Scott Holden shares his passion for piano By Sarah Ostler Hill He has been known to instruct his students to move their fingers “like Olympic divers” or to play a piece “more brown.” His tactics may sound strange, but Professor Scott Holden is not only an accomplished pianist in his own right, he is also an inspiring and motivating teacher in BYU’s School of Music. When asked why music was important, Holden paused briefly before taking a deep breath and replying, “It’s the antidote to all of the violence and corruption that is constantly in our headlines. Beauty, truth, expression. It’s the noble antithesis of much of the world.” Holden would know. He has seen how music has served as a language between two peoples who would otherwise be incommunicado. He spoke of performing in countries that have been enemies of the United States, specifically the time he played in Vietnam. “There I was, playing Gershwin in the heart of Hanoi, to a big crowd of very enthusiastic Vietnamese,” Holden recounted. “They were very accepting and generous. But it was also surreal. To be in a place that has had such anti-American sentiment, and playing Gershwinn — I mean, what’s more American than that?” Discovering the Magic in Music Holden has a hard time remembering his life without piano. He began taking music lessons when he was six and has been told by his parents that he would practice multiple times a day, sometimes sneaking in to climb up on the piano bench. He loved the piano, but when he attended the Interlochen Music Festival in Michigan as a teenager he had a transformative experience. “I found my voice as a person,” said Holden. “There I was, among other musicians, going to concerts, exposed to a very high level of talent. What I once considered an option made a magical impression on me.” This magical impression made it impossible for Holden to see himself doing anything else for the rest of his life. His parents were, as he called them, “cautiously supportive,” as they recognized what a difficult and highly competitive field he was considering. “I always recommend to students if there’s something else they might do and be fairly happy, do that,” Holden laughed. But for Holden, he didn’t feel like anything else would be a viable option. “I call it sweet slavery. You have to be a little bit crazy to do this, but I look forward to going to work every day.” This work is the weaving of discipline and emotion. Music, and performing it all over the world, has taught Holden empathy in a way that nothing else could. He explained how music can express emotions that you can’t necessarily verbalize, or how it helps you understand emotions you may not have experienced yet. “I was playing a benefit concert in memory of a teacher who had died of cancer,” he recounted. “As I was playing, I thought of this person and how they had fought and who they had left behind and how this scho larship fundraiser would keep their memory alive, and I just felt very moved. The emotions infused its way into the music. It was a piece I had played many times, but it took on new meaning.” Music has also taught him a lot of discipline and the power of persistence, not to mention how to deal with pressure and stress. But it is also there in times of happiness and rejoicing. “My most spiritual experiences usually involve music-making,” Holden reminisced. “I’ve been to many temple dedications. I can’t remember specific things that were said, but I can remember the music that was there, how I felt singing ‘The Spirit of God.’ Hearing from a General Authority is incredible, but the music brands the Spirit into my soul.” There almost seems to be a musicality to the way Holden speaks of the power of music, perhaps summarized nicely when he concludes, “Think of the ‘Last Supper.’ What was the last thing they did? Sang a hymn. In the absence of words, there’s always music.” Bringing Music and Musicians to Life Holden’s fingers float and fly over the piano keys as one who has done both mental and physical work to get to this point. He is careful to study and memorize, but cautions against planning a performance down to every detail. “I don’t calculate every exact phrase. It can become stiff and insincere. I’ve done my work, so the music is there and I’m not thinking about what the notes are. Then I let it just happen.” Holden likes to speak to the audience about what they will hear. He believes audiences connect better with the message when they understand the intention. “If they know the backstory, it becomes a much more meaningful piece, not just some abstract dead white guy,” he noted, a little impishly. “A piece of musical composition can be a breathing, living kind of work. I’m always flattered when someone enjoys my performance, but it is a far better compliment when I hear they request a recording or want to learn more about the composer.” Holden sees his job to educate about the composer, not just the technique. He particularly delights in finding pieces or composers people haven’t heard before. “Great music exists because it can be performed in so many possible ways,” he said. Holden is very conscious of trying to recognize and stay true to what the composer intended, but also put a “fresh face” on the piece. “I try not to just come up with something different, but find the balance between my and the composer’s truth,” he explains. This balancing act may be one reason he is so fascinated with “first recordings.” Most people wouldn’t even consider that there might be recordings from Liszt’s students or Chopin’s stude nts’ students. But they exist, and according to Holden, it’s something he really sweats over. “Their style of playing is so different than today,” he begins. “When you hear a pianist from the 1920s playing Chopin or Liszt, it makes me question what the composer had in mind. When those so close to the original source of the composition perform it so differently than pianists today, it makes me question what is musical truth.” There’s a pendulum, Holden says, of playing what the composer wanted, and letting the performers express themselves. Today’s performers strive to be true to the music as it was written. In the 19th century, the performer’s intention mattered more than the composer’s. “There were some major liberties taken with the score,” Holden said, almost incredulous with this news. “Students of Liszt added notes, or omitted sections, to the point where you think it’s just wrong. And yet they were so close to him, he would have given them approval.” Back in the day, schools of piano on Russia, England and Germany represented different styles. “Those individual styles look more pronounced in this day when the world has become smaller and more mainstream,” he explained. “Back then, there was a kind of elegance, aristocracy and spontaneity we just don’t often hear any more.” Teaching the Next Generation Today, Holden continues to perfect his technique and explore his interpretations and pass that on to others. He is impressed with his students who seem equally dedicated. Holden has a deal with his students that they can practice in his office any time they want if he’s not there. “These students work so hard,” he sounds almost awestruck. “Most days when I get to the office at 6:30 am, I find students already hard at work, and have been for some time. And they’re very bright in all areas, not just music.” He proudly speaks of his students who just recently won first, second and third in the Utah Music Teachers Association Concerto competition earlier this year. Holden also speaks admiringly of a student who, as a freshman, won the school concerto competition playing one of the most difficult concertos in the repertoire, and then “learned another severely difficult sonata as a surprise to just a few weeks later to perform in his recital.” The way Holden speaks of his students is similar to a loving father praising his children. He also admires the students who are hard-working and very talented, but also devoted to the gospel. “These students have the spiritual depth that they are willing to leave the piano for a mission. It is very humbling and exciting. They are great, smart, and well-grounded musicians, but they also have a bigger vision of things.” From his earlier discovery that nothing else would make him happy, to his personal success as a performer, to his students who praise his instruction and excel in their own right, it is not surprising to hear the smile in Holden’s voice as he says, “I love going to work. I have a great job.” He looks forward to working with his students, who he says he gets to know very well over the weekly sessions they have for four years. “As a teacher, I have to find the tricky balance between understanding their gifts and helping them find their own voice without becoming my marionette.” Rounding Out a Life in Music While Holden is fully committed to music and furthering the success of others, he also recognizes how it integrates with his own spirituality. “Music takes an enormous amount of time. The mental and emotional energy that goes into it can be incredibly draining. But I also hope I’m living my life in a way that my Heavenly Father will look at and see that there was more to my life than ju st music.” Holden also speaks lovingly of his family, spending time in the desert, and long-distance cycling. He loves all music genres and encourages others to listen to all kinds of music and sounds. “Whether it’s German folk songs or pop or jazz, listen to it,” he said. “Read and learn about art and literature and poetry. Underline things when you read books. Be curious. Always learn more.” This passion for learning is what has taken Holden to some of the most prestigious concert halls in the world. But while playing in Moscow or Carnegie Hall are deserving of pride, Holden maintains that his proudest moments, professionally speaking, have nothing to do with the location or size of his audience. “When I play a phrase perfectly marrying the composer’s intentions of truth and my intention, and someone is there to hear it, that is my proudest moment,” he said, before laughing and adding, “It’s a rare thing.” When he isn’t teaching, Scott Holden can most likely be found in his office, working on that phrase, perhaps playing it a little more brown, perhaps diving his fingers into the keys. And, hopefully, someone is there to hear it.

Scott Holden shares his passion for piano By Sarah Ostler Hill He has been known to instruct his students to move their fingers “like Olympic divers” or to play a piece “more brown.” His tactics may sound strange, but Professor Scott Holden is not only an accomplished pianist in his own right, he is also an inspiring and motivating teacher in BYU’s School of Music.

April 2014 marked the announcement of the partnership between Naxos, the nation’s largest independent classical music distributor, and BYU Music Group.

PROVO, Utah -- Brigham Young University’s celebrated male a cappella group, BYU Vocal Point, is following up on their best-selling album of hymns and inspirational songs, Lead Thou Me On, with an all-new contemporary album. Released today, April 8, Spectrum showcases the group’s signature take on popular songs from yesterday and today. The album is produced by BYU Records.

BYU DEPT. OF THEATRE AND MEDIA ARTS and STUDENT FILM ASSOCIATION PRESENT FINAL CUT FILM FESTIVAL April 11–12 Pardoe Theatre This student-produced, student-created film festival features a collection of the best student-made fiction films, documentaries, commercials, animations, and more. Two separate programs will be featured: Program A: April 11 at 6:30 PM and April 12 at 8:30 PM Program B: April 11 at 8:30 PM and April 12 at 6:30 PM The awards ceremony will take place at 10:15 PM on Saturday, April 12, following the 8:30 PM screening of Program A. Tickets are not required for the awards ceremony, but tickets are required for the 8:30 PM screening. Program A (Fridal at 6:30 and Saturday at 8:30) Belfast and Furious The World Is Our Campus Christmas in L.A. Headliner Turn to Stone Beehive Stories: Morgan County Brita Spec Ad Not Kabob Bothered Brainsaver Christmas in L.A.: Behind the Scenes Harmonica Good Luck Don’t Wake up with a Hook For a Hand Without a Rope Program B (Friday at 8:20 and Saturday at 6:30) Ice Hotel “Arrows” Our Community Wilhelm Scream Ice Hotel “Arrows” Behind the Scenes Weeping Historical Fencing: Franco Belgium Beehive Stories: Kane County Adpot a Cat Wyrm Laerd Your Cocoon and You Sides of a Camera Owned A Sticky Situation Ghosts on the Mountain

On what seemed like a normal day in the 1990s, Jim Barnes’ infant daughter passed away. This father experienced, as all would, terrible grief, followed by resentment and frustration. As peace began to return to his life, Barnes cathartically created what has been lovingly called “The Tragic,” a four-movement symphony that details his emotions while accepting the death of his daughter and eventually the joy of welcoming a newborn son into his family. On April 10, the BYU Wind Symphony will take its audience through this emotional venture. Under the tutelage of Donald Peterson, Director of the Wind Symphony, these students will connect with the audience in a more emotional way than many expect from band music. “It’s a pretty poignant musical journey. One thing that’s appealed to the students is that we’ve all been depressed or had dark times before,” Peterson said. “But I think most of them would say this music is a gift and provides a way to help feel emotions even stronger.” Peterson said the students are prepared for this advanced composition. “The piece was written for the Air Force Band in Washington D.C., so it’s written for professionals,” Peterson said. “But our band members are ready for it. It’s not only enriching their personal lives, but their music education as well.” The Wind Symphony rehearses twice per week, and normally prepares for music typical of concert band, like military marches and other shorter arrangements. Catelyn Gentry, a member of the Wind Symphony for four years, said that the preparation for this special piece has been invigorating. “The first thing that makes it really difficult is it’s almost 40-minutes long, and each of the four movements is so intensely focused on different emotions,” Gentry said. “So whatever you put into one movement isn’t what you’ll put into the next. It’s emotionally draining.” McKay Heaton, Wind Symphony Band President, noted that preparing to play Barnes’ “Tragic” Symphony is proving to have a long-term affect on the band. “Learning about what the composer thought for each movement and realizing how significant it was to him is amazing,” Heaton said. “And then trying to connect with the piece emotionally on that level has brought us closer together as a band.” Heaton said he and other members of the band are excited to share this beautiful work with their audience. “With each of the movements in this piece, there is quite a bit of meaning,” Heaton said. “I hope that we can help the audience feel that.” Tickets for the Wind Symphony’s upcoming concert are available at arts.byu.edu.

Tickets for all events are available at Fine Arts Ticket Office, 801-422-2981 or byuarts.com/tickets.

BYU female broadcasters win three of nine student awards, continue winning tradition Three Brigham Young University broadcasting students have carried on an award-winning tradition, recently receiving national recognition as student winners in the Gracie Awards. Julianne Horsley, Mary Blanchard and Danielle Ycmat Jansson won three of the nine available awards for students. Other student winners were from schools such as Fordham, Hofstra and George Washington universities. BYU was the only school to have three or more winners. The Gracie Awards highlight outstanding work in television programming created for women, by women and about women. Past professional winners include Tina Fey, Katie Couric and Barbara Walters. The three BYU students now join the ranks of those big names, along with the many BYU winners that have come before them. BYU’s student journalists have a history of doing well in the Gracie Awards. “From the beginning of the program, our professors expect us to be professionals,” Horsley said. “They hold us to the same standards as they would at your first job. It was really hard, but I’m glad they did.” Horsley won the Gracie for best anchor, Blanchard for best sports host and Jansson for best news producer. The students said the hands-on experience they received in the newsroom was specifically beneficial in preparing them for work in the industry. Blanchard said her experiences and watching past students win Gracie Awards helped her produce high-quality work. “Past students kind of set a precedent that you don’t want to be anything less than the best,” she said. Kristine Pratt is one of those past students and won a Gracie Award for Outstanding Director just after she graduated in 2010. She’s now a news producer at KSL 5 in Salt Lake City. “I certainly consider my Gracie Award to be one of my greatest accomplishments, and it gave me, as a college graduate, an extra push to launch into the job world with confidence,” Pratt said. Chad Curtis, BYU’s broadcast news manager, echoed Pratt’s sentiment about the impact of these awards. “It’s empowering for our female students to enter their work in a nationwide competition that emphasizes the professional contributions of women in the media,” Curtis said. “It is then extra gratifying to have their work honored by the Gracies’ judges as being worthy of praise.” Horsley is now working in marketing and communications for Goldman Sachs in Salt Lake City. Blanchard and Jansson will both complete internships this summer and graduate in August, before looking at entering the world of professional broadcasting. About the Gracie Awards: Established in 1975, the Gracie Awards is an annual competition that recognizes the highest quality programming for women, by women and about women in the media and entertainment industry. The Gracie Awards are presented by the Alliance in Media Foundation, which supports education, charity, public service and scholarships that benefit women in the media. Source: BYU News

Nineteen dancers lie sprawled out on the floor, a highly unusual sight in a typical dance class. The adroit teacher circled the group with perfect posture, walking as gracefully and carefully as a lion. The dancers immediately sat up and watched carefully as the master demonstrated his literally groundbreaking poses and stretches on the ground.

Any wanderer will tell you that there is something magical about discovering new places and old traditions.

It’s 10 p.m. in a bitterly cold New York City. As light and excitement pour out from the windows of a late-night diner, a growing crowd flows into the establishment. Inside, surrounded by dozens of his former BYU students, sits Randy Boothe. It is Boothe’s last night in the city, and he makes it a point to take advantage of every chance to catch up with his graduates.

This summer the department of communications will be hosting the YCreate Summer Camp program for high school students who are interested in future study with BYU's communications department. A huge perk for those who plan on enrolling for this upcoming summer is the new registation price of $245, which includes lunches, an opening social and a closing banquet. Students who participate will have the chance to be lectured by some of the leading professionals in the fields of public relations, journalism, advertising, and digital media. Registration is currently open for the week of June 23-27, 2014. Home stays are also being arranged for minority students who are interested in participating. For more information on the program or to enroll, visit the YCreate website by clicking here.