Kari Brooks, reporter

One of the first things Michael Sachs said in his seminar was that the most important thing in your playing is your sound. “It draws people to you,” he said. And after hearing his first notes for the audience, that couldn't be a more accurate statement to make. One could tell simply by the low murmur of amazement expressed by the audience after Sachs literally filled the room, and most likely the entire state of New Jersey with his amazingly rich sound.

Sachs addressed in detail many required aspects of orchestral section playing. It is important to know your role at all times when playing with others. Who else is playing with you in the music? What's going on around you? At the same time, don't decide you're not important and be dull. You must infuse energy into what you play at all times. One must also make dynamics relative to the piece. A forte in a Beethoven symphony is not the same as a forte in a Mahler symphony. Being flexible but also rhythmically accurate is another necessary task. Communication, however, is the key thing in making a great orchestral section. By giving subtle gestures on downbeats or breathing in time, you eventually begin to recognize and anticipate each others actions.

Michael Sachs was assisted on stage by the four 2006 ITG Orchestral Competition Finalists. First to play an excerpt was Adam Bhatia (UCLA; Jens Lindemann, teacher). Adam played Beethoven's Lenore No. 2 with a confident and accurate sound. Sachs quickly commented on how nice it was, but after pausing, said it might be too nice. “This is a trumpet call and should be played with great brilliance,” said Sachs as he proceeded to play the excerpt with a sound that was the perfect example of brilliance. He also commented on how to address any nerves that may arise when performing. (Especially in a room full of trumpet players!) Sachs says he has a mantra that always works for him: “Same music, same horn, same dude!”

Finalists Jairo Vega Rodriguez (Loyola University New Orleans; Jeremy Brekke, teacher) and Matthew James Shefcik (Western Illinois University; Bruce Briney, teacher) performed Beethoven's Symphony No. 5 together. After one false start, Sachs addressed “Section Playing 101,” which is to always give a big cue!

Many excerpts were played, but Mahler: Symphony No. 3 (posthorn solo) played by Kevin Gebo, was especially notable. Kevin's delicate yet solid sound intrigued the audience as he played this excerpt with great accuracy. Sachs directed him through it once again, showing Gebo with his hands the direction to take the excerpt to make it all the more captivating.

After hearing Michael Sachs play with such authority, we were all left with a great model for how one should approach orchestral excerpts. With intensity, power, and an enormous presence that is beyond words, Michael Sachs had the crowd in awe of his sound by the end of this very informative and inspirational clinic.