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For Composer Sofia Mazo, ‘Music Completes Me’

Posted on Mar 3, 2000

Sofia
Mazo '01 returned from last summer's National Health Systems term
abroad with a stack of musical snapshots from Belgium, England, Austria
and Hungary.

While she learned about the practice of medicine in
those countries, she also filled her head with musical impressions that
now take the form of a four-movement composition for orchestra, Memories
of Europe,
to be premiered by the Union College Orchestra on Saturday,
March 4, at 8 p.m. in Memorial Chapel. (The program also includes Mozart's
“Jupiter” Symphony, No. 41; and Beethoven's Coriolan
Overture.
)

Mazo, a seven-year med student who majors in biology and
music, may seem an unlikely candidate to score a composition for
orchestra. But she enjoys the fact that the accelerated medical program
requires students to pursue a non-science major. “There is almost a
duty to do something else,” she says. “Sometimes I feel like I
am a music major and a biology minor.”

“Eventually, I will be overwhelmed with
medicine,” she says, “So I can overwhelm myself with music
now.”

On an afternoon during the last week of rehearsal, Mazo
sits at the piano with her mentor, Prof. Hilary Tann, as the two delight
over a raft of scribbled notes and words that were a first draft of her
composition. “Start with an idea!” reads the scrawl at the top
of the first page. Below that are scribbled Tann's five steps for
writing an orchestral composition. As if it were that easy.

Together, they laugh as Mazo plays various sections,
noting the many changes she has made over the last few months. “This
is my favorite part,” she exclaims as her right hand plays an
ascending scale, her left a descending one. Tann, a proud smile on her
face, nods in agreement.

A pianist by training, Mazo attended music schools in
her native Belarus beginning at age six. She immigrated to New York City
with her family when she was 12, and has continued her work with music
since then.

Mazo says she saw at Union the opportunity to pursue her
dual interests in music and medicine. “I love that Union is not a
music school – it makes it so much more personal. You have small classes
and endless possibilities.”

Mazo, who will enter Albany Medical College this summer,
plans to pursue a career in pediatrics. She acknowledges that her music
and medicine may not intersect, but plans to continue music as a serious
hobby. Music, she says, “is something that completes me.”

Mazo admits a huge debt to Tann, who has encouraged her
to “see the colors of the orchestra.” Tann meets with Mazo
several times per week. She shipped a computer to the student's home on
Staten Island over winter break so that she could write her score. Tann
also has opened her office to Mazo, who admits pulling a number of
all-nighters there while finishing her piece.

It is a bit intimidating to have your work performed
alongside works by some of the world's most famous composers, Mazo says.
“It really struck me at a rehearsal when Prof. Tann had the orchestra
put away the Beethoven (score) and say, 'OK, now Mazo.' This is my
first composition and it is performed right away,” Mazo says.
“Where else can that be done?”

Perhaps the most satisfying remark came from an
orchestra member who told Mazo, “I play the Mozart and Beethoven, but
it's your tune I come away singing at the end of rehearsal.”

Photo above: Sofia Mazo, right, rehearses with Prof.
Hilary Tann.

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Calendar of Events

Posted on Mar 3, 2000

Friday, March 3, through Monday, March 6, 8 and 10
p.m.
Reamer Auditorium.
Film committee presents End of Days.

Saturday, March 4, 8 p.m.
Memorial Chapel.
Concert by the Union College Orchestra, Prof. Hilary Tann conducting.
Program to include the premiere of Memories of Europe, an
orchestral composition by Sofia Mazo '01; Beethoven's Coriolan
Overture;
and Mozart's “Jupiter” Symphony.

Through Sunday, March 5.
Yulman Theater.
Yulman Theater's presentation of Love's Fire. Performances are
through March 4, 8 p.m.; and March 5, 2 p.m. Tickets, at $7 ($5 for
students/seniors) are available at the Union College Box Office. Call ext.
6545.

Tuesday, March 7, 7 p.m.
Reamer Auditorium.
International Film Series presents A Moment of Innocence, a 1997
film by Iranian director Jafar Panahi.

Thursday, March 9, 7 p.m.
Nott Memorial.
“Adirondack Folk, Bluegrass and Clog Dancing” with musicians
Dave Kiphuth, John Kirk and Trish Miller. The last in the five-part series
on the Adirondacks sponsored by Environmental Studies and the Association
for the Protection of the Adirondacks.

Friday, March 10, and Saturday, March 11, 8:02 p.m.
Yulman Theater.
Proctor's Too presents performance artist Dan Froot in a one-man show
that drives home provocative messages about everything from loneliness to
AIDS. Tickets are $15 ($10 for students). For information, call the box
office at ext. 6545.

Saturday, March 11, 7:30 p.m.
Union College Observatory in the F.W. Olin
Center.
Observatory open house.

Through March 12.
Mandeville Gallery, Nott Memorial.
“Walter Hatke: Paintings, Drawings & Prints.” Exhibit
includes about 40 works by the artist over the last 30 years.

Through March 16.
Arts Atrium.
“Vision & Discovery,” an exhibition of works by
photographers Michael Hochanadel, Gail Nadeau, Lou Snitkoff, Marie Triller
and Mark Van Wormer.

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Love’s Fire Plays Through March 5

Posted on Mar 3, 2000

What do you get when you ask some of America's most
powerful contemporary writers to develop plays based on their
interpretations of Shakespeare?

Answer: Love's Fire, an edgy collection of
seven short plays based on the bard's love sonnets.

Love's Fire continues this
week in Yulman Theater with performances through March 4 at 8 p.m., and
March 5, 2 p.m. Tickets, at $7 ($5 for students/seniors), are available at
the box office. Call ext. 6545.

The Acting Company, a national repertory theater,
commissioned Eric Bogosian, Ntozake Shange, Marsha Norman, Tony Kushner,
William Finn, Wendy Wasserstein and John Guare to create the short plays
that became Love's Fire.

“Taking their inspiration from Shakespeare's
sonnets, the writers walk the line between the weird and the
wonderful,” said director Kelli Wondra. “All the plays are
cutting-edge as they explore man's capacity for love, compassion, and
cruelty.”

From the book, Love's Fire: “Eric Bogosian's
Bitter Sauce (Sonnet 118) presents a fragile farce of sexual
jealousy and obsession; Ntozake Shange's streetwise response to Sonnet
128 comes up as the hip-hop Hydraulics Phat Like Mean; Marsha
Norman invents a daisy chain of betrayal with 140 (Sonnet 140); Tony
Kushner examines a hilariously paranoid episode in love, loss, and sexual
ambiguity set in a psychiatrist's office with Terminating, or Lass
Meine Schmerzen Nicht Verloren Sein, or Ambivalence
(Sonnet 75);
William Finn transforms Sonnet 102 into a song about an artist attempting
to paint his lover – and failing – with Painting You; Wendy
Wasserstein's Waiting for Philip Glass is a sharp drawing-room
comedy set in the Hamptons (Sonnet 94); and John Guare charms with his
witty and wide-ranging look at the problems of creating such a play in the
first place in The General of Hot Desire (Sonnets 153 and
154).”

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