WEBVTT 00:00:15.074 --> 00:00:25.605 - There is a tradition of playing in an orchestra that sometimes I wonder if we get enough of these days 00:00:25.605 --> 00:00:36.341 - in music schools. And maybe some teachers look down on orchestral music and just training their students 00:00:36.341 --> 00:00:42.782 - just to play sonatas and concertos and chamber music, which is 00:00:42.946 --> 00:00:53.061 - extremely important. But you need to develop, especially these days that the economic situation of the 00:00:53.061 --> 00:01:02.882 - orchestras makes us do more performances and less rehearsal time. In the old days, when George Sell 00:01:02.882 --> 00:01:11.230 - and Toscanini and Guno Vardu, they used to have up to eight rehearsals for concerts. 00:01:11.458 --> 00:01:20.620 - We had the time to shape each phrase, each note. Now, because of the economics of the symphony orchestra 00:01:20.620 --> 00:01:29.434 - in the world and in this country, you are told by management, by board, hey, we don't have that kind 00:01:29.434 --> 00:01:38.771 - of money. We need to do the same concert with three rehearsals. And if we do not have the trained musician 00:01:38.771 --> 00:01:41.214 - who knows the music before, 00:01:41.730 --> 00:01:48.809 - we are in trouble. But I think this trend is changing and as far as I know in music school and one that 00:01:48.809 --> 00:01:56.160 - I teach, there are new classes of orchestral excerpts that the masters of the big orchestras, for instance, 00:01:56.160 --> 00:02:02.558 - when I went to the Cleveland Institute of Music, of which I graduated, we had a special cello 00:02:03.106 --> 00:02:10.070 - orchestral excerpts class with Stephen Gaber, who is the principal cellist of the Cleveland Orchestra. 00:02:10.070 --> 00:02:16.966 - And who else is better qualified to teach you the repertoire? So the whole class of ten cellists went 00:02:16.966 --> 00:02:24.201 - there and just played the second movement of Beethoven's Fifth Symphony until we knew what we were talking 00:02:24.201 --> 00:02:28.190 - about. And you as a conductor have to interpret the music. 00:02:28.994 --> 00:02:36.065 - And I think some conductors interpret it the way they think the composer wanted it, and some others 00:02:36.065 --> 00:02:43.419 - interpret it the way they would like to hear it. Which do you do, or a little bit of both? I guess it's 00:02:43.419 --> 00:02:51.197 - a combination of both. When you come to the orchestra and it's such a short time of three or four rehearsals, 00:02:51.197 --> 00:02:55.934 - you have to put together quite a challenging program. So there are 00:02:56.066 --> 00:03:04.395 - many intellectual or technical aspects that just make everybody play together and at the right dynamic 00:03:04.395 --> 00:03:12.723 - level to bring out the melody rather than the accompaniment thus to maintain balance. So these are the 00:03:12.723 --> 00:03:21.294 - basic things. When you achieve that, hopefully, and I think I did achieve it with the Camerata Orchestra, 00:03:21.294 --> 00:03:24.286 - then on top of it there is the extra 00:03:24.930 --> 00:03:34.099 - interpretation, the little thing that makes a difference between your interpretation and somebody else, 00:03:34.099 --> 00:03:43.268 - and I guess that's very rather subjective. I would hope that Dvořák Prokofiev and Ruthi Kosakov would 00:03:43.268 --> 00:03:52.702 - have liked what I'm doing. If not, I'm sorry, but I tried my best. You have a real jewel in this town, and 00:03:53.186 --> 00:04:02.324 - This is the Camerata Orchestra. I think it's a unique organization. And I think the citizens of Bloomingdon 00:04:02.324 --> 00:04:11.123 - should be really proud to have this little orchestra that does miracles. And I invite everybody to come 00:04:11.123 --> 00:04:19.838 - to their concerts and see it and hear it themselves. It has been a very interesting experience for me. 00:04:21.218 --> 00:04:28.958 - From what I understand, we have a combination of some very experienced and very fine players who used 00:04:28.958 --> 00:04:37.076 - to play first chair in one of the America's finest orchestras, and some of them playing in this orchestra. 00:04:37.076 --> 00:04:44.968 - And I could feel it right away. And on the other hand, we have some very fine players who are students, 00:04:44.968 --> 00:04:51.038 - rather inexperienced. And so what I was trying to run this balance of trying to 00:04:52.386 --> 00:05:01.242 - take these rather very excellent players, but inexperienced, and to bring them to the experience of 00:05:01.242 --> 00:05:10.895 - playing together and to the experience of making music with these pieces, which they were rather unfamiliar, 00:05:10.895 --> 00:05:18.334 - and still keep the very experienced and very fine teachers of these, in some cases, 00:05:18.690 --> 00:05:28.524 - players, and it was rather challenging. I've never had such experience before. Indiana University in 00:05:28.524 --> 00:05:38.260 - Bloomington is considered one of the best music schools in the world, not only America. And there's 00:05:38.260 --> 00:05:48.094 - a big following of especially also foreigners from Europe and from Asia, just being in the orchestra 00:05:48.322 --> 00:05:58.612 - some of the members, some of them from Hungary, from Holland, from China, from Japan, from Israel, all 00:05:58.612 --> 00:06:08.802 - over the place. And I know it's a very competitive school, and it's very, very extremely difficult to 00:06:08.802 --> 00:06:16.894 - enter. How do you achieve the, what should I say, spark that brings the audience 00:06:17.730 --> 00:06:29.524 - into the performance, the report, where you get your orchestra to somehow or other, and I don't understand 00:06:29.524 --> 00:06:41.317 - the process, but somehow or other, they reach the audience and the audience participates. Well, it varies. 00:06:41.317 --> 00:06:47.710 - It depends on the piece, and it depends on the particular 00:06:48.162 --> 00:06:55.985 - moment i mean sometimes the same orchestra with the same conductor one night it'd be a great performance 00:06:55.985 --> 00:07:03.436 - one that the audience would just uh... jump up their seats and clap and the second night the little 00:07:03.436 --> 00:07:11.036 - spark won't be there it's good but it doesn't have quite the same right it doesn't have the edge that 00:07:11.036 --> 00:07:15.134 - makes a difference and you know what i'm not sure that 00:07:16.226 --> 00:07:23.865 - We can explain. It's something, you know, we're trying the best to bring the musicians to their best 00:07:23.865 --> 00:07:31.504 - of the abilities, to play together, to feel like one body that makes music. But there is always this 00:07:31.504 --> 00:07:39.370 - extra 5% that always makes a difference. And it's really hard to define it. I certainly appreciate your 00:07:39.370 --> 00:07:45.118 - taking the time and being willing to talk to us. I consider it a privilege. 00:07:45.634 --> 00:07:53.339 - And I will wish you a sensationally great concert tomorrow night. Thank you. I'm looking forward. We 00:07:53.339 --> 00:08:01.121 - had a very good rehearsal. Tomorrow we have a dress rehearsal in which we'll have a chance to go over 00:08:01.121 --> 00:08:08.902 - and pick a couple of places and polish them. And looking forward for a great concert. And it has been 00:08:08.902 --> 00:08:11.038 - my pleasure talking to you. 00:08:11.394 --> 00:08:18.581 - Thank you. Well, thank you very much. We like the Comorata. It's a good organization and we wish it 00:08:18.581 --> 00:08:22.750 - well. Thank you so much. Thank you and take care. Thanks. 00:51:31.714 --> 00:51:39.408 - His career started at age 19 with the Chicago Symphony and Second Oboe. He was the youngest member of 00:51:39.408 --> 00:51:47.630 - that orchestra at that time. He stayed in Chicago until 1961 when he came to Indiana University as professor 00:51:47.630 --> 00:51:55.324 - at Oboe. He stayed in Indiana until 1988 and retired and stayed in Bloomington and all those years he 00:51:55.324 --> 00:52:00.830 - was with his lovely wife Lorraine. He was known as a consummate musician 00:52:01.314 --> 00:52:10.356 - He was always fun to be with, and we had the greatest fortune at having him as the principal oboe with 00:52:10.356 --> 00:52:19.311 - the Conrader Orchestra. He didn't get to play the very first concert that we played in April of 1989, 00:52:19.311 --> 00:52:28.441 - but I still feel he was a charter member because he started with us in the fall of 1989 and played with 00:52:28.441 --> 00:52:29.758 - us until 1995. 00:52:30.306 --> 00:52:41.406 - He played principal oboe, he played solo appearance, he played chamber music, and he was always wonderful 00:52:41.406 --> 00:52:52.610 - to be with. We have chosen these two enigma variations, number eight and nine, by Edward Elgar, in tribute 00:52:52.610 --> 00:53:00.254 - to Jared. The variations were written in 1899, and as you probably know, 00:53:00.386 --> 00:53:09.401 - Each one represents a friend or a circumstance of Elgar. The number eight and nine represent two special 00:53:09.401 --> 00:53:18.244 - parts. Number eight was done for his very dear musical friend, his pianist and singer. And number nine 00:53:18.244 --> 00:53:26.829 - was really a tribute to a memory of a walk in a beautiful setting with a friend. And that's the way 00:53:26.829 --> 00:53:29.662 - we would like to remember Jerry. 01:02:04.450 --> 01:02:12.628 - and I spent many, many years playing professionally with a gentleman named Phil Farkas. And Phil Farkas 01:02:12.628 --> 01:02:20.649 - used to tell us Jerry Shrucek stories. And then when I met Jerry, he told me Phil Farkas stories. And 01:02:20.649 --> 01:02:28.512 - so I felt I knew the man before I met him. But when I met him, I realized I really did not know him 01:02:28.512 --> 01:02:31.422 - because he turned out to be not only 01:02:32.866 --> 01:02:40.283 - but one of the first human beings I've ever known. So I'm dedicating this right part of the program 01:02:40.283 --> 01:02:47.923 - to his loving memory. And I've picked the middle tomb of the gospel set that both he and his beautiful 01:02:47.923 --> 01:02:55.711 - wife went to the same church we did, St. Mark's Methodist Church. And I did a lot of gospel things there 01:02:55.711 --> 01:03:02.238 - at the church. So I picked the middle tomb. Were you there when they crucified my Lord? 01:03:02.786 --> 01:03:11.564 - because it contains the same thematic synopsis that the Rimsky-Korsakov does in the English horn part. 01:03:11.564 --> 01:03:14.462 - So I think you'll recognize that. 01:16:20.642 --> 01:16:29.472 - the button. You see the button over here where this bat has me by the throat. Here, I've lost the button 01:16:29.472 --> 01:16:38.050 - so my bowtie will be a strew. I say that because if I don't, my wife will be running up on stage with 01:16:38.050 --> 01:16:45.534 - a needle and thread and put the button back on. Maestro, would you join us for Stardust? 01:16:51.682 --> 01:16:59.021 - The next tune I am told is Chancellor Wells' favorite tune, and it's my tune. So the next tune will 01:16:59.021 --> 01:17:04.158 - be Hogan Conrad. And this is a Stardust Followed by Uplandzi Rippert. 01:21:00.034 --> 01:21:07.735 - They went and wrote a very neat part for the violins. It's so neat that they hate to do it. That's how 01:21:07.735 --> 01:21:15.211 - neat it is. They play banjo parts. They do it so well, and then have them stand while they play it. 01:21:15.211 --> 01:21:22.912 - And this, Up Lazy River, if you listen to it, it sounds very much like a big spider-back trumpet solo. 01:21:22.912 --> 01:21:29.566 - And the melody is very difficult to play. It's like a very good standard Dixieland solo. 01:21:30.210 --> 01:21:39.423 - So I made sure that I don't have to play the melody in this chart. The trumpet flew in the back row. 01:21:39.423 --> 01:21:41.886 - Are you ready? Here we go. 01:26:06.786 --> 01:26:18.043 - was inspired by my childhood memories of the Italian Baptist Church. Yes, that's right. Ladies and gentlemen, 01:26:18.043 --> 01:26:28.379 - there stands before you an Italian Baptist. It seems as though the Baptist Church sent a missionary. 01:26:28.379 --> 01:26:34.110 - It didn't send a missionary to South America or Africa. 01:26:35.010 --> 01:26:44.087 - They sent a missionary to Kenosha, Wisconsin, and started the Italian Baptist Church right in the middle 01:26:44.087 --> 01:26:52.818 - of the Catholic neighborhood. Well, I had quite an exciting childhood, to say the least. One fateful 01:26:52.818 --> 01:27:01.462 - morning, the Sunday school piano player did not show up. Now, you all know you're good Baptists out 01:27:01.462 --> 01:27:04.574 - there. Are there any good Baptists? 01:27:04.706 --> 01:27:11.758 - I didn't think so. There's one. All right. But the Sunday School piano player did not show up. And the 01:27:11.758 --> 01:27:19.083 - minister said, of course, you know, you can't start Sunday School without singing a few good old fashioned 01:27:19.083 --> 01:27:26.203 - Baptist hymns. Well, the minister sent out a cry. He says, is there anyone in the congregation can play 01:27:26.203 --> 01:27:33.118 - Sunday School piano? And this wonderful woman raised her hand. She says, I play Sunday School piano. 01:27:34.690 --> 01:27:41.088 - He said, well, come on down. Well, she came down in front of him, made a hard right, pulled out that 01:27:41.088 --> 01:27:47.487 - piano bench and sat down. Well, she did two things. The first thing she did, she took the piano, she 01:27:47.487 --> 01:27:53.885 - closed it and put it on top of the piano. But the other thing she did was she rolled up her sleeves. 01:27:53.885 --> 01:28:00.537 - Now, I've never seen a science school piano player roll up their sleeves before, but she did. She rolled 01:28:00.537 --> 01:28:03.198 - up her sleeves, she cracked her knuckles. 01:28:04.034 --> 01:28:12.392 - And she looked at the minister and she said, what do you want to hear? And he said, well, how about 01:28:12.392 --> 01:28:20.918 - Jesus loves me this way now? Well, let me tell you, folks, when she finished the introduction, no one 01:28:20.918 --> 01:28:29.360 - could see. We had never heard anything like this. I had never heard anything so Godlike. I had never 01:28:29.360 --> 01:28:33.790 - heard anything so rhythmic, so sincere, so profound. 01:28:34.370 --> 01:28:41.908 - and so beautiful in my entire life. Well, that started me on my quest and gave me a desire to hear more 01:28:41.908 --> 01:28:49.301 - rhythmic music. So this wonderful woman said, well, if you'd like to hear more, come with me. And she 01:28:49.301 --> 01:28:57.057 - took me to some wonderful black revival meetings in Waukegan, tent revivals, where they have huge choruses 01:28:57.057 --> 01:29:03.870 - and they have complete rhythm sections and solos. It was wonderful. So that was my beginning. 01:29:04.066 --> 01:29:12.344 - initial thrust into the jazz language. So this mega joyful noise paraphrases that experience in my life 01:29:12.344 --> 01:29:14.334 - and I hope you enjoy it. 01:35:34.018 --> 01:35:46.143 - It's a beautiful piece of music, and again, it hearkens back. It's almost a crucial within itself, featuring 01:35:46.143 --> 01:35:48.702 - orchestra and trumpet. 01:41:54.466 --> 01:42:04.364 - Thank you. This person is the guiding light of this orchestra. She's a contractor. She's the librarian. 01:42:04.364 --> 01:42:13.976 - She's the paint master. She's the stage manager. What else does she do for this orchestra? She's the 01:42:13.976 --> 01:42:24.350 - publicist. She does everything. And without this person's money and efforts, this orchestra would not exist. 01:42:25.378 --> 01:42:32.694 - And very fine players, student players from Indiana University would never get a chance to work under 01:42:32.694 --> 01:42:40.081 - esteemed conductors and to play truly great music and get paid for it. Yeah. So, Lenore Hanfield, will 01:42:40.081 --> 01:42:44.958 - you stand, please? We're going to give you a big round of applause. 01:43:09.346 --> 01:43:18.226 - Amazing, David. Is it the beard? Shall I grow a beard? Is that it? I don't know. But thank you, David, 01:43:18.226 --> 01:43:27.192 - for adding so much to the program. And I like how about it. Thank you. And a round of applause, please, 01:43:27.192 --> 01:43:31.934 - for my rhythm section. Stand up, guys, and take a bow. 01:43:44.674 --> 01:43:52.419 - deserves your support and deserves a full house. If this orchestra only got the publicity commensurate 01:43:52.419 --> 01:44:00.164 - to the work that Lenore puts into it, we'd be in really good shape. So tell your friends and neighbors 01:44:00.164 --> 01:44:07.759 - about this marvelous thing that's happening over here. See if we can, just instead of seeing red out 01:44:07.759 --> 01:44:14.526 - there, we could see all other kinds of beautiful colors of people coming to this concert. 01:44:14.946 --> 01:44:22.362 - Again, thank you for coming, and I thank the orchestra, and thank you, sir. Wonderful job. First half 01:44:22.362 --> 01:44:30.068 - was marvelous. Really, the orchestra sounds great. Well, here we go. Justin would not be complete without 01:44:30.068 --> 01:44:37.411 - a little rock and roll. So this is rock and roll, and it's, well, whatever. And as you can see, it's 01:44:37.411 --> 01:44:44.318 - written by the former conductor, assistant conductor of the former band director of the former 01:44:45.282 --> 01:44:55.934 - post of the current dementia. I'm glad I got that out. So thanks again, and here's Walls of Jericho.