Now that 2010 is winding down, I am contemplating the year behind me and the year ahead.
Taylor and I had an outstanding year. Taylor sold a 4-book series (look for her first Hello Gorgeous! book, Blowout, on Amazon or in a store near you April 14), and I landed a great job as an Army Officer-Conductor. We both enjoyed great health, exciting trips to beautiful places, and fun times together. We had a wonderful Christmas in Astoria and stayed warm in our apartment during this week's great blizzard. I got the coolest Christmas gift ever from my sister- and brother-in-law: an army bicycle jersey. I feel very "hoo-ah" in it, and can't wait to wear it on a long bike ride in the spring.
For me, most of of 2011 will be spent in Army training. Many friends and family members have asked me if I'm nervous about going to Basic Training. The answer is, "No." I love physical and mental challenges, so I can't wait to go to Basic Training and Officer Candidate School. My feelings on the subject can be summed up in this short video from the movie Bolt:
In all seriousness, though, Taylor and I are thrilled about what's in store for us. Taylor will spend most of 2011 in NYC without me, but the excitement and anticipation of what comes next is palpable. We are enjoying as much time together right now as we can, so I can go away for a few months and we can be reunited as Army officer and author. It will be tough, of course, but the reward is going to be amazing. I am ready to go!
Here are some excerpts from a news article that appeared about me in the NY Daily News:
Queens baton-wielder to be military maestro for 22 U.S. Army Band officers
This Queens conductor has already proven he's a maestro with a baton, but for his next gig he'll have to show he can hold his own with a rifle as well.
Silas Nathaniel Huff has been chosen as one of an elite group of 22 U.S. Army Band officers. After a rigorous seven-month audition process, Huff will soon conduct one of the Army's six largest bands.
"It's such a prestigious job, and it's such a huge honor," Huff said.
In May, Huff, 37, was asked to guest conduct the Army Band at Fort Meyer, Va. He was almost immediately offered the job. But...Huff went through a whirlwind of fitness tests, interviews and a background check before being accepted into Officer Candidate School.
"We're not just hiring someone to be a conductor," said Col. Thomas Palmatier, commander and conductor of the U.S. Army Field Band. "We're looking for a leader, a manager - someone who wants to be a soldier in addition to being a fine conductor."
Last year, Army bands performed 27,000 free concerts for more than 27 million people, Palmatier said. More than 1,200 Army Band soldiers performed in Iraq and Afghanistan.
"It's really kind of a dream job." [said Huff.]
On Feb. 1, he will be shipped off to 10 weeks of basic training at Fort Benning, Ga. Then there's another 12 weeks of Officer Candidate School.
"I've heard that [Basic Training] very physically and mentally challenging," said Huff..."I might be the oldest guy in the class," he said. "I plan on running circles around the young guys."
This Wednesday, December 8, 2010, I joined the U.S. Army as a Conductor and Officer Candidate.As a Conductor-Officer, I'll work with some of the best musicians in America (bands, choirs, and the Army Symphony Orchestra). I will tour frequently, perform more than I ever thought possible, and live in a variety of exciting and interesting places. Most importantly, I'll make outstanding music and I'll serve my community, the USA, and the world. There are only 24 U.S. Army Officer Conductors, so the selection process was grueling; It is a big honor and responsibility.
I ship out on February 1, 2011, to Ft. Benning, GA, for three months of Basic Training. On April 18, 2011, I will begin three months of Officer Candidate School (also at Ft. Benning). I will receive my commission on July 7, 2011, and head over to Virginia Beach, VA, for a three-month Army music leadership course at the Army School of Music. After that, possible assignments include Newport News (VA), West Point (NY), Washington D.C. (Ft. Meade or Ft. Myers), Ft. Bragg (NC), and Heidelberg (Germany). I don't know yet where I will live in the fall of 2011, but my sources tell me that my first station will either be Ft. Eustis (Newport News, VA) or Ft. Bragg, NC. I will find out next summer. FAQ (frequently asked questions):
Is this a joke? No. I'm joining the Army and will be an officer and a conductor.
You have to go to basic training?Yes. I will go to 10 weeks of basic training (in Ft. Benning, GA), then 12 weeks of Officer Candidate School (also Ft. Benning, GA). I'm sincerely looking forward to both.
You have to shoot a weapon? Do push-ups and sit-ups, etc.?Yes. Army musicians must become soldiers first. By the time I start conducting army ensembles in fall 2011, I will be certified on an M-16 assault rifle and 9 mm sidearm, and I will have done thousands of push-ups and sit-ups. No problem. I am fit and ready. I've been doing intense PT (physical training) for months in anticipation.
You'll be an officer?Yes. In October 2011, I will start as a 2nd Lieutenant. I hope to achieve the rank of Captain in 2-4 years.
Who/what will you conduct?I could conduct any of the Army's 6 special bands, 3 professional choirs, the Army string orchestra, or the Army Symphony Orchestra (all comprised of great professional musicians). I will inevitably conduct concerts for presidents, royalty, heads of state, diplomats, soldiers and their families, and the public. I will conduct at the Capital, the White House, in concert halls across America, on TV, or wherever I am needed. I will conduct patriotic, pops, classical, and contemporary music for various ensembles. Essentially, I will conduct a lot. The job description is here:http://www.usarmyband.com/jobs/conductor_-_army_band_programs.html
Could you be sent to war?Yes, I could be deployed to entertain troops. No, I'm not scared of being deployed.
How does one become a conductor in the Army?You must first be talented and experienced, then you have to apply. If you are lucky, you are invited to a two-day audition, to be tested on musicianship, sight-reading, sight-singing, ear training, musical dictation, music theory, knowledge of instruments, and foreign languages. If you make it through that process, you get to conduct one of the great Army Bands. An interview by a panel of band officers follows. If offered a job, you must then begin the process of enlisting and becoming an officer candidate, which is as difficult as winning the job offer. You must pass a series of tests, including the ASVAB (aptitude test), a physical examination, a physical fitness test, and a background check. You must complete a ton of paperwork, provide mountains of documents, and sit before a Local Officer Board that will determined if you are fit to be an Army officer. Then, after final approval, you get a contract and ship out date.
How did it happen for you? I was invited to audition at Ft. Myer (Washington D.C.) in May 2010. During my audition, I conducted the U.S. Army Band "Pershing's Own" and the U.S. Army Chorus - they were amazing!
"Pershing's Own" at Lincoln Center
I was offered the job on May 25, 2010. I sat before a Local Officer Board at Ft. Hamilton, Brooklyn, on October 1, 2010. I received a contracton Wednesday, December 8, 2010.
This is where I took my oath. Ft. Hamilton, Brooklyn.
Will you still conduct the Astoria Symphony and/or the Round Rock Symphony?Guest conductors will fill my shoes while I am in Basic Training and Officer Candidate School (thank you Bahman, Jonathan, Grant, Kirk, and Adam). After my initial training, I'll conduct those groups whenever possible. Of course, I'll have to resign my position at the Manhattan School of Music. My last day is January 21.
What does Taylor think about this? She is behind me 100%. We made this decision together and she supports it completely. Tay will stay in NYC for my 9 months of training, though she'll come visit me often in Georgia and Virginia. In October 2011, we'll be reunited for good. She is excited to go on this adventure with me, to be an Army wife, and to spend more time writing.
There is a lot of fine music to be made in the Army, and the Army has offered me a way to make a real mark as a conductor. I have a lot to offer and a lot to gain, so of course I am very excited.
Hooah!
Army Strong, SPC Silas Nathaniel Huff Officer Candidate and Conductor, U.S. Army
On Saturday, Oct 30, I attempted to ride my bicycle from NYC to Philadelphia - a 95-mile trip that I believed would take me about 8 hours. Taylor was to meet me in Philly for a beautiful dinner and the Philadelphia Orchestra concert that evening. Well, I am somewhat disappointed to say I didn't turn out exactly as I planned, but I did ride my bike out of NYC and into Philly. There was a major detour en route that caused me some trouble, but at least I arrived in time for the dinner and half the concert.
My ride started at 8:45 in the morning , in Astoria, Queens. Twenty minutes later I entered Brooklyn via the Polanski Bridge (from Long Island City, Queens, to Greenpoint, Brooklyn). At 9:33 am I crossed into Manhattan via the world-famous Brooklyn Bridge: At 10:06, 13 miles into my trip, I left Manhattan for Staten Island on the Staten Island Ferry. So far, so good. "Goodbye, Manhattan!" Staten Island is relatively beautiful. I found large, beautiful parks, spacious streets, and nice homes, etc. There was also a killer hill on the north end of the island that offered me my first real challenge of the ride. A beautiful road in the middle of Staten Island: Staten Island is large (14 miles to ride across it) and hilly, and took me about an hour and 15 minutes to get across. It gets a lot of bad press for being separated from NYC (geographically and in spirit), but it's a nice place. I would be more generous with my praise, but after riding all the way to the southern tip of the island, I got a nasty surprise that sort of ruined my day. The southernmost bridge in New York City, the Outerbridge Crossing, connects southern Staten Island with New Jersey (Perth Amboy, NJ). As the crow flies, it's about 1/3 of the way to Philadelphia. And though it was designed with a bicycle and pedestrian path, bicycles and pedestrians are forbidden from crossing it. Locals didn't help. I asked a few people how to cross the bridge and they looked at me like I was nuts. Ok, maybe I am nuts, but they didn't have to be so nasty about it.
I had wasted about an hour trying to figure out the fastest way to New Jersey when I realized I had to go back the way I came, head west toward Newark, then south, adding about 40 miles (and at least 3 hours) to my trip. There was no way I could get to Philadelphia in time for the concert - or for dinner, for that matter - on my bike. So I rode a couple miles over to the nearest Staten Island rail station and headed back north on the train, then took the ferry to Manhattan...exactly where I had just come from 2 hours before. To make a long story short, I caught a train to Trenton, NJ, then rode to Philly from there (about 25 miles), but by that time it was a race. I had to get to the hotel where Tay was already waiting, shower, and dash to dinner in time to make the concert. The urgency of the situation diminished my enjoyment a tad, but valet parking my Trek made up for it a little. There's no souvenir photo of that moment, but the one where I'm claiming my bike back from valet is good enough: Tay and I enjoyed a fantastic dinner at Bellini Grill in downtown Philly (escargot, linguini pomodoro, lobster ravioli, and a desert called Tartufo that you simply must try if you ever go to Philly). Then we visited the amazing new Kimmel Center for the arts and watched the Philly Orchestra play the hell out of Mahler's Fifth Symphony under the direction of their new music director Yannick Nezet-Seguin (we missed the first half of the concert - Haydn's "Military Symphony"). As you can plainly see (even though the photo is lousy), Tay and the Kimmel Center are beautiful: We enjoyed a truly fabulous night on the town, and Sunday morning Tay and I took a walk around downtown and stumbled upon a great hole-in-the wall diner for breakfast. All-in-all, we had a great weekend. I rode about 65 miles and Tay & I had a great date night in beautiful downtown Philly. But as we rode the train back to NYC Sunday afternoon, all I could think was, I didn't ride my bike all the way to Philly. It's still on my list of things to accomplish, and I promise I will do it one of these days...
I launched the 2010-11 season with two orchestras and things are going swimmingly.
On Sept 18, 2010, the Round Rock Symphony began it's 3rd season with a program called Cowboys & Panoramas. The crowd went nuts - they loved it. They should have, because the orchestra played with heart. The rhythmic difficulties of Aaron Copland's Four Dances from Rodeo were no problem, and the musicians of the RRSO accompanied the singing cowboy in my own Four Cowboy Songs (sung by Bryan Bolzenthal) like real collaborative artists - listening and responding. Tarik Ghiradella gave us a three-movement fantasy on American poems called American Panoramas. Full of thick textures and crunchy harmonies, and oozing with emotion and angst, the piece gave the audience and orchestra alike something complex to ponder - something completely different from the other pieces on the program. John Williams' Cowboys Overture followed, and we closed the concert with a medley of western film themes, during which music students from the R.R.I.S.D. orchestra programs joined the pros on stage.
Bryan Bolzenthal singing my Four Cowboy Songs
Less than two weeks later, on October 1, 2010, I conducted the Astoria Symphony's season opener. Going into our 8th season together was thrill, especially under the circumstances. As musical artists, we always want the best working conditions we can have, including ample rehearsal time, sufficient numbers in the string section, and plenty of lead time to prepare. Well, we had none of those, and we still emerged victorious. Times are tough, and the Astoria Symphony, like many arts organizations, is feeling the pinch. Strapped for cash and charged with opening the 8th season with a flash, we chose to perform a program of film music and popular classical pieces. The orchestra had only one rehearsal and the music was not a breeze. The concert included a tribute to great film composers, Rossini's William Tell Overture, Grieg's Peer Gynt Suite, Mozart's Eine Kleine Nachmusik, music from La Vita e Bella, Offenbach's Barcarole, Puccini's "O Mio Babbino Caro," a salute to John Williams, and more. For the John Williams suite, the Frank Sinatra School of the Arts Orchestra joined the Astoria Symphony on stage in our third "side-by-side" performance together. It was a blast. The concert was a huge success, and I give all of the credit to the incredible musicians of the Astoria Symphony who accepted the challenge, faced the stress, and selflessly produced beautiful music. They are amazing people. Special credit goes to Brent Chancellor, who conducted the Rossini and Grieg, and Megan Pachecano and Allyson Herman, who sang the Barcarole. Allyson also sang O Mio Babbino Caro, and many in the audience told me later that it was the highlight of show.
So much hard work goes into concerts like the two I mention above - and many people work behind the scenes and remain unacknowledged. The musicians and I certainly enjoy the applause and recognition by the audience, but the boards of directors, house staffs, backstage helpers, and many more people work to make great shows and then stay in the shadows. I could name 200 people who I am grateful to, but the gold medal winners as far as I'm concerned are Judy McLeod, president of the RRSO board of directors, Beverly Mintz, executive director of the RRSO, Alex Lauren, president of the Astoria Music Society, Alison LaFerlita, executive director of AMS, and the teachers who were involved in making these events happen. You are all saints!
And then there's Taylor, my amazing wife. She keeps me sane, takes care of me, and makes sure I am where I am supposed to be, when I'm supposed to be there. She tolerates me during the lead-up to the events. Typically, I'm a nervous wreck, wracked with anxiety, working around the clock, not sleeping, and generally creating a disturbance in the home for at least 2 weeks before each concert - in this case the whole month of September. Taylor takes it all in stride and never punishes me for it. I am so lucky she married me!
Residents and visitors either love New York City - or hate it.
I've heard every argument against NYC, and many of them have merit. "It's too crowded." "It's too noisy." "It smells bad." "I hate snow." "It's so expensive."
Most of those apply at times, but NYC is a truly great city...many say "the greatest city in the world." If you are an artist of any sort, you have to love it. The [artistic] amenities cannot be matched anywhere in the world. If you are a sports fan, a foodie, a health nut, or a lover of things exotic and interesting, you also have to love New York City. If you are not any of those things, you probably love it anyways.
Here's a typical week for me (last week):
Last weekend I went to a Yankees game with my best friends MJ and BTA. We also went to Ellis Island to hunt for records of BTA's relatives, ate a fantastic dinner in Little Italy, enjoyed Greek food in Astoria, Queens, and tore up the Lower East Side (a few times).
On Wednesday, I went with my great friend Heather to the Bronx Zoo, the largest metropolitan zoo in the USA. I saw lions, and tigers, and bears (yes, you can say the next line on your own). And gorillas. You can get right up next to gorillas at the Bronx Zoo...
The next day President Robert Sirota of the Manhattan School of Music hosted a BBQ for school staff on his rooftop terrace - 18 stories above the city and overlooking the beautiful Hudson River. Eating good food, drinking fine wine, and looking out at the mighty Hudson River (and Riverside Church and Grant's Tomb) on a beautiful sunny day in June...a good time was had by all.
A few days later, Taylor and I went to Lincoln Center to watch American Ballet Theater perform Tchaikovsky's Swan Lake. It was beautiful, as always. One of the great treasures of New York City is Lincoln Center with it's multiple theaters. The Metropolitan Opera House, where ABT performs, is the most magnificent.
I am a bike nut, so I rode my bike there, then over the Brooklyn Bridge to Manhattan where we performed two more shows (in Columbus Circle and Central Park). All performances were exactly as we hoped - interesting, quirky, and unexpected (by the bystanders, at least). More on this soon.
Today I woke with a hankerin' for a solid breakfast, so I wandered over to Tastee Korner on the corner of 31st Street and 30th Avenue in Astoria, and had a serious breakfast for $5.25.
After breakfast I rode my bike over the Triborough Bridge (now known as RFK Bridge) to Ward's Island (the whole island - almost - is a park), then over the Harlem Foot Bridge (AKA Ward's Island Bridge) into Manhattan, through Central Park, and to my office on the Upper West Side.
Flowers on the bike path on Ward's Island.
The view south from the Harlem Footbridge - the East River
Tonight I played softball with my colleagues from MSM. Tomorrow I will take a swim in Flushing, NY, ride my bicycle on Long Island, and eat Egyptian food before Taylor and I go to New York City Ballet to see the premiere of Esa-Pekka Salonen's new violin concerto/ballet. On Tuesday, I'll be attending the New York Philharmonic.
Seriously. This is a typical week. I love this city.
The Triborough Bridge to Queens, from Ward's Island - my commute home.
May 2010 was exciting for me. The Manhattan School of Music's production of Mozart's Marriage of Figaro (of which I was associate producer) received much acclaim, the Astoria Symphony's 7th season came to a close with a resounding bang, and the Round Rock Symphony wrapped up its 2nd season. To read about how great MSM's Marriage of Figaro was, click here.
The Astoria Symphony performed its final concert of 2009-10 in collaboration with the Frank Sinatra School of the Arts orchestra. The first half of the program included Tchaikovsky's Romeo and Juliet Fantasy Overture and Hanson's Second Symphony (conducted by Grant Gilman, this was the highlight of the concert in my opinion).
Grant Gilman conducting the Astoria Symphony
The second half of the program was comprised of a selection of pieces with the Astoria Symphony and the FSSA orchestra seated side-by side. Seated next to an adult professional, each student experiences the high level of musicianship and professionalism that go into an Astoria Symphony concert, and conducting this large and enthusiastic group of players is a lot of fun for me too. I owe thanks to Ken Lieberson, the FSSA's orchestra conductor for wanting his students to have this experience, and for helping to coordinate the big events.
Silas Huff conducting the combined Astoria Symphony and FSSA Orchestra
The Astoria Symphony's 7th season was an important milestone for the organization because it demonstrated our ability to come back from the economic turmoil of the 2008-09 season, during which some concerts and events were canceled. The ever-evolving board of directors met the challenges that season 7 offered and conquered them. For 2010-11, our goals include expanding the board further, reaching new audience members, and achieving new levels of musical excellence. For a sneak preview of our 2010-11 season, click here.
On May 22, the Round Rock Symphony wrapped up its 2nd season, and the final concert was also huge success. The performance was the culmination of a week-long conducting workshop with Maestro Peter Bay, music director of the Austin Symphony. Thirteen conductors came from all across America to learn from him and to take turns conducting the Round Rock Symphony.
Maestro Peter Bay instructs a participant on the podium
The RRS board of directors put a lot of time and care into making the conductors feel at home and welcome in Round Rock, and all the conductors commented on how great and supportive the RRS board is, and how lucky I am to have them. They're right! The workshop will happen again next year, and it will grow quickly as word of the quality of this workshop spreads through the tight-knit conductor world.
Participants learn the art of Tai Chi from Sumi Komo
What goes into organizing a conductor workshop? More than you can imagine. For every concert we book space, hire players, and market the event, but on top of that we had to recruit students, double the orchestra's rehearsal time, rent classroom and studio space, organize airport pick-ups and drop-offs, hire auxiliary teachers (thank you Sumi and Eric!), and make sure all the participants know their way around town and have ground transportation. On top of that, the RRS board decided to have a dinner and Austin Symphony concert excursion, host a welcome brunch for the conductors, and feed the conductors and the orchestra every night at rehearsal.
Maestro Peter Bay looks on as one participant conducts
There are many people to thank for their efforts during the Round Rock Symphony workshop and final concert, but in nutshell, thank you Judy, Beverly, Scott, Cathy, Tobey, Randy, Sumi, Eric, Brent, Brooke, Matt, Mayor McGraw, and anyone else I forgot - thank you a thousand times! These people were - collectively - caterers, hosts, taxi drivers, navigators, gophers, rehearsal set-up folks, teachers, mail clerks, camera operators, cover conductors, triangle/cymbal/violin players, venue organizers, librarians, equipment movers, fund-raisers, check-writers, box office staff, ushers, house managers, and post-concert party people. They are all truly amazing, and their combined effort made a beautiful workshop and final concert.
It was an amazing process, and though I am thoroughly exhausted from a month of non-stop musical activity, I am as energized as I've been in a long time. The day after the concert, I flew to Washington D.C. to meet my wife Taylor for a little down-time getaway. We took a stroll in Georgetown and inadvertently ended up on the Francis Scott Key Bridge, then in the Dumbarton Oaks Gardens (the garden that inspired Igor Stravinsky to write his masterpiece by the same name). I was beginning to think it an amazing coincidence until I turned a corner and ended up in front of a store called "Appalachian Spring" (like Aaron Copland's masterpiece).
These are not coincidences - they are signs! Music is everywhere, even when I'm trying to get a break from it!
This is a PRESS RELEASE for the upcoming conductor workshop that I have organized with the Round Rock Symphony in Texas...
“How Many Maestros Does It Take
to Screw in a Light Bulb?"
April 22, 2010, Round Rock, TX—If you have ever wondered about the punch-line to the joke “How many maestros does it take to screw in a light bulb?,” you are in luck. For one week in May, orchestra conductors from all over America will converge in Round Rock for an orchestra conducting workshop organized by the Round Rock Symphony. The classes, taught by lead faculty Maestro Peter Bay (music director, Austin Symphony), will help the young Maestros learn score preparation, body movement, musical interpretation, and rehearsal techniques. The week-long workshop culminates in a public concert on Saturday, May 22, at 8:00 p.m., which will take place at the C.D. Fulkes Auditorium (300 W. Anderson Avenue, downtown Round Rock). Round Rock’s own Maestro, Silas Nathaniel Huff will conduct. In addition to the public concert, one of the rehearsals with the conductors-in-training will be open to the public on Thursday, May 20, 6:00-10:00 p.m. The rehearsal, which will happen at the Wingate by Windham Hotel ballroom (1209 North I-35 at Palm Valley Boulevard), will be a rare glimpse into an orchestra’s rehearsal process, and an opportunity to hear young conductors receiving feedback from a renowned Maestro.
The Round Rock Symphony’s concert on May 22 will feature four masterpieces from different periods from the classical to the twentieth century: Wolfgang Amadeus Mozart’s The Magic Flute Overture, Ludwig van Beethoven’s Coriolanus Overture, Antonín Dvořák’s “New World Symphony,” and Aaron Copland’s QuietCity. The concert will also feature Amy Burgus performing the English Horn solo and Josh Davies performing the trumpet solo on QuietCity.
“Conducting the music of four hugely famous composers like these is a great honor and a daunting task, akin to handling paintings by Delacroix, Degas, Van Gogh, and Dali,” says Maestro Silas Huff, music director of the Round Rock Symphony. “We will survey the last 200 years of history through majestic, moving, and joyful music—it’s the best way to reflect on history and the human condition.”
Tickets for this concert range in price from $15 to $20 (all RRISD students and any child 12 & under is free), and may be purchased by cash or credit card at the door, or via credit card online at www.RoundRockSymphony.org. The box office opens one hour before the performance.
The concert will be the culmination of a week-long workshop for professional and aspiring orchestra conductors, with the venerable MaestroPeterBay as lead instructor. Twelve conductors are coming from Salt Lake City, Miami, and New York, among other places, to study the concert repertoire under the guidance of the Austin Symphony’s long-time Maestro. According to Bay, the students will not only learn about score study and identifying musical problems, they will also “go deeper…to learn about the art of interpretation.” In addition, they will take a variety of body movement classes in order to better understand physical methods of communication.
“The art of conducting is very cerebral, but also relies on a person’s ability to express ideas with the hands, face, and torso,” says Maestro Huff. “Conductors often are very talented musicians who have little training in the art of moving a baton through space and communicating with the body. This workshop will fill in some of those gaps.” In addition to music and conducting techniques classes taught by MaestroBay, the workshop participants will study ballet, yoga, the ancient Chinese art of Tai Chi, and Alexander Technique, a tension-diminishing method that promotes efficient use of the body.
Participant Joseph Choi, Associate Conductor of the Owensboro Symphony Orchestra (KY) says, “The Repertoire for this workshop consists of pieces that are in constant demand for workshops and auditions, and we can use this time to brush up our skills, meet other conductors, and recharge our conducting batteries for the coming season.”
“I was inspired by MaestroBay years ago,” says participant Adam Torres, a former music student at UT and candidate for Masters Degree in Orchestral Conducting at ColoradoStateUniversity. “I am honored for the opportunity to learn from and work with him in Round Rock.”
Paul Davis, Conductor of the WebsterUniversity Symphony Orchestra in St. Louis, MO, is another ex-Longhorn. “As a UT alumnus, I am enthused to return to the Austin area to be part of this workshop…and eager to work with the Round Rock Symphony, Maestro Huff, and MaestroBay.”
The public is invited to watch the final workshop session of the week, during which participants take turns conducting the Round Rock Symphony in a rehearsal of Dvořák’s “New World Symphony.” Each conductor will have the opportunity to create music, hear feedback from MaestroBay, and make adjustments to their style and technique. This session takes place on Thursday, May 20, 6:00-10:00 p.m. in the ballroom of the Wingate by Windham Hotel, where the workshop participants are staying. Admission to this special workshop event a $5 suggested donation for onlookers.
The Round Rock Symphony, a start-up non-profit corporation, needs angels to support it. Music lovers who want to support the Round Rock Symphony by sponsoring or underwriting a concert, or by advertising in a playbill are invited to contact the Symphony at (512) 264-5368 or info@RoundRockSymphony.org. To learn more about supporting the Round Rock Symphony, call or visit www.RoundRockSymphony.org/support.htm.
As an orchestra conductor, I'm not terribly tuned in to events that happen around the world. Certainly I'm aware of major world events, tragic and joyous, but my work generally suffers no impact when something goes wrong elsewhere on planet Earth. Until Eyjafjallajökull...
If I had been in Europe when the volcano erupted, or if I were going to conduct a concert in Europe, it would be clear how it impacted me. But I was in New York, planning a concert in New York. The problem is: that the sheet music I need is in Europe.
"Seriously? You can't find the music in America?" No. On May 8, the Astoria Symphony is scheduled to perform Jean-Baptist Lully's Triomphe de l'amour Ballet Suite, a rarely performed piece from the early Baroque period. It's so rarely performed that there is only one edition of the parts commercially available, and it's published by Doblinger, and there isn't a single copy anywhere on Earth, except in Europe (that I know of). I'm told by multiple sources that there is virtually no way I can receive the parts on time, unless I spend a ton of money and don't mind the orchestra sight-reading at the first rehearsal. And I have to get really lucky for the parts to arrive before the first rehearsal. I'd have to be quite lucky for the parts to arrive before the concert, for that matter. Ugh.
"Why didn't you order the music much earlier, before the volcano erupted?" Besides the fact that I didn't know the volcano would erupt, and that it would keep planes on the ground for weeks, or that the parts didn't exist anywhere in America, I wasn't entirely sure the concert would happen because the Astoria Symphony is waiting for funds to arrive from the State of New York. It was a perfect storm.
"Have you called [someone you think might have the parts]?" Yes. They don't have the parts.
"Have you ever looked on IMSLP Petrucci Library?" Yes. There are no parts. And have you seen the score? Only an early music specialist could read the parts, even if they were available.
"Why don't you just change the program?" The concert theme is "triumphant love" and this Lully suite is the cornerstone of the whole program - the concert is billed as "The Astoria Symphony presents Le Triomphe de l'amour."
"What are you going to do?" Laugh. And then I'll substitute something by Tchaikovsky and have a really funny story to tell the audience in the pre-concert lecture.
The lessons I learned are: A) do not wait to order your music for a concert that is happening in less than a month, B) do not rely on funds from the State of New York for a concert, C) do not expect that a volcano in Iceland will have no impact on your concert in America, and D) do not program obscure music that is not in print in your hemisphere. And never do all three!
Being a music director of a professional orchestra is a lot of fun, but it's not all waving a stick and taking a bow. There is the extremely important and mildly unpleasant task of raising money to support the orchestra to think about constantly. Opera, ballet, and symphonic music are among the most rewarding art forms that exist, but they are also among the most expensive to produce. And expensive art requires a lot of money.
The Quick History of Funding Symphonic Music
A long time ago, "classical" music - that is to say fancy, expensive orchestra music - was the domain of the aristocracy only. Royalty and other aristocrats funded classical music out of their deep coffers because, well...because they could. Churches did the same. A duke might throw a party and hire an orchestra to entertain the guests. An archbishop might order up a grand cantata for a special occasion. Or an emperor might order an opera house built and an opera company formed to entertain all the aristocrats of his domain. All performances were funded complete by the richie-rich who ordered the performance(s). Some wealthy families hired orchestras to live in their palace like servants and be at their beck and call at all times. They would often hire a composer and conductor to be their composer-in-residence (in those days "in residence" had an entirely more literal meaning). The Estherhazy family had Franz Joseph Haydn living in their house, for example. He wore a uniform, and was an employee of the house. This type of music became a luxury of the upper class, a stigma that classical musicians are still trying to eschew.
As democracy took hold in the 18th & 19th centuries, this structure slowly collapsed. As education improved, the European classes structure faltered, and the gap between the wealthy and the lower class closed, the system of paying for and creating symphonic music, opera, and ballet evolved. "High art" was no longer deemed the property of the upper class.
In some countries, governments took up the torch and paid for it out of tax money. In other countries, the private sector, consisting of remnants of the aristocratic class and "new money" folks made wealthy in the industrial revolution, funded these expensive art forms with limited assistance from the government because they recognized its importance to society.
Today - in America - opera, ballet, and symphonic music are funded mostly through the generosity of individual donors, private foundations, and corporate sponsors who know that by subsidizing this art we improve the quality of life in America and help make the general populace more educated, sophisticated, and...(is civilized the right word?). Wealthy people and companies like MetLife, Credit Suisse, Target, and JPMorganChase support the arts in America because they know it's good for business, good for America. They fund nearly 40% of the expenses incurred by arts organizations. HERE are the people who support the NY Philharmonic, for example. Ticket sales and other "earned income" fund another 40%.
But it's not enough. The government chips in a bit, and that support is crucial to thousands of arts organizations. According to the League of American Orchestras Quick Orchestra Facts, orchestras are funded in this way:
39% private donors (individuals and corporations)
33% concert income (ticket sales)
15% endowment
8% other earned income (CD sales, tuition, services, etc.)
5% government support.
It is this government support that is on my mind today. As I help fill out the application for the NYC Department of Cultural Affairs funding that generously keeps the Astoria Symphony alive, I am grateful that New York City has such a thriving arts community, such an affluent and generous populace, and a government that recognizes the arts as a vital part of what makes the City great. I believe firmly that the arts help make a city great. Think of any great city in the world and guess what - it has a thriving arts scene. Thank you, NYC DCA, for helping New York City have the greatest arts community in America (the world?). We are truly fortunate to have you.
A wild month of music-making culminated this past weekend with the final performance of the new opera Paul's Case. In February there were two fund-raising events (one in Manhattan, one in Texas), and in March I conducted in California, hosted an international conductor workshop in NYC, organized and conducted an amazing Astoria Symphony concert, and music directed Paul's Case. When the final performance of Paul's Case ended on Saturday, I breathed a heavy sigh of relief. I can rest now, I thought.
I decided to go for a long hike on Sunday. Nothing is more relaxing than a long hike in beautiful country. Taylor, my good friend Heather, and I all piled into Heather's car and drove to Cold Spring, NY, to explore Hudson Highlands State Park. It's beautiful. We planned a nice, medium-difficulty, 5-mile hike. We wanted to relax and take in the beauty. Well...
We got lost. Somewhere three to four miles north of Cold Spring but south of Breakneck Ridge we just got lost. We followed trail markers until there weren't any more, then we relied on the sun and my trail map to figure out where we were, but it just didn't happen. So we wandered. We were never scared because in that area of NY State you just can't walk very far without encountering a road or some man-made structure eventually and that's what happened. We found Lake Surprise Camp (appropriately named "Surprise!"), and a nice guy (from Queens!) was there fixing the place up, preparing for the summer season. He directed us to the main road back to Cold Spring.
The hike back to Cold Spring was 5 miles long, on top of the 5 we had already hiked. I suppose we could've called a taxi at to pick us up at camp, or we could have hitched back to town from the main road, but we were so dead-set on doing it ourselves that we just walked. Our quick hike in the woods turned into an all-day adventure. Our feet hurt. Hips, ankles, knees, backs, too. When we got back to Cold Spring we downed a pizza, a couple beers, and 3 ice cream cones in record time.
OK, so I'm not fully rested now. I went back to work at the Manhattan School of Music on Monday fully exhausted and in need of a break. But I'm ready to take on the world regardless.
Upcoming things I'm producing and/or performing in:
Happy St. Paddy's Day! (yes, it's Paddy's, not Patty's).
It's been a gruesome winter in NYC and the cold just broke. Well, actually it broke a week ago, but then we had a horrendous rain storm, so today, March 17, 2010, is - for me - the beginning of a beautiful spring. I rode my bike to work today for the first time in a very long time (since January?). My bike commute is wonderful. I leave my apartment and in only a couple minutes I'm on the triborough bridge (now called the RFK Bridge). The pedestrian walkway has been recently renovated so it's wider, safer, and has fewer stairs on it. Great! When I get to Ward's Island, I have a delightful 5 minute ride on a bike trail where I typically see a few squirrels, ducks, and geese before I reach the Harlem Footbridge (AKA Ward's Island Bridge). This bridge is closed November-March, so the commute is not as nice in the winter, but today it was open! I coast onto the Island of Manhattan at 103rd Street and have a short 6-block ride to Central Park. In Central Park I traverse the north end of East Drive to 7th Avenue at the top of the park. Ah, it's so wonderful. Then I have a short ride through south Harlem to my gym where I catch a breather, clean up, and get ready for work.
I love this commute. And my wife Taylor will tell that I'm a bit glum on days when I can't ride my bike due to weather or some strange engagement that requires me to carry too much stuff to take on my bike.
OK, back to music...now that the NYC Kirk Trevor Conductor Workshop is behind us, the Astoria Symphony concert is over (it was a huge success), and my performance of the new opera Paul's Case was a big hit, I can start looking forward to upcoming projects. They are:
1. This Saturday, March 20, at 4 pm: repeat performance of Greg Spear's new opera Paul's Case in Brooklyn as part of BAM's opera festival. Details here.
2. April 10, 8 pm: AMS's chamber music concert featuring the Forte String Quartet. Details here.
3. April 28 & 30, and May 2: Manhattan School of Music's production of The Marriage of Figaro. Details here.
4. April 29 & May 1, 8 pm: Lost Dog New Music Ensemble's From the Mountains to the Sea - Elemental America Concert. Details here.
5. May 8, 8 pm: The Astoria Symphony Season Finale. Details here.
6. May 16-22: Round Rock Symphony's conductor workshop. Details here.
7. May 22: Round Rock Symphony's season finale (From Ancient Rome to the New World). Details here.
For me, most of of 2011 will be spent in Army training. Many friends and family members have asked me if I'm nervous about going to Basic Training. The answer is, "No." I love physical and mental challenges, so I can't wait to go to Basic Training and Officer Candidate School. My feelings on the subject can be summed up in this short video from the movie Bolt:
