WEBVTT
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- So, are they ready for this?
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- Oh, yeah.
Oh, yeah.
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We're all ready for this!
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♪ ♪
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- It's an amazing experience!
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- I do this for fun
and it's really fun.
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- I love it so much and I would
not trade it for the world.
- Yeah!
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- It's really cool
to be able to sing
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with a whole bunch of kids
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from all over the state
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that are super talented
and super passionate.
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- Some of them
may be at the top,
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they may be the best musician
in their ensemble
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and they're wanting more.
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and this
is their more.
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- Stop my heart!
That is so beautiful.
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- The music is
so much more challenging,
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and you're challenging yourself.
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- I'm completely convinced
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that the interrelationship
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between the performers
and the conductor:
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the better that relationship is,
the better the music will be.
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- My school doesn't
have an orchestra,
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so it's-- it's really nice to
be able to play in an orchestra
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with a lot of people who have
the same interests
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and who all want
to do their best.
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- I love this program.
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I'm really proud of it, and I'm
really proud of the students.
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- I feel like
I've learned a lot.
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I wouldn't trade being here
for the world.
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- I think it's going
to be a great concert.
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- Funding for
the2017 State Honors Concerts
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is provided, in part, by
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A. Paul Jones Charitable Trust,
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and Friends
of Wisconsin Public Television.
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[applause]
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[triumphant orchestral music]
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♪ ♪
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♪ ♪
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♪ ♪
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♪ ♪
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♪ ♪
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[cheers and applause]
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- Students are coming
from all different backgrounds,
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small towns, the big city.
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- My name is Noah Struby.
I'm from Mount Horeb.
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- Weyauwega, Wisconsin.
- Reedsburg.
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- Rice Lake.
- Stevens Point.
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- Oconomowoc.
- Milwaukee, Wisconsin.
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- They come together
and they're able to
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have this wonderful
experience of a lifetime
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working together
with other students
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just as passionate
and gifted as they are
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to make this wonderful music
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under the direction
of a nationally-known conductor.
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- Students come together
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in the summer
for about three or four days
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with the clinician--
with the guest conductor--
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and prepare the music
from scratch
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with that conductor.
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And then we go
our separate ways
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and then we come back together
in October
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here in Madison,
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and we rehearse, really,
about a good solid day,
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and then present
an evening performance.
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- There are many, many schools
throughout Wisconsin
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that have
fabulous music programs,
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but when you
bring them together,
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it's amazing what they can do.
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It just makes me
very proud of the students
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and watching them do
what they love to do,
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and at such a high level.
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♪ ♪
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♪ Tis you that are the music,
not your song
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♪ The song is but a door which,
opening wide
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♪ Lets forth
the pent-up melody inside
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♪ Your spirit's harmony,
which clear and strong
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♪ Sings but of you
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♪ Tis you that are the music,
not your song
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♪ The song is but a door
which, opening wide
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♪ Lets forth
the pent-up melody inside
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♪ Your spirit's harmony,
which clear and strong
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♪ Sings but of you
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♪ Throughout
your whole life long
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♪ Your songs, your thoughts,
your doings, each divide
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♪ This perfect beauty,
this perfect beauty
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♪ Waves within a tide,
waves within a tide
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♪ Or single notes
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♪ Or single notes
amid a glorious throng
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♪ The song of earth
has many different chords
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♪ Ocean has many moods
and many tones
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♪ Yet always ocean
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♪ So this is my music,
so this is my music
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♪ With a thousand cadences,
a thousand cadences
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♪ A thousand cadences
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♪ Tis you that are the music,
not your song
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♪ The song is but a door
which, opening wide
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♪ Lets forth the pent-up melody
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♪ Tis you that are the music
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♪ Lets forth
the pent-up melody inside
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♪ Your spirit's harmony,
which clear and strong
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♪ Sings but of you
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♪ Sings but of you
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[applause]
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- The great thing
about wonderful music
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is that it's elastic.
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Pieces can go
at different tempos,
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pieces can have different
dynamic levels,
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pieces can have different
interpretations.
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There' a lot of freedom
for ideas.
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♪ If I ever
had to choose between
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- Oh, my God!
That was so perfect.
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Could you hear it?
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And ultimately it doesn't
matter to the music,
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as long as they're convicted
about their belief.
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And once they're convicted,
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there is an energy level
that comes through the music
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that is much more powerful
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than if I simply prescribe it
for them.
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And I would venture
that ten years from now
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they won't all remember
what the notes or words were
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but they'll remember
how they felt when they did it.
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They'll have an emotional
or even a spiritual memory
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of what making that music
was like
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and how special it was.
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That process, to me,
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is what this entire endeavor
is about.
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[bright piano music]
♪ Inflammatus et accensus
(Aflame and on fire)
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♪ Per te Virgo sim defensus
(May I be defended by you
Virgin)
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♪ In die judicii
(On the day of judgement)
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♪ Inflammatus et accensus
(Aflame and on fire)
15:31.633 --> 15:37.066 align:left position:17.5%,start line:77% size:72.5%
♪ Per te Virgo sim defensus
(May I be defended by you
Virgin)
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♪ In die judicii
(On the day of judgement)
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♪ Fac me Cruce custodiri
(Let me be guarded by the cross)
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♪ Morte Christi praemuniri
(Fortified by Christ's death)
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♪ Confoveri
(Cherished)
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♪ Confoveri
(Cherished)
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♪ Confoveri gratia
(Cherished by grace)
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♪ Confoveri
(Cherished)
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♪ Confoveri gratia
(Cherished by grace)
16:24.833 --> 16:29.666 align:left position:37.5%,start line:83% size:52.5%
♪ Confoveri
(Cherished)
16:29.766 --> 16:35.433 align:left position:27.5%,start line:83% size:62.5%
♪ Confoveri gratia
(Cherished by grace)
16:35.533 --> 16:40.466 align:left position:37.5%,start line:83% size:52.5%
♪ Confoveri
(Cherished)
16:40.566 --> 16:45.933 align:left position:27.5%,start line:83% size:62.5%
♪ Confoveri gratia
(Cherished by grace)
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[bright piano music]
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♪ ♪
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[melancholic piano music]
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♪ Quando corpus morietur
(When my body dies)
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♪ Fac ut animae donetur
(May my soul be granted)
18:10.966 --> 18:19.300 align:left position:22.5%,start line:83% size:67.5%
♪ Fac ut animae donetur
(May my soul be granted)
18:19.400 --> 18:31.333 align:left position:30%,start line:83% size:60%
♪ Paradisi gloria
(The glory of paradise)
18:35.633 --> 18:53.600 align:left position:20%,start line:83% size:70%
♪ Quando corpus morietur
(When my body dies)
18:53.700 --> 19:05.933 align:left position:22.5%,start line:83% size:67.5%
♪ Fac ut animae donetur
(May my soul be granted)
19:06.033 --> 19:16.866 align:left position:30%,start line:77% size:60%
♪ Paradisi gloria
(The glory of paradise)
19:16.966 --> 19:27.466 align:left position:30%,start line:83% size:60%
♪ Paradisi gloria
(The glory of paradise)
19:30.933 --> 19:44.466 align:left position:30%,start line:83% size:60%
♪ Paradisi gloria
(The glory of paradise)
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♪ ♪
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♪ Amen
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♪ Amen
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♪ Amen, amen
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♪ Amen
20:17.866 --> 20:19.766 align:left position:42.5%,start line:89% size:47.5%
♪ Amen
20:24.733 --> 20:27.166 align:left position:42.5%,start line:77% size:47.5%
♪ Amen
20:27.266 --> 20:29.800 align:left position:42.5%,start line:77% size:47.5%
♪ Amen
20:29.900 --> 20:32.233 align:left position:42.5%,start line:77% size:47.5%
♪ Amen
20:32.333 --> 20:34.100 align:left position:42.5%,start line:77% size:47.5%
♪ Amen
20:34.200 --> 20:36.233 align:left position:42.5%,start line:77% size:47.5%
♪ Amen
20:36.333 --> 20:38.266 align:left position:42.5%,start line:77% size:47.5%
♪ Amen
20:48.066 --> 20:50.100 align:left position:42.5%,start line:77% size:47.5%
♪ Amen
20:50.200 --> 20:52.133 align:left position:42.5%,start line:89% size:47.5%
♪ Amen
20:53.133 --> 20:55.133 align:left position:42.5%,start line:77% size:47.5%
♪ Amen
20:55.233 --> 20:57.133 align:left position:42.5%,start line:89% size:47.5%
♪ Amen
21:03.233 --> 21:05.400 align:left position:42.5%,start line:89% size:47.5%
♪ Amen
21:05.500 --> 21:08.433 align:left position:27.5%,start line:89% size:62.5%
♪ Amen, amen, amen
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♪ Amen
21:12.333 --> 21:15.833 align:left position:27.5%,start line:89% size:62.5%
♪ Amen, amen, amen
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♪ Amen
21:17.500 --> 21:19.366 align:left position:42.5%,start line:89% size:47.5%
♪ Amen
21:22.733 --> 21:25.900 align:left position:37.5%,start line:89% size:52.5%
[applause]
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- Band, choir, orchestra...
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Those programs
create this safe haven
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for a student
to be who they are
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and to experience
importance and individualism.
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There's no classicism in Band.
21:53.000 --> 21:56.466 align:left position:12.5%,start line:83% size:77.5%
This piece doesn't work unless
we have great second clarinets.
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This kid who plays
second clarinet
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can come into your band room
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and feel important
because they are contributing
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to the whole
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and they feel like they
have an important job
22:08.066 --> 22:10.466 align:left position:30%,start line:83% size:60%
and without them,
that ensemble would be less.
22:10.566 --> 22:11.666 align:left position:40%,start line:83% size:50%
Nice try.
[students laugh]
22:11.766 --> 22:12.833 align:left position:37.5%,start line:89% size:52.5%
Here we go.
22:12.933 --> 22:14.700 align:left position:32.5%,start line:89% size:57.5%
Two before 19.
22:14.800 --> 22:17.400 align:left position:20%,start line:83% size:70%
With everyone in the room
playing.
22:17.500 --> 22:19.366 align:left position:20%,start line:89% size:70%
So you have this mixture;
22:19.466 --> 22:21.700 align:left position:32.5%,start line:83% size:57.5%
multi-cultural,
multi-everything.
22:21.800 --> 22:23.600 align:left position:22.5%,start line:83% size:67.5%
And all those barriers
break down
22:23.700 --> 22:26.933 align:left position:27.5%,start line:83% size:62.5%
and everybody works
to the common good
22:27.033 --> 22:29.300 align:left position:40%,start line:83% size:50%
and again
feels important in that.
22:29.400 --> 22:32.400 align:left position:47.5%,start line:89% size:42.5%
♪ ♪
33:13.466 --> 33:16.466 align:left position:37.5%,start line:89% size:52.5%
[applause]
33:23.733 --> 33:25.733 align:left position:12.5%,start line:5% size:77.5%
- Music is about human emotion.
33:25.833 --> 33:28.133 align:left position:17.5%,start line:5% size:72.5%
Composers pour their hearts
and souls into the music
33:28.233 --> 33:30.666 align:left position:12.5%,start line:5% size:77.5%
and now we are recreating that.
33:30.766 --> 33:35.200 align:left position:10%,start line:83% size:80%
And the students are living that
in a way that is truly unusual
33:35.300 --> 33:38.666 align:left position:12.5%,start line:83% size:77.5%
and we are so fortunate that we
get to do something like this.
33:38.766 --> 33:40.133 align:left position:27.5%,start line:89% size:62.5%
I preach gratitude.
33:40.233 --> 33:42.600 align:left position:17.5%,start line:83% size:72.5%
And I tell these students,
"How lucky are we
33:42.700 --> 33:44.666 align:left position:27.5%,start line:83% size:62.5%
to be able to share
this experience together?"
33:44.766 --> 33:46.700 align:left position:22.5%,start line:83% size:67.5%
And they're responding
really, really well.
33:46.800 --> 33:47.866 align:left position:35%,start line:89% size:55%
They get it."
33:47.966 --> 33:50.033 align:left position:12.5%,start line:83% size:77.5%
Can you guys really commit now
at the end?
33:50.133 --> 33:52.133 align:left position:32.5%,start line:83% size:57.5%
Really commit.
Big!
33:54.066 --> 33:55.433 align:left position:40%,start line:89% size:50%
Fabulous!
33:55.533 --> 33:57.200 align:left position:15%,start line:83% size:75%
So we had a rehearsal moment
this summer
33:57.300 --> 33:59.366 align:left position:25%,start line:83% size:65%
when we were working
on this next piece,
33:59.466 --> 34:01.700 align:left position:27.5%,start line:83% size:62.5%
and it just wasn't
hanging together.
34:01.800 --> 34:05.100 align:left position:22.5%,start line:83% size:67.5%
And a bright light bulb
went off and I said,
34:05.200 --> 34:07.600 align:left position:20%,start line:83% size:70%
"You're going to do this
without a conductor."
34:07.700 --> 34:10.600 align:left position:17.5%,start line:83% size:72.5%
And they looked at me like,
"What?!?
34:10.700 --> 34:12.233 align:left position:40%,start line:83% size:50%
No way."
Right?
34:12.333 --> 34:15.600 align:left position:20%,start line:83% size:70%
Well what you're about to
witness is a pretty tough piece
34:15.700 --> 34:17.533 align:left position:17.5%,start line:83% size:72.5%
where it doesn't even stay
in the same tempo.
34:17.633 --> 34:19.133 align:left position:15%,start line:83% size:75%
And they're going to play it
without conductor
34:19.233 --> 34:21.800 align:left position:10%,start line:89% size:80%
by using their ears, their eyes,
34:21.900 --> 34:24.400 align:left position:32.5%,start line:83% size:57.5%
and their good
orchestral sensibilities.
34:24.500 --> 34:26.400 align:left position:22.5%,start line:83% size:67.5%
So I'm going to go back
and listen.
34:26.500 --> 34:29.400 align:left position:32.5%,start line:83% size:57.5%
Here's Dvorak's
"Slavonic Dance, No. 8."
34:32.333 --> 34:35.333 align:left position:20%,start line:5% size:70%
[upbeat orchestral music]
35:35.400 --> 35:38.400 align:left position:47.5%,start line:89% size:42.5%
♪ ♪
36:38.466 --> 36:41.466 align:left position:47.5%,start line:89% size:42.5%
♪ ♪
37:41.533 --> 37:44.533 align:left position:47.5%,start line:89% size:42.5%
♪ ♪
38:48.533 --> 38:51.533 align:left position:47.5%,start line:89% size:42.5%
♪ ♪
38:52.566 --> 38:55.566 align:left position:25%,start line:89% size:65%
[cheers and applause]
39:04.433 --> 39:06.800 align:left position:15%,start line:5% size:75%
- People who aren't musicians
see conductors
39:06.900 --> 39:11.500 align:left position:12.5%,start line:5% size:77.5%
and they sort of perceive that
it's a one-way conversation,
39:11.600 --> 39:13.666 align:left position:20%,start line:5% size:70%
and that the conductor is
constantly giving information,
39:13.766 --> 39:17.133 align:left position:12.5%,start line:5% size:77.5%
whether that's through gesture
or through speaking to them.
39:17.233 --> 39:19.433 align:left position:25%,start line:5% size:65%
But nothing could be
further from the truth.
39:19.533 --> 39:22.800 align:left position:20%,start line:5% size:70%
A great conductor is one
who is in constant conversation,
39:22.900 --> 39:25.300 align:left position:15%,start line:89% size:75%
receiving as much information
39:25.400 --> 39:27.300 align:left position:12.5%,start line:89% size:77.5%
as they are giving information.
39:27.400 --> 39:28.300 align:left position:45%,start line:89% size:45%
Good.
39:28.400 --> 39:29.933 align:left position:22.5%,start line:83% size:67.5%
If you sing it through
an 'oosh face'
39:30.033 --> 39:31.200 align:left position:25%,start line:89% size:65%
it will be beautiful.
39:31.300 --> 39:33.266 align:left position:22.5%,start line:83% size:67.5%
So I have a passionate
conviction about how I believe
39:33.366 --> 39:35.433 align:left position:20%,start line:89% size:70%
the music should be sung,
39:35.533 --> 39:37.666 align:left position:35%,start line:83% size:55%
but they come
with their own preparation.
39:37.766 --> 39:41.133 align:left position:15%,start line:83% size:75%
And so as I'm listening, I'm
melding what they bring to it,
39:41.233 --> 39:44.033 align:left position:27.5%,start line:83% size:62.5%
to what I conceive
the music to be.
39:44.133 --> 39:46.566 align:left position:42.5%,start line:83% size:47.5%
And so
there's this marvelous dialogue
39:46.666 --> 39:48.033 align:left position:30%,start line:89% size:60%
of collaboration.
39:48.133 --> 39:50.766 align:left position:27.5%,start line:83% size:62.5%
How can we conceive
of this music together
39:50.866 --> 39:53.000 align:left position:15%,start line:83% size:75%
and make a powerful statement
through it?
39:54.200 --> 39:56.966 align:left position:30%,start line:5% size:60%
[ethereal music]
40:08.566 --> 40:13.200 align:left position:42.5%,start line:89% size:47.5%
♪ Alone
40:13.300 --> 40:19.800 align:left position:25%,start line:89% size:65%
♪ Alone in the night
40:19.900 --> 40:31.400 align:left position:30%,start line:89% size:60%
♪ On a dark hill
40:31.500 --> 40:35.333 align:left position:22.5%,start line:89% size:67.5%
♪ With pines around me
40:35.433 --> 40:41.833 align:left position:30%,start line:89% size:60%
♪ Spicy and still
40:41.933 --> 40:46.666 align:left position:37.5%,start line:89% size:52.5%
♪ And still
41:03.633 --> 41:07.133 align:left position:32.5%,start line:89% size:57.5%
♪ And a heaven
41:07.233 --> 41:16.133 align:left position:37.5%,start line:83% size:52.5%
♪ A heaven
full of stars over my head
41:16.233 --> 41:23.133 align:left position:25%,start line:89% size:65%
♪ Topaz and misty red
41:23.233 --> 41:32.933 align:left position:32.5%,start line:83% size:57.5%
♪ Myriads with
beating hearts of fire
41:33.033 --> 41:40.533 align:left position:12.5%,start line:89% size:77.5%
♪ The aeons cannot vex or tire
42:17.566 --> 42:21.733 align:left position:27.5%,start line:83% size:62.5%
♪ And a heaven full
of stars over my head
42:31.800 --> 42:35.933 align:left position:27.5%,start line:83% size:62.5%
♪ And myriads with
beating hearts of fire
42:42.900 --> 42:46.166 align:left position:22.5%,start line:89% size:67.5%
♪ Heaven full of stars
42:54.266 --> 42:57.533 align:left position:22.5%,start line:89% size:67.5%
♪ Heaven full of stars
43:07.866 --> 43:18.666 align:left position:42.5%,start line:89% size:47.5%
♪ Ah Ah
43:18.766 --> 43:25.400 align:left position:42.5%,start line:89% size:47.5%
♪ Oh Mm
43:25.500 --> 43:31.066 align:left position:42.5%,start line:89% size:47.5%
♪ Oh Mm
43:31.166 --> 43:34.800 align:left position:40%,start line:89% size:50%
♪ I know
43:34.900 --> 43:38.333 align:left position:32.5%,start line:89% size:57.5%
♪ I am honored
43:38.433 --> 43:42.000 align:left position:32.5%,start line:89% size:57.5%
♪ To be witness
43:42.100 --> 43:49.400 align:left position:25%,start line:89% size:65%
♪ Of so much majesty
43:52.633 --> 43:57.500 align:left position:40%,start line:89% size:50%
♪ Majesty
44:15.866 --> 44:18.866 align:left position:47.5%,start line:89% size:42.5%
♪ ♪
44:19.933 --> 44:22.933 align:left position:37.5%,start line:89% size:52.5%
[applause]
44:31.866 --> 44:33.766 align:left position:27.5%,start line:5% size:62.5%
- I've always said,
44:33.866 --> 44:36.166 align:left position:12.5%,start line:5% size:77.5%
"You ever sit next to somebody
that's better than you?
44:36.266 --> 44:37.400 align:left position:32.5%,start line:5% size:57.5%
What happens?"
44:37.500 --> 44:39.200 align:left position:35%,start line:5% size:55%
And they say,
"It makes me a better player."
44:39.300 --> 44:41.733 align:left position:37.5%,start line:5% size:52.5%
Absolutely.
It's like a magnet,
it pulls you along.
44:41.833 --> 44:45.100 align:left position:12.5%,start line:77% size:77.5%
So I say to the student, "Well,
why don't you be the magnet
in this piece?
44:45.200 --> 44:47.400 align:left position:30%,start line:83% size:60%
You be the magnet
that pulls everybody."
44:47.500 --> 44:49.366 align:left position:22.5%,start line:83% size:67.5%
It doesn't just change
their perspective on music.
44:49.466 --> 44:51.600 align:left position:37.5%,start line:83% size:52.5%
It changes
their perspective on life.
44:51.700 --> 44:54.766 align:left position:40%,start line:83% size:50%
And what
they may be able to achieve.
44:54.866 --> 44:57.866 align:left position:47.5%,start line:5% size:42.5%
♪ ♪
45:57.933 --> 46:01.000 align:left position:47.5%,start line:5% size:42.5%
♪ ♪
47:01.066 --> 47:04.066 align:left position:47.5%,start line:5% size:42.5%
♪ ♪
48:04.133 --> 48:07.133 align:left position:47.5%,start line:5% size:42.5%
♪ ♪
49:07.200 --> 49:10.200 align:left position:47.5%,start line:5% size:42.5%
♪ ♪
50:00.200 --> 50:03.200 align:left position:25%,start line:5% size:65%
[cheers and applause]
50:11.333 --> 50:13.266 align:left position:27.5%,start line:5% size:62.5%
- I hope that they
always remember the experience.
50:13.366 --> 50:15.933 align:left position:15%,start line:5% size:75%
The dedication and commitment
to their passion,
50:16.033 --> 50:17.400 align:left position:22.5%,start line:5% size:67.5%
and to their instrument
or their voice.
50:17.500 --> 50:19.300 align:left position:17.5%,start line:83% size:72.5%
I hope that they keep that
with them
50:19.400 --> 50:23.600 align:left position:30%,start line:83% size:60%
and that they see
that they can always be one--
50:23.700 --> 50:26.600 align:left position:25%,start line:83% size:65%
one step better than
maybe where they were before,
50:26.700 --> 50:29.000 align:left position:30%,start line:83% size:60%
and that they can
always reach that higher level.
50:29.100 --> 50:32.100 align:left position:47.5%,start line:89% size:42.5%
♪ ♪
50:37.333 --> 50:40.933 align:left position:30%,start line:5% size:60%
♪ Ain't no grave
can hold my body down
50:41.033 --> 50:44.900 align:left position:22.5%,start line:5% size:67.5%
♪ There ain't no grave
can keep a sista underground
50:45.000 --> 50:49.166 align:left position:27.5%,start line:83% size:62.5%
♪ Oh, I will listen
for the trumpet sound
50:49.266 --> 50:53.266 align:left position:30%,start line:77% size:60%
♪ Ain't no grave
can hold my body down
50:53.366 --> 50:56.966 align:left position:25%,start line:83% size:65%
♪ Ain't no grave can
hold my body down
50:57.066 --> 51:01.600 align:left position:17.5%,start line:83% size:72.5%
♪ There ain't no grave can
keep a sista underground
51:01.700 --> 51:05.500 align:left position:27.5%,start line:83% size:62.5%
♪ I will listen for
the trumpet sound
51:05.600 --> 51:08.866 align:left position:30%,start line:83% size:60%
♪ Ain't no grave
can hold my body down
51:08.966 --> 51:12.966 align:left position:22.5%,start line:83% size:67.5%
♪ You know they rolled
a stone on Jesus
51:13.066 --> 51:17.300 align:left position:15%,start line:83% size:75%
♪ And then they tried to bury
me, they tried to bury me
51:17.400 --> 51:20.400 align:left position:27.5%,start line:83% size:62.5%
♪ But then the Holy
Ghost, he freed us
51:20.500 --> 51:21.766 align:left position:27.5%,start line:89% size:62.5%
♪ Came and freed us
51:21.866 --> 51:25.900 align:left position:15%,start line:89% size:75%
♪ So we could live eternally
51:26.000 --> 51:29.866 align:left position:27.5%,start line:83% size:62.5%
♪ Sista, you betta
get your ticket
51:29.966 --> 51:33.266 align:left position:27.5%,start line:89% size:62.5%
♪ If you wanna ride
51:33.366 --> 51:37.933 align:left position:22.5%,start line:83% size:67.5%
♪ In the morning, when
Jesus calls my number
51:38.033 --> 51:41.700 align:left position:17.5%,start line:89% size:72.5%
♪ I'll be on the other side
51:42.900 --> 51:46.066 align:left position:30%,start line:83% size:60%
♪ Ain't no grave
can hold my body down
51:46.166 --> 51:50.233 align:left position:22.5%,start line:83% size:67.5%
♪ There ain't no grave
can keep a sista underground
51:50.333 --> 51:54.533 align:left position:27.5%,start line:83% size:62.5%
♪ Oh, I will listen
for the trumpet sound
51:54.633 --> 51:58.833 align:left position:30%,start line:83% size:60%
♪ Ain't no grave
can hold my body down
51:58.933 --> 52:02.866 align:left position:30%,start line:83% size:60%
♪ Ain't no grave
is gonna hold me
52:02.966 --> 52:06.933 align:left position:12.5%,start line:89% size:77.5%
♪ Ain't no man is gonna bury me
52:07.033 --> 52:10.833 align:left position:27.5%,start line:83% size:62.5%
♪ Ain't no serpent
gonna trick me
52:10.933 --> 52:15.000 align:left position:30%,start line:83% size:60%
♪ Ain't no grave
can hold my body down
52:15.100 --> 52:17.866 align:left position:40%,start line:83% size:50%
♪ I will
[stomping and clapping on beat]
52:17.966 --> 52:20.033 align:left position:32.5%,start line:89% size:57.5%
♪ Fly to Jesus
52:20.133 --> 52:21.933 align:left position:12.5%,start line:89% size:77.5%
[stomping and clapping on beat]
52:22.033 --> 52:24.033 align:left position:30%,start line:89% size:60%
♪ In the morning
52:24.133 --> 52:25.933 align:left position:12.5%,start line:89% size:77.5%
[stomping and clapping on beat]
52:26.033 --> 52:27.933 align:left position:35%,start line:89% size:55%
♪ When I die
52:28.033 --> 52:30.900 align:left position:27.5%,start line:89% size:62.5%
[clapping on beat]
52:31.000 --> 52:31.933 align:left position:40%,start line:89% size:50%
♪ I know
52:32.033 --> 52:33.766 align:left position:12.5%,start line:89% size:77.5%
[stomping and clapping on beat]
52:33.866 --> 52:35.833 align:left position:30%,start line:89% size:60%
♪ He will take me
52:35.933 --> 52:37.800 align:left position:12.5%,start line:89% size:77.5%
[stomping and clapping on beat]
52:37.900 --> 52:39.966 align:left position:27.5%,start line:89% size:62.5%
♪ Home to live with
52:40.066 --> 52:41.900 align:left position:12.5%,start line:89% size:77.5%
[stomping and clapping on beat]
52:42.000 --> 52:46.700 align:left position:35%,start line:83% size:55%
♪ Him on high
[clapping on beat]
52:46.800 --> 52:50.533 align:left position:30%,start line:83% size:60%
♪ I will fly with
Jesus in the morning
52:50.633 --> 52:54.300 align:left position:27.5%,start line:83% size:62.5%
♪ Don't look here,
I'll be way up in the sky
52:54.400 --> 52:58.200 align:left position:32.5%,start line:83% size:57.5%
♪ Soon one day,
He's gonna call me up to heaven
52:58.300 --> 53:01.433 align:left position:25%,start line:89% size:65%
♪ For a chariot ride
53:02.633 --> 53:05.933 align:left position:30%,start line:83% size:60%
♪ Ain't no grave
can hold my body down
53:06.033 --> 53:10.166 align:left position:22.5%,start line:83% size:67.5%
♪ There ain't no grave
can keep a sista underground
53:10.266 --> 53:14.466 align:left position:27.5%,start line:83% size:62.5%
♪ Oh, I will listen
for the trumpet sound
53:14.566 --> 53:18.566 align:left position:30%,start line:83% size:60%
♪ Ain't no grave
can hold my body down
53:18.666 --> 53:22.433 align:left position:30%,start line:83% size:60%
♪ Ain't no grave
can hold my body down
53:22.533 --> 53:26.933 align:left position:22.5%,start line:83% size:67.5%
♪ There ain't no grave
can keep a sista underground
53:27.033 --> 53:30.700 align:left position:27.5%,start line:83% size:62.5%
♪ I will listen for
the trumpet sound
53:30.800 --> 53:34.966 align:left position:30%,start line:83% size:60%
♪ Ain't no grave
can hold my body down
53:35.066 --> 53:37.800 align:left position:30%,start line:89% size:60%
♪ Ain't no grave
53:39.166 --> 53:41.900 align:left position:30%,start line:89% size:60%
♪ Ain't no grave
53:43.100 --> 53:45.866 align:left position:30%,start line:89% size:60%
♪ Ain't no grave
53:47.266 --> 53:49.133 align:left position:30%,start line:89% size:60%
♪ Ain't no grave
53:49.233 --> 53:51.200 align:left position:30%,start line:83% size:60%
♪ I said no, no,
no, no, no, no, no
53:51.300 --> 53:52.700 align:left position:30%,start line:89% size:60%
♪ Ain't no grave
53:52.800 --> 53:55.133 align:left position:30%,start line:83% size:60%
♪ Ain't playin',
no grave could hold me
53:55.233 --> 53:56.633 align:left position:30%,start line:89% size:60%
♪ Ain't no grave
53:56.733 --> 53:59.400 align:left position:15%,start line:89% size:75%
♪ No grave could hold my body
53:59.500 --> 54:03.433 align:left position:17.5%,start line:89% size:72.5%
♪ Ain't nobody can hold me
54:03.533 --> 54:06.266 align:left position:30%,start line:89% size:60%
♪ Ain't no grave
54:07.766 --> 54:10.533 align:left position:30%,start line:89% size:60%
♪ Ain't no grave
54:11.933 --> 54:15.333 align:left position:30%,start line:89% size:60%
♪ Ain't no grave
54:15.433 --> 54:19.000 align:left position:25%,start line:83% size:65%
♪ Ain't no grave dug
deep enough to hold me
54:19.100 --> 54:22.800 align:left position:22.5%,start line:83% size:67.5%
♪ Ain't no devil that's
slick enough to trick me
54:22.900 --> 54:26.600 align:left position:22.5%,start line:83% size:67.5%
♪ Ain't no grave digga
man enough to bury me
54:26.700 --> 54:30.800 align:left position:20%,start line:89% size:70%
♪ You can't hold me down
54:30.900 --> 54:34.566 align:left position:30%,start line:83% size:60%
♪ Ain't no grave
can hold me down
54:34.666 --> 54:38.666 align:left position:12.5%,start line:89% size:77.5%
♪ You can't keep me underground
54:38.766 --> 54:42.700 align:left position:10%,start line:89% size:80%
♪ When the silver trumpet sounds
54:42.800 --> 54:46.533 align:left position:30%,start line:83% size:60%
♪ Ain't no grave
can hold me down
54:46.633 --> 54:50.633 align:left position:25%,start line:83% size:65%
♪ No grave, no grave
ever been dug, dug so low
54:50.733 --> 54:54.133 align:left position:25%,start line:83% size:65%
♪ No grave digga ever
been born so, so strong
54:54.233 --> 54:58.266 align:left position:25%,start line:83% size:65%
♪ No grave, no grave
ever been dug, dug so low
54:58.366 --> 55:02.233 align:left position:25%,start line:83% size:65%
♪ No grave digga ever
been born so, so strong
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♪ No grave, no grave
ever been dug, dug so low
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♪ No grave digga ever
been born so, so strong
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♪ Ain't no man that can
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♪ Ain't no devil can
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♪ Ain't no grave
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♪ Can hold
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♪ Me
55:26.533 --> 55:32.100 align:left position:30%,start line:89% size:60%
♪ Ain't no grave
55:32.200 --> 55:36.033 align:left position:32.5%,start line:89% size:57.5%
♪ That goes so
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♪ Low
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♪ Ain't no grave dug low enough
55:49.333 --> 55:52.833 align:left position:42.5%,start line:89% size:47.5%
♪ Down
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[choir vocalizing]
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[cheers and applause]
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- Funding for
the 2017 State Honors Concerts
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is provided, in part, by
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A. Paul Jones Charitable Trust,
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and Friends of
Wisconsin Public Television.