AMBASSADOR
NOVEMBER 2013
From the Director’s Desk By Pat D’Ercole Upcoming Events Saturday, November 16, 2013 Marathon, 9 am – noon Saturday, November 16, 2013 Music of the Masters – Centuries of Sound NFAC Courtyard, Welcome Reception 6:00 pm (tickets.uwsp.edu or call 715‐346‐4100) Sunday, November 17, 2013 Solo Recitals Michelsen Hall, 2:00 and 3:30 pm Saturday, December 14, 2013 Holiday Cheer Marathon, 9:45 – 10:45 am Sunday, December 15, 2013 Solo Recitals Michelsen Hall, 2:00 and 3:30 pm January 10‐11, 2014 Collaboration Weekend Saturday, January 25, 2014 Marathon, 9 am – noon Saturday, January 25, 2014 Solo Recitals Michelsen Hall, 2:00 and 3:30 pm I thought that November would be a quiet month and therefore we’d have less news‐‐WRONG! This issue of the AMBASSADOR has more news than ever. For news you can use, you won’t want to miss Tim Mutschlecner ’s article on practice tips or Some Les‐
sons We Can Learn From Rachel Barton Pine’s Visit. We also have news from our parent meeting and are inaugurating a new resource for ASC Suzuki parents—
parent mentors. Read about it in Where Can the Home Teacher (Parent) Find Help? In addition, parents can sign up for the Every Child Can! course being of‐
fered at the end of the month. In our quest to teach our musicians that music is a gift to be shared and in the spirit of the holiday season, all instruments will be taking their December marathon on the road to various senior citizen centers and as‐
sisted living facilities. Read the article and mark your calendar. Students can participate in the ongoing composer con‐
test by reading Miss Novak’s article about Antonio Vivaldi and if you’re in a 4‐H club, you can even earn points. Also read why 13 year old, Tom Felt likes to go to the American Suzuki Institute. On a more somber note, on October 10th our former director, Dee Martz passed away. For those of you who didn’t have the pleasure of knowing her please read the tribute to her and the legacy she has left to us. Most importantly, by now I hope you have all received your personalized invitation for our annual Music of the Masters fundraiser for need‐based scholarships. This is the 20th year of the event and we’re topping off 1
panded from one piano teacher to two and voice was added. Teachers’ studios were full to the brim and there was a waiting list of 200. The Central State Chamber Orchestra and Dolce Strings were begun, and offerings such as the Festive Weekend of Cham‐
ber Music, the parent handbook, need‐based scholar‐
ships, and ASI teacher training scholarships were es‐
tablished. The International Research Symposium on Talent Education, sponsored by ASI, was founded dur‐
ing her directorship. The reputation of the Aber Suzu‐
ki Center was enhanced when the Japanese Tour Group came to Stevens Point; when Dolce Strings toured Austria and won the International Ensemble Division of the competition; when Paivi Kukkamaki and the Finnish Suzuki Singers came to UWSP; and when the ASC voice students toured Finland two years later. One of Mrs. Martz’s biggest accomplishments was the move to our new home in the NFAC and the name change from the American Suzuki Talent Educa‐
tion Center to the Aber Suzuki Center. Many improvements were made in the planning and execution of the American Suzuki Institute as well. New instrumental offerings were voice, guitar and bass teacher training and guitar and bass classes for students. She made the schedule by hand, not com‐
puter, for every one of the participants, sometimes as many as 1600 in the two weeks so that as many stu‐
dents as possible would have the teachers and the hours that would work best for them. She engaged a nationally renowned faculty, many of whom still re‐
turn year after year. Mrs. Martz’s influence didn’t stop with the walls of the ASC or ASI, though. She could be seen sitting prin‐
cipal violist with the CWSO and she often played chamber music with various music department musi‐
cians and, just recently since her retirement, at the South Beach Up North Chamber Music Festival. She was often sought out for many university committees and committees of the Suzuki Association of the Americas (SAA). In 2003 she was elected secretary of the SAA Board of Directors. What I think Mrs. Martz would most like to be re‐
membered for is her teaching and the countless stu‐
dents and families she influenced throughout her ca‐
reer both in their musical development and their de‐
velopment as persons. Be they ASC families, UWSP music department violists or the many students she taught at various institutes throughout the U.S., Peru and Australia, she instilled in them a love for the dark, purple‐rich sound of the viola and a way of thinking this second decade with a new format that will allow for more socializing, more variety of food and more variety of musical genres, all with the elegance and excellence that you’ve come to expect. The evening will begin with hearty appetizers and cocktails at 6 pm in the NFAC Courtyard that will be tastefully transformed into a warm and charming gathering space. Periodically, the audience will be treated to show tunes, a bit of jazz, fiddle tunes and ragtime selections by ASC students. At 7:00 pm all will be invited to Michelsen Hall for performances by ASC faculty, current students and alumni. This alone is worth the price of admission! And because we want‐
ed as many of our ASC students as possible to be in‐
spired by hearing it, we now have a student ticket price of $20. Dessert will follow in the Courtyard. There will also be door prizes for “date night” happen‐
ings for winners periodically drawn throughout the evening. I hope you will invite your family and friends to this event for such a great cause. Tickets are $45 for adults (with $25 of every adult ticket being tax deduct‐
ible) and $20 for students. Tickets are available by calling 715‐346‐4100 or by visiting www.tickets.uwsp.edu or stopping by the DUC Ticket Office. A Tribute to Dee Martz (1945 – 2013) By Pat D’Ercole One of the faces seen at every one of the previous 20 Music of the Masters Dinners will be absent this year. We lost a strong leader, an excellent teacher and a strong ASC advocate on October 10th. Dee Martz, who was the Aber Suzuki Center Suzuki director from 1986‐2009 passed away after a 14 month battle with cancer. As any businessman or woman knows, the entrepre‐
neurial skills needed to start a company are not the same as those needed to manage and see the compa‐
ny grow and prosper. Dee excelled at the tasks need‐
ed to take the Aber Suzuki Center to the next level. During her tenure as director, the program grew in depth, breadth and reputation. The faculty was ex‐
2
would be aiming for a beautiful tone before trying for volume of sound. Strive to play with correct bowings early on. Remember, whatever you prac‐
tice will become automatic. As Dr. Suzuki liked to say, “Practice makes permanent.” that was able to clearly articulate the pros and cons of choices before us. With gratitude for the gift of life that she shared with us, we will continue to steward the legacy she left to us. 3. Identify the problem. Robert Howard, writing for Strings Magazine notes, “Identifying the problem, or problems, is the first and most difficult step.” He observes that many string players don’t differ‐
entiate between ‘playing’ and ‘practicing:’ “Play‐
ing is what you should do to diagnose a problem.” Practicing involves breaking down technical diffi‐
culties into small workable tasks. For example, in practicing a fast passage with several shifts, break down the passage into chunks based on each posi‐
tion and practice separately until you can combine them together. This practice method is called “chunking.” Howard notes that most problems fall into one of three categories; Rhythm, Intonation, or Sound (in‐
cluding tone, volume, and articulation). Often it can be beneficial to isolate each element and work on them individually. For example, practice saying the rhythm against a steady pulse you provide by clapping, tapping the stand with a pencil, or walking to the beat. When practicing away from your instrument, try say‐
ing out loud the fingering, ex. “3 on D,” as well as the note name, ex. “F sharp.” One of the most important keystones of the Suzuki approach that is often overlooked is how to raise your ability with a piece you can play. The mental concen‐
tration needed to work on adjustments in technique such as bow hold, posture, or contact point is great‐
est when the student is playing a piece that they can already play automatically, without having to concen‐
trate on the notes, rhythms, or bowing. Here is Dr. Suzuki describing the process: After a student has learned to play a piece, I tell him during the lesson, “Now that your preparation is com‐
plete, let’s practice in order to build your ability. The lesson is just beginning.” I let him practice by compar‐
ing his performance with the record, or by playing along with the record. This serves to gradually foster musical rhythm. Refined tonality, and beautiful pos‐
ture… This is the crux of my approach to fostering fine students. “When the student can play the present piece without a mistake, I tell him, “Your preparation is complete. Thoughts on Practicing By Tim Mutschlecner If you are reading this, you practice or know someone who does! As a young cellist I struggled a lot with the feeling that my practicing didn’t always seem to make a difference. Over the years I have spent time think‐
ing about how to make practice efficient and effective, freely borrowing ideas from wherever I could find them. Here then, are a few principles of effective practicing. 1. Begin with a clear goal. Fuzzy goals produce fuzzy results. This is why listening to the recordings is so important. Know what you want to sound like be‐
fore you begin. When working on intonation, which for string players is 24/7, one must remain vigilant. A wonderful violinist once told me, “Stop and fix out‐of‐tune notes the first time you hear them.” When working on intonation, it is helpful to ask three questions: 1. Which note was out of tune, 2. Why was it out of tune, 3. What should I do differently. One goal your teacher can help you with is knowing where on the bow and how much bow you will use to play a particular passage. It is particularly important to keep this end goal in mind when practicing passag‐
es that will ultimately be fast. When practicing, use the same part of the bow and the same amount of bow you will use when playing full speed. Anastasia Tsioulcas blogs: “Begin with the end in mind: Have a goal for each practice session before you start playing. Just playing through your music isn’t the same thing as practicing. Before you start, think: What do I want to accomplish today? If you’re not sure what you need to focus on, ask your teacher for a few concrete goals to work toward before the next lesson”. 2. Prioritize what you want to work on. For exam‐
ple; intonation first, then later, speed. It is diffi‐
cult to hear and correct faulty intonation when playing very rapidly. Other examples of prioritizing 3
ear, answering questions and sharing their experienc‐
es working with their children in the Suzuki Method. Parent Mentors are: Barb Zander ‐ has two grown violinists and is currently a Suzuki piano student herself. tazander@charter.net 715‐424‐2373 Liz Anderson ‐ mother of 6 year old pianist, Toren, and a younger undecided son. lizandja‐
son73104@yahoo.com 715‐321‐1537 Daniela and Brian Kurzynski – parents of 11 year old Marco, who is a violinist and pianist. bdmk@att.net 715‐342‐0124 Andy and Elizabeth Felt ‐ parents of Tom and Craig, 13 and 17, who are violinists. afelt@uwsp.edu, efelt@uwsp.edu 715‐343‐9142 Matt Kolinski ‐ father of a 6 year old violinist. mattko‐
linski77@gmail.com 608‐215‐9230 Tomi Dittburner ‐ mother of 2 violinist alumni and cur‐
rently an ASC violin student. kamniacs@hotmail.com 715‐335‐4669 Dorothy Ginnett ‐ mother of Sam who is in 9th grade, studying both piano and voice. dginnnett@charter.net 715‐998‐1614 Stacey Berk ‐ mother of Natalie, a 5th grader who stud‐
ies violin. sberk@uwsp.edu 715‐256‐1526 Sasithorn Zuge ‐ mother of 6 year old Nathan who studies piano. szuge@uwsp.edu 715‐343‐9560 Resources for Parents Other parents ASC website ASC Blog AMBASSADOR Nurtured By Love book or video Your teacher YouTube clips Metronome Practice the same time of day American Suzuki Journal Sing and clap Jelly Bellies Positive reinforcement Older Suzuki students The child him/herself Now the lesson starts, the lesson for creating the abil‐
ity to refine yourself.” From there a long time is re‐
quired. “You will now start the lesson for fine musical rhythm, skilled expression of dynamics, and refine‐
ment.” When a student grasps the idea that they can develop fluid, effortless, sensitive playing through a piece they already know, they will understand how it is possible to improve their playing even through easy school or‐
chestra music or the Twinkle Variations! If something seems too hard, or it doesn’t seem to be improving ask you teacher how to break the problem passage down into smaller achievable tasks. ‘The journey of a thousand miles begins with a single step’ (Laozi). Sources: 5 Ways to Improve the Results of your Practice Sessions, by Robert Howard. (Strings, December 2010) 10 Easy Ways to Optimize Your Music Practice, by Anastasia Tsioulcas, http://www.npr/blogs/deceptivecadence/2013/09/03/216906386
/10‐easy‐ways‐to‐opti… Where Love is Deep, (1982) by Shinichi Suzuki pp. 51‐54. Where Can the Home Teacher (Parent) Find Help? The answer to that question was developed by 28 parents who gathered during the Marathon on Satur‐
day, October 19. Parents were divided into groups of four or five. After introductions, they brainstormed the answer to the above question. After all the ideas were shared, they categorized the results into “Re‐
sources to help with the Suzuki philosophy,” “Re‐
sources to help with musical/technical issues” and “Resources for helping with practice/motivation.” In addition to the ideas listed below, thanks to the following volunteers, ASC is now offering a new ser‐
vice, “Parent Mentors.” The following have agreed to have their names printed here and to be identified in the directory as parent mentors. If an ASC parent would like to talk to someone who’s experienced, these Parents Mentors have agreed to accept phone calls and emails for the purpose of giving a listening 4
Hearing her play three very technically demanding selections and the Mendelssohn Concerto with such ease, and learning that the following weekend she would be playing all five of the Mozart Concerti (that’s 15 movements!), I began to wonder how long it takes her to play her review list. The timings of what she played plus the Mozart concerti totals 2 hours and 45 minutes of just music and that’s just to play through each piece. It doesn’t include time to go over places that feel insecure or that she wants to express in a different way. The other interesting point is that two of the Mozart concerti are in Books 9 and 10 in the Suzuki method and many students study the Mendelssohn Concerto afterward. Ms. Pine probably learned these pieces in junior high, played them again in college and as a young professional. To such an accomplished violinist, playing these two Mozart concerti must feel like play‐
ing Twinkle. So why would such an expert choose to perform such an easy piece? The answer is because in the arts, it’s not what you play, it’s how you play it. Musical works of art are no different than great works of literature or theatre or the visual arts. Not only are they timeless, but the music speaks to us in different ways at different times in our lives, both as a listener and as a performer. The music doesn’t change, but our understanding and our response to it does. We understand and feel more of the subtleties that we weren’t even aware of the first time we encountered the piece. So Dr. Suzuki’s idea of reviewing past literature and “raising your ability with a piece you can play” is noth‐
ing more than teaching students a routine profession‐
als all employ. This knowledge may also inform our decision about the next piece we’ll play on a recital. Friendships in the Suzuki community Smart Music (computer program) Amazing Slow Downer (iPad app) Guest lectures SAA’s Parents As Partners Games/Dice/Spinner Videotaping or a mirror Reference CD Suzuki music books Playlists for listening Attending concerts and group lessons ASC Handbook Rhythm instruments Attending Suzuki institutes Attending Suzuki weekend workshops SAA’s Every Child Can! Course Recording devices (computers, phones, cameras) AND NEW THIS YEAR PARENT MENTORS! Some Lessons We Can Learn From Rachel Barton Pine’s Visit What a privilege it was, thanks to the CWSO and Min‐
istry Health Care, to have a special afternoon “tea” with Rachel Barton Pine. Most often we only get to see performers of this distinction from a distance and rarely do we get to interact with them. This was just the opposite. Not only did we get to see and hear her play in a more intimate setting, but we experienced her teaching and learned what it takes to be a per‐
former of her caliber. Some interesting facts we learned:  Rachel started violin at 3 years old and made her debut performance at the American Suzuki Insti‐
tute 4:00 recital, playing Minuet 3.  At about third grade her parents began to home school her so she could practice more. In junior high and high school she was practicing 8 hours a day.  She practiced every day for 10 years without miss‐
ing. She missed one day when she was 13 and started the count over again. If she practiced an average of 4 hours through the 10 years that comes to 14,600 hours by the time she was 13! Imagine how many hours she’s logged in now. No wonder she is so good. December Marathon Goes on the Road to Senior Centers By Jennifer Burton Holiday cheer is the theme for the December Mara‐
thon. We will be singing and playing for senior citizens across the city on Saturday, December 14! All groups will play from 9:45‐10:45 am except the CSCO. The CSCO will play from 2:00‐3:00 pm. Please arrive at the location listed below for your instrument 20 minutes early for tuning and set up. If your family has students 5
Repertoire for all other concerts will be given to you at your lessons. Some Christmas Kaleidoscope books are for sale at the Suzuki office. who play on two different instruments, you may choose which location to visit. We will wear festive holiday attire. If you’d like to bring some cookies to give as treats to the seniors, you are welcome to do so. Place them in a cheerful bag and bring them to the concert. Here are the locations for all groups: CSCO: Lincoln Center, downtown Stevens Point. Per‐
form 2:00‐3:00. Arrive early to set up. Guitar: Portage County Health Care Center, 825 Whit‐
ing Avenue (corner of Water Street and Whiting). Per‐
form from 9:45‐10:45 am. Piano and Harp: Highrise Manor, 1300 Briggs Court, Stevens Point (near the old Sorenson’s Floral shop). Perform from 9:45‐10:45 am. Violin, Viola and Cello: Oakridge Senior Living Center, Sandpiper Drive at Amber Avenue. Park on the Amber Avenue side and go to the dining room. Perform from 9:45‐10:45 am. Voice: Stevens Point Care Center, 1800 Sherman Ave‐
nue, Stevens Point. Perform from 9:45‐10:45 am. Repertoire for the violin, viola and cello concert will be: The blue Christmas Kaleidoscope book: Joy to the World, The First Noel, Jolly Old St. Nicholas, Good King Wenceslas, Adeste Fideles (O Come, All Ye Faithful), Up on the Housetop, We Three Kings, Away in a Man‐
ger, Hark the Herald Angels Sing, Angels We Have Heard on High, God Rest Ye Merry Gentlemen and Deck the Halls. We will also add a Hanukah piece. The pink Christmas Kaleidoscope book: Silent Night, Lo How a Rose, O Little Town of Bethlehem, The Friendly Beasts, The Holly and the Ivy, Bring a Torch Jeanette Isabella, It Came Upon a Midnight Clear and Here We Come A‐Caroling. Suzuki repertoire: Book 1: Key of D Major: Twinkle Variations, Lightly Row, Song of the Wind, O Come Little Children, Allegro. Key of C: Minuet 1. Book 2: Key of C: Chorus from Judas Maccabaeus and Handel Bourree. Key of G: Hunter’s Chorus. Book 3: Key of c minor: Gavotte in c minor. Every Child Can! Will be Offered at UWSP November 23 The Suzuki Association of the Americas’ introduction to the Suzuki philosophy and its application to educa‐
tion, a course entitled Every Child Can! will be offered on Saturday, November 23 from 9:00 am to 4:00 pm at the Noel Fine Arts Center, Room 201. For parents, teachers, prospective teachers and others, this course provides an inspiring, in‐depth look at the Suzuki ap‐
proach to teaching and learning. All ASC parents who would like a more in‐depth knowledge of the Suzuki philosophy are welcome to attend this course. The cost is $95. Please register at the ASC office or call 715‐346‐3033 no later than November 12. Why I Like ASI Each issue of the Ambassador will feature an article written by an ASC student and/or parent who attend‐
ed the American Suzuki Institute (ASI) telling their rea‐
sons for attending. This month's article is written by violinist Tom Felt. ASI is not just a musical camp for you to get better at your instrument; it’s much more than that. ASI is a camp where you can meet people from all over the country, all over the world, and make friends that you would never have met anywhere else. Institute is the kind of place that a week afterwards you start looking forward to next year so that you can see all of your friends and all of your favorite teachers again. If you don’t want to go to a music camp, don’t think of it that way, think of it as an experience. Because no matter what you like, you will like this. 6
tions (especially the concertos), but he also wrote vo‐
cal works, including operas and oratorios. Vivaldi’s popularity in Venice was declining in Venice by 1739. It is possible that this prompted him to travel to Vienna in June of 1741. He became ill the following month, and he died on July 28. He was penniless at the time of his death, and he was buried in a pauper’s grave on the grounds of the hospital. 4‐H Welcomes Music Projects By Ann Marie Novak The Aber Suzuki Center is home to students with many varied interests. I recently became aware, through some of my own students, that there are music pro‐
jects that are eligible to earn points, pins and ribbons. Some involve performance, composition, music histo‐
ry, research on how instruments produce sound, and many other subjects. Below is the link to the web site where you can find more information on projects. If you need forms or are unable to find what you need, please email me at anovak@uwsp.edu. http://portage.uwex.edu/4‐h‐youth‐development/ Sources: Kendall, C. W. (1985). ”Stories of Composers for Young Musicians”. Kendall. Randel, D. M. 1996. “The Harvard Biographical Dictionary of Mu‐
sic”. Cambridge and London: Belknap Press of Harvard University Press. Christmas Carols Composer of the Month Antonio Vivaldi If you are interested in learning the most popular Christmas Carols, ask your teacher for a copy of the keys and starting notes. By Ann Marie Novak Antonio Lucio Vivaldi was born on March 4, 1678 in Venice, Italy. He studied the violin from a very young age with his father, Giovanni. At the age of 15, Anto‐
nio decided to devote himself to God by becoming a Roman Catholic Priest. He completed his religious training at the seminary, and he was ordained at the age of 25. His bright red hair earned him the nickname, “The Red Priest”. Unfortunately, Antonio had a long‐
term illness that made it difficult for him to keep up with his priestly duties and responsibilities. He was forced to withdraw from the priesthood, but he vowed to devote his music to God. The young Vivaldi took employment at Pio Ospedale della Pieta (an orphanage for girls), which offered mu‐
sical instruction as a large part of the curriculum. At first, his responsibilities included teaching violin les‐
sons, conducting and composing instrumental works. This was the beginning of his outstanding career as a composer. In 1716, while still at the orphanage, he was appointed to the most prestigious position of maestro de concerti. He also was granted the right to compose sacred music. Vivaldi spent the next several years travelling within Italy. These years netted some of his best‐known compositions, such as “The Four Seasons”, Op. 8. An‐
tonio became known for his instrumental composi‐
Student News Michael Treder attended the State Honors Choir on October 26. Thank you to Dane Chung, Jane Story, Rachel Jorgen‐
sen, Lucia Stephani, Hope Stephani, Sophia Bluma, Jace Yesse, Yuling Sun, and Logan Bauman for per‐
forming at Art in the Park on Saturday, September 21. Jacquie Wille commissioned and performed a piece for two violins and bell choir in memory of her friend, Evalee Johnson Konkol. She performed it with the composer, Lorre Trytten, and the Trinity Lutheran Church Bell Choir on Sunday, October 6 at Trinity Lu‐
theran Church in Stevens Point. This was Evalee's church when she was growing up in Stevens Point. Many family members and friends were in attend‐
ance. Thank you to Dolce members Gina Chung, Alyssa Schroeckenthaler, Marco Kurzynski, and Havilah Vang for performing at the CWSO Concert Intermis‐
sion on Saturday, October 12. 7
Faculty News Oscar Soler performed as a member of the South Beach Up North Ensemble. The engagements included two performances in Wausau on July 14 and 20, and an appearance at the NPR radio program "Route 51 with Glen Molberg" on July 18. Oscar Soler, Mary Hofer, Tom Yang, Dave Becker, Ann Marie Novak, Jenny Burton and Tim Mutsch‐
lecner were clinicians at the American Suzuki Institute in July/August, 2013. Jenny Burton performed with the Central Wisconsin Symphony Orchestra at the Grand Theater in Wausau on Friday, October 11, and at the Theater@1800 in Stevens Point on October 12 and 13. Ms. Burton gave a lecture called "Two Prodigies and the CWSO" to 62 members of the LIFE (Learning is Forever) Class at UWSP on October 8. She described why Rachel Barton Pine and Felix Mendelssohn were both child prodigies, and then demonstrated the themes from the Mendelssohn Violin Concerto. Pat D'Ercole was the facilitator for the Suzuki Princi‐
ples in Action course held in Knoxville, TN October 4‐5. Thank you to cellists Koppany Bodor, Natalie Van Ti‐
em, Dinesh Traynor, William Hahn, and pianist Chris‐
topher Coffeen who performed at the CWSO Concert Intermission on Sunday, October 13. Lucas Chan, Antony Van Tiem, and Jacquie Wille per‐
formed with the Central Wisconsin Symphony Orches‐
tra at the Grand Theater in Wausau on Friday, October 11, and at the Theater@1800 in Stevens Point on Oc‐
tober 12 and 13. The following ASC students attended the Rachel Bar‐
ton Pine Workshop at the Theater@1800 on Saturday, October 12: Revyn Abbott‐Beversdorf, Drew Bandy, Brynn Beversdorf, Jacey Bowker, Tam Doan, Alyssa Eiden, Sawyer Eiden, Craig Felt, Tom Felt, Anna Hahn, William Hahn, Faith Kluck, Noah Kolinski, Marco Kur‐
zynski, Annina LeCapitaine, Alexandra Lee, Christina Marchel, Nathaniel Meadows, Thomas Meronek, Sharon Roark, Barrett Severson, Gwen Severson, Hope Stephani, Lucia Stephani, Carolyn Storch, Julia Storch, Caleb Thomas, and Jacquie Wille. October 2013 Graduations Tam Doan, Violin Twinkles Abbigail Spaay, Voice Book 1 Logan Vayder, Guitar Twinkles Luke Vayder, Cello Book 1 Finn Borgnes, Guitar Book 1 Logan Bauman, Viola Twinkles Ada Sell, Violin Book 3 Evelyn Burch, Violin Twinkles Chris Burch, Guitar Twinkles Natalie Van Tiem, Piano Book 3 Koppany Bodor, Cello Book 3 Frederick Van Tiem, Viola Book 4 Lara Prebble, Viola Book 6 Hannah Carlin, Violin Twinkles Barrett Severson, Violin Book 1 Annina LeCapitaine, Violin Book 1 Sabrina Tang, Piano Book 3 Celia Patchett, Violin Book 2 Madeleine Resnick, Piano Book 1 Katie Huang, Piano Book 1
Jon Peck and Roshini Traynor performed with the Wisconsin Middle School Honors Orchestra in Madi‐
son on October 26. Craig Felt performed with the Wisconsin All‐State Honors Orchestra on October 24. 8