Donald M.Austin - Newark Academy

F
First, and of least significance, what was I doing there on stage? (My one piano
teacher quit out of frustration in 1948 at which point my mother acquiesced in
the termination of my musical career.) I was there on stage as photographer.
Knowing that NJPAC prohibits any photographs of a performance, I had smuggled
a camera into the hall because, as dedicated archivist, I had to record this glorious
moment of our school’s history. Standing in the theater foyer, I was approached
by an NJPAC official. Thinking bad thoughts about who could have tipped them
off about my camera and prepared to be hustled off to Newark Police
Headquarters, I was stunned to be told, “I’m so glad you have a camera, because
we neglected to arrange for a photograph. Follow me; you can photograph the
Newark Academy orchestra rehearsing on stage.” (!!!) I was escorted through the
bowels of the concert hall, admitted through two sets of locked doors, and there
I was on-stage with my camera as the Academy orchestra rehearsed.
The Newark Academy orchestra was joined by six members of the New Jersey
Symphony who had been working with Academy students in a musical mentors
program of the education department of the New Jersey Symphony. Also joining
the orchestra were five Newark Academy graduates: Allison Bumke, Jonathan
Lenz, and Tracy Jacobson, all from the class of 2006, Kristen Mulgrew ’05, and
Kathleen Derbyshire ’93, violin teacher to many area students. The Academy
orchestra played as a prelude to the concert of the New Jersey Symphony.
This honor was achieved in a competition upon submission of an application
and the judging of a tape recording.
None of this would be conceivable without the skilled and dedicated role of
Amy Emelianoff. Amy took over a fledgling instrumental program in 1989.
Just a few years earlier the program had been started by Joanne Lansack
(Behr) who initially had no music or instruments or room. George King
significantly developed the program further, but the success of today, reaching
the concert hall of NJPAC, is attributable to Amy.
We can report here that in Amy’s first year, budget constraints permitted only
a part-time salary; but those who know Amy can testify that she is always a
full-time-plus, committed teacher.
So, there we were.
A short, uncalled for, foray into
money matters: One of the
distinct, wonderful sounds of the
evening were the rich, powerful
tones of the timpani of the New
Jersey Symphony. A timpani for
Newark Academy would cost
$12,000. And, then, on a larger
scale, the concert hall. Even as
a non-musician, I could thrill to
the acoustics of the symphony
hall and wish for the day that
the Newark Academy auditorium
could be rebuilt to be commen-
surate to the quality of the
current NA arts programs.
After the performance of the Newark Academy orchestra, including the
original compositions of Michael Boyman, Loose Rondo for Viola and Orchestra,
the reviews by all were raves. People with no association with Newark Academy expressed awe that a student
orchestra could perform so magnificently. One woman was surprised to learn that NA is not a performing arts
school! Amy herself says that “sometimes music happens which transcends the written notes.” This was truly
a transcendent moment.
NA NEWS fall 2007