When I go home to Buffalo, NY, there are two members of my family who make exceptionally good fruit pies, apple to be specific. It’s so good, the calories can’t overwhelm my interest in savoring their work.
I’ve always looked at all of the music available in the world as a large pie with the orchestra tradition accounting for what can only be called a modest morsel. For those of us in the “industry,” making tiny adjustments to one side or the other of the spectrum feels like a seismic shift. But let’s have more courage than that and also a greater appreciation for the artistry and appeal of artists not wearing tails and white bow ties.
I’ve been told recently that “crossing over” with an orchestra into genres that challenge the myopic convention of what orchestras “should do” is a sign of…get ready for this…"working too hard to be cool."
When I was Chief Conductor (Music Director) of the Queensland Orchestra in Brisbane, Australia, one of the most thrilling evenings was an outdoor concert of a fully choreographed Carmina Burana (with a local dance company) and the superstars of Australian rock at the time, “George,” on the second half. They were Brisbane born and based, conservatory-trained musicians who had even used some of the QO members on their albums. It was clear that they had an orchestral palette in their ears and could write for it. Offer to expand that palette with a full-size orchestra and watch their eyes pop out of their heads! It was an easy marriage and everyone, audience AND orchestra alike, had a great time. Incidentally, that event led to engagements of George with every Australian orchestra.
With the Brooklyn Philharmonic, I took this concept a step further and found similarly trained musicians who have been inspired by the orchestral ethos in their indie-rock endeavors. “Shuffle Mode” was born and will be reborn soon.
Last weekend was more of the “backup band” variety concert with Donna Summer and the Phoenix Symphony (see photos below), but I can tell you that the only other times I’ve heard screaming at a concert with an orchestra on stage were these other “crossover” endeavors.
I’m not trying to be cool and I’m not trying to save the orchestra business. I do recognize that orchestras are rich in talent that is completely untapped. The communities we live in do savor the blend of their orchestras and creative artists that are just as talented but choose not to be on our payrolls.
Somewhere down the road, one of the things I hope to be remembered for most at the ensembles I’ve lead is taking a bigger slice of the musical pie and calling it fertile ground for our musicians and audience. Whether it be putting baroque bows in the hands of modern violinists for Handel’s Messiah or playing the “classical” works that make the heart of Belle Orchestre beat moments before they play that inspired song, I am committed to eating more pie and giving my orchestras a chance at unleashing more of that untapped talent for the benefit of the people who love us and support us.
How much great pie are you ready to eat?
 Donna Summer with me and the Phoenix Symphony. You go, girl. We all loved every song! |
 Concertmaster Steven Moeckel surprised the audience when he stood to play the last few minutes of the Carmen Fantasy! |
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 Bonsal Glascock, Alexis and me, Christine and David Gustafson |
