What makes a master?

Last Monday I had the pleasure of working with Sandi Patty. For those of you who are not familiar with her, Ms Patty has won 5 Grammy Awards and 39 Dove Awards (awards given to Christian recording projects). She is a member of the Gospel Music Hall of Fame. She presented her Christmas concert, backed by Orchestra Kentucky, to a sell-out crowd. It was a learning experience for me. What impressed me most was her ability to connect with the audience and the skillful way she programmed the concert.

Most entertainers I have worked with either ignore the audience or talk without any real purpose other than to fill time. Ms. Patty had obviously planned when she would talk and what she would say. There were times when her songs came back to back without little break in between. Of course, she welcomed the audience, but otherwise her speaking had a more meaningful purpose. Usually, she spoke to "set up" the song she was about to sing. She perfectly set the stage with a story to make the song more meaningful. In fact, there were times when I started the orchestra to serve as underscoring for her introduction. Most impressive was the fact that her talks, although prepared, did not come across a rehearsed in any way.

Most conductors will tell you that it is not easy to come up with an order for pieces on a program. There must be a flow in terms of tempo, mood, style, etc. Ms. Patty is an expert at this. She started the concert with a bang, singing Angels We Have Heard on High. (Believe it or not, I attended a concert recently where the group started with a slow, laid back, composition. That's sort of like coming on stage and whispering, "We're here. Does anybody notice?") Patty received a standing ovation at the end of the first half for her performance of I Heard the Bells on Christmas Day. It was because of the masterful arrangement, but also because she had properly prepared the audience with her introduction. She told the story of how Longfellow wrote the words after hearing of his son's death in the Civil War. There was not a dry eye in the house.

For the second half, she actually received a standing ovation a few songs from the end of the concert with her performance of Jesus, O What a Wonderful Child. At first I didn't understand why she chose such an audience pleaser at that point in the program. However, after bringing the audience to a near "frenzy", she brought them back down with a more reflective song, entitled Someday. This prepared the audience for her impressive version of O Holy Night. Most entertainers would have ended there. She instead sang one of the best performances of Have Yourself a Merry Little Christmas that I have ever heard. And it wasn't with the full orchestra. It was just the piano. It was the perfect ending to a masterful performance.

And, did I say that she can sing? Wow!

Disney Magic

In preparation for Orchestra Kentucky's Disney in Concert in January, I took my family to Disney World last week. Well, okay, it wasn't to do research. And I'm not going to try to take a tax deduction either. No, the purpose of the trip was simply to have a week of family fun. (I told my kids that they had been there when they were five and seven years old and that they had a great time, but they still wanted to go back.) Any way, in the midst of enduring 95 degree heat and hour-and-a- half lines, something important occurred to me: Disney knows how to make people happy.

Despite the crowds, people were genuinely happy. There are many reasons for that, but one that stuck out for me is Disney's willingness to go the extra mile. Disney could be satisfied with having their guests ride rides and watch concerts and movies. But they don't settle for that. Each evening is capped with a fireworks show and parade. It's like the fourth of July every night. Going to a Disney park is more than simply attending an amusement park. It is attending an event.

Orchestras have a lot to learn from Disney. Our audiences would be a lot happier if we did more than just present concerts. If we went the extra mile and make our concerts events, people would come in droves. But how do we do that?

There are many ways to make the concert experience an event. In addition to music, we can offer visual experiences like films and slides that illustrate the music being performed. We can hold concerts in fun places like ballparks and barns. We can think outside the box. Imagine a concert with comedy as its theme. The orchestra could play Kabalevsky's Comedian's Suite and some PDQ Bach. But think how much more fun the concert would be if a comedian told jokes in between musical selections? Now that would be more than a concert. It would be an event!

Here is a challenge to my conductor colleagues. Tired of diminishing audiences? Worried that audiences are getting grayer? Take a tip from Walt. Make your concerts events. Make them fun.

Rain, Rain, Go Away

Last Saturday's July 4th concerts were canceled because of rain for both of my orchestras: Orchestra Kentucky and the Murfreesboro Symphony. I've been told that the Louisville Orchestra, Nashville Symphony, and Owensboro Symphony also canceled. These are the times that try men's souls. Or, to put it another way, these are the things that give us all gray hair.

I don't think people realize how expensive and time consuming an event like the Fourth of July really is for an orchestra. They also don't realize the toll that bad weather takes on the orchestra's staff.

First, in the case of professional orchestras like those mentioned above, musicians must be paid. For part-time orchestras like Orchestra Kentucky, Murfreesboro Symphony, and the Owensboro Symphony, orchestra members must be paid whether the concert occurs or not. Why, you might ask? Because when musicians are hired for an event, they often give up work with another orchestra. It's not their fault that the weather prevents them from playing. They are ready and willing to complete their job. Consequently, the orchestra must fulfill its part of the bargain, or risk losing the best musicians in the future. By the way, orchestras for this type of event cost between $10,000 and $15,000, depending on the rate paid the musicians.

Regarding the time involved in preparing for outdoor concerts like the Fourth of July, orchestra staffs work for months in advance to hire musicians, line up fireworks, complete the necessary permits, rent the facilities, and so forth. The list goes on and on. Also, the days leading up to the concert become even more hectic. Staging must be erected, payrolls must be prepared, tables and chairs are set up, and so on, and so forth.

Adding to the expense of the day are fireworks. Obviously, not just anyone can shoot off fireworks like those seen at a typical orchestra event. A licensed, professional fireworks company must be hired. Depending upon the length of the show and how many shells are put into the air, shows cost about $650 per minute. And, rain or shine, the fireworks company must be paid.

So, $30,000 has been spent, without taking into consideration staging, table and chair rentals, rentals for the grounds, tent rentals, etc. Add it all up and an event like the Fourth of July costs at least $35,000 and up.

I say all of this to stress how important these concerts are for an orchestra. Most orchestras present them as free events, so there is no ticket income to be had. Instead, the orchestra counts on their generous sponsors to help pay the bills and numerous in-kind sponsors who donate products, equipment, etc. Why do orchestras take on such an expensive project, when there is a chance that rain could ruin the day? Because they believe in the power of music.

Music has the ability to bring people together. People of all ages, races, and ethnicities attend July 4th concerts. They all sit together as families, waving flags, and joining in the annual celebration of our nation's birth. It is a time to honor those who serve our country in the Armed Forces. It is a time to honor those who made the ultimate sacrifice to our country. What better way to do all this than through the music of America? Songs like America, the Beautiful and God Bless, America have the power to reach the head and the heart in a way better than any other music. And, while fireworks are beautiful and awe inspiring, they don't celebrate America like its music.

So, why do we spend so much money and time to present a single concert, when it all can be washed away? Because it is a concert that is just too important not to present. Who, other than a community's orchestra, can better do the job of celebrating Independence Day? No one.

Beethoven, Barns and Brats

Last Saturday night was a first for me. Orchestra Kentucky performed Beethoven's Fifth Symphony in a thoroughbred horse barn. The experience made me wonder whether it was a first for that piece. On a deeper level, however, it begs the question of whether orchestras should bring music to the masses or whether they should wait for the general public to come to them.

Let's look at the advantages of performing in a barn. First, the barn was a great venue. The acoustics were actually good. Some audience members got to sit in a loft and look down on top of the orchestra (when does that ever happen?). Other audience members were seated close to the orchestra, where they could "connect" with them. The barn also enabled us to sell food and drink--something we can't do at our usual venue. The biggest advantage was that it was a comfortable, relaxed setting--unlike the typical performing arts center.

The disadvantages? None really. Lest you wonder, the barn did not smell like horse manure. The weather was great. But if it had been any colder or warmer, that would have been a negative. Seating was limited, although there was plenty of room for the crowd we had that evening.

All in all, performing masterworks in unusual places is a good idea. If the same program had been in a traditional venue, I am afraid that we would have attracted the same crowd. By performing in the barn, new audience members were present. Why? Perhaps there are those who don't like the idea of a stuffy concert hall. Or, more cynically, maybe there are those who think that the fun of attending a concert in a barn outweighs the boredom of a symphony orchestra concert. No matter what the reason, attracting new audiences is a good thing. And I don't think Ludwig would mind.

What's in a name?

What's in a name? Quite a lot, it seems.

In preparation for our tenth anniversary season, the staff and board of the Bowling Green Chamber Orchestra had a feeling that the name was not helping us make friends and influence people. Instead of just assuming that was the case, we formed three focus groups (subscribers, single ticket buyers, and those who had never attended a concert) to test the name. What we learned was what we feared.

It seems that all three focus groups believed that the word "chamber" was negative and did not reflect the work we were doing. Ideas like gas chamber, chamber pot, and others, came to the minds of our participants. We decided that our name should not be an obstacle to getting new audiences. So, we changed our name to Orchestra Kentucky of Bowling Green. At the very least, we know that the words that make up the new name are not objectionable. We hope that we have, indeed, removed a hurdle.

What about the name of your organization or business? Is its name keeping people from checking you out? Can you afford for that to happen?

Goose Pimples or Chill Bumps?

Is it goose pimples or chill bumps? I guess it depends on whether you grew up in the north (pimples) or the south (bumps). No matter what you call it, I got them last Monday night, conducting a concert of Christmas music with Grammy-winners Dick Tunney and Larnelle Harris. It made me wonder: what exactly makes one react to some music that way, but not others? I think it boils down to two things: high quality and passion.

First of all, both Dick and Larnelle are accomplished in their fields. I call Dick the Liberace of Christian music. And, thanks to his instruction at Western Kentucky University, Larnelle knows how to sing. After forty-some years in the business, he still hits those high As effortlessly (well, at least he makes it sound like it is easy!).

Additionally, both Dick and Larnelle perform great arrangements. From Dick's own arrangements, to Larnelle's work with people like David Clydesdale, their charts are top notch--even though very difficult to play.

High quality of performance, etc. is fine and dandy, but we have all heard musicians who are good at what they do, performing masterpieces of music, but still not connecting with their audiences. I think the missing elements with them is passion. Passion for the music they are performing. Passion for their mission. Passion for the people they are trying to reach. However, if all these elements are present, magic happens. And that's what happened Monday.

As I conducted Dick's portion of the concert, he was clearly connecting with me and the audience. He smiled the entire time, thoroughly enjoying each moment as it unfolded. If things weren't perfect, he still gave me positive reinforcement, nonverbally saying to me, "Enjoy yourself--we are blessed to be able to do this--and we get paid!

Larnelle's passion comes not only through his connection with the audience, but also his willingness to take risks. I have now conducted two concerts with Larnelle. Every time is different. He would most likely say that he is lead and inspired by God when he performs. That comes through his music, which is anything but a packaged, rote performance.

Finally, these performances are special for me because I know the men themselves. They aren't just great artists. They are great people. And that's a far better thing.

Guess what? I get to do it all again this Monday! What a Christmas present!

Arthur, Arthur!

I have just finished reading Harry Ellis Dickson's biography of Boston Pops conductor Arthur Fiedler. Dickson was a first violinist in the Boston orchestra and Fielder's assistant conductor. The author did a good job of balancing the good and the bad sides of the Pops giant. The book can be found on Amazon.com and is available only through used book dealers.

I write this blog today to pay tribute to Maestro Fiedler. He really was a trailblazer. My own approach to programming really is based in Fiedler's example. I owe him all the credit that I can give to whatever success I may have had.

If my memory is correct, the Pops was founded in 1885, four years after the Boston Symphony itself. There were more than a dozen conductors before Fiedler took the helm. What Fiedler brought to the podium was his unique way of programming. His concerts were divided into three parts: the first part contained movements of, or entire, symphonies, light classical works, etc; the second part usually featured a full concerto of some type; the last section was made up of Broadway tunes, medleys of current popular groups (e.g., Beatles), Strauss waltzes, and, almost always, Sousa's Stars and Stripes Forever. So, Fiedler introduced to audiences "serious" music and popular music on the same concerts.

Needless to say, Fiedler's programming methods were extremely popular. He was, and is, a household name. He, alone, is responsible for bringing millions of people to classical music. He also brought a lot of smiles to people's faces. If one asks a person on the street to name an orchestra conductor, it is very likely they would name Fiedler (or Bernstein who, by the way, was also a cross-over artist).

Unfortunately, Fiedler caught a lot of flack for his approach to orchestra concerts. Boston orchestra musicians tended to hate him, some critics thought he was a musical lightweight, Koussevitsky was jealous of his popularity (K was conductor of the BSO at the time), and, finally, he was pigeon-holed as a "pops" conductor. In other words, although he traveled constantly to conduct pops concerts, he could not get jobs conducting "serious" programs. This bothered him all of his life.

The prejudice against pops conductors and programs continues until today. Although Keith Lockhart (the Boston Pops' current conductor) also conducts the Utah Symphony in serious programs, most conductors are either considered capable of conducting Beethoven or only good enough to do the Beatles. (Actually, pops arrangements are often harder to conduct than Beethoven symphonies!) All of this is really a shame, given the current finances of most orchestras.

If orchestras today followed Fielders' model, most would be in excellent financial condition. It is hard to believe that we are still following a 19th century approach to the orchestra. The prejudice against programs that feature classical and popular music together is still so strong, most "artists" would rather see orchestras fail than "stoop to such low-level music-making."

For me, I will continue to emulate Fiedler. And I will do it with or without the kudos of my peers.