Woodwind section makes up higher pitch in Butler County symphony
Cassandra Eisenreich couldn’t tell you how many times she has symbolized a bird in the music she plays.
As the principal flutist with the Butler County Symphony Orchestra, Eisenreich and her instrument’s voice occupy high-pitched tones in the orchestra, so the melodies she holds down often sound like bird song. It might not be immediately obvious to think of the flute as bird song, unless you attend the lectures that usually precede a Butler County Symphony Orchestra concert.
It is at those preconcert lectures where viewers can learn about the music they are about to hear, and also get advice on what to listen for.
“They talk about the music and the whole background in terms of program notes really provides context,” Eisenreich said. “The conductor is usually there and sometimes, when we have a featured artist, usually give you that exact information. Sometimes they will provide excerpts in order to give you specific things to listen to.”
The woodwind section of the county orchestra — like most orchestras — is usually comprised two flutes, two bassoons, two oboe and two clarinets, according to Christina Savannah, a bassoonist and a member of the orchestra board of directors. Savannah said woodwind instruments are included in most orchestra compositions.
“Bassoons are always there, unless you are playing Bach, or something as early as Bach. Mozart was the one who started writing for bassoon,” Savannah said. “The bassoon, usually there’s two of us. Pretty much all the woodwinds are like that. Sometimes there’s four, depending on what piece you’re playing.”
Eisenreich has been playing with the Butler orchestra for just under 10 years, she said. She also is a professor in music performance for flute at Slippery Rock University, and has played flute in other scenarios over her career.
The Butler County Symphony Orchestra is one of the many gigs Eisenreich has as a professional flutist.
“There’s a lot of different types of scenarios a musician can be placed in,” Eisenreich said. “We are sometimes hired to play commercial gigs, pop gigs, recording work in the studio — whether that be ensemble or chamber work. Sometimes we perform in chamber gigs and do small performances in various venues.”
Eisenreich also is the principal flutist for the orchestra, meaning she leads the section and plays most, if not all, of the solos in a concert.
“Principal players play prominent solos in the orchestral repertoire,” Eisenreich said. “There are a lot of (solos) in the flute chair. Sometimes they are solos where they are completely by themselves.”
Michele Bonnici has played with the orchestra for more than 30 years, having first subbed in on flute at a concert in 1988. She plays second flute, which covers lower notes than Eisenreich’s first flute, and sometimes plays harmonies with her and other instruments in the orchestra.
Even after all these years of playing with the symphony, as well as professionally with her church and in her own studio, Bonnici said the entire process, from learning and playing with a group, is still enjoyable.
“It’s just a love of the music and the playing,” Bonnici said. “I just have always loved it from a small child, and it just keeps going. It’s always something new to learn.”
According to Savannah, the symphony hires musicians on a season-by-season basis, and the task normally is a collaboration between the music director and the association board of directors. While there are not always openings to play with the symphony, Savannah said musicians can put their hat in the ring by submitting audition videos online. While the symphony decides on a music director between its three finalists, orchestra manager Virginia Netchi will be the one reviewing auditions.
“To get on those lists, right now we have an audition tab, so if you’re interested in playing with us, Netchi will look at the audition,” Savannah said. “She will also send principal instrumentalist in that section.”
Having started with the orchestra in the late 1980s, Bonnici has seen the musician pool change and turn over members, but overall, it has grown and become even better in its growth.
“It has definitely progressed,” Bonnici said. The first time I subbed was in 1988, I was either a senior in high school or freshman in college. The orchestra was very small, there was a lot of room on the stage. Now we're having concerts where we're trying to figure out how to fit all the musicians on stage.
“We've been able to kind of push ourselves to play harder music.”
According to Eisenreich, all players in a symphony hold vital roles, both in the music and in leadership and even setting the tone and style of the group.
Like her colleagues in the brass and string sections, Eisenreich said she gets the music a little ahead of each performance, which she tries out in the days or weeks leading up to a full orchestra rehearsal.
For a seasoned musician like Eisenreich, getting the music down isn’t a huge challenge, but she said she tries to get into the head of the musics’ composer prior to sitting down and playing with the band.
“I put whatever repertoire we are doing on a playlist and immerse myself,” Eisenreich said.
There can even be a challenge to getting the music down, which is also an exciting aspect of performance to Eisenreich.
“It's all challenging in its own way. I'm never bored; I'm always excited to learn new things,” Eisenreich said. “We never recreate music the same way ever — we're not machines so it's not exact. There's always a challenge whether it's music, technical or rhythmic.”
Even though the orchestra has grown in both size and scope of musical talent, Eisenreich and Bonnici each said there doesn’t need to be a large number of musicians on stage for the Butler County orchestra to impress. They have each played in the orchestra’s chamber music series, along with Savannah, which has a scaled-down musician pool that plays in more intimate settings, like the Butler Art Center & Gallery.
“I love performing in a concert hall, and I love doing a large orchestra, but I also really enjoy chamber music because it's a more intimate experience,” Eisenreich said. “It's a different kind of sound and playing.
“Being able to make music in artistic places in the community is a really joyful experience.”
No matter what the setting is, Eisenreich said people can get something out of hearing the orchestra live, and she recommended that people seek out a performance that interests them.
“Listen with an open mind and let it wash over you,” Eisenreich said.
