Indianapolis Performing Arts

For me, the best part about the Indianapolis Symphony Orchestra's patriotic concerts July 2-4  isn't Tchaikovsky's magnificent 1812 Overture, or the inspiring suite from Gettysburg or even the spectacular fireworks at the end.

I'm more affectionate for the Servicemen on Parade piece. The Indianapolis Symphony plays this medley of songs representing the branches of the military: Navy, Air Force, Marines, Coast Guard and Army. We ask that any patron who has served in the military to stand when his or her song is played. It's a poignant and proud moment for everyone at Symphony on the Prairie. 

If you're attending this weekend, pay particular attention not only to your fellow servicemen standing next to you, but check out who is standing in the Orchestra:

Michael Borschel, Assistant Principal Clarinet
Mike served for three years in the U.S. Army in the U.S.M.A Band at West Point, NY, after Basic Training at Ft. Ord, California, from 1969-1972. As a member of the West Point Band, Mike performed more than 100 concerts and 100 parades every year.

Jerry Montgomery, Horn
Jerry was enlisted in the U.S. Army from 1972-1975 and performed as part of the NORAD Band. He told me that two of his colleagues in the band also went on to distinguished horn careers: Dan Gress was principal horn of the National Arts Centre Orchestra and Dan Rauch is currently one of the top horn makers in the world.

Marvin ("Chappy") Perry, II, Principal Trumpet
Chappy served in the U.S. Army Band at Ft. Myer, Virginia from 1970-1973 and achieved the rank of E6 (equivalent to a Staff Sergeant). Chappy's band performed at many ceremonies including the White House, Arlington Cemetery, special music productions, a few short tours and concerts. He also performed at a few parades, including the second inaugural parade for President Richard Nixon.  Chappy has very interesting stories to tell about his military career, but this one in particular is priceless:

"Prior to my enlistment, there was a requirement for annual re-qualification at the rifle range, even for members of the Army's top musical unit. Interestingly, the band repeatedly outscored the Third Infantry, the show troops of the Military District of Washington."

Mark Ortwein, Bassoon
Mark served in the U.S. Air Force from 1990-1998 and achieved the rank of Technical Sergeant. He played for all the living presidents and even spoke to President Clinton about saxophones after a ceremony. Mark also played at the dedication ceremony for Mt. Rushmore and the opening of the Ronald Reagan Library.

Look for these gentlemen to play and stand during the salute! 

And if you see me on Friday night (top of the hill, right side) with my family, look for my Dad during the medley. As a National Oceanic and Atmospheric Administration (NOAA) commissioned officer (retired at the rank of commander), he will be standing during the Coast Guard's song (hey, it's the closest thing he's got). We'll also be honoring my brother Judd Crawford, who served seven years in the U.S. Coast Guard and who now serves in the U.S. Army as a commissioned officer, stationed at Ft. Sill, Oklahoma.

We look forward to honoring all of our military servicemen and women this weekend. Chappy says it best: "I have the utmost respect for other members and former members of our military. Some have suffered unbelievable hardship. They and their families have my sincere admiration."



Happy Fourth and we'll see you at the Prairie!

I just wanted to follow through and answer "how does someone train to be an orchestral librarian." Our librarian staff are all trained professional musicians with years of private lessons.  I do not think they planned on such a career but by becoming knowledgeable about orchestral music, notation, and music history, and coincidentally, they became orchestra librarians.

And now about a world premiere - yes, a premiere and also YES - this piece, once the ISO great horn section performs will gradually gain momentum and be performed around the world = this is exciting stuff and I urge you to attend.  Here are notes from the talented ISO Principal Trombone and COMPOSER my friend Jim Beckel.  There is a lot to read:  take your time and enjoy!  Also, check out a new video which brings to life Jim's creative process!

Here are some notes about my new composition - Premiere May 14 and 15, 2010 

In the Mind’s Eye is a Konzertstuck for horns and orchestra inspired by visual art. Visual artists and composers have often collaborated or have been influenced by each other’s work. A famous example of this is Stravinsky and Picasso working together on ‘Pulcinella’. Impressionistic music occurred during the same period as impressionistic art. In a similar vein, this piece has been greatly influenced by visual art, and employs the use of musical effects that replicate various brush stroke techniques. Five paintings, four of which are from the collection of the Indianapolis Museum of Art, were used as inspiration for this three-movement work for horns and orchestra. 

Movement I – Random Abstract 

The first movement is dedicated to abstract expressionism artists. The specific painting that I used as inspiration in this movement is from the contemporary artist Ingrid Calame, who has used some of the concepts of abstract expressionism in her painting entitled ‘From #258 Drawing: Tracings from the Indianapolis Motor Speedway and the L.A. River’. This painting uses tire tracks from the Indianapolis 500 as its basis. 

This first movement is written from two perspectives. Part of the music reflects the perspective of the artist, while other moments in the movement represent the perspective of the viewer. The opening of the first movement is a good example of the brush stroke imitation mentioned earlier. The opening glissando of the harp, followed by the fast scalar passages in the woodwinds, represent the fast, broad, stroke of a paintbrush on the canvas. Jackson Pollack was known to actually paint to music and there was often a rhythm to his brush stroke. Throughout this first movement the listener will also hear short, chromatic chords that are meant to represent an abstract artist randomly throwing paint onto the canvas. 

In this opening movement, the first entrance of the horns is my musical representation of a patron’s first impression upon viewing such an abstract painting. The music of the horns is meant to portray curiosity, interest, and questioning. The main second theme is music representing the painter’s perspective. The euphoria of an artist totally submerged in his or her creativity can be heard as the music grows in animation and intensity. This music, still in the voice of the artist, becomes more calm and ethereal as the artist’s mind searches for inspiration. After the artist’s inspiration is realized, the music intensifies with the return of the second theme. This pure adrenalin increases to a final climax of frantic brush strokes portrayed in the fast scalar passages now heard in strings, woodwinds, harp, and xylophone. The voice of the viewer at the art museum, who is pondering the final product of the visual artist’s work, is heard next in the solo entrance of the horn. 

The first movement ends from the consumer’s perspective, relishing the vivid colors and shapes on the canvas from the abstract artist’s mind. 

Movement II – Daniel in the Lion’s Den 

A painting of the above title by Robert E. Weaver inspires this movement. This biblical subject has been a favorite choice for many artists over the centuries. For me, Robert Weaver’s work is the most stunning of those I have seen. The music, as well as the painting, addresses the concept of faith. The movement opens quietly with the horns in a quasi-Gregorian chant, setting the stage for Daniel’s overnight trial in the den of lions where his belief in God is tested. The trials and tribulations associated with man’s faith over the millenniums are reflected in this dialogue between horns and orchestra throughout this movement in G Minor. At the end of the movement you will hear a tremolo in the strings, taking us to a moment of Eb Major, which represents the answer to Daniel’s prayers as morning arrives and Daniel has been spared from the jaws of the lions. 

Movement III - Reflections 

The third and final movement is meant to deal with artists’ fascination with light’s reflection, particularly on water. There are three paintings chosen as inspiration for this movement. They are ‘Roussillon Landscape’ by Georges-Daniel DeMonfried; ‘The Channel of Gravelines’ by Georges Seurat; and ‘The Regatta Beating to Windward’, by Joseph M. W. Turner. Each painting is reflected in different parts of this third movement. 

The movement opens with an exciting, heroic horn call from all of the horns, representing the excitement of a sailing contest as portrayed in Turner’s painting of the Regatta. An orchestra tutti follows this opening fanfare, where the music is very secco, representing the pointillist brush technique of Seurat’s neo-impressionistic painting. The excitement of an ocean adventure is continued when the horns re-enter. The solo entrance of the harp transitions the music into a more tranquil section that is meant to represent the beauty of sunlight reflecting off the ocean as seen in DeMonfried’s seashore landscape. Horn calls abound in the next section, depicting the adventure and pure beauty of water and light in these paintings. As viewers looks at these paintings, their imagination brings their own images of the ocean and reflected light. These images are heard in the music. A final return to the opening horn call signals the end of this movement climaxing in a robust celebration of life as portrayed in visual and aural art. 

I'm quite excited to post my first blog!  I'm not at all savvy about anything electronic, including but not limited to computers, i-pods, phones and remote controls.  One of my colleagues reminded me of my "one to one" session with a "genius" at the  Apple store where I learned how to turn on my i-pod.  My husband, Jerry, who is the 3rd horn here in the Indianapolis Symphony, has thrown his hands up in despair after each of my button pushing marathons with the TV remote control.  However, I'm looking forward to blogging!  I've been a member of the ISO's 1st violin section since 1975, and there is little truth to the saying that "unless you're the lead dog, the view is always the same."

The past few days I have been eagerly watching the Olympics.  I like to think there is somewhat of a comparison between these extraordinary athletes and us musicians.  We both have worked immensely hard since we were young children, often making sacrifices in our lives to accommodate our crafts. (My mother made me practice every day, missing lots of fun times with friends, and it took no time for me to get my geek label.)   We both suffer through physical injuries and keep pushing through the pain to continue to perform.  We strive for perfection with many many repetitions to ensure perfection, and yet when it's time for the real performance, that 12th man, be it a panel of judges or a paying audience, is such an unnerving factor!  How many times did I say to myself, "but it went so well in practice!"  Because we love our art/sport we continue.  The times that all goes well and the audience responds with thunderous applause makes all the work so rewarding and those heart breaking misses, falls or mistakes, those things that have never happened before, they strengthen us in the end, and make us "seasoned performers."  I do appreciate all the dedication these athletes put in to their work and love to watch them perform at such extraordinarily high levels.  Our concerts aren't quite an Olympic game or a Super Bowl, but all the musicians do bring their best game to each concert, all for that thunderous applause!

Phones buzzing, people viewing their screens, or getting up from a performance are all distractions. The audience is made up of people who paid to witness a performance. Unless you're on stage, leave the devices at home or off. And I mean "OFF" off, as in totally inoperational. If a group wishes to have some interactive terminals or solicit cell contributions after the show that's fine with me. Otherwise, kindly don't interrupt my entertainment experience. We can all wait until we get home to email our friends to say where we were or how much fun it was. Unless it's some sort of Performance Art, the artists should not need to know our immediate feedback unless there is a question of ego involved. People living life with their cell phones in their hands reminds me of all the folks who watched their babies first steps on a 1" black and white screen (VCR camcorder). Put down the toys, live life, report on it later.

Name: Michael Colter
City: Indianapolis

I seated myself just behind the sound console, orchestra right, floor. Hackman delivered Wyoming 307 (name from an area code) but the piano was too quiet to be heard well above the crowd noise. Short Ride in a Fast Machine brought images of Copeland and the open spaces of the wild west to mind, with the clattering of 1/4 notes on wood block and massed orchestra galloping through with myriad tempos. It's a complicated piece, that really got the attention of the audience. The sweeping strings were particularly majestic during the middle section. The Beethoven/Coldplay arrangement was very artful, blending the well known Eroica with rock drum kit, organ, piano, and vocal joining in for the 'Fix You' Coldplay portion, winding down with closing movement of Eroica. Conductor/pianist Hackman took a bit to entertain the audience with some lively banter about the history of the various selections for the evening and was well received. I'm not familiar with the Joe Black themes played next and to me, the dancers were a distraction but I'm sure that others enjoyed their interpretation. (I feared for their safety, performing on a 7' wide sliver of stage). Next up, the Infernal Dance and Closing from Stravinsky's Firebird Suite sandwiched another well-known melody, Debussy's Claire de Lune. The Debussy was delightful and I personally very much enjoyed the dramatic Firebird with all it's fortissimo playing, horn fanfare, and tympani. For years I listed to the rock band Yes using the Firebird as a show opener so am very familiar with this number and the ISO performed it to stunning effect. Great show overall, truncated a bit but for the ticket price you couldn't go wrong. I'd wished that they'd used the available lighting tools to greater effect and some of the solos seen on a projection screen were difficult to hear (bump them in the mix please Mr. sound guy). An enjoyable evening despite the very active crowd in the lobby. I think the organizers got what they wished for- to bring symphonic music to a new, younger crowd. Mission well accomplished!

Name: Michael Colter
City: Indianapolis