William Savola
conductor
academic administration
Address:
157 Lakewood Lane, Marquette, Michigan
Country:
United States 
City:
Marquette
ZIP / Postal code:
49855
Telephone:
(906) 249-1084
Fax:
Mobile phone:
Languages:
English
CV:
YouTube.com - < William Savola >
YouTube.com/user/williamsavola
Google.com < Savola William >
Many of these performances were recorded live in concert by non-salaried volunteer musicians who rehearsed one evening each week following their 8 hour work day. This is the way "community orchestras" prepare their performances in the United States of America. The original audio-only reel-to-reel tapes offered on the above websites were digitized to discs and then uploaded to YouTube. Please forgive the distortions on some of the sound tracks.
William Savola is available to guest conduct where he can conduct a rehearsal as if it were the "performance." The following paragraphs summarize William Savola's views on the responsibility of the conductor.
"Conduct the music" - The conductor must believe he can and will deliver the finest performance his audience has ever experienced. His state of mind, his body posture and body language, must be relevant to the project at hand throughout. Meaningful visual communication earns the respect and attention of performing musicians. The audience will also notice a difference and that something special is taking place on their stage.
An unique performance evolves as the conductor indicates change in mood and tempo, delivers precise attacks and releases, adjusts balance and keeps the melody to the fore The conductor who conducts "the music" influences by empathy the very breathing of the chorus and the orchestra's wind instrument section. String players know to adjust their bowing technique. Percussionists select appropriate mallets to reflect a well defined mood and spirit. Conductors should avoid lecturing. Instead, they should "conduct the music." By empathy good musicians follow meaningful communication. The audience equates meaningful gesture to a great performance and a memorable event.
If the conductor is not satisfied with his musician's response in rehearsal, he might consider analyzing what he's doing and what his players see from their perspective. I suggest he stand in front of a mirror and conduct from memory. What he sees in the mirror must have a meaningful relationship to the music he is hearing internally.
I encourage the reader of this article to view on television a performance of a familiar four movement symphony. Turn off the sound. Ask yourself: "What movement is being played at 10, 15, 20 minute intervals within the score?" Locate the measures in your miniature score. Can you find where the conductor is in his score? Is he conducting "the music?"
A conductor who finds his orchestra or chorus unresponsive should invite a colleague to video tape his rehearsal technique from a position behind the ensemble. Review the session in silence. Is the conductor directing the group, visually communicating and conducting the music, or is he simply beating time?
William Savola has traveled widely in North and South America, Africa, Europe, in the Middle East and Asia. This conductor welcomes your comments. He's prepared to travel anywhere and will consider your invitation to guest conduct. May I suggest you listen to his performance of the Sibelius 2nd Symphony with a score in hand.
Note the broken baton displayed on URL YouTube descriptions. The baton has a history and is a symbol of many of William Savola's performances, however, he has never deemed himself worthy to use it.
Thanks for your attention.
William Savola is the owner of this property. It is famous for its geology and specifically the "stromatolite:" (Copy the following URL and paste it into your address bar. Click on the photos to enlarge them and to read the descriptions.)
https://plus.google.com/photos/106322002108459657725/albums/5673418697339101681
YouTube.com/user/williamsavola
Google.com < Savola William >
Many of these performances were recorded live in concert by non-salaried volunteer musicians who rehearsed one evening each week following their 8 hour work day. This is the way "community orchestras" prepare their performances in the United States of America. The original audio-only reel-to-reel tapes offered on the above websites were digitized to discs and then uploaded to YouTube. Please forgive the distortions on some of the sound tracks.
William Savola is available to guest conduct where he can conduct a rehearsal as if it were the "performance." The following paragraphs summarize William Savola's views on the responsibility of the conductor.
"Conduct the music" - The conductor must believe he can and will deliver the finest performance his audience has ever experienced. His state of mind, his body posture and body language, must be relevant to the project at hand throughout. Meaningful visual communication earns the respect and attention of performing musicians. The audience will also notice a difference and that something special is taking place on their stage.
An unique performance evolves as the conductor indicates change in mood and tempo, delivers precise attacks and releases, adjusts balance and keeps the melody to the fore The conductor who conducts "the music" influences by empathy the very breathing of the chorus and the orchestra's wind instrument section. String players know to adjust their bowing technique. Percussionists select appropriate mallets to reflect a well defined mood and spirit. Conductors should avoid lecturing. Instead, they should "conduct the music." By empathy good musicians follow meaningful communication. The audience equates meaningful gesture to a great performance and a memorable event.
If the conductor is not satisfied with his musician's response in rehearsal, he might consider analyzing what he's doing and what his players see from their perspective. I suggest he stand in front of a mirror and conduct from memory. What he sees in the mirror must have a meaningful relationship to the music he is hearing internally.
I encourage the reader of this article to view on television a performance of a familiar four movement symphony. Turn off the sound. Ask yourself: "What movement is being played at 10, 15, 20 minute intervals within the score?" Locate the measures in your miniature score. Can you find where the conductor is in his score? Is he conducting "the music?"
A conductor who finds his orchestra or chorus unresponsive should invite a colleague to video tape his rehearsal technique from a position behind the ensemble. Review the session in silence. Is the conductor directing the group, visually communicating and conducting the music, or is he simply beating time?
William Savola has traveled widely in North and South America, Africa, Europe, in the Middle East and Asia. This conductor welcomes your comments. He's prepared to travel anywhere and will consider your invitation to guest conduct. May I suggest you listen to his performance of the Sibelius 2nd Symphony with a score in hand.
Note the broken baton displayed on URL YouTube descriptions. The baton has a history and is a symbol of many of William Savola's performances, however, he has never deemed himself worthy to use it.
Thanks for your attention.
William Savola is the owner of this property. It is famous for its geology and specifically the "stromatolite:" (Copy the following URL and paste it into your address bar. Click on the photos to enlarge them and to read the descriptions.)
https://plus.google.com/photos/106322002108459657725/albums/5673418697339101681