October 29, 2025 • 5 mins
Molly Bauer shares insights on performing Carmina Burana with SEMO’s Wind Symphony, reflecting on growth, preparation, and the unique experiences of playing in multiple campus ensembles.
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Episode Transcript
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Speaker 1 (00:02):
Hello, and welcome to this episode of Arrow on the Air.
I'm your host, Ella Tinsley, and joining me in the
studio today is Molly Bawer. Molly, go ahead and introduce yourself.
Speaker 2 (00:11):
Hello. My name is Molly Bauer. I'm made junior here
at SIMO and I'm majoring in music education. This is
my first year at SIMO. I recently transferred from a
community college in Union, Missouri called East Central College and
now I'm here.
Speaker 1 (00:25):
Ah, well, welcome in. I'm so happy to have you
in the studio today.
Speaker 2 (00:28):
Thank you. I'm happy to be here.
Speaker 1 (00:30):
So tell me a little bit about Carmena. That's the
upcoming Win Symphony concert if I have my information right.
Speaker 2 (00:36):
Yes, that will be our concert in late November, and
Carmena's probably like our big piece on the concert. Most
people are very familiar with the big opening of Carl
Orf's Carmina Burana. It's originally written as a vocal piece
for a choir as well as like a full orchestra.
There is a famous band or wind band version that's
(00:58):
an arrangement just for winds Now brings no vocals, and
that's what we will be playing at our concert.
Speaker 1 (01:03):
How does it feel to be your first year here
and already in our signature wind ensemble, It's.
Speaker 2 (01:08):
Such a good feeling. I think being in such a
talented collegiate wind ensemble is just I think that's something
that every musician hopes to be in and to get here,
and like, by the first week I was in one
of the ensembles I really wanted to be a part of,
was such a good feeling. And the Wind Symphony is
such an amazing group, Doctor Daughter says, an amazing job
(01:29):
of really preparing us for excellence. He sets really good
high standards and everybody walks into the room knowing what's
expected of them, and the rehearsals are just run in
a way that makes us sound so wonderful. We're really
prepared for excellence, and it's really a professional feeling ensemble.
Speaker 1 (01:47):
I'm just really interested in your experience and like how
musicality comes into play with doing such a signature piece.
Do you listen to pieces before you play them or so?
Speaker 2 (01:57):
Listening to a piece is a really really important job
of practicing. Really, if you don't listen to the piece,
it's really hard to play it to the level that
you're supposed to. And so usually As soon as we
get our pieces and we have the music, I like
to listen to the piece and read along with my music.
That way I can mark in anything like this is
a clarinet section that's really exposed, or this is a
(02:18):
wood wind feature, or this has a crazy rhythm and
the tempo goes really really fast. Here just little nuances
like that that might come up. It's really helpful to
listen to the music so that you know where those are.
Then you can go into your first rehearsal not completely blind.
Even though I haven't played it with everybody else, I
know kind of what's coming up. I know what to expect,
and it just makes me a lot more prepared for rehearsal.
Speaker 1 (02:40):
Wonderful, and I'm sure you're a wonderful student. It sounds
like you you thoroughly prepare for things.
Speaker 2 (02:46):
I try my best too.
Speaker 1 (02:47):
Is there anything you'd like to note about being in
the various ensembles that you're in, So, I.
Speaker 2 (02:53):
Think being in the Winds of Niatzimo, we have a
wonderful group, like I said before, but being in such
a professional group that's really run like a professional ensemble,
even though it's collegiate, it really is run like we
are a group of professionals, and that really prepares me
for the real world, whether or not I'm performing in
a professional ensemble one day, or I'm leading my own
(03:14):
group of band students. I get such a good idea
based on doctor Daughter's directions that he gives us and
how he leads rehearsal. That gives me a really good
idea of how I'm going to present myself to students,
how I might run rehearsals later on, or what's going
to be expected of me if I do reach that
level of professional ensemble later on in my career.
Speaker 1 (03:33):
I did want to ask, I know you're also in
the marching band. Is it hard to balance the two
very different styles between like big band marching band pieces
and like something that's more nuanced.
Speaker 2 (03:43):
I think it is a little bit. I'm also in
the orchestra is quite wonderful, and so orchestra, marching Man
and Win Symphony are all very different levels of playing
marching Man, we're playing loud, we're playing high notes. I'm
like spinning in circles and playing sixteenth note runs, acting
like a pirate. And then I'm playing in Win Symphony,
where I'm focused on planning my sound and listening to
(04:05):
everybody around me, which is happening in marching band, but
it's a lot more focused when I'm in Win Symphony, right,
and then an orchestra, it's one person to a part
and there's two clarinets, so it's just me and Elizabeth,
who's the co principle, and we both have different parts,
and there's a lot more soloistic playing in orchestra even
compared to Win Symphony. Everything is a lot more exposed,
and so every time I'm practicing my music on my own,
(04:28):
I'm focusing on those things, like I really need to
be focused on listening in this part, and I really
need to focus on making this part really pristine because
it's just me playing and knowing what's coming up and
knowing how I do have to match my sound when
my sound and approach my technique based on the ensemble
I'm in. Was a little bit of an adjustment at
first because I have never been in three ensembles like
(04:50):
that at once, But practicing knowing those things is helpful,
and then once I go an ensemble and going to rehearsal,
I know this is what I need to do with
my sound here, This is how I need to play here,
et cetera.
Speaker 1 (05:02):
That's so interesting. So hearing you juggle so much on
top of you know, regular academic life is just sensational.
Thank you so much for joining me today.
Speaker 2 (05:12):
Of course, thank you so much for having me.
Speaker 1 (05:14):
The Win Symphony Concert Carmina Burana will take place November
eighteenth at seven thirty pm in the Beidell Performance Hall.
Thanks again for listening. I'm your host, Ella Tinsley, and
we will see you next time.
Hello, and welcome to this episode of Arrow on the Air.
I'm your host, Ella Tinsley, and joining me in the
studio today is Molly Bawer. Molly, go ahead and introduce yourself.
Speaker 2 (00:11):
Hello. My name is Molly Bauer. I'm made junior here
at SIMO and I'm majoring in music education. This is
my first year at SIMO. I recently transferred from a
community college in Union, Missouri called East Central College and
now I'm here.
Speaker 1 (00:25):
Ah, well, welcome in. I'm so happy to have you
in the studio today.
Speaker 2 (00:28):
Thank you. I'm happy to be here.
Speaker 1 (00:30):
So tell me a little bit about Carmena. That's the
upcoming Win Symphony concert if I have my information right.
Speaker 2 (00:36):
Yes, that will be our concert in late November, and
Carmena's probably like our big piece on the concert. Most
people are very familiar with the big opening of Carl
Orf's Carmina Burana. It's originally written as a vocal piece
for a choir as well as like a full orchestra.
There is a famous band or wind band version that's
(00:58):
an arrangement just for winds Now brings no vocals, and
that's what we will be playing at our concert.
Speaker 1 (01:03):
How does it feel to be your first year here
and already in our signature wind ensemble, It's.
Speaker 2 (01:08):
Such a good feeling. I think being in such a
talented collegiate wind ensemble is just I think that's something
that every musician hopes to be in and to get here,
and like, by the first week I was in one
of the ensembles I really wanted to be a part of,
was such a good feeling. And the Wind Symphony is
such an amazing group, Doctor Daughter says, an amazing job
(01:29):
of really preparing us for excellence. He sets really good
high standards and everybody walks into the room knowing what's
expected of them, and the rehearsals are just run in
a way that makes us sound so wonderful. We're really
prepared for excellence, and it's really a professional feeling ensemble.
Speaker 1 (01:47):
I'm just really interested in your experience and like how
musicality comes into play with doing such a signature piece.
Do you listen to pieces before you play them or so?
Speaker 2 (01:57):
Listening to a piece is a really really important job
of practicing. Really, if you don't listen to the piece,
it's really hard to play it to the level that
you're supposed to. And so usually As soon as we
get our pieces and we have the music, I like
to listen to the piece and read along with my music.
That way I can mark in anything like this is
a clarinet section that's really exposed, or this is a
(02:18):
wood wind feature, or this has a crazy rhythm and
the tempo goes really really fast. Here just little nuances
like that that might come up. It's really helpful to
listen to the music so that you know where those are.
Then you can go into your first rehearsal not completely blind.
Even though I haven't played it with everybody else, I
know kind of what's coming up. I know what to expect,
and it just makes me a lot more prepared for rehearsal.
Speaker 1 (02:40):
Wonderful, and I'm sure you're a wonderful student. It sounds
like you you thoroughly prepare for things.
Speaker 2 (02:46):
I try my best too.
Speaker 1 (02:47):
Is there anything you'd like to note about being in
the various ensembles that you're in, So, I.
Speaker 2 (02:53):
Think being in the Winds of Niatzimo, we have a
wonderful group, like I said before, but being in such
a professional group that's really run like a professional ensemble,
even though it's collegiate, it really is run like we
are a group of professionals, and that really prepares me
for the real world, whether or not I'm performing in
a professional ensemble one day, or I'm leading my own
(03:14):
group of band students. I get such a good idea
based on doctor Daughter's directions that he gives us and
how he leads rehearsal. That gives me a really good
idea of how I'm going to present myself to students,
how I might run rehearsals later on, or what's going
to be expected of me if I do reach that
level of professional ensemble later on in my career.
Speaker 1 (03:33):
I did want to ask, I know you're also in
the marching band. Is it hard to balance the two
very different styles between like big band marching band pieces
and like something that's more nuanced.
Speaker 2 (03:43):
I think it is a little bit. I'm also in
the orchestra is quite wonderful, and so orchestra, marching Man
and Win Symphony are all very different levels of playing
marching Man, we're playing loud, we're playing high notes. I'm
like spinning in circles and playing sixteenth note runs, acting
like a pirate. And then I'm playing in Win Symphony,
where I'm focused on planning my sound and listening to
(04:05):
everybody around me, which is happening in marching band, but
it's a lot more focused when I'm in Win Symphony, right,
and then an orchestra, it's one person to a part
and there's two clarinets, so it's just me and Elizabeth,
who's the co principle, and we both have different parts,
and there's a lot more soloistic playing in orchestra even
compared to Win Symphony. Everything is a lot more exposed,
and so every time I'm practicing my music on my own,
(04:28):
I'm focusing on those things, like I really need to
be focused on listening in this part, and I really
need to focus on making this part really pristine because
it's just me playing and knowing what's coming up and
knowing how I do have to match my sound when
my sound and approach my technique based on the ensemble
I'm in. Was a little bit of an adjustment at
first because I have never been in three ensembles like
(04:50):
that at once, But practicing knowing those things is helpful,
and then once I go an ensemble and going to rehearsal,
I know this is what I need to do with
my sound here, This is how I need to play here,
et cetera.
Speaker 1 (05:02):
That's so interesting. So hearing you juggle so much on
top of you know, regular academic life is just sensational.
Thank you so much for joining me today.
Speaker 2 (05:12):
Of course, thank you so much for having me.
Speaker 1 (05:14):
The Win Symphony Concert Carmina Burana will take place November
eighteenth at seven thirty pm in the Beidell Performance Hall.
Thanks again for listening. I'm your host, Ella Tinsley, and
we will see you next time.
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