All Good Things Must Come to an End

Tuesday, August 31, 2010 by Jessica Di Santo

Jessica Di SantoI can’t believe summer is almost over. I can’t believe Marsh Symphony on the Prairie is ending. But I do believe that we will see the 100,000th patron enter those Conner Prairie gates this weekend.

In 2009, we celebrated with Debra Fleetwood, as she was the lucky 100,000th patron to arrive.

If patron number 100,000 walks through our gates (we think on Thursday evening), it will be the third time in history that we have achieved that feat.  What helped bring us to this magic number? Amazing crowds at this year’s Fourth of July concerts, amazing crowds at the Classical Mystery Tour (Beatles) weekend, amazing acts like Marvin Hamlisch, the John Denver tribute band and the Duke Ellington Orchestra, amazing performances of Pictures at an Exhibition and Tchaikovsky’s Fifth by our own Indianapolis Symphony Orchestra, and amazing weather (only a handful of weather-related delays and one rainout—knock on wood for this weekend!).

Symphony on the Prairie is more than an attendance number. As we close out the series this weekend, I thought I would reflect upon some highlights this summer.

A debut and an adieu
On July 23 & 24, singer-songwriter Brandi Carlile debuted with the Indianapolis Symphony and performed many of her hits to a large crowd of adoring fans. After the concert, we said adieu to ISO Associate Conductor Sean Newhouse. Sean moved to the east coast and now serves as an assistant conductor with the Boston Symphony Orchestra. Bravo Sean!

Sean Newhouse

Up, Up and Away
Our very own ensemble-in-residence Time for Three performed their signature genre-bending mix of music for their thousands of devoted fans.  Afterward, the boys went on a Conner Prairie balloon ride—they don’t seem to have stage fright…but do I sense a little fear of heights? 
 

It was a Thriller, for sure
Brent Havens, creator and conductor of the Michael Jackson Tribute show and other orchestrated rock tributes such as Pink Floyd, Queen and Led Zeppelin, hit a homerun by including wonderful orchestrations of the King of Pop’s greatest hits. I’ve never seen that many people dancing at Symphony on the Prairie.  One patron noted that she left “ticked off that I never got to see [Michael Jackson] in concert for real and I’m convinced no one else will ever come close to being as spectacular as he is/was.” Another patron sent in this message:  “This was a wonderful event. The ISO and the band that performed were excellent. I thoroughly enjoyed this concert. I love live music!”

He got what he asked for!
After joking about the large amount of insects buzzing around his head on stage, prolific American songwriter Marvin Hamlisch was given several bug repellent options at intermission from his fans—everything from spray, sticks, gels to bug repellant jewelry.  During the second half of Marvin’s concert, our very own Principal Librarian Mike Runyan made us all weep when he played the theme from Schindler’s List on harmonica.

Photographs also tell the story
I don't need to go on and on with highlights in writing.  I can also tell a story in pictures.  Here are some of my favorite photos from this season at Symphony on the Prairie.

The Classical Mystery Tour

Time for Three's setlist

Dancing at Time for Three

First to arrive at Prairie

A 50th Anniversary



Principal Tuba Tony Kniffen

Don’t forget!  The Music of Buddy Holly, Ritchie Valens and the Big Bopper on September 2 & 3 and the every-popular River City Brass on September 4 & 5.  See you one final time at the Prairie!

All in the [Military] Family

Thursday, July 1, 2010 by Jessica Di Santo
Jessica Di SantoFor me, the best part about the Indianapolis Symphony Orchestra's patriotic concerts July 2-4  isn't Tchaikovsky's magnificent 1812 Overture, or the inspiring suite from Gettysburg or even the spectacular fireworks at the end.

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

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

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

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

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

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

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

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

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

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

Fireworks at Prairie

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

Confessions of a symphony newbie

Tuesday, June 22, 2010 by Jessica Di Santo
Indianapolis Business Journal publisher Greg Morris confesses in this week's edition that because of the Indianapolis Symphony Orchestra's Pops Series, he has been "transformed, and is now a raving fan" of the symphony. 

As a Catholic, I'm quite familiar with the word confession. I know I should be doing it more often (sorry Father Bill).  But confessions are tough--they can bring about an admittance of failure, of imperfection. In the end though, confessions should bring some relief, maybe even a bit of happiness. Mr. Morris confesses he's been "a holdout for years," regarding symphony performances. He's not alone.  We've heard that confession before.

I love bringing new people to the symphony. I love getting them to confess that they enjoyed themselves when they predicted otherwise. In March of this year, I brought several friends to the ISO's Music of Pink Floyd performance. One of my friends brought his 17 year-old son, who was a big fan of classic rock and a self-taught guitar player. To him, the symphony was for an older generation. He couldn't imagine a full orchestration to "Comfortably Numb." I watched him throughout the performance, and I saw focus, amazement and smiles.  He confessed -- the symphony was surprisingly for him

In 2009, I received an email from Jennifer, who confessed to being a newbie to our Marsh Symphony on the Prairie series. She wrote: "I have lived in Indiana all my life and last night I finally took the time to enjoy an amazing performance at Symphony on the Prairie. What a great little secret...that was shared with 7,500 plus other people. The vocals were truly outstanding and the talent of the ISO is more than I could have ever expected."  I've heard similar confessions from longtime Indiana residents. 

My own personal symphonic confession is this: I never gave Gustav Mahler's music a try.  I assumed it would be too challenging. All it took was an open mind, a little background, a gentle push from fellow Mahlerites, and poof, I'm a Mahler newbie and a Mahler fan. And next year...the ISO plays Mahler 5. I'll be thinking about other newbies who I could bring along.

Confessions don't have to be public. They are typically voiced behind four walls and a sliding window. But I wonder - if you haven't attended an ISO performance, what stops you?  If you're a newbie, what brought you to the Indianapolis Symphony? Or any symphony for that matter?

Feel free to confess. I promise, all will be forgiven.

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.

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

DJ SpilsburyDaniel 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!


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.

An Open Mind is a Valuable Asset

Monday, March 15, 2010 by Candi Berry
When someone finds out I work for the Indianapolis Symphony, the first question is always "Do you play an instrument?" I usually smile and say "Yes, a calculator."  

I've been a member of the Finance staff for nearly three years and enjoy being a part of the organization.  I've always believed in the power and importance music can have in people's lives.  It has been a part of my daily life for as long as I remember.  It's the first thing I want to hear when I wake up, I listen all day at work, exercise to it and of course it's a must for any car ride, no matter how long. It moves me, connects me to my soul and serves as a link to past memories and experiences. I didn't have much exposure to classical music though, until I started working for the ISO.  The majority of my music knowledge ranges from the late 70's to present day. 

Two assets that have served me well are having an open mind and a willingness to learn.  I plan to use both of these as I delve into educating myself about classical music.  I enjoy learning the background of a piece I'm going to hear performed. I find if I do some quick research, I can ascertain the composer's mindset when it was written. For instance, prior to hearing our performance of Faure's Requiem, I discovered the composer lost both of his parents within two years. Experiencing the death of a parent myself, I felt an insight and connection to the music. Before attending the Troika concert (Tchaikovsky, Rachmaninoff and Prokofiev), I learned that two of the three selections were composed surrounding a war theme.  That night I also heard a piece from one of my favorite movies called "Somewhere in Time." I now know it by its correct name, Rhapsody on a Theme of Paganini by Rachmaninoff.

Opening myself to new ideas has contributed to my personal growth immensely. The new approach to Happy Hour programming is very appealing to me.  I'm extremely excited for next week's show featurning the music of Brahms and John Mayer.  I was elated to learn Steve Hackman is including "The Heart of Life" in the Mayer selection from his Continuum CD.  I was introduced to this CD by someone I love deeply and immediately connected to the lyrics and melodies. It was almost a soundtrack to what I was going through in my life at the time. I appreciated Scott Harrison's recent blog about similiarities between Brahms and Mayer, it was very entertaining.

I look forward to sharing my insights into this Classical journey of mine. 

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.

Fauré’s Requiem: La berceuse de mort *

Wednesday, January 27, 2010 by Zack French
Fauré’s Requiem: La berceuse de mort *

Orchestras around the world perform Requiem masses quite regularly as part of their season.  Apart from orchestral works based on love, heroism or nature, the Requiem Mass seems to be one of the very few genres that concentrate on a particular event in a person’s life: death.  What intrigues us is how each composer utilizes the same liturgical texts from the mass proper but applies it differently in the music.

Without going into a history of each composer’s philosophies on life and death, consider for a moment the differences (and occasionally stark similarities) between three of the most well-known Requiem masses: Mozart, Verdi and Brahms.  Some may remember recent performances by the Indianapolis Symphony Orchestra and Indianapolis Symphonic Choir of the Mozart (January 2006), Verdi (June 2008) and Brahms (May 2007) Requiems, all of which have had modest success at the box office.  Perhaps we love the heart-wrenching climaxes of Mozart’s Lacrimosa (“Tears”), the fever-inducing bass drum blasts of Verdi’s frightening Dies Irae (“Day of Wrath”), or the dramatic urgency of Brahms’ Denn wir haben hier keine bleibende Statt (“For here we have no continuing place”).  While Brahms’ Ein deutsches Requiem (based on German texts from the Lutheran Bible, and not from the traditional Latin mass) is known for its compassion toward those whom are still living, other Requiems relish in the dramatic and formidable aspect of death.

The Requiem of Gabriel Fauré (pronounced “4-A”), on the other hand, is one of optimism, peace and humanity.

Fauré himself was a quiet, gentle and sincere man, and his Requiem portrays this beautifully.  It is written, not as a blatant reminder of death, but rather, as Fauré himself put it, “a joyful deliverance, an aspiration towards a happiness beyond the grave, rather than as a painful experience.”  As one who directed the music of countless funerals, Fauré wished to create something different.  His Requiem would soothe those who mourn, a gentle reminder that death is another part of life and should not be met with fear.

For those readers unfamiliar with the work, here’s what to listen for. 

Sanctus (Holy): A glorious and resounding movement featuring melodic lines by the violins interwoven with the vocal entrances.  (Note that this is the first movement which features the violins; only the lower strings were used in first two movements.)  Its rising climax “Hosanna in excelsis!” is triumphant, yielding a simple yet powerful declaration by the horns, accompanied by full orchestral accompaniment including organ.  This occurs at 1:50 in the following clip

Pie Jesu (Kind Lord Jesus): A beautifully simple movement for solo soprano and one of the most well-known in the repertory.  The premiere performance of the Requiem featured a boy soprano in this solo role, but only because women were not allowed to sing in the choir of that venue.  In subsequent performances, Fauré preferred a female soprano sing the role, due to its difficult breathing passages, long phrasing and difficult interval leaps.  This weekend this movement is sung by soprano and IU alumna Jacqueline Brecheen.  Listen here.  

Agnus Dei (Lamb of God): This movement features a very beautiful yet simple transition of tonality as the sopranos enter alone on the note “C” on the word “lux” (“light”), shifting the character into a hymn until its climax with full orchestra. (In this clip, begin listening around 2 minutes)

Libera Me Domine (Deliver Us, Lord):  This is the second of the two movements that feature the baritone solo (this weekend performed by Hugh Russell), and is perhaps the most somber of the Requiem.  It is also the movement that includes the ill-fated Dies Irae (Day of Wrath), which Fauré was hesitant to include, but was obliged by the local diocese.  Clearly announced by the sinister register of the horns, the Dies Irae is understandably dark but quite brief, but quickly rises itself up out of the depths with unison choir with a return of the main theme sung quietly by the choir. Listen here.  

In Paradisum (In Paradise): The final and most cherubic of the Requiem.  The organ provides a gentle lulling with accompanying muted strings, closing the Requiem into a peaceful serenity. Listen here.

Fauré was not a religious man, but seemed to have understood life’s journey in a very optimistic and simplistic manner.  Through his Requiem, he assures the listener that there is nothing to fear at the end of life, and that perhaps a more peaceful existence awaits us.


* I chose the French translation to honor Fauré’s gentle masterpiece, but also because “Lullaby of Death” in English sounds too depressing…

*****

Please join us this weekend to hear Fauré’s Requiem, along with Mahler’s Songs of the Wayfarer (featuring Hugh Russell) and Dvořák Symphony No. 7 ~ this Friday and Saturday nights at 8:00 PM at the Hilbert Circle Theatre, featuring the ISO debut of Finnish conductor Pietari Inkinen.

www.indianapolissymphony.org

Happy Hour at the ISO...Yes, Please!

Friday, January 22, 2010 by Everyone's a Critic
This was the first event I've ever attended at the Indianapolis Symphony and I loved it! I met up with some friends, took advantage of the free food and drinks and listened to an awesome live concert. The conductor did a great job of engaging the audience...I only wish there had been more music by Coldplay. Thanks for an awesome night!

Name: Kelly
City: Indianapolis
Email:

Great tunes!

Friday, January 22, 2010 by Everyone's a Critic
I seated myself just behind the sound console, orchestra right, floor. Hackman delivered Wyoming 307 (name from an area code) but the piano was too quiet to be heard well above the crowd noise. Short Ride in a Fast Machine brought images of Copeland and the open spaces of the wild west to mind, with the clattering of 1/4 notes on wood block and massed orchestra galloping through with myriad tempos. It's a complicated piece, that really got the attention of the audience. The sweeping strings were particularly majestic during the middle section. The Beethoven/Coldplay arrangement was very artful, blending the well known Eroica with rock drum kit, organ, piano, and vocal joining in for the 'Fix You' Coldplay portion, winding down with closing movement of Eroica. Conductor/pianist Hackman took a bit to entertain the audience with some lively banter about the history of the various selections for the evening and was well received. I'm not familiar with the Joe Black themes played next and to me, the dancers were a distraction but I'm sure that others enjoyed their interpretation. (I feared for their safety, performing on a 7' wide sliver of stage). Next up, the Infernal Dance and Closing from Stravinsky's Firebird Suite sandwiched another well-known melody, Debussy's Claire de Lune. The Debussy was delightful and I personally very much enjoyed the dramatic Firebird with all it's fortissimo playing, horn fanfare, and tympani. For years I listed to the rock band Yes using the Firebird as a show opener so am very familiar with this number and the ISO performed it to stunning effect. Great show overall, truncated a bit but for the ticket price you couldn't go wrong. I'd wished that they'd used the available lighting tools to greater effect and some of the solos seen on a projection screen were difficult to hear (bump them in the mix please Mr. sound guy). An enjoyable evening despite the very active crowd in the lobby. I think the organizers got what they wished for- to bring symphonic music to a new, younger crowd. Mission well accomplished!

Name: Michael Colter
City: Indianapolis

Sounds of Silence

Friday, September 25, 2009 by Scott Harrison
Shush!  I can't hear the silence.If a picture is worth a thousand words, then a pause is worth a thousand notes.  

There's something almost magical about the way that perfectly placed moment of silence can stop us dead in our tracks and make us yearn that much more for the music we're about to hear.

My favorite pause in music occurs right before the final iteration of the theme in the "Great Gate of Kiev" from Mussorgsky's Pictures at an Exhibition.  This swaggering theme makes its final appearance after a a flurry of furious notes in the strings build up a well of tension. That brief moment of relief has a way of just capturing all that nervous energy and transforming the final turn of the main theme into the most exhilarating and empowering melody you've ever heard. 

While a great composer can write the perfect pause, it still requires a gifted conductor to pull it off with devastating effect.

The best I've ever heard that Mussorgsky pause performed is in a recording by Eduardo Mata and the Dallas Symphony Orchestra.  Mata was a dashing and eclectic conductor who brought a unique, but always intriguing, vision to everything he conducted.   (Unfortunately, his life was cut short in a tragic plane crash sixteen years ago.)  I can't find a mp3 of that recording to post here because it's out of print, but there are a few copies available through Amazon.com.  

For more great examples of the use of silence in music, check out this article by the always entertaining Jan Swafford at Slate.com.  The first example in Jan's article is perhaps the most famous pause in music - the pause at the end of the "Hallelujah" Chorus from Handel's Messiah.  But don't take Jan's word for it.  Hear that moment live.  The Indianapolis Symphony Orchestra performs Handel's Messiah on December 20 at Clowes Memorial Hall, the second of our two Christmas concerts on the classical side.

 

The Arts Permeate Every Part of our Lives

Monday, August 24, 2009 by Jessica Di Santo

Recently, ISO double bassist Brian Smith, was interviewed for a video project about the importance of arts in our community. After providing a brief answer to the question, “What argument would you make to those in non-artistic professions to support the need for the arts in society,” Brian spent some more time thinking about it and provided the following thoughts.

 

I was asked recently what argument I would make to those in non-artistic professions to support the need for the arts in society (the assertion by some being that the arts have no real significance in our community). I mean, it's just another form of entertainment, right?  My answer at the time was that the arts, and the Indianapolis Symphony Orchestra in particular, provide not only an entertainment option, but an avenue to explore the emotional and philosophical aspects of our world in a way that other mediums don't allow. If we do our jobs onstage well, performances will take on a life of their own for every audience member listening and each will react differently, based on their own experience, in a personally meaningful way. I believe this is absolutely true, but there is more to the story.

 

The arts are everywhere in each of our lives, whether we recognize them or not. Consider for a moment going to a movie that contained no music, a wedding with no first dance, or even just turning on the radio and hearing nothing but static. There would be no plays, movies, or TV shows without actors, no sculpture or painting to enhance our homes and workplaces without artists. The arts permeate every part of our lives. They can inspire, console, frighten, and uplift. The arts are like a language that we all speak, and without knowing why, can affect us profoundly. As a musician, I know first hand the benefits of studying an art form. Music can teach us many valuable lessons applicable to other parts of our lives. One lesson of critical importance deals with problem solving and abstract thinking. Have you ever wondered why you can listen to the same piece of music played by multiple performers and have dramatically different experiences? It is due in large part to the fact that each performer must make choices and solve problems in a way that is unique to them, thus creating a new and different interpretation of the work. Among other things, performers must decide for themselves how a piece should paced, phrased, and presented. Then they must figure out a way to achieve that vision. In other words, they have to solve a myriad of problems that will likely involve techniques that they are comfortable with and the integration of new ideas that may be unexplored for them to that point of their development.

 

To continually progress as an artist, you must, to coin an overused cliche, "think outside the box" as often as possible. Another part of being a musician is, just like mom used to say, learning to play well with others. Most musical performances require collaboration with other artists, whether it be with a large ensemble like the ISO, or a solo recital which usually requires accompaniment of some kind. Communication and compromising skills are essential in these settings and one must learn them quickly if they wish to have success on stage. But the most beautiful and engaging part of any artistic endeavor is the opportunity for people to create and express themselves in unique and personal ways. So often in our formative years we are told to study academic subjects such as mathematics, science, and grammar. While these subject matters are crucial in all our lives, students have far fewer opportunities to explore their creativity and how it may help and impact them in other parts of their lives. Perhaps more than anything else, this is the most important reason why everyone should support the arts.

 

 

 

This video will be shown at the Arts Council of Indianapolis’ annual Start with Art luncheon on Thursday, Sept. 3, 2009.