Indianapolis Symphony Blog

Steve Hackman Blogs, Part II

Friday, March 12, 2010 by Jessica Di Santo

Composer, performer, arranger and conductor for this season's Stella Artois Happy Hour at the Symphony series, Steve Hackman blogs about how he starting weaving the concept for the next Happy Hour together.

My thoughts on "Slow Dancing in a Burning Room":

When it comes to arranging, picking good material is key, because you're gonna be spending hours and hours on it. You're going to be peeling through every layer of the composition; if it's wonderful throughout you are in for beautiful new discoveries. I always find that when I'm arranging great stuff I gain a more profound appreciation for the work because I hear intricacies and details that I hadn't detected while listening casually.  This has definitely been the case with "Slow Dancing in a Burning Room" by John Mayer.

I've been a huge fan of that song ever since first hearing it but after spending this many hours evaluating and dissecting it, I marvel at a few things:  

1. The restraint of the playing.   Take a listen to the drum beat of this song. Kick-snare-kick-snare. Tambourine on the and of 1. That's it. Toward the very end he starts adding some snare rolls and tom fills. But for the majority of the song--that's it. And the bass line. Ultra-simple. Not even close to "busy." Those two elements combine to create such a relaxed and hypnotic groove. Obviously these are some of the best session players in the world and they were capable of playing things light years more complex than this--but they didn't--they kept it simple and groovy and I love it.  

2. The brilliance of the guitar arrangement.  I knew this guy could play the guitar; what really struck me about this song is how many different sounds he gets out of his guitar and how he combines them all to engineer a production. It's almost as if he creates his own orchestra. It's funny--he is taking his one instrument and redesigning its sound in several different ways to realize different aural impressions; I am interpreting those impressions and assigning them to the orchestral instruments that can best recreate them. The processes are reciprocals! For example: the blues licks that are hiding underneath the verse are very suited to clarinets, saxophones and trumpets, and the sustained and liquid oscillations that underscore the chorus ("We're going down….") are perfect for the strings. I find in each section of the song very inspired playing with clear emotion-- that's the kind of stuff that is fun to arrange.  

3. I think I combined a few points into one so I don't have anything else to say right now. This tune will be fun!  See you next Thursday at Happy Hour!

~ Steve Hackman

John Mayer - a modern day Johannes Brahms?

Wednesday, March 10, 2010 by Scott Harrison

When Stella Artois Happy Hour at the Symphony returns on March 18, the program turns to music by John Mayer and a John of an older generation - Johannes Brahms. Crazy as it may seem, these two musicians actually share more than just a first name.

While many of us are stuck with the image of the old, bearded Brahms in our minds, in his younger days, Johannes (right) was quite the looker and probably attracted his fair share of female attention, just like John Mayer.

But Brahms was more than just good looks. This guy had soul. Brahms was a throwback, looking to the music of Bach to write truly heartfelt music in an era where contemporaries like Liszt, Wagner and Mahler were revolutionaries out to discover the music of the future. In an era where vocal hooks and sampled beats reign supreme, John Mayer also looks to the old masters, writing guitar-driven pop inspired by blues legends like B.B. King and rock gods like Jimi Hendrix.

And the similarities just keep on coming. . .

Brahms wrote four symphonies. Mayer has released four albums. (There are also four Happy Hour concerts this season. Try to explain that coincidence!)
Both men pursued secondary instruments in their youth. Can you imagine Brahms as a cellist or John Mayer with a clarinet in his hands? They both also started touring as teenagers. At one point, Brahms' teacher wanted to send him to America to earn that big paycheck. His parents declined, probably sparing Brahms future anonymity as a washed-up child star.
Speaking of the clarinet, John Mayer's first instrument, Brahms took up an interest in the reedy instrument late in life. He came out of his self-imposed retirement to write some of his most moving music, all featuring the clarinet. Do you think Mayer ever tried his hand at the Brahms' Clarinet Quintet?

The greatest coincidence of all?

Both men shared an interest in older women. John Mayer famously dated Jennifer Aniston, eight years his senior. Brahms spent most of his adult life pining after Clara Schumann, 14 years his elder and the widow of the man who helped launch his career, Robert Schumann. While Mayer was never too shy to share the most intimate details of his relationship via Twitter, Brahms was not as forthcoming. While many scholars believe the relationship with Clara was never consummated, there isn't definitive proof either way.

For the full story on Brahms, check out Jan Swafford's fun biography. (Or get the lightning round in this article.)

As for Mayer? Well, there's always @johncmayer.

(Thanks to Alyson Ahrns for research and writing assistance.)

Chicago Symphony Orchestra plays Shostakovich

Tuesday, March 9, 2010 by Paul Berns

Hi Everyone:

Went to Chicago to drop off the ISO xylophone bars for tuning (yes, the wood bars go out of tune) and visited with my ex-high school student Matt Decker, a junior at Roosevelt (a terrific music school). Sat in stage seating (just like the Hilbert Circle Theatre)...had not heard the Chicago Symphony Orchestra for many years. What a great orchestra and great luck for me they performed the Shostakovich Symphony 11 we are playing next week. If you did not know, our talented assistant principal french horn Rick Graef's Dad plays for this great orchestra and sat first chair for the entire concert. Talent runs through Rick's family.

The CSO's hall is huge--high ceilings and the brass and percussion can play out without a concern for overall balance.

It is never too late to learn or enjoy other orchestras. Indeed the Chicago Symphony is one of the world's best. But, I am fortunate to play for and you are fortunate to hear another world class orchestra = yep, our ISO.

After the concert I hung out with their timpani/percussion section and then took a cab to Stanleys by Lincoln West (great macaroni and cheese) and saw a student from my Butler University teaching days. Shane is the drummer in a Pearl Jam Tribute band and they have played in 17 states - and I had no earplugs. Shane is really a great rock 'n roll drummer. Great time, knows the music well, and very tasty fills. Yes, many of us in the ISO enjoy all styles of music!!

I hope you still enjoy my blog??!!!! Here is another Top Ten listing of places the ISO has performed:

10. Berrien Springs, Michigan (an Easter Sunday runout concert years ago)
  9. Zurich, Switzerland
  8. Oxford, Mississippi
  7. Wabash, Indiana (Honeywell Center - we play there often)
  6. Champaign-Urbana, Ill. -- University of Illinois
  5. Troy, New York -a very old (all wood) concert hall above a bank -- incredible acoustics!
  4. Muncie, Indiana (Ball State University)
  3. Richmond, Indiana (Earlham College)
  2. Long Island, NY -- many venues
  1. Lucas Oil Stadium -- before the recent Colts/Patriots game

ISO Performa at Lucas Oil Stadium Opening - 2008

A member of the audience recently asked me if the ISO has annual challeges and asked would we be fired or traded if we played in Carnegie Hall (Super Bowl) and did not achieve a "win" from a NY critic?? Great questions: professional orchestras do hot have a challenge or reseating process. If a critic did not like our playing in Carnegie Hall, on the very same night another critic might write a glowing review.

That is it for now. So much to write and so little time.

Best ~
PAUL BERNS

Steve Hackman Blogs, Ladies and Gentlemen

Monday, March 8, 2010 by Jessica Di Santo

The entire concept for Happy Hour #3 was really born out of the idea that "Heart of Life" by John Mayer would make a great arrangement for orchestra. The song came on as I was driving to a gig back in December, and I immediately thought of the Happy Hour series. I called Nick Kendall and pitched the idea of doing it, and he said "Oh my God!"(that's usually a good sign). After that, I began building a whole concert around Mayer's tunes paired with classical selections.   

I'm a big fan of Mayer's music, especially after the first album, Room for Squares. One of the very first things to consider when arranging a pop song for orchestra, and in fact this consideration may ultimately indicate whether an arrangement will be effective or not, is what instrument/instruments will carry the melody. This is a critical decision because the audience is going to be so familiar with the vocal line (and of the personality that sings it). One has to be sure that whatever orchestral instrument is substituting for that personality will be set up for success.

In the case of the Coldplay song we did on Happy Hour #1, our principal oboe Roger Roe did a fantastic job of carrying the melody. Time for Three "sung" the melody as a trio in Imogen Heap's "Hide and Seek" on Happy Hour #2. With this arrangement of "Heart of Life" I decided to cheat a little bit--and sing the song myself. Not that I think I do the world's best John Mayer impression, but this is a song I felt like I could do justice to vocally. So that took care of who was handling the melody- then it was on to everything else. The original tune has a wonderful wholesome quality to it that I felt was essential to capture in the orchestration. The "base" sound that I settled on was pizzicato (plucked) strings against lyrical and contrapuntal lines in the woodwinds. This provided a great bed for the solo voice to lie in. Adding harp and glockenspiel (orchestra bells) at times added a more fantastic child-like innocence. Since the strings are plucking for the majority of the piece I needed an instrument to sustain the bass line and in this case I chose the bassoon--lighter and more appropriate to the style than tuba, bass trombone or electric bass.

One spot that I couldn't wait to arrange was where the electric bass comes in on the original version (2:24-Pain throws your heart to the ground…) Yikes! I just realized I forgot to put in a cymbal roll there! Better add it…. Anyway, that section was the perfect moment for the strings to begin playing with their bows (arco). It's like a wonderful breath of fresh air when you hear the string section finally play arco after a long pizzicato section. I also chose the trombone choir to add a luscious pad to that sound. Mayer has some wonderful guitar licks in that section, and I adapted those a bit and gave them to the woodwinds. The original ends with rising sixths in the guitar parts as does our arrangement, except in the bassoons then clarinets.

We finally cadence and segue back in the Grieg excerpt (Piano Concerto in A Minor, 2nd Movement) that began this whole adventure. I chose the Grieg because it matched the key and because it's simply a gorgeous piece of music. With it's romanticism and slow lyrical quality it almost functions to set up "Heart of Life" in the same way that "Gravity" does on Continuum.    

This concert was a joy to arrange. The production of the original tune is so sparse but yet so charming, and it was a pleasure to try my hand at bringing that quality to the orchestra. We'll see how it sounds!    On to the next arrangement.

See you in a few weeks!   

~Steve Hackman

Memories in the Making

Saturday, March 6, 2010 by Brian Smith

Over the past few days a group of very talented young people could be seen milling about the backstage area of the Hilbert Circle Theater. As they waited, many could be seen playing with cell phones or chatting with friends. Things you might expect a group of teenagers to be doing to kill some time. A passerby might see this gaggle of young men and women and think nothing was out of sorts, save the formal attire they were wearing. But these people were far from your normal mall loitering youngsters. They were the musicians of the Honor Orchestra of America, waiting their turn to impress an audience with their musical skill.

The orchestra performs an hour before the ISO is to take the stage this weekend, presenting a very challenging, but well done, concert of Shostakovich's Festival Overture and Mussorgsky's Pictrures at an Exhibition.

I know from personal experience what a week like this can mean and do for a young musician. When I was in high school, I performed with a similar group in New Orleans. I remember walking into the first rehearsal and being terrified. I didn't know what to expect. How would I stack up with the other players? Is the music to difficult? Excitement and fear were resonating through my brain, fighting for supremacy. Thankfully, once the rehearsal began, and I took a deep breath, what followed helped me realize what I wanted to do with my life and propel me to make music a lifelong passion.

All the performers on the stage with me were as dedicated and focused as I was on creating the best musical experience we could. The feeling of comradery was like a wave making it's way to shore, slowing building in momentum and strength. At the end of the week all that energy was released in a performance that was as powerful as any I have been a part of. I was hooked.

I have had many great experiences onstage since then, but I will always remember the one from New Orleans as a very special one. I only hope that the members of the Honor Orchestra of America will take away a special memory of their own.

Unveiling a New Season

Friday, March 5, 2010 by Jessica Di Santo

Next season, the ISO presents the music you love alongside the world's top artists and performers. Check out next year's offerings, and tell us what you think. We want to hear from you!

The Pale Pink Dress

Thursday, March 4, 2010 by Jessica Di Santo

Memory is a funny thing.

I've been known to get up, walk to someone's office, and forget why I just got up and walked to someone's office. More times than I care to admit, I send emails and forget to include the promised attachment. I know I've said this phrase more times than not: "Didn't I tell you that already?"

Luckily, my long-term memory is better. I can still rattle off the books of the Old Testament in seconds (taught to me as a young kid in Sunday school). I memorize lyrics quickly, and they stick with me forever. And speaking of music, my first and most poignant musical memory occurred here: 7310 17th Ave. NW Seattle, WA 98117. My childhood home. I've never forgotten the address.

[Present occupant: Please forgive me while I blog about your house for a bit. By the way, the picture of it on Google Earth looks nothing like what I remember. What did you do?]

This week, I reach back into that good/bad memory bank of mine and recall the address where I heard Tchaikovsky's Piano Concerto No. 1 in B Flat Minor for the first time (on vinyl for you young kids - here's a picture just in case).

My mother kept a pretty impressive record collection of classical music. All the masters were in our library--Beethoven, Brahms, Tchaikovsky--and these records rounded out the Crawford family's diverse musical tastes (Scott Joplin and the Kingston Trio for Dad, Elton John for brother Judd and Really Rosie featuring Carole King for me). I would come home from school and open the door with my Latchkey, invade my mother's closet in search of that fancy pale pink dress with the pleated skirt, select Tchaikovsky's first piano concerto, carefully place the needle on the record in the right spot, turn up the volume on our huge 1970s cabinet turntable (this sucker was a piece of furniture!), and dance around the room in my own little world...at least until my older brother replaced my beloved Tchaikovsky with Pink Floyd.

My memory is clear as crystal: As soon as I would hear the horns blasting those first four notes, shivers ran down my spine. I'd strike a pose once the orchestra answered. Then, that gorgeous melody by the strings put me into my dance routine of gliding and twirling until that pleated skirt was a perfect parallel to the ground. And of course, I would stop occasionally and play air piano.

I didn't need a TV to be entertained. I didn't need video games (although I tried begging mom and dad for an Atari, to no avail). I don't remember ever feeling lonely. I had music. I had Tchaikovsky.

It wasn't until I reached Music Appreciation class in college when I realized there was more to the concerto. You mean there's more to the piece than just the first movement? Fantastic. But the first movement is my first classical music memory.

If you come to the concert this weekend, look for me in the first mezzanine. I'm the one who will visually respond to the first four notes and then the melody. It will go something like this: twitch, grin, sit back, smile, wipe a tear, close my eyes, and remember that pale pink dress.

Community Connections

Tuesday, March 2, 2010 by Brian Smith

One advantage of living in the age of the internet is the rapid spread of information from every corner of the world to your living room whenever you want it. As a result many people in our industry find themselves reading more about what goes on in the orchestra world to keep current with the latest trends and news. So this weekend, coffee in hand, I made my way to the computer to do just that, when I came across two articles that struck me for very different reasons.

The first was an article describing the Baltimore Symphony's newest venture, "Rusty Musicians with the BSO". Basically this program allows amateurs to join members of the orchestra and music director Marin Alsop on stage for a rehearsal and performance. Anyone who is over the age of 25 and can play an orchestral instrument can participate. Apparently the good people of Baltimore found this to be a great idea, as over 400 people signed up! It seems that even in a time of financial difficulty for most orchestras in this country, Baltimore has found a new way to connect with their community and created a moral boost for the organization, not to mention a new revenue stream.

On the other hand, the second article, written in a much more sombre tone, detailed some of the woes facing the Philadelphia Orchestra. Like many orchestras, Philadelphia is fighting an uphill battle financially, but to me that wasn't the disappointing part of the story. According to the story's author, there is a seemingly growing number of loyal patrons feeling disconnected from the great orchestra, which is routinely classified a member of the "Big 5" (along with the ensembles of Chicago, Cleveland, New York, and Boston). One is led to believe from the article that a lack of communication from the orchestra, along with logistical issues such as ticket prices and parking concerns, has created unwanted friction between the orchestra and it's fan base. This seems to be an issue which needs to be addressed quickly, for the sake of all concerned.

Here at the Indianapolis Symphony we want to continually develop and foster our relationship with our city. To that end we hope that along with attending concerts, you will take advantage of some of the offstage programs we have in place. Two such programs are the "Sound Off", a pre-concert question and answer session, and "Reverb", a post-concert meet and greet event with the ISO musicians. Both events are associated with all of our Symphonic Hits series concerts and are designed to give concert goers a chance to get to know more about the people and projects of the ISO. Another option are the "First Mondays at the ISO" gatherings, hosted by ISO cellist Geoff Lapin. As the name implies, the meetings take place the first monday of each month and cover a wide range of musical subjects, often featuring special guests to discuss the topic of the day.

Another great way to connect with the orchestra is through FORTE, the ISO's young professionals group. Along with providing volunteer and networking opportunities for it's members, Forte is helping our new Happy Hour series take shape. Another great volunteer organization is the ISO Women's Committee. Founded in 1937, the committee has a long standing role in organizing fundraising and music education events.

These are just a few of the ways the community can interact with the orchestra, but we are always looking for better ways to do things at the ISO. So here's your chance to tell us what you think. How are we doing? If you have a great idea, leave a comment and tell us how we can make your concert going experience better. I would love to hear them.

Another top ten list and answers to my questions.

Monday, March 1, 2010 by Paul Berns

Hi Everyone:

After a day of adjudicating at the ISSMA state solo/ensemble competition I am thrilled to announce I am not deaf. I heard over 40 Group I snare drum soloists play and 'wow' were most of them really loud. It gave me a chance to talk to the kids and their parents and point out that if they were really interested in being a music major in college they should attend as many ISO concerts as they can.

Well in my previous blog I asked the question: who from management is at most of our (over) 200 concerts each season. Well, the obvious answer would be the ISO Personnel Manager (and assistant principal trombone) Blake Schlabach-- but also, CEO/President Simon Crookall is often in the audience speaking with our valuable supporters and audience.

Excuse my being so random in this blog: Referring back to my first blog, the ISO owns hundreds of percussion instruments that are stored backstage in a very large and (high ceiling) practice/storage area. Let me know if you would like a tour!! We have 20 sets of sleigh bells, giant tubular chimes (ladders needed-you will see them at Symphony on the Prairie for our July 4th concerts), African drums, cymbals galore, snare drums, triangles, - more later.

The timpani/percussion section----- getting excited and practicing for Shostakovich Symphony 11 on March 12 & 13 = guaranteed to bring you to your feet. Some of the parts are heard on orchestral percussion/timpani auditions!!!!

Here is another "list of ten" for you to enjoy. Places the ISO has performed:

10. Peru (Indiana)
9. Washington, D.C. (Kennedy Center numerous times)
8. New York City (Carnegie Hall numerous times)
7. Milwaukee, Wisconsin
6. Berlin, Germany
5. Miami Beach, Florida
4. Chicago, Illinois
3. Bloomington, Indiana (of course)
2. Vienna, Austria - (visited Mahler's gravesite!)
1. London, England

Ok, I am ready for some questions. Bye for now.

PAUL

Sound Off at a Special Time!

Sunday, February 28, 2010 by Sean Newhouse

This coming Friday and Saturday, I’ll be hosting our preconcert event Sound Off at a special time – 6:00pm. This is because the Honor Orchestra of America will be performing at 7:00pm, before the ISO hits the stage at 8:00pm, for this week’s performances in the Symphonic Hits series. We invite you to make a full evening of it at the Hilbert Circle Theater with Sound Off and the two performances!

The ISO performance will feature wonderful staples of the repertoire, with guest conductor James Gaffigan leading a program that opens with Rossini’s Semiramide Overture and Beethoven’s Symphony No. 2, and then features Tchaikovsky’s Piano Concerto No. 1 and soloist Stephen Hough on the second half.

As usual, for Sound Off, we’d love for you to send us questions in advance (about orchestral music in general, or the ISO in particular) that we may feature in our segment “The Audience Wants to Know.” You can submit your questions by commenting on this blog post, posting on the ISO Facebook page, or emailing it to soundoff@indianapolissymphony.org.

To give you a little taste of what’s in store on this week’s concerts, I’ve collected some YouTube videos of the repertoire – some “standard,” and others not so much :-)

We’ll start with a normal performance – this is Riccardo Muti and the Vienna Philharmonic with Rossini’s Semiramide Overture.

And now, a much more unusual arrangement – for 16 pianists on 8 pianos!

Here’s a classic performance from 1962 of the Tchaikovsky 1st Piano Concerto, with soloist Van Cliburn and conductor Kirill Kondrashin, in Moscow. This is the beginning of the first movement - the rest of the concerto is easily available on YouTube as well.

And then, I couldn’t resist including musical comedian Victor Borge’s riff on the opening of the concerto:

Finally, here are a couple of videos related to Beethoven’s 2nd Symphony. First, an introduction to the work, created by Jan Swafford for the Boston Symphony.

And here’s a fine performance of the Beethoven with Mariss Jansons and the Bavarian Radio Symphony.

See you at the Symphony!

Check these out!

Wednesday, February 24, 2010 by Dinah Montgomery

I recently took a solo driving trip to Chicago and in the secluded confinement of my car had the opportunity to listen to two CDs recently released by two ISO musicians.

The first is by our resident ensemble, Time for Three, called 3 Fervent Travelers. One of the violinists in the group is our Concertmaster, Zach De Pue. These guys are so talented and so diverse!! They create such an exciting atmosphere that is so evident live, but it's also there on their cd! Adding to the awesome factor, most of the tracks were recorded live. They are a treasure! Purchase the CD here.

I then got to listen to Ju-Fang Liu's (our Principal Contrabass) new CD, Fisherman's Song. She has such amazing technique, beautiful sound and intonation and soul to boot! I especially loved the Chinese songs -- so folk-like, and yet so acrobatic. Pianist Catherine Bringerud is also wonderful! You can purchase the CD here.

Yet another facet of Ju-Fang's talents is her skill as a chef! She makes an art of preparing and presenting so many Chinese dishes -- noodles, eggs, mushrooms, soups, meats and teas -- just to name a few. Every year or so, the ISO's Women's Committee has some of the Asian members of the ISO and spouses get together and offer an Asian buffet dinner at one of our homes to raise money for the Orchestra. We usually have 30+ dishes on the table and no one ever leaves hungry! It's great fun for everyone! I'll let you know when we plan the next Asian Buffet!

Mrs. "Button Lady" MacGyver

Monday, February 22, 2010 by Carol Baker

Yes, I pride myself on being prepared for the extraordinary, but occasionally I'm faced with a domestic-type challenge that rattles my sense of capability.

The scene: Backstage at the Hilbert Circle Theatre, Guest Artist Dressing Rooms Suite
The time: Intermission, Friday night, 2/5/10
The predicament: Wardrobe malfunction

Friday night at the Symphony was exciting even in the face of a snow blizzard that threatened attendance by even our most loyal patrons. All in all, there were just under 300 patrons who braved snowfall and drifts to hear the ISO and Christian Tetzlaff perform the Brahms Violin Concerto, Midsummer Night's Dream and Schumann's Rhenish Symphony under the direction of Maestro Gilbert Varga (pictured). When you see that people defied the elements to enjoy an evening of symphonic music, you are reminded of how special events like these are to our loyal patrons. (Bravo audience!)

By day, I perform duties as the ISO's Director of Education, but this weekend, I was called to appear as Guest Artist Assistant, which means I'm on call to transport guest artists to and from the hotel and concert hall, make coffee, clean dressing rooms and respond to general needs. Our area is equipped with resources to address many last minute requests/needs of artists, like a ironing board, snacks, safety pins and band-aids. (In some instances in the past I've been called to make a "beer" run, all in the name of an artist in need.)

At intermission Zack French, ISO Artistic Coordinator, asked me to escort Tetzlaff to the lobby to sign CDs, but just as the artists exited stage right following an exhilarating 1st half, our conductor needed help in his dressing room with a button cover that had snapped in two! Ee-gads! This was my moment to demonstrate what a Guest Artist Assistant can and should do under pressure.

I remembered that Bob Sansone, ISO Asst. Principal Cello, had a workshop in his home and was extremely crafty at many things, so I ran downstairs to see what he might do under these circumstances. He feared that the piece was too delicate for repairs he could perform, so I ran empty. Oh, how would I reclaim my dignity as a Guest Artist Assistant and explain defeat to Varga?!?

Alas, Maestro Varga had another button cover, but it was suited for a button that was 3 times larger than the one that broke. It simply would not do.

Just then, I pulled a tool kit from a closet (pictured to the left)... a kit filled with sewing needles, thread, scissors, bobby pins, etc. and picked up a spool of fine wire. Eureka! I would wrap the wire around the prongs of the button cover to create a loop. It took some doing to loop the cover over the button, but voila! Instant button cover! Our maestro was properly adorned once again.

Maestro Varga called me his "button lady", but I think you can just call me MacGyver.

Time to introduce myself

Friday, February 19, 2010 by Paul Berns

Hi:

What a terrific opportunity to share my background with ISO supporters. I am Paul Berns, and if you have been to an ISO concert in the last zillion years you will recognize me as the tall guy running around in the back of the orchestra striking all kinds of percussion instruments (yep, with the pony tail).

My experience since joining the ISO pretty much says it all about my interests and versatility. I think I will give you a top 10 list of what has gone on in my musical life since joining the orchestra. In chronological order:

10. Paul auditions against many really talented percussionists and lands the job.
  9. He begins as section percussionist.
  8. Paul begins private teaching in Indy and joins the 'famous at the time' Sonic Boom Percussion Ensemble - playing 100 Young Audience Concerts each year.
  7. Paul, in addition to the ISO is named Director of Percussion Ensembles at Butler University - loved that part time gig for 10 years.
  6. ISO management - bless Sue Staton and executive director Sid Weedman ask me to form a band and play (jazz/rock/swing) throughout the state helping to raise $$$ to bring in the entire ISO - I did it and we have been successful ever since - though my group is on its own now (7 pieces) - all styles.
  5. Paul becomes ISO Principal Percussionist in 1981 - another audition
  4. Paul becomes ISO Personnel Manager - a job he held for 16 years - and loved, believe it or not.
  3. Paul begins teaching percussion again, this time at the University of Indianapolis - I have some wonderful students at the University and terrific students at home in my 700 square foot percussion studio = stop by for a lesson!!!!
  2. Paul steps back into the section - not principal (Braham Dembar replaced me as principal and what a great player he is)
  1. Paul becomes a blogger.

Ok - with all that experience YOU are bound to want to ask me questions about moi and the orchestra. I will have other top 10 lists and actually quizzes for my readers.

For instance, how many percussion instruments does the Indianapolis Symphony own and where do we store them? What member of management attends almost every concert? And how much does a really good snare drum cost?

Oh, by the way my college rock band was called "The Amen" - and in the days of the Beatles I made enough money to pay cash for a Pontiac Le Mans convertible with white leather bucket seats - stupid to have white leather cuz of all the schlepping (sp?) of percussion equipment. Actually it was stupid not saving a little more and buying a GTO (if you do not know what a GTO was - go to Google).

That is it for now - I hope this blog is of interest - it has been fun for me.

Till the next time.

PAUL

Crashing.

Thursday, February 18, 2010 by Jessica Di Santo

Crash, crashed, crashing. I've done a lot of it.

My car. Cymbals. A party or two. At a friend's house. After an 16-hour workday. My computer. A diet.

But I've never crashed a wedding.

These guys have -- or so to speak.

Tonight's Stella Artois Happy Hour at the Symphony, headlined with "Look Who's Crashing the Marriage of Figaro" features the ISO's new resident ensemble, Time for Three. The string trio performs a pretty diverse set list tonight--from Mozart and Bartok to Bernstein and even Imogen Heap--and includes many of its own tunes from the newly released CD 3 Fervent Travelers.

They haven't just crashed the Marriage of Figaro--they've crashed our party. So, what did you think? Review it by submitting your comments!

Minor Fall, Major Lift

Wednesday, February 17, 2010 by Eric Learned

A few months ago during a marketing and communications meeting for the ISO, the VP of marketing was recalling the previous night’s performance in which Chris Botti played with the orchestra, and closed the night with an instrumental take on Leonard Cohen’s Hallelujah. It wasn’t until this discussion that I realized that Leonard Cohen wrote the song. I was only familiar with Jeff Buckley’s fragile and heart-wrenching version. Since it fit Buckley so well, I never questioned whether he wrote it. When you consider yourself a popular music aficionado, as I do, and you discover a jewel that somehow you were not, or only marginally aware of, it’s almost embarrassing. So I did what I assume others like me would do, I scrambled to immerse myself in it so that I can move forward as if I’d known everything about the song all along. Now I’ve heard several other musicians perform it. And I’ve read up on some of the references and imagery. I have even more love and respect for the song, it’s a truly brilliant combination of poetry and music.

It was almost serendipitous that in my period of obsession that ISO’s artists in residence, Time for Three (www.isotf3.org), recorded a fantastically-haunting version on their Three Fervent Travelers LP, and KD Lang sang her powerfully-beautiful version during the opening ceremonies in Vancouver last Friday night. I was in awe. At first I questioned the song’s appropriateness for such an event, but now I see it was perfect. All the elements had to and did come together perfectly; the event, the production, the song, the performer, and it was all staged in front of the thousands on hand and the millions tuning in.

iTunes is a blessing and a curse. I thought about writing KD Lang a fan letter, but I bought two of her albums that night instead. I was blown away by her performance of Hallelujah. Her vocal range opened the song up, made it even bigger than I’d yet heard it, and her stage presence and confidence were beyond inspiring. It left me wondering, do other people feel as strongly as I do, or is it just the coincidence of my overlapping obsession that made my reaction so strong?

Introducing myself

Wednesday, February 17, 2010 by Dinah Montgomery

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!

A Lot to Learn

Saturday, February 13, 2010 by Brian Smith

Have you ever had one of those days when you wonder where the time went? Well, that happened to me today. I was in my practice room looking over the music I have to prepare for a number of upcoming concerts, which is fairly substantial, and felt a sudden panic. Staring back at me from my stand are symphonies of Beethoven, Prokofiev, and Shostakovich, and concertos of Rachmaninoff, Stravinsky, and Tchaikovsky. All of which are to be performed with the ISO in next few weeks. When you add in my regular practice regime and a looming recital on the horizon, that is a lot of notes to learn in a short amount of time.

But you know what. That's just the way I like it. Before joining the ISO's bass section a year and a half ago, I worked primarily as a freelance musician where you mix and match your schedule to perform with various orchestras on an as needed basis. This also allows for one to take a week off to catch up if you want. For this reason one of the biggest adjustments for me, but one I was happy to make, has been performing a different program every week we are on stage. That means a lot more work at home to be ready to go for the next week's show, but I really enjoy the challenge of staying sharp and learning a large amount of repertoire regularly.

I remember when I was in school marveling at the number of projects many of the teachers would take on at the same time. Many had orchestra jobs, chamber music groups, or other pet projects that required as much or more time as their teaching position. I once asked such a teacher how he managed to get everything done and do it at a high level. His answer was simple and poignant, as most truths tend to be. He said, "I love what I do, but I won't be able to do it forever. I want to bust my hump to be as good as I can be for as long as I can be, so I don't wonder 'what if' later." I like that answer a lot.

Classical musicians train for years, many beginning as children, to be able to perform the masterworks of Bach, Beethoven and the rest. I for one feel very fortunate to be able to present them from week to week with the ISO, even if it does require a little more prep time. Now if you will excuse me, I have to go practice.

Congratulations Betty! Inspire 2010: Power of Mentoring Awards

Friday, February 12, 2010 by Carol Baker

Congratulations Betty!!

Betty Perry, ISO staff member and music director of the Metropolitan Youth Orchestra, is a finalist for the Inspire 2010: Power of Mentoring Awards to be presented by College Mentors for Kids, Inc. on February 24^that 11:30am at the Indiana Roof Ballroom. She was nominated by Donna Proctor at Marian University.

This "Mentor of Excellence" award is presented annually to individuals who have dedicated themselves to mentoring and inspiring excellence.

About MYO: The Metropolitan Youth Orchestra is a youth and family development program that uses string music instruction to reach inner city youth in a unique after-school setting. The MYO model offers positive use of free time; sequential, structured learning activities; a process of learning to set personal goals and strinve for personal best; exposure to positive, caring adult role models; and healthy peer interaction. As a result, the high school strudents who participate and stay engaged in MYO have significantly higher graduation rates than their peers and matriculate to college. The program serves students in grades k-12.

While the program has been around since 1995, MYO has been a program of the Indianapolis Symphony Orchestra since July 2008. ISO Director of Education Carol Baker manages the program and Betty Perry is Music Director. There are 17 part-time teachers who support the program as well as a significant partnership with Butler Community Arts School.

Betty, we are proud of the work you have accomplished! Congratulations again!

We also thank the following extraordinary sponsors for making the MYO program a reality!

The Nina Mason Pulliam Charitable Trust
Shaw-Burckhardt-Brenner Foundation
Sheila Fortune Foundation
The Glick Fund, a fund of the Central Indiana Community Foundation
Back Home Again Foundation
Indianapolis Chapter of the Links, Inc.
The Indianapolis Foundation, a CICF affiliate
Rotary Foundation of Indianapolis
Christel DeHaan Family Foundation
The Arts Council of Indianapolis
Indiana Arts Commission
National Endowment of the Arts
American Recovery and Reinvestment Act 2009

Spending "J-term" at the Symphony

Tuesday, February 2, 2010 by Carol Baker

My name is Sarah and I attend Covenant Christian High School. Each year after Christmas break, students at my school participate in a two week experience called “J-term”, or two week internship. I love music and thought that the Indianapolis Symphony would be a great opportunity. For my two weeks, I was part of the Learning Community. There were many activities and projects that I participated in during these two weeks, like the Young People's Discovery Concert teacher workshops designed to help teachers prepare their students for concerts and assisting HR with paper filing. The teacher workshop was a brand new experience for me and I loved learning the different ways of presenting classical music to groups of elementary level students.

I was able to sit in on an ISO rehearsal and listen to the orchestra practice. Also, I attended a Happy Hour Concert planning meeting for the upcoming January event. It was interesting hearing all of the work that had been put into the event, and the work that still had to be done. Also, I was able to see the new promotional video for these concerts.

I attended a Coffee Concert and it was neat listening to the orchestra perform the songs that I heard them practice the day before. Also, before the Coffee Concert I served coffee and tea to patrons. It was fun and fascinating talking to the different people attending the concert. That ended my first week at the ISO, and I could not wait for the next week.

On Tuesday of my second week, I helped the HR department again with some filing. I saw more paper than I have ever seen in most of my life! It was interesting how many papers and documents go through this department.

This week I was able to eat lunch with Becky, the principal piccolo player in the orchestra. It was fun hearing some of her stories and talk about flutes! Then I said bye and continued with my work in the Learning Community - mainly creating a database of orchestra music for the Metropolitan Youth Orchestra program.

Next came Friday, my last day at the ISO. Today there was a Coffee Pops Concert that I was able to enjoy. I loved this concert and had a great time listening to it.

Well, that was my J-term experience at the ISO. I could not have hoped for a better internship. I learned many things about the business behind the orchestra on stage. I was also able to meet new people and get to know them better. I am glad that I had this opportunity to spend my two weeks with the ISO!

It's THEATER people!

Thursday, January 28, 2010 by Everyone's a Critic

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