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from Gainesville, Florida five. Live presents Conversation from the University of Florida, a discussion of social, political, scientific and religious issues of the day. Your host is Dr Michael Vegan in Professor of History and Ethics, an assistant dean of the College of Liberal Arts and Sciences at the University of Florida.

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Hello, I'm Mike Cannon, and this is a conversation. My guests on this conversation are the members of the Gainesville Chamber Orchestra, the city's first professional chamber orchestra, with their musical director and conductor, Raymond Shahbaz. Welcome, ladies and gentlemen, and welcome Mr Shahbaz, I'd like to mention first that you are rehearsing this evening in our studios here on conversation for your presentation.

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Your concert next Sunday evening, February the 12th in Oh, call performing Arts theater at eight o'clock. And what will you be playing on that occasion? And what will you be rehearsing now on my program? The first piece we're going to do on the program is the Brandenburg Concerto number three in G major by Johann Sebastian Bach, and after that we will play the Mozart Sinfonia Concertante for violin and viola.

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And if that major with two distinguished musicians from Tallahassee and then we have intermission and then we do a very interesting work by Mendelsohn that is not very often played. The First Symphony. It was actually his 13th Symphony, but it's the first one is for full Orchestra wrote it when he was 15, and then later on he numbered at number one, and it's a wonderful, useful work, and we are a young, useful group.

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And so I chose this piece. Tell me something about the formation of the orchestra. When did you organize and how many members normally do you have in the orchestra? Well, to tell you the truth, I didn't organize anything. It just happened. They selected you. You are a member of the faculty in the Department of Music at the University of Florida, and I understand the musicians are from the community at large, as well as from the university family.

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A few few from the university. We're very happy to have them, and it's a good experience for serious musician to have another environment, more professional environment and for them, I hope it is a great experience. A word about your background, please. You studied at the Conservatory in Basel, Switzerland.

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That's right, and took a master's degree in conducting and a doctorate in composition. Yes, but not in Switzerland, at the University of Utah. And then you have been an assistant conductor in a number of orchestras basis in this country and abroad abroad, usually during the summers.

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When I happened to win a a competition for young conductors, I could stay two months, three months with a great conductor. One was we told Lewinsky and the Warsaw National Philharmonic, and I traveled with him and then with construction before and after his defection. I was very often with him with the conservative orchestra, and the hill was some radio orchestras in Holland.

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And last year I was assistant to Kubelik for a month and the Bavarian Radio Orchestra. And now you conduct the Gainesville Chamber Orchestra. And you will be presenting not only the symphony number one in C minor by Mendelssohn, but other, uh, pieces as well. The Brandenburg Concerto number three by Bach, the Sinfonia Concertante for violin and viola by Mozart and is there.

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And then you will finish with the symphony number one and you are rehearsing the fourth movement now, is that correct? We need to work on the fourth. All right, We're going to work on the fourth movement now on conversation. This is the end of the conversation.

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For a while now, I'll have an opportunity to step back and listen to the rehearsal, and then you will take us through the entire fourth movement toward the end of the program. Is that correct? All right. Good. Thank you very much. Ladies and gentlemen. Thank you.

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All right, let's see what happens. Yeah. Uh huh. Yeah. No. Yeah. Thank you. Yeah, Yeah. Oh, thank you. All right. Careful with the 16th notes here, the 16th one starts to fall apart yet Damn it helps if you think within yourself those policies yet not feel them.

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Feel them. Don't think them feel them. Then we are together. Shoot for my beat yet If you feel this pulse, whatever happens in between will come naturally. Don't think about it. They have to be together. That's bar. Alright, here we go. 17. 17. Can I have just the first violence, please?

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Just the first violence. Let's do this. The second violence. Ready? Oh, together. Please be ready. Be ready. Four and one and two and three and four. Okay, we don't have the same spot. 70 six. Ready? Sure. 123412341234 All right, now the viola, huh? Oh, 123412341 All right.

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Okay. Can I have everybody Now? Let's do the second ending. This is simpler. You see what I mean? Andrea? Short. Short. Yeah. Mm. Yeah. Mhm do. Mm. Mhm. Yeah. Mhm. Mm mm. Yeah, Yeah. Three. Oh, that's okay. Even if that meant four. Let's do this action quickly.

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All right. That's a right. Whenever you have a little cadence coming in 51 with all the modulations that we're going through. If you bring this five out bomb bomb every single time, it will add a little bit too to the movement. Can I hear this? It's almost every fourth bar after every fourth.

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About four bucks raising four bar phrase informal phrasing. If I get a little bit of that, have every wonderful we talked about this before, so let's try it one more time listening. This the melody is really in the first violins. I need to hear this a little more.

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More with the flesh full of sound. Short but full at the moment, the string is vibrating. A mhm. Yeah, this is one I need to hear the dominant bump. That's right. Don't wash. Listen, listen. Chamber music, listen to the climate. Mhm Careful for 15 minutes. All right, Here, beginning of the development Sections 93 You know, in E flat Major every single time we have this slur.

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That's drill. And that trail in the slur accent has to be before we come to one on the previous on the previous eighth. Note. Very young pump pump. Diane, Pam, Pam, Pam, Pam, Pam. Local source as units as motives that every single time should be played as you were playing it for the first time, even if it's repetitious every single time we have to have the the feeling is for the first time, especially when they have three or four and a succession pom pom, pom, pom, pom, pom pom pom mm has to lead somewhere.

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Not just just notes. It's music. Music is tension and relaxation back and forth. It has to lead somewhere. Mhm. So everybody know where the development section is. 93 G flat, Yeah, better Yeah. Mhm Monster Lotto. Stop your way. Yeah. Fresh. Ah! Mhm! Mhm! Mhm! Hey! Mm.

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Uh huh. All right, All right. Wonderful. Not too bad. Not too bad again. The fugue, peasant Give it more weight. Give it more weight Every single time it comes in And stop the ball Really? Do stop the boat or we're gonna get different Different over crossings of people going off the string at the wrong time Stay on the string and stop the boat I'm gonna be fine And every time it comes in Throw that ball back and forth Team bom bom bom bom bom bom bom Throw it back and forth to one another every time It's the same Youthfulness like playing Children And I have the fugue one.

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Oh, one b one. Mm hmm. Better. Yeah. Yeah. Uh what? Mhm. All right, fine. Okay. Since the recapitulation is not bringing anything new, you can play the peace through now. Right from the beginning. Wanted to know, like, away. It's warm in here. It's not mhm. Yeah, yeah, yeah.

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Mhm. Mm mm. Uh huh. Mhm. Mhm. Yeah. Mm. Mhm. Yeah, Yeah, yeah. Uh huh. Yeah, yeah, yeah, yeah. Uh huh. Yeah. Yeah. Mhm. Mhm. Mm mm. Yeah. Mhm And yeah. Mhm. Mhm. Mhm. Thanks. Okay. Mhm. Mhm. Yeah, yeah, yeah, yeah! No! Mhm, Yeah, yeah! Mhm, Yeah! No! Yeah! Mhm.

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Mhm. Mm hmm. Yeah. All right. Yeah. Uh huh. Mm. Right. Thank you. Ladies and gentlemen of the Gainesville Chamber Orchestra. Ladies and gentlemen, we have been listening to a conversation using the language of music here in our studios of Channel five. On this particular conversation, the Gainesville Chamber Orchestra will be presenting a concert on Sunday, February the 12th at eight o'clock in the evening at oh, call Performing Arts theater.

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We have listened this evening to a rehearsal of the fourth movement of Mental Son Symphony number one in C minor. Raymond, is there any final word? Were you pleased with the rehearsal this evening? Well, I'm always pleased when I see people sweat. That tells me they're working.

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They're working. We're always working. And it's wonderful to have the orchestra in the studio. How do you find the acoustics in this particular studio? Very dry. Very different. You have to get used to it. You would have more lively ambiance at a call. I suppose, with more residents.

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We have never played there, so we have to see. All right. Well, we're blazing new trails with the orchestra is the first professional chamber orchestra in the city's history, and it has about 35 members. And this will be your second concert, I believe the first having been at the right union on the campus earlier.

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Well, thank you very much for being a member of are growing cultural community in Gainesville, And I'm delighted that we were able to have you and your splendid orchestra on conversation. Well, thank you very much, Doctor. Again. Mhm. Mm hmm. Uh huh. Mhm.