YOUTH ORCHESTRA IN GUAYAQUIL

When Mo. Anzolini was Artistic Director of the Guayaquil Symphony Orchestra (OSG) he organized a call for young music students in September 2018 to form the OSG Youth Symphony Orchestra. This initiative stemmed from his desire to foster the talent of young Ecuadorian musicians through instruction in orchestral language, weekly practice, and the development of technical and analytical skills that complement the knowledge typically imparted in conservatories. In addition to these strategies, the program also aimed to provide introductory training in mathematics and expose young musicians to other art forms.

For Maestro Anzolini, the defining principle behind the creation of a youth ensemble, beyond its musical benefits, was an ethical and pragmatic vision of humanism. These traits guide decisions aimed at developing young people with critical thinking skills, altruistic potential, and independence of reasoning and action. The Guayaquil Youth Symphony Orchestra began rehearsing in October 2018 at the Civic Center Theater. At the peak of their activities it had 57 members, while receiving audition applications from young people interested in this project that seeks both musical excellence and propose comprehensive and inclusive educational development.

The Guayaquil Youth Symphony Orchestra was formed through open auditions for all young people between the ages of 13 and 26. These auditions took place in October 2018. The orchestra began performing as such in the last days of that month. The first concert took place on January 16, 2019. The program consisted of the first movement of Torelli’s Trumpet Concerto, Schubert’s Unfinished Symphony, and the “Toreadors” movement from Georges Bizet’s Carmen Suite.

Rehearsals were held twice a week, held on Mondays and Wednesdays from 7:00 to 9:00 PM.

The program for the remainder of 2019 included

Beethoven: Symphony No. 1

Bartók: Romanian Dances

Gounod: Petite Sinfonie

Copland: Dances from Ballet Rodeo

Vivaldi: The Four Seasons

Each member was required to submit a written assignment each month. The assignments included several topics that linked the repertoire to be performed with various facets of morphological, historical, and poetic analysis – for students interested in the humanities and the arts. When students were interested in further studies in the sciences, they were asked to produce writings where they could explore diverse interrelationships between the repertoire with mathematics, and musical acoustics.

The entire process from application, audition, acceptance, and rehearsals and concerts was offered for free.

During the pandemic, the students received online lessons in harmony and analysis.