to much higher levels, but it didn't allow a lot of distinguishing factors in sound between orchestras. According to Slatkin, this change did affect diversity of the orchestras and helped the female and persons of color populations to hold more principal positions within the orchestras. Maestro Slatkin's suggestion to work with both diversity of population and sound in each group would be to hold preliminary auditions behind a screen, then in the semi-final's rounds remove the screen, allowing the more personal level of selections. In the final round, each finalist would perform in their potential role within the orchestra for a 4-week period each. is would allow directors to see if the player fits within the overall group's sound, while also allowing the section to see how they will work together. Additionally, players would not have permanent placements within groups. ere would be a trial or non-tenured period of a few years prior to the performer reaching tenure within the group. Further, involvement in orchestras should be more than just performing with the group, but also include communication skills, teaching skills, and make it a more interesting job through community involvement. is would inspire each of us to be better. He ended by stating, "What other job allows you to feel so good? Honor this responsibility, always remember it. Celebrate your communication via music, and your love of music." Paula M. Savastano is the Senior Director of Copyright and Royalties at Angry Mob Music in Santa Monica, CA. An initiate of the Sigma Chi Chapter at the University of Miami, she has served as President of the Long Beach Alumnae Chapter and will serve as VP Membership next year. She has also served as the Music Business/Technology Scholarship Director for Sigma Alpha Iota Philanthropies, Inc. Paula is an active speaker at music industry events all over the country where she lectures about copyright, royalties, and publishing. She sits on the board of Directors as the Treasurer for e California Copyright Conference and is active in e Association of Independent Music Publishers (AIMP), Women In Music, and Songwriters of North America (SONA). She received her Master of Music in Music Business and Entertainment Industry from the University of Miami and her Bachelor of Music in Flute Performance from Boston Conservatory of Music. THE NATIONAL FLUTE ASSOCIATION'S KEYNOTE Maestro Leonard Slatkin on the current state of orchestral playing throughout the world Photo: Harvey Tillis Photo: Harvey Tillis

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