Indianapolis Symphony Blog

THANK YOU, Guitar Center!!

Tuesday, June 8, 2010 by Carol Baker

So I got one of those calls that comes in every once in a while about someone wanting to make a sizable donation to an ISO education program, and you think, will this really come through? Maybe, maybe not. I want to play it cool and steady, but there's a part of me that gets really excited even though they may not pan out. =)

About 20 years ago I worked as a telemarketer for a regional theatre company selling subscriptions. It was difficult work, but I believed in the product - live theatre. My boss would tell me that a certain percentage of people who commit over the phone and tell you they'll send in a check, don't. Instead, I was encouraged to collect a credit card number on the spot to avoid the possibility of amnesia or minds changing.

A Maestro Open committee member had called me to say he made a contact with a guy at Guitar Center who said he may have some instruments to donate to the ISO. I called up Randy Jaunzemis, VP of Logistics with Guitar Center, that same day to follow up on the lead and in fact, Randy told me that he had some instruments, but didn't know what kind or how many instruments he would have. He then said he would call me when they came in from Maryland.

Some time passed and I got that call, so I drove to the big Guitar Center distribution center in Brownsburg and walked in to a conference room filled with string instruments. Wow! Some needed repairs, but many were ready to be placed in the hands of a child. At that time Randy couldn't commit to which instruments would be coming our way because he had some schools coming by for a look later that week. He did allow me to take one full sized violin with me that day to hand over to one of our Metropolitan Youth Orchestra students still using an instrument too small for the growing boy. I was ecstatic! If we ended up with just the one, that OK, but maybe he might have 5 instruments out the many he had in that room for us? We had to wait and find out.

That next week, Randy and his colleagues dropped off the instruments at Symphony Centre. It was a TRUCK LOAD!! We had a concert about a week later and I asked some of the parents to help me catalog the generous gift - 26 instruments in all (roughly $11,000 worth!)

“When one of my contacts put me in touch with the orchestra, I was surprised by the excitement and need for the instruments,” said Jaunzemis. “Putting instruments in the hands of aspiring musicians fits perfectly with our company anthem, ‘we help people make music.’”

Thank you to Guitar Center, Inc. and Randy Jaunzemis for their generous donation to the Metropolitan Youth Orchestra program of the Indianapolis Symphony Orchestra. This youth and family development program uses string instruction to reach inner city youth and many students have no means to acquire an instrument. Their gifts will be well used!

THE METROPOLITAN YOUTH ORCHESTRA

Founded in 1995 by Betty Perry and managed by the ISO since 2008, the MYO is the only youth orchestra in the city designed to serve socioeconomically challenged students in an urban setting and does not require an audition to participate. The program provides a safe, structured and positive learning environment for at-risk and underserved youth and their families; builds students’ musical skills through free and reduced-tuition music instruction; teaches them life skills and exposes them to nurturing adult role models; and encourages them to graduate high school. More than 150 socially, economically and racially diverse students in grades K-12 from area schools participate in the 35-week program.

The MYO program is also supported by the Nina Mason Pulliam Charitable Trust; National Endowment for the Arts; a Community Crime Prevention Grant; American Recovery and Reinvestment Act 2009; Christel DeHaan Family Foundation; The Indianapolis Foundation, a CICF affiliate; Back Home Again Foundation; Indianapolis Chapter of the Links, Inc.; The Glick Fund, a fund of Central Indiana Community Foundation; Shaw-Burckhardt-Brenner Foundation; Sheila Fortune Foundation; The Rotary Foundation of Indianapolis; and Stewart & Irwin P.C.

Running in a Circle

Tuesday, June 8, 2010 by Jessica Di Santo

Ben Luttrull is an intern with the ISO this summer and is working on the Symphony's Circle the City for the Symphony event in August. I've turned my blog over to him to talk about this important fundraising event for the ISO.

When I first found out I was going to be an intern with the ISO this summer, I started mentally racing through what my first assignment was going to be. I’d like to say I was prepared for the 35,000-plus people at the Mini-Marathon Expo, but I had sadly focused on more impersonal, computer-centric tasks. I’m a PR student, so it should be expected of me to relate to the public, but I will admit that the Expo served as the largest public I’ve ever had to relate to.

My main charge at the Orchestra booth was to begin the push for the 2010 Circle the City, presented this year by Finish Line. It fit perfectly – many local runners stopped by the booth wondering about that night’s Happy Hour or what the Symphony on the Prairie schedule was (and I am definitely glad I did my homework beforehand). But they also lit up when they learned about a race for the Orchestra!

I’ll be using these posts to show what it takes to orchestrate (Ha!) an event like Circle the City for the Symphony, as well as pass along details and updates as the day closes in. We are precisely two months away from the starting line!

Registration is available at the Hilbert Circle Theater Box Office or online here.

Reflections on this week

Thursday, June 3, 2010 by Sean Newhouse

I’m thrilled to this week have the privilege of making my debut on the ISO’s classical subscription series, as I approach the end of my tenure here in Indy. Most of the concerts I’ve conducted over my two seasons here have been on one rehearsal, and the musicians of the ISO are such pros that they can put together a good show on that kind of short schedule. But without being too presumptuous, what I think the ISO players and I both live for is the chance to really delve into the details of the music, and refine the performance to the highest level possible – which is what we get the chance to do in a week like this one, where we have a full set of five rehearsals - and thus why I'm particular excited about this weekend's concerts!

This week’s program is both fulfilling and challenging in its variety, with a more recent composition by a living composer, Ke-Chia Chen, a host of different works for solo violin and orchestra, and Strauss’ Don Juan. It occurs to me that while these works span over 150 years of musical history, they do have a common thread – all these pieces present different perspectives on romanticism. Take Ke-Chia Chen’s piece, Broken Crystal, for example, written just a few years ago – it deals quite literally with a romantic subject, in that the crystal of the title is a metaphor for the human heart. You can hear these intimate feelings evoked in the passionate, sweeping melodies, as well as in the raw heartache expressed in the final section.

One other subject that this kind of varied program has focused me on is the conductor’s role as the unifier of diverse creative forces, one of the great rewards and challenges of the art. For example, with a very new piece by a very young composer, like we have in Broken Crystal, my job is to try to internalize the musical language and musical logic of the piece *without* the benefit of a large canon of other works by the same composer to give me context, or even long familiarity with the work itself – and then to communicate that to the orchestral players, who are also new to this music, in such a way that together we can make the composer’s vision real for the audience. With works for soloist and orchestra, like we have with our two fantastic violinists this week, Bella Hristova and Augustin Hadelich, my ideal is to understand their interpretation so intimately that I’m on a virtually telepathic wavelength with them during the performance, constantly adjusting in the moment to their musical impulses and framing them in the best possible light. And with a warhorse of the repertoire like Strauss’ Don Juan, I’m attempting to serve the composer’s vision of the piece while simultaneously giving it my personal stamp and honoring the fantastic musicianship and solo contributions of the ISO players.

Samuel Barber - Words and Music

Tuesday, June 1, 2010 by Candi Berry

A big advantage to music is the share-ability factor. Of course this applies to books and movies as well, two of my other great loves. Many of us are passionate about these avenues of expression and enjoy lending out our collections to friends and colleagues. In the past few months, several composers have come up in conversation, Camille Saint-Saens, Jean-Philippe Rameau and Samuel Barber to name a few. Of these, I delved into Samuel Barber pieces after a colleague lent me the second movement of his Violin Concerto. From the moment I began listening, the soulful melody pulled at my heart and became an instant favorite. I've listened to it many times and I'm looking forward to hearing it played this weekend in our Hall.

After sharing my thoughts with another colleague about the Violin Concerto, I was lent Knoxville: Summer of 1915 which sets music to a short story by James Agee. The story was subsequently added to a book, A Death in the Family, winning the author a Pulitzer Prize for Fiction posthumously. Barber was said to have identified with the piece, both he and the author were five years old in 1915. Barber also related to Agee's memories, the author's father died in 1916 and Barber' s own father's health was rapidly deteriorating as he composed this work. It's a special treat for me when music and literature intercede. I requested Agee's book from the library and will begin reading it next week. I've listened to the piece many times and look forward to comparing Barber's musical composition with Agee's words.

In researching further, I borrowed an audio CD from the library entitled Prayers of Kierkegaard. I haven't read Kierkegaard's work, however I'm familiar with Socrates whom Kierkegaard studied. Again, I was fascinated by Barber's choice to compose based on his interpretation of written word. Barber studied Kierkegaard's work for over a decade. The piece is divided into four parts, each representing a different prayer. Barber was quoted as saying about the piece, "The truth he sought after was a truth for me, one that demanded sacrifice and personal response." I can relate to his quest to find meaning in life experiences and admire his ability to interpret similarities between his and the philosopher's point of view.

In closing, I would like to thank my friends and colleagues for continually sharing recommendations and recordings with me. I'm going to further my knowledge of the greats Brahms, Beethoven and Mozart this summer in addition to attending many concerts at Symphony on the Prairie.

Resurrecting Mahler's Second Symphony

Friday, May 14, 2010 by Zack French

James Joyce once said that if the town of Dublin were ever erased from the planet, it could be rebuilt brick by brick from the detailed descriptions in his own novel Ulysses. Conceivably he was not talking about structural designs or the type of brick and mortar that formed its walls, but in a word, its essence. It is that which is unsaid, unspeakable, and indescribable, and many artists struggle to capture the spirit of their inspiration. Few artists actually attain this goal, though perhaps its comprehensibility is left up to the listener, reader or viewer to make that judgment. For me, Mahler’s Second Symphony is the culmination of so many emotions: ferocity – serenity – chaos – cynicism – peace – the sublime. It portrays the unspoken possibility of existence after death and seems to create its own philosophy within its ninety-minute span.

The term "Resurrection" is taken from the title of a hymn by German poet Friedrich Klopstock, the first eight lines of which Mahler uses in the final movement of this symphony. Mahler was inspired to use this hymn while attending the funeral of friend and fellow conductor Hans von Bülow in 1894. In addition to Klopstock’s lines, Mahler added a few of his own, too.

As any biographer of Mahler will tell you, Mahler was conflicted throughout his life regarding his religious views. Raised in a Judaic household in what is now Jihlava, a small village in modern-day Czech Republic, he later converted to Catholicism, but only as a means to an end: to become conductor of the Vienna State Opera in 1897. Even though Mahler wrote Christian-based music in his Second, Third, Fourth and Eighth Symphonies, Mahler never denied his Jewish upbringing; instead he embraced it and incorporated klezmer-style fragments into them as well.

In Mahler’s mind (and perhaps for many of us), death is the ultimate unknown, and he seems to use this symphony as his idealistic journey to a religious awakening. From the first movement funeral march (a Totenfeier, or Death Celebration), the soul witnesses many different realms in both life and death throughout the symphony. The second movement, based on the joyous German waltz-like ländler, is more tender and contemplative; perhaps remembering the gentle (and not so gentle) moments of earthly life. The third movement, based on Mahler’s own song Des Antonius von Padua Fischpredigt (St. Anthony of Padua’s Sermon to the Fish) recalls those in life who remain brainless despite council from those who offer wise encouragement. In the fourth movement (the first time a voice is heard in any of Mahler’s symphonies), we hear an individual who pines for a more heavenly existence.

The fifth movement alone culminates the essence of the symphony for me. If I were ever stranded on an island, this would be the music I would take with me. Its triumphant, regal and heart-stopping drama somehow speaks to me. You will hear off-stage horn calls throughout the movement, announcing the arrival of a seemingly unearthly power. The climax of the movement, beginning around the fifteen minute mark, is first heralded by a soft two-note trombone "sigh" (foreshadowing the mezzo soprano’s plaintive cry O glaube – or I believe – later in the movement) and dramatically builds energy, complete with off-stage brass band, rumbling timpani, triple-tongued figures in the horns and screaming piccolos until the entire orchestra explodes into its grandest and most powerful registers for the ultimate apocalyptic climax. And just as suddenly as it all began, it abruptly pauses – causing every heart in the auditorium to stop simultaneously. The sound of that silence is captivating, and is one of few moments in music that lifts me up and breaks me down at the same time. Mahler excels at this. He captures the essence of life, religion, nature and human emotion in his music so remarkably well that he brings the listener one step closer to illumination.

Enjoy this symphony – revel in every movement. Close your eyes and listen for Mahler’s voice to speak. I’ve been listening to this symphony for years, and I promise you it’s there.

Personally, I owe tremendous gratitude to the artists that will work together to create this memorable weekend on May 21-22, 2010: Juanjo Mena, conductor; Karina Gauvin, Soprano; Susanne Mentzer, mezzo-soprano; the Indianapolis Symphonic Choir led by Dr. Eric Stark, and most importantly to former Music Director Mario Venzago, whose idea it was to program this glorious work again after 23 years. Vielen Dank, Maestro.

(This blog is dedicated to my graduate professor Bruce Bellingham [1938-2010] from the University of Connecticut, who taught me how to listen to Mahler’s music not just as a musician, but as a human being.)

Indy in May

Monday, May 10, 2010 by Jessica Di Santo

The month of May in Indianapolis...what can I say. Thousands of gearheads, casual fans and a slew of out-of-towners descend upon our city for the greatest spectacle in racing.

And so do the journalists.

It's the media folk who interest me the most. I especially enjoy those who have never been to Indianapolis before. Or the ones who haven't been here in 10-20 years. After touring Indy, they usually say to me:   "I had no idea Indy had culture."

[Yes, we aren't just hoops, open-wheel racing and a Super Bowl team Mr. Broadcaster.]

I had the chance to make this point last weekend on "Rudy Maxa's World"--an hour-long radio call-in show on the CBS all-talk station in Los Angeles. Rudy's show is broadcast on more than 95 stations coast to coast every Saturday morning. This time, he hosted his show from the Indianapolis 500 racetrack.

Before my interview, Rudy (middle) and his co-host Chris (in the pink) had a lineup of interviews with all sorts of city representatives.  Racing was definitely a hot topic. When my turn arrived, I was there to tell his listeners that Indy had some more to add to the sports formula.

So the next question for me was..."What does Indy offer by way of arts and culture?"

[Gimme that microphone]

Of course, I started with the finest musical traditions in this city, Marsh Symphony on the Prairie.

And the ISO, one of only 17 full-time orchestras in the country...

And the IMA, the fifth largest general art museum in the nation.

And the Indiana Repertory Theatre, the very best in professional theatre.

And my daughters would hate me if I forgot the Indianapolis Zoo, with its renowned Dolphin Pavilion and animal conservation efforts.

Oh, and White River State Park, home to the Central Canal, Eiteljorg Museum, Indiana State Museum, NCAA Hall of Champions and public sculpture.

And...

I ran out of time.  A 15-min. radio interview goes too fast.  I needed an hour to get through what Indy's cultural community has to offer. I'll pick up where I left off for next year's radio show (Hey Rudy...would love an invitation to return).

Spotlight 2010

Monday, May 10, 2010 by Jessica Di Santo

For 16 years, Indianapolis' arts institutions have come together for one night and staged an incredible concert experience -- all for the benefit of the Indiana AIDS Fund.

Held at Clowes Memorial Hall on the campus of Butler University, the event is called "Spotlight Indianapolis." And it's the one place where you can see and experience the cultural side of Indy.

The Indianapolis Symphony Orchestra has been a part of this great tradition for many years. Tonight, 21 ISO musicians have volunteered to open Spotlight Indianapolis with Mascagni's "Intermezzo" from Cavalleria Rusticana.

Other performers include: Actors Theatre of Indiana, Asia LaBouche of "The Ladies of Legend at Talbott Street," Brenda Williams and the Pride of Indy Jazz Band, Dance Kaleidoscope, Gregory Hancock Dance Theatre, Indiana Repertory Theatre, Indianapolis Chamber Orchestra, Indianapolis Children's Choir, Indianapolis Civic Theatre, Indianapolis Opera, Indianapolis Men's Chorus, Kenyetta Dance Company, Meridian Song Project, Phoenix Theatre, (Re)Collective Dance Company, and Tasha Jones, Poet.

Tickets for general seating are just $15. Don't miss Spotlight Indianapolis 2010!

what the heck was I playing last night and La Scala

Tuesday, May 4, 2010 by Paul Berns

Hi All:

Got an email from Rita Steinberg's husband - Rita is a key member of our terrific Development Department. Larry wanted to know what I was "bowing" during the concert last weekend.

I was using a cello bow on crotales (antique cymbals) - they are tiny metal disks and pitched just like 2 octaves on a piano. They are hard to play because, though mounted on a metal rod, they can spin. I guess you need to be a percussionist to understand that part of the difficulty.

Friday and Saturday's concerts were wonderful - variety and a world-class young cellist and conductor. Our audiences went crazy with enthusiasm and they were of ALL ages!!!

Members of the orchestra exceeded all expectations. The ISO's Principal Guest Concertmaster Alexander Kerr is nothing short of world class. You will never hear a better orchestral solo anywhere in the world (guaranteed). Of course, if Zach was in town, his performance would have been equally as good. Solos by Karen Moratz (Principal Flute), John Wetherill (Principal Bassoon), Marvin (we call him Chappy) Perry on trumpet, Blake Schlabach (trombone - his solo filled the hall with sound), Craig Hetrick (great snare drum chops), Diane Evans (our harp angel), Roger Roe (Acting Principal Oboe), David Bellman (Principal Clarinet), Rob Danforth (Principal Horn) and one must praise Perry Scott (Acting Principal Cello) for his wonderful solos.

What does the ISO and La Scala opera house in Italy have in common??? The percussionist I replaced (had studied with my teacher, Vic Firth) Mike Quinn went from Indianapolis to perform in the Munich Symphony and then to co-principal timpani in the La Scala orchestra - one of the great orchestras and opera houses of the world.

The orchestra is getting excited to hear Jim Beckel's new composition for our 5 member french horn section. Preview it here!

And Donna (on a personal note) is getting excited about the Michael Jackson tribute at Marsh Symphony on the Prairie this summer. Reserve your tables now!!!!!!

Here is a "List of 10" as requested by our Vice President and General Manager Tom Ramsey at a recent orchestra meeting (this will be a surprise for Tom):

10 things Tom knows, probably, everything about.

1. Heating and Air conditioning units in a large concert hall
2. Acoustics in a concert hall
3. Stage platforms (risers)
4. Timpani heads - calf
5. Managing annual reviews
6. Reading financial spreadsheets - that sounds like fun
7. Renting office space
8. Hiring staff & conductors
9. Mechanics of every instrument in the orchestra - makes and technical issues
10.The shell at Symphony on the Prairie

Also, 10 more cities the ISO has performed.

1. Little Rock, Arkansas (I do not think President Clinton attended)
2. Numerous locations on Long Island
3. Winona, Minnesota
4. La Crosse, Wisconsin
5. Utica, N.Y.
6. Barcelona, Spain
7. Birmingham, England - (the former princ. percussionist of the ISO plays there)
8. Geneva, Switzerland (talk about a beautiful lake)
9. Goshen, Indiana
10. Ft. Wayne, Indiana

bye for now - if you have questions just ask!!!

Paul

Last chance to "Sound Off" this season!

Friday, April 30, 2010 by Sean Newhouse

Time flies when you’re having fun, and so we’ve come to the last Symphonic Hits series performances of the ISO season – which also means our last Sound Off preconcert events of the season (hosted by yours truly, as usual). Friday and Saturday’s performances are led by guest conductor Jun Märkl, and feature Brahms’ Symphony No. 2 along with two virtuosic works for piano and orchestra: Liszt’s Piano Concerto No. 2, and Saint-Säens’ Africa, with piano soloist Marc-André Hamelin. I’ll be hosting Sound Off one hour before each concert - I hope you can join us!

One of the things I’ll be talking about at Sound Off this week is the connection between Brahms’ Symphony No. 2 and a motet for mixed choir that he wrote during the same period: Warum ist das Licht gegeben dem Mühseligen? (Why is the light given to those who suffer?) Brahms wrote a letter that indicates that the feelings expressed in the motet are similar to the darker shadows that appear in the otherwise largely sunny mood of his Symphony No. 2. Here’s a nice performance of the motet by the Prelude Choir Budapest:

Here’s the beginning of a fine performance of the symphony by Claudio Abbado and the Berlin Philharmonic (this particular clip contains the first part of the first movement).

Here are the two works on the first half of the program. First, Yefim Bronfman playing the Liszt 2nd Concerto, with Valery Gergiev conducting the Mariinsky Theater Orchestra. The special bonus on this one is the chance to see Gergiev conducting with a toothpick for a baton (literally!). And don't ask me why he does that - it's a mystery to me too :-)

And finally, here’s Africa, by Camille Saint-Säens – a piece so infrequently played these days that I couldn’t even find a professional-level performance video on YouTube. But here’s a fine performance with audio only (performers unknown, unfortunately):

See you at the Symphony!

Raymond - what is he up to!

Thursday, April 15, 2010 by Paul Berns

Hi All:

Well, guess who just called me! Yes, Maestro Raymond Leppard - he sounded terrific. And what did we discuss:

'spring coils & metal springs'

Raymond was looking at a score that called for this unusual percussion instrument. I am reminded of the time I went to a great friend of the orchestra, the late Mickey Maurer, who at the time owned Wreck's -- We Meet by Accident. I walked his acreage with a metal hammer and found three automobile coil (thingies) that actually vibrated and sounded pretty good. Mickey gave them to the ISO - I should have had him sign them - may he rest in peace.

So, years ago at Tanglewood a modern work called for this "boing sound'." I (my first visit to a auto salvage yard) went into the Berkshire Mts. and found four brakedrums (graduated sounds from high to low) and a couple of auto spring coils. I went back to Tanglewood Buildings and Grounds - they used a lift and we trucked a giant tree stump to the administration building. I mounted the "coils" on the stump. I went inside and brought out the famous composer conductor Gunther Schuller (I started his son George - a NYC drumset artist on drum lessons-had to get that in). I went up to the two mounted coils (looked like My Friend the Martian) - struck them with hammers. Gunther and I laughed so hard there were tears.

Wonderful hearing from Raymond! We are so blessed by having him live in our community.

You see - if there is a modern or contemporary composition on a concert - all the more reason to go to it. Because you never know what our PERCUSSION SECTION is going to be up to.

By the way - I will answer the question on how one becomes or trains to become an orchestra librarian soon.

Next year's season even has a talented 8th grade percussion student of mine (Maddi) excited. I hope you are. Many on our artistic staff have spent hours for over a year putting it all together.

That is it for now - as I write this the orchestra is preparing for tomorrow night (at 7:30) and Saturday nights concert. Hope you will be there!

Bye for now!

Paul

Orchestra Librarians - the answer - the Jim Beckel premier

Wednesday, April 14, 2010 by Paul Berns

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

Joseph M.W. Turner's "The Regatta Beating to Windward"

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.

Springing Forward

Monday, April 12, 2010 by Brian Smith

Now that the calendar has turned to April and the gray, cold days of winter are gone for a while, signs of brighter days are appearing everywhere. Winter coats hung in the closet, new buds on trees, and enjoying the great outdoors are all signs of the rejuvenation that comes with spring.

Maybe the weather had something to do with the renewed sense of energy on stage at the theater this past weekend. After a well deserved week of vacation, the orchestra welcomed Mark Wigglesworth back the podium for a concert featuring Rachmaninoff's second symphony and the first concerto for piano and orchestra by Beethoven (performed by Adam Golka). Now often after a week off, when practicing for the next show isn't always high on anyone's priority list, it can take a little time to get back into the swing of things. I am very happy to report that this was not a problem for us this time around.

As many of you probably are aware, we are in the midst of a search for our next music director at the ISO. This being the case, many of us are watching very carefully to see what each guest conductor brings to the table, gauging our interest in working with him or her again, and vice versa. While I can't speak for my colleagues, I found that we responded quickly and very positively to maestro Wigglesworth's style of conducting.

Very often conductors try to control every part of the musical presentation when they stand before an orchestra. For example, they might demand exact and unwavering ideas about phrasing and articulation choices, leaving no room for the musicians to add their own individuality to the mix. While some parameters must be set by the conductor (tempo, dynamic balancing, some general style points), the real masters of the craft understand that music making is a collaboration, and therefore some room for interpretation must be given to the players in the orchestra.

A good example of this give and take from this past weekend could be heard during the gorgeous and dramatic clarinet solo, played beautifully by our own David Bellman, in the slow movement of the second symphony. Wigglesworth helped to create a lush and tender backdrop for David to play above, taking the appropriate steps during rehearsals to do so, but never gave any specifics about how the solo should be played. The result was spectacular as I am sure all those who heard it live would agree.

Another enjoyable part of the week's rehearsals for me took place after the first read-through of the Beethoven, which begins with an extended introduction played by the orchestra before the piano solo enters. During the first reading of the introduction, the orchestra's dynamic contrast, or the difference between the loud and soft sections, wasn't great enough for the maestro. He spent several minutes working on just that one detail, as it is a prevailing theme in the piece. I was stuck not only by the effectiveness of the change, but also at the effect it seemed to have on the stylistic phrasing the orchestra produced as a result. We began to feel the shape and lilt of the music better as an ensemble. Again a result of collaboration as opposed to dictation from the podium.

The concerts were full of great energy and musical cohesion. I hope many more weeks like this one are to come for all of us. And I look forward to working with Mr. Wigglesworth again soon.

Sound Off in April!

Sunday, April 11, 2010 by Sean Newhouse

Greetings all! Sound Off, the preconcert event that I host, returns to its usual time (6:30PM) for this Friday and Saturday night’s concerts in the ISO’s Symphonic Hits series. This week’s program presents a wonderful variety of music led by guest conductor Krzysztof Urbanski: Lutoslawski’s Little Suite, Mozart’s Piano Concerto No. 23, featuring pianist Dejan Lazic, and Dvorak’s beloved Symphony No. 9, “From the New World.”

As usual, at Sound Off this week, we’ll talk some about the music on the program, take your questions, and chat with a couple of ISO musicians, going “backstage” to find about life as a performer. We invite you to also submit in advance your burning questions about orchestral music and the ISO, for the segment I call "The Audience Wants to Know." You can submit them by commenting on this blog or our Facebook page.

The Dvorak and Mozart are staples of the orchestral repertoire, but I’m particularly excited for Indianapolis audiences to discover the first work on the program, Lutoslawski’s Little Suite, which the ISO has never performed before. (And I will confess that I’m also excited to discover it myself, as I’ve never heard it live either!) This is a work that, despite having been written under some artistically restrictive and repressive conditions (I’ll talk a bit about this at Sound Off), displays remarkable ingenuity and charm, molding actual folk melodies into a very convincing 10-minute suite. There are no recordings of it on YouTube, so I thought I would pique your interest with another work that seems to me in a similar folk-inspired spirit (although this one does not quote any actual folk tunes): Bartok’s Dance Suite.

Mozart’s Piano Concerto No. 23 is one of the brightest jewels in his consistently brilliant set of such works. Here is a very fine performance by Zoltan Kocsis, with Jirí Behlohlávek and the Virtuosi di Praga.

For Dvorak’s legendary Symphony No. 9, “From the New World,” I turned up several interesting things on YouTube. First is a wonderfully creative transcription for solo guitar by the guitarist Jorge Caballero, also performing here:

The Chicago Symphony does a concert series called Beyond the Score, where they break down major works in detail, examining them both in historical context and musical content. They’ve made available on YouTube the complete video of their Beyond the Score program on Dvorak’s Symphony No. 9. Here is Part I, and the remainder is also easily found on YouTube.

Finally, here is a fantastic performance by Claudio Abbado and the Berlin Philharmonic of the last movement of the symphony. (This is only the first part, but the remainder is also available on YouTube).

See you at the Symphony!

From Spirit Squad to Live Entertainment

Friday, April 9, 2010 by Jessica Di Santo

Daniel Spilsbury ("DJ") works as an intern in the marketing & communications department at the ISO. DJ just finished following the Butler University basketball team on their journey to the championship game. Why? DJ is a proud member of the pep band! Here's his story.

Of all the things I could brag about, the one I enjoy the most is the fact I got paid to go every step of the way along the NCAA tournament with the Butler basketball team. For four years I’ve supported Butler basketball as a member of the pep band. The whirlwind excitement swept us all up as we made our journey from San Jose to Salt Lake City to our very home Indianapolis.

On the outset of the tournament the band and cheerleaders provided a large support system for the team. Being a couple of thousand miles from home and being from a small school tends to do that. Our music and cheers always energized the crowd that was cheering for us, in a way that music played over the PA never seemed to do. I also think our support may have provided a small comfort for the team, a small section always cheering for them even in the toughest of times.

As the team progressed the number of Butler fans grew and the team gained a certain noticeable fame. Our jobs quickly turned from spirit squad to live entertainment. We kept cheering, but the focus of our music changed from “support the team” to “keep the audience entertained while the game was on pause.”

When the Final Four games rolled around this became very important. We’d made it pretty far, but the teams we faced were tough. People were on the edge of their seats during most of the game. And when the time outs were called it was nerve wracking. The pep band broke a lot of the tension with some real fun tunes like “Crazy Little Thing Called Love.” We also gave fans heart with the “Butler War Song” and the R-U-a bulldog chant.

I think the fans would not be able to completely enjoy any game without some form of music on their side. PA music just lacks the life and excitement of a live band. It can’t choose songs to play based on how either team is doing. It can’t bring a crowd to cheer for their team. But as a band, we can support the team, the fans, and represent Butler as a whole. And we would not be anywhere without the basketball team or the Butler Way.

Go Dawgs!

Pressure on our library

Saturday, April 3, 2010 by Paul Berns

Hi All:

Few in our audience know about the ISO world class library head by Principal Librarian Mike Runyan (plus his colleagues Dave Gruender, Susan Grymonpre, and Laura Cones - and a wonderful volunteer!). If you believe this to be a "large" department - you are wrong. They really churn out the work!

For instance in a given week we may perform: 2 Discovery concerts for school children, 1 Happy Hour concert, and 3 Classical Series Concerts. So, that makes 3 folders of music. When music is delivered from the publisher rental houses, it does not simply go into the musician folders. Next steps: string bowings need to take place, then circulation of the parts to principal strings and principal percussionist and to our Principal Harp, Diane Evans, so she can figure out pedalings and clean up her parts. Practice parts made available. Updating the programs with correct dates, spellings. Information on needed equipment to our stagehands. Planning for the next couple of seasons - AND CHANGES. An ill artist, the wrong edition arrives. I have seen a missing part arrive by fax in 5 minutes from another orchestra to save the day.

Pops series weeks - yikes. Many of these weekends consist of world premier arrangements and a show never before performed. They are really busy. Actually I would love for one of our librarians to make comment and go into more detail.

But, here is their challenge. Many times during a season we perform a Richard Hayman arrangement of Indiana fight songs. If I remember correctly: IU, Purdue, Notre Dame, and I am forgetting one. But, I know the Butler Fight Song is not included. And so, our library is now on notice that in the future Butler is just going to have to be included. (chuckle)

Hey folks - I am not sure if you are interested but on 4/19 the ISO Side-by-Side concert takes place with so many talented auditioned high school students given the opportunity to perform next to members of the orchestra. It makes for an exciting, never to be forgotten, evening. Come on down and bring your musical kids, cousins and neighbors. It will inspire them to practice.

That is it for now. Looking forward to the games tonight and after my full day at the University of Indianapolis (my students better have practiced) on Monday the championship game.

Ruby Red Slippers

Sunday, March 28, 2010 by Paul Berns

EDITOR'S UPDATE (as of April 2, 2010): Due to an arm injury, Leila Josefowicz is unable to perform in concerts next weekend. Pianist Adam Golka will replace Leila and perform Beethoven's First Piano Concerto.

Hi:

So on Saturday night my daughter visited from Steamboat Springs, Colorado and points out to me some little ones in the lobby dressed up and wearing Ruby Red Slippers alla Judy Garland in our wonderful pops concert using the full Wizard of Oz movie. Cute as can be. Kids of all ages have enjoyed the pops weekend. And on Sunday, our management wisely chose to change our usual Sunday 7pm concert and make it an afternoon matinee - sounds like our Marketing Department hard at work. What a wonderful time for our family audience.

Next week the ISO does not perform. Proud to say my 7(8) piece band is performing at the Hilbert Circle Theatre for a NCAA Final Four Salute. We will be playing the fight songs for all the Final Four teams (go Dawgs) and we will be talking to the band directors from Butler, W. Virginia and the other two finalists. Just like the Academy Awards: "and now ladies and gentlemen, let's hear it for sports commentator Jim Nance," we play walk-on music and fade out, etc. ISO percussionist Craig Hetrick and Mark Ortwein will be with me for this epic. Many of my ISO colleagues enjoy music of all styles: contemporary chamber music, solo opportunities, jazz, and rock. We have an accomplished organist (Bob Goodlett) - you name it. Actually among our staff we also have singers, a trumpet player, a bassoonist, and, of course, business, marketing, arts administration specialists. And among our ushers........????

The orchestra is very much looking forward to performing under Maestro Mark Wigglesworth on April 9 and April 10. With world class violinist Leila Josefowicz (she looks as if she would blend into our Happy Hour audience!!) Imagine the music of Rachmaninoff and Shostakovich. I hope to see some of our Happy Hour audience at this concert. You will love it!! Actually our Symphony on the Prairie audience would really enjoy this concert too!

See you at the Symphony!

Premier Preview

Saturday, March 20, 2010 by Dinah Montgomery

On Tuesday, March 16, I got to attend a recital by our very own Rob Danforth and Julie Beckel Yager at DePauw University. They both played beautifully -- technically and musically! It is difficult enough to prepare all of the ISO parts every week, and then to take on a recital in addition is really commendable! After they each performed solos and then duets together, the other three members of the ISO horn section, Jerry Montgomery, Jill Boaz and Rick Graef, joined Rob and Julie for the premier performance of Jim Beckel's In the Mind's Eye, Images for Horns and Orchestra. This piece and the performance of it blew me away (figuratively speaking!)!! Jim explained beforehand that his inspirations were works of art -- how the artists created them and how the viewer perceives them. I love this concept! It usually seems to go in reverse, where we hear a piece of music and try to imagine colors or pictures that the music creates, or stories, which was the subject of our recent Discovery concerts for elementary school students. This recital at DePauw was a preview of the ISO Classical Series concerts at Hilbert Circle Theatre on May 14 and 15, where the ISO horn section will perform the World Premier of In the Mind's Eye with orchestral accompaniment. It's going to be so exciting!

Don't miss this opportunity to take a closer look at the extraordinary talents of these ISO members! Speaking of extraordinary talent, concertmaster Zach DePue is performing the Wieniawski Violin Concerto No. 2 on these same concerts! See you there!

The loss of a Master musician and our Pink Floyd Concert

Friday, March 19, 2010 by Paul Berns

Hi All:

Just returned home from a sold out Pink Floyd Tribute Band concert with the ISO. The light show was dazzling. And I believe the ISO received at least three standing ovations from the appreciative (of ALL) ages audience. Possibly you were there and will comment.

I loved the outfits worn by our audience. Walking in from the convenient parking garage I saw a couple that looked like they were dressed for a prom while many others were in jeans. One can always be comfortable at the Hilbert Circle Theatre.

My passion for this orchestra and music in general causes me to challenge those reading my blog that attended the Music of Pink Floyd concert. Have you ever attended one of our Classical Series concerts? Here is my suggestion for a night on the town.

For one of our 8pm Classical Series programs, begin with dinner at one of many wonderful downtown restaurants or at Dinner at the Symphony. These concerts have an intermission and you can have a drink and discuss the first half (possibly the world famous soloist or the intriguing music you just heard). By the way: I often see young couples in the audience dressed to kill - so to speak. What fun! (casual is ok also) After the concert head to a local bar for shots (maybe tequila, but please don't drink and drive). Or to a local jazz club. Indianapolis offers so much.

On a personal note a "Jazz Master" in town, pianist Claude Sifferlen, passed away this past week. Some of us in the orchestra know him from the Jazz Chatterbox Club on Mass. Ave. Claude and clarinet/sax giant Frank Glover performed on Tuesdays and Thursdays for 25 years at this bar. They would always be there playing at "the next level." Frank being much younger must have started playing with Claude at age 18 or 19. Claude was a beautiful human being. He will be missed. Through the years the ISO has had as featured soloists (with the orchestra, not as a single act) such greats as Buddy Rich and the Modern Jazz Quartet. When we think of Claude we put him at that level. Someone who could live in LA or NYC but we were fortunate he stayed home.

I am proud to say that among my colleagues over the years, and presently, we have that kind of talent in a classical style and our audiences recognize that. And so this week we play for thousands of school age kids during our Discovery Concerts and then next weekend, THE WIZARD OF OZ with Orchestra!

While shopping at the Mall across the street from Hilbert Circle Theatre, a salesman told me he was in the Indianapolis Symphonic Choir and they were rehearsing for Mahler's "Resurrection Symphony" in May. As a student at Miami University he recalled when the ISO performed this masterpiece with John Nelson conducting and Benita Valente singing. If you have never heard MAHLER - be there! I had the honor of performing this work with the Boston Symphony Orchestra and Leonard Bernstein conducting - and I was paid!!! I could discuss the rehearsals and performances for hours.

Bye for now.

HAPPY HOUR - MARCH 18 - A MUST!!!

Thursday, March 18, 2010 by Paul Berns

Hi All:

Musical moment alert. At 6:30 tonight for our Happy Hour Concert the ISO's talented bassoonist/doubler Mark Ortwein is a featured sax soloist in JOHN MAYER's "Slow Dancing in a Burning Room." I am telling you this is world class playing. What a cool piece and Mark's big sound is like "Hollywood or New York" recording studios. And our talented conductor's singing is unbelievable. I went out into the hall to hear him (not playing one of the tunes) -- just fantastic.

The orchestra shines in Beethoven/Brahms/Debussy/and Grieg - a little of this and a little of that.

Wow - what a concert.

Just a comment about Shostakovich 11 last week. A great concert and the orchestra played really well -- a very powerful piece. I hope you attended and heard some great moments: our entire viola section really highlighted the evening as did John Wetherill, Principal Bassoon, and the list goes on. This is ridiculous - I am not a music critic. English horn, etc. etc. - of course the timpani/percussion section (I'm blushing).

Now for those interested in where the ISO has performed, here is another list of 10.

10. St. Louis
  9. Utica, N.Y.
  8. Tipton, Indiana (fun concerts for us)
  7. Panama City, Florida
  6. You think I am running out of locations? Nope: Greenfield, Indiana
  5. Geneva, Switzerland (great Swiss Army Knives - we all bought them)
  4. Winona, Minnesota
  3. La Crosse, Wisconsin
  2. Walla Walla, Washington (before my time)
  1. Victory Field in Indianapolis - just had to throw that one in here

So, one time on tour a couple musicians missed the bus after a one hour lunch stop. They had to catch a plane and made the concert on time. I hear the plane left from Las Vegas. Have to find out where they flew tooooooooooooooo. $$$$ - their expense. Chuckle.

So, one time two or three ISO musicians went to New Castle and not Greencastle - the music director was not very happy. Yes, we are human.

Next installment - do members of the Indianapolis Symphony Orchestra - one of America's great orchestras - ever make a mistake on stage????? Do conductors ever make a mistake on stage???

I will only answer these questions if someone "comments" and asks me.

Bye for now. (I hear the Pink Floyd Concert Saturday has a few single seats available and stand-by tickets).

Nick Kendall Visits MYO

Tuesday, March 16, 2010 by Carol Baker

Nick Kendall of Time for Three visited the ISO's youth and family development program called the Metropolitan Youth Orchestra during rehearsals this month -making stops to see Orchestra C and D... What did he talk about?? Why, his improvisation, cross-over music and practicing!!!

Luckily, he didn't get out the door without jamming with our young musicians! Check out this unique video of Nick Kendall and the Orchestra D (our youngest students) performing a student favorite - the "Up and Down" song!!