Interview with Alexander Mickelthwate
Standing at the head of an orchestra with a conductor baton in hand can be a pleasant but daunting dream. It is a profession that few of us really consider on our way to work in the morning. It is quite intimidating to think of the challenges associated with managing an orchestra, but at the same time it must be rewarding. This romanticized role seems like a vocation from a time long ago, a reminder that the influence of the past isn't as far away as we often think.
This distinguished profession is reserved for the few that have an incredible, natural talent to meticulously calculate pitch, tempo, and the ability to manage many diverse musicians. Alexander Mickelthwate is one of the determined few that has employed his musical abilities into his career; He is currently the Music Director for the Winnipeg Symphony Orchestra. However, the path was not paved for the young man, it was laid brick by brick with relentless determination and skill.
Alexander was exposed to music at a very young age, he has dedicated most of his time to disciplined, meticulous, practise fuelled by passion for symphonic creation. During a phone interview, Alexander recalls his first musical experiences in surprisingly accurate detail.
"When I was six years old I started playing the piano. My parents took me to my first symphony at that time, it was 'Hansel & Gretel'. When I was eleven I started to learn the cello. As a teenage youth I started working with the chamber trio, singing choruses and playing various instruments. At seventeen, thats when my career choice became apparent, I had that important conversation with my music teacher and he suggested that I study conducting."
Alexander studied piano and performance conducting in Karlsruhe, Germany where he refined his new found passion in the artform.
As a new fan of the WSO I had many questions as to the resurgence of orchestral music in our humble city of Winnipeg, Manitoba. Alexander expressed that the prevalence of this old and wonderful genre in the modern music market really does depend on each cities independant culture.
"Each major city generally has one orchestra and the popularity of the genre really is determined by programs that make the music accessible. A very notable case is in Venezuela, where 4,000 kids come together after school to learn this music." Says Alexander.
Moving all the way from Germany to North America must be a dramatic change, especially jumping into a very traditional and geography specific genre of music, I couldn't imagine the challenges that were faced upon arrival. Alexander was quick to correct my pre-conceived notion.
"Actually, adjusting to North America has been a breathe of fresh air." Says Alexander, mentioning that freedom in composition in North America lacks the traditional constraints he found in Germany.
I was interested to gain some insight as to how professionals of this classical art form view the modern age production tactics of computer assisted engineering and composition. For some reason I was convinced that orchestral professionals were completely boycotting the use of computers, as they prove in each concert their total distaste for sampling, because they have the real musicians right there.
Alexander shed some light on the topic and mention that alot of composers are writing their works with Ipads and proprietary software like Finale. This completely shattered my vision of a composer taking long draws on a pipe, dipping his illustrious feather pen into an ink receptacle, and drawing in each note with prestige on a five line staff adorned scroll. I am glad to hear that many composers are unlocking the power of digital when they record ideas and compositions, feather pen or not!
Additional digital technology being employed in the 'band-stand' world are, to my surprise and utter excitement, looping pedals. Alexander reflected on a couple Cellists who have recorded loops and over dubs with a loop-recording pedal, creating original on the fly soundscapes during a Philharmonic concert. I suppose this concept of using a 'guitar-pedal' for orchestral instruments isn't that foreign, looking back on the historical fact that the first Wah-Wah pedal was designed for the trumpet.
Alexander also recalls sharing the stage with a couple different Dj's and Hip-Hop artists throughout the years. Now I know what he's saying about the artistic freedom over here, it's really not as traditional as I thought, these guys are pretty innovative!
I am very pleased to mention that the Winnipeg Symphony Orchestra has a great program for young adults under 30, It's called Soundcheck. Basically they make it extremely affordable for students and young people who want to give this timeless music a shot, for perhaps the first time. Just think about how much you've paid in the past to see a headlining DJ. For only $15 bucks, you can see a whole Orchestra! Tell those Dj's to pack it in, and come see where they get their samples.
For a little bit over the price of movie tickets you could show your date the most incredible night out by escorting him/her to the orchestra. The only way you won't get a second date, is if you spill wine on your partner. So play it smooth, drink with two hands, and come check out the Winnipeg Symphony Orchestra.
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