JACKSON STAKEMAN

The Wesleyan University Orchestra will perform in Crowell Saturday.

By Sarah Levin
Features Editor

My viola is 80 years older than I am. She is like a grandmother that can waltz or jump rope or sit in a rocking chair and always be graceful. The wood still smells like a tree. The nicks on the surface have been covered with oils and varnish over the past century, so they look soft.

The sound is what really matters, of course. No two violas sound the same, just as no two trombones or clarinets sound the same. When you listen to an orchestra, you are really hearing the histories of 50 or more instruments. I tend to think of it as being at a family reunion where everyone is trying to tell the same story all at once in his or her own way. Thankfully, an orchestra is usually easier on the ears.

This semester, the Wesleyan Orchestra has taken on two well-known pieces, Rossini’s "William Tell Overture" (remember the Lone Ranger?) and highlights from Bizet’s opera "Carmen," as well as a Wagner overture and Haydn’s 104th Symphony.

The orchestra has been rehearsing five hours a week since the beginning of the semester. By the time rehearsals are finished, my hands are tingling and the mark that has taken up a permanent residence on my neck–my "viola hickey," as my friends and I have dubbed it–glows pink. I do not doubt that the pain is worse for the brass and wind players, whose lips have been pursed for the whole time. Tylenol can be a musician’s best friend.

But the music is worth the analgesics, as evidenced by the retention rate for this orchestra. Once they join, musicians rarely leave, except in the usual instances of studying abroad or graduating. In my high school orchestra, students would absolutely dread the prospect of rehearsing. You were a nerd if you carried a violin case around. But people who pursue the art in college are infinitely more likely to truly love music and be enthusiastic participants, and this is certainly the case at Wesleyan.

But I will admit that the music is not the only incentive for me to play in the orchestra. When my viola starts feeling heavier than usual, I tend to absorb the generous energy emanating from my fellow musicians. These people are like pure sunshine–the cellist to my left who hikes up the cuff of her jeans to exhibit her rainbow-striped or lizard-printed or polka-dotted socks; the fluorescent-blue-haired violist in front of me; the trombonist who smiles so cheerily as he empties his spit valve onto the floor.

Our conductor, Angel Gil-Ordonez, epitomizes the essence of the orchestra. I have played under several conductors who continuously spat remarks such as, "You’re all a bunch of idiots" or "I give up on you" and the like. Conductors can be absurdly bipolar. I tend to have a fear of their loud voices, the way they throw their batons when they are angry. But I never feel apprehensive about rehearsals now, and I seriously doubt anyone else in the orchestra does either. Angel is, true to his name, very kind-hearted, and he knows the boundary between making music beautiful and making musicians apoplectic.

So after several weeks, the music is ready–we have practically memorized these pieces (I am exaggerating only slightly). The first of our two concerts was held last weekend at the Holy Trinity Church. Angel informed us that a set of speakers would be broadcasting the concert onto Main Street.

"If you play out of tune," he said, straight-faced, "the police will come and get you." Luckily, the police didn’t bust us. We must have sounded all right.

The spring orchestra concert will be held this Saturday at 8 p.m. in Crowell Hall.

Tickets are $4 for students, $5 for non-students.