Archive for the 'Our Supporters' Category

Success story in Indianapolis

Published
by
dtclarinet
on July 28, 2008
in Behind the Scenes, Our Supporters, columbus symphony orchestra and symphony management
. 0 Comments

A graduate of the Eastman School of Music, BRUCE HEMBD has lived in Phoenix, Arizona (USA) since 1991. He performs regularly with the Arizona Opera, Southwest Brass, Quintessence Chamber Ensemble, Palo Verde Brass, Desert Chamber Musicians, Symphony of the West Valley, and the Tucson and Phoenix Symphonies, in addition to many other ensembles throughout Arizona.

Before moving to Phoenix, Bruce held principal positions with the Mexico City Philharmonic, Tucson Symphony Orchestra, and was also third hornist in the Fort Wayne Philharmonic. He has also freelanced in Europe (Austria and Germany), and in the Rochester (NY), Cleveland (OH), Houston (TX), and Chicago (IL) areas in numerous chamber ensembles, orchestras, musical shows and solo recitals.

Having grown up in Indy, I am a little familiar with their history. At one time the Indpls. Symphony performed in the dingy Clowes Hall on the campus of Butler University. Their salary was fairly average or even below average for the time back in the 1970’s.

When Raymond Leppard came to Indy in the late 80’s, he made it a mission to raise the bar significantly. The orchestra secured its own hall in downtown Indy (a beautifully renovated movie palace) and its management took an aggressive approach towards fund-raising and an endowment. Some housecleaning happened at all levels and the salaries and quality went up significantly.

The key element here I believe was strong leadership and a strong cooperative vision between symphony management and civic leaders.

Downtown Indy is a cool place to be on most evenings - not only are there symphony concerts, but also sporting events, restaurants and shopping. In comparing Columbus to Indy, we can only hope that a similar civic vision may be in store for Columbus.

Personal note from my student

Published
by
dtclarinet
on July 28, 2008
in Behind the Scenes, Our Supporters and Teaching
. 0 Comments

This sweet note is from the parent of one of my students, age 14 going on 15.

We were thinking of you when we were hiking at Zion Canyon National Park in southern Utah. Robin LOVED it there–there are lots of ferny plants clinging to the rock cliffs on a trail that goes along (and into) the river–its absolutely breathtakingly beautiful. She took lots of close up photos of flowers and ferns. At one point she commented, “I wonder if Mr. Thomas has ever been here. I can just picture him playing his clarinet in this canyon.” I thought that was pretty cool and that you would like to know that she’s thinking about clarinet music on a hike in the woods!

Thank you to ALL VOLUNTEERS!

Published
by
dtclarinet
on July 27, 2008
in Behind the Scenes, Our Supporters and columbus symphony orchestra
. 3 Comments

Symphony Columbus, which has taken over for Symphony Strong, has been the backbone of support for the musicians of the Symphony. They have tirelessly worked to coordinate volunteers, spread the word, sell those unique T-shirts so our message will be brightly displayed by users and pique the curiosity of those who don’t know what’s happening, greet supporters as they come to concerts, gather information on possible future supporters, and many, many other tedious but vital tasks.

It takes countless hours to gather and organize volunteers who wish to help but need a specific task to be useful. Mary Greenlee, David Greenlee, Pam Conley and a host of others (including Donna Gerhold, Jonquil Tanner and Jayne Gocken) have offered a huge amount of their time, expecting no more than a thank you.

I’m sure I can speak for all the musicians in saying :

THANK YOU,
FROM THE BOTTOM
OF OUR HEARTS!!!!!.

We couldn’t have done this without you. And with your help, there is now hope that we can have a great Symphony in Columbus, as we know everyone wants.

Fan Mail

Published
by
dtclarinet
on July 27, 2008
in Our Supporters
. 1 Comment

LAST NIGHT’S CONCERT WAS ABSOLUTELY AWESOME, IN THE REAL SENSE OF THE WORD…A PERFECT BLENDING OF CONDUCTOR AND MUSICIANS. THANK YOU!!!!!!!
Fran Compton

Mozart’s Café Chamber festival a Success

Published
by
dtclarinet
on July 23, 2008
in Behind the Scenes, Clarinet, Our Supporters, Performances and The Music
. 0 Comments

I just arrived home after a stimulating and busy day. I have to thank Mozart’s Café and Bakery for hosting a delightful evening (5-9 PM) of music and food. Everyone had a great time. Luckily the hot weather let up a bit so people could spill out onto the patio and listen to the music from afar. But no one minded. They mingled in and out if they wanted to hear one piece close up.

All the musicians involved, David Niwa, Ariane Sletner, Ken Matsuda, Luis Biava, David Thomas, Betsy Sturdevant, Robert “Woody” Jones, and Mariko Kaneda seemed to have fun playing a great variety of chamber music, from duos to trios to solos with piano.

I enjoyed playing an early Divertimento, K 229, of Mozart, written originally for two clarinets and basset horn, but arranged for two clarinet and bassoon, with my colleagues, Betsy and Woody. There was a blend between the three of us which, on occasion, went beyond three instruments and became one instrument, like an organ. I have to admit, sheepishly, that we didn’t rehearse. But we have played those same pieces together in the past, thought it was 15 years ago. I guess we have good memories.

I also felt at ease playing the Paul Jeanjean Carnival of Venice variations with the steady and focused accompaniment of Mariko Kaneda.

The food and pastries donated by Anand Saha, owner of Mozart’s, were spectacular and complimented the European music beautifully.

I do not think I am presumptuous in saying that all those involved would love to do something like this again.

I know Columbus loves us.

Somehow the news that the CSO management has canceled more of next season’s scheduled concerts seems like a mouse roaring in a cave. It appears to me like a vindictive and desperate move. Perhaps Columbus would agree. And only God and those in power in Columbus, I mean those REALLY in power, know why they seem to be trying to kill music in our City. Yet, perhaps God knows a bit better, and perhaps he is watching very closely.

Are you writing letters???

Published
by
dtclarinet
on July 20, 2008
in Our Supporters
. 0 Comments

John and Valerie Gibbs sent me email copies of at least ten letters they wrote and sent to various names listed on the page I created, LETTERS CAMPAIGN. (It’s up there in the menu in the header photo) Have YOU written a letter telling your elected city representatives to support your Symphony?

New Musicians Blog

Published
by
dtclarinet
on July 19, 2008
in Behind the Scenes, Musician's Life, Our Supporters and Personal
. 1 Comment

Ever since my blog became a central place to disseminate information and opinions on the Symphony crisis, I have lost track of my original purpose for it: to write about music and life as a performer. Though I have gotten heavily involved, as I and all the musicians must, I would like to go back to writing about clarinet, reeds, mouthpieces, my favorite pieces, and other issues specific to my vocation.

So, I created a blog for all of you: musicians, supporters, detractors, volunteers, donors, and music lovers in general. ANYONE can write a post or comment. To comment, just click on the “COMMENTS” link at the bottom of any post you wish to comment on. To post you can send me your email and I’ll register you.

Several substantial posts by other writers have already appeared, notably one by Greg Kufchak, a professional recording engineer in Columbus, and whose son is an extraordinarily talented cellist. Here is his most recent article, Withholding of funding by major donors a referendum.

The blog is listed in the sidebar on the right side of the blog. It’s the Columbus Symphony Musicians Blog.

David Lundberg’s Wisdom, Urging Passion

Published
by
dtclarinet
on July 16, 2008
in Behind the Scenes, Clarinet, Columbus Cultural Politics, Mastery, Off the Record, Our Supporters, Personal, The Music, columbus symphony orchestra, symphony board and symphony management
. 1 Comment

David Lundberg was educated as a musician at the American Conservatory of Music in Chicago. In business in Dallas, he founded the Charter Group, a property and casualty insurance conglomerate whose customer friendly and principle-rather-than-policy driven practices were significant in changing the face of the industry for the better.

Mr. Lundberg’s deep love for people and his passion for music punctuated another long career, volunteering in the support functions of music – as board member with the Dallas Symphony and Dallas Opera, as board chair for Lyric Opera of Dallas, Arkansas Opera Theater, Hot Springs Music Festival, and others too many to list. He has seen orchestras and other arts organizations dip near death, then rise to world renown. In his recent move to Columbus, David has brought a wealth of experience, perspective, and wisdom to share, as you will read in this letter.

Dear Fellow Community Members,

It was my privilege as a student at the American Conservatory of Music in Chicago in the 50’s to watch Fritz Reiner bring discipline and inspiration to an orchestra that had become complacent and lethargic. At that same time Chicago had an arts critic who was convinced that nothing excellent could possibly happen outside of New York, Boston, or Philadelphia and her reviews of the Chicago Symphony (CSO) reflected this belief.

During that period, the CSO also had an extended tour of Europe. The reviews came flooding back to the States and the reviewers were ecstatic. Chicago was filled with pride and excitement for their orchestra. That pride continues to this day as the CSO remains in the Top Five in the Country, with many in the know feeling that the CSO ranks Number One.

In Dallas, as a singer in the Dallas Symphony (DSO) Chorus for 25 years and as a member of the DSO Board for several terms, I saw a very similar phenomenon happen. The DSO emerged from bankruptcy in 1974, at full strength, thanks to some farsighted people including Stanley Marcus (Neiman Marcus). During the 70’ s, the DSO had a series of short-term and guest conductors, who allowed the Orchestra to become uninspired and sloppy. Enter Maestro Eduardo Mata, a masterful technician like Reiner, who awakened the musicians’ desire to perform at a higher level. Same script - sour critic, European tour, great reviews, and wonderful community response. The whole situation in Dallas remains positive to this day – pride in and of the musicians, fiscal stability, great arts community, good endowment, a great new $130 Million venue and no debt.

In the ensuing years, many Fortune 500 companies relocated their headquarters to the Dallas area. Ones that quickly come to mind are American Airlines, JC Penney, Exxon Mobil, Kimberly Clark, Co—America Bank, Fluor, and Ericsson Telecommunications (North America). Is there a connection here? You bet there is. When major companies decide to relocate, they establish a profile of the qualities that they are seeking at the new location. Common to these profiles is the absolute requirement of a superb, vigorous cultural community (led most naturally by the symphony and opera). While this is not the only criterion, the importance of a vital classical art landscape is undeniable.

My wife Katherine and I moved to Columbus two years ago and, Eureka! what did we find but Junichi Hirokami and the Columbus Symphony, and a strong feeling of déjà vu from Dallas and Chicago. Hirokami, whom I had seen guest conduct several times in Dallas, has the same technical skills as Reiner and Mata. And the bonus is that he is highly respected and liked by the musicians. Junichi brings such infectious joy and love of the music to the podium that audiences and musicians alike are exhilarated and enchanted.

Sadly, we began to hear from some in the community that, “the CSO and the Opera don’t pull their own weight financially.” Most are unaware that American symphonies and operas earn considerably less than half of their budgets from ticket sales. The critical mass of support must come from farsighted and benevolent corporations, foundations and individuals who have a keen understanding of the tax benefits, the good will, and public relations benefits they derive from their generosity. Also, we hear questions such as, “Can Columbus support a major symphony orchestra?” Columbus - 15th largest city – state capital – home to the largest university – home to six Fortune 500 companies and fifteen Fortune 1,000 companies? The question is absurd on the face of it. If we fail to save the symphony, Columbus will be the largest city in America without one.

Traditionally, it has been the large corporations that the Symphony has turned to for regular, long-term support. Unfortunately, that is how a small group of corporate funders and board members have come to assume the power to speak for the entire community regarding the future of this rare community treasure. And amazingly, power that seems entirely disproportionate to their monetary contributions.

If given the support, Hirokami will bring fame to Columbus and challenge the Cleveland Orchestra as the best symphony in the state. This vision certainly does not appear to be shared by the Board and the current corporate funders. They are looking to the bare minimum level of funding rather than the challenging, exciting “quest for the best.” Will the community settle for mediocrity or will they step forward and fight for the very best.

Our symphony was on the cusp of a giant step forward in quality and professional respect, which would have brought incalculable rewards to Columbus, many in ways totally unrelated to the arts. Are we to let this treasure, which would take decades to rebuild, slip away because of several years of what appears to be gross mismanagement by the CSO Board and staff? (The musicians are not the problem; their wages — total artistic costs — have been at or below budget the last three years.)

In the bigger picture, if Columbus is to grow and keep pace with other major cities by attracting new business and industry, supporting the symphony right now is absolutely mandatory. This is purely a matter of civic and corporate will. Let’s just determine to do it! And generously, in ways that will ensure its long term excellence and survival.

An enormous outpouring of support is needed from community members and arts lovers from all walks of life. The emergency is real, and the consequences are enormous. Failure is not an option! I invite you to weigh in with your thoughts on this matter at www.symphonycolumbus.com.

David Lundberg

Make it Everyone’s Orchestra!

Published
by
dtclarinet
on July 15, 2008
in Behind the Scenes, Columbus Cultural Politics, Our Supporters and columbus symphony orchestra
. 0 Comments

I excerpted the following from a letter posted on Symphony Strong by Tim Veach, Artistic Director Columbus Dance Theatre. He proposes the heretical idea of a culture tax for Columbus. When you think about the numbers: small tax of $50/year/household (which includes free concerts) produces a vibrant, thriving downtown which draws corporations to Columbus; everyone wins, even capitalists!

Culture is not a luxury. It is vital to the economic and creative health of a major urban economy. The failure of a community’s cultural institutions signals a regressive economic environment hostile to future growth and economic development. Vital economies are creative ones.

In response to this economic and cultural emergency I offer a proposal for Columbus.

The entire budget of the major (organizations with budgets exceeding 1 million dollars annually) arts organizations should be funded directly through a minimal tax, The Franklin County Culture Tax. Using U.S. Census Bureau statistics, if the adult population of Franklin County paid an average of $50 per year this would create an annual allocation of $38 million dollars for these major institutions.

What is the direct benefit to county residents? All performances and admissions would be free to Franklin county residents. This operational underpinning would then allow these cultural institutions to raise money for their endowments – something that has eluded all of the major organizations as they must spend the bulk of their contributed revenue on general operations.

Funds could be monitored through the Greater Columbus Arts Council who would use their current quality control measures to guarantee the judicious management of the public’s money.

A peripheral benefit of this program would be the freeing of significant funds at GCAC that currently go to the major institutions in the city. This money could then sustain the smaller cultural organizations and attractions in town also enabling them to offer their programming at no cost to county residents. Currently GCAC is funded by a portion of the Hotel/Motel tax. As of today, Franklin County residents are paying nothing to sustain their local arts organizations, unless, of course, you are living in a hotel.

This creative solution to our current arts funding dilemma will undoubtedly be met by an onslaught of naysayers. That is the nature of democracy. We debate and work together on creative solutions to better our communities. This will take work. Creation is hard. Destruction is easy. Let us not take the easy path.

I call upon Mayor Coleman and the members of City Council to offer temporary assistance from the city to guarantee the immediate survival of the CSO – an organization whose presence brings cultural and economic gravitas to the heart of our city. I then offer a plea to our elected leaders to consider this proposal or soon we could be a city without a voice.

Tim Veach Artistic Director Columbus Dance Theatre

Saturday’s Spectacular Concert

Published
by
dtclarinet
on July 14, 2008
in Behind the Scenes, Musician's Life, Orchestral Playing, Our Supporters and Performances
. 1 Comment


It’s amazing what a group of people can do in a short time when they put their collective mind to it. In the past two weeks the musicians, shut out by their own board and management, went into action and self-produced two concerts, a family concert Friday and a tour de force Saturday in Vets Memorial Auditorium.

Ten days ago we didn’t even know who the conductors would be. Nor did we know where we would get stands and chairs, or who would be generous enough to let us borrow the music we needed. We didn’t have a way to sell tickets, or a box office of any sort. We had no stage crew, and no insurance for the concerts in case someone got injured. Boy, did we learn fast!

With the untiring focus of our “concerts committee”, formed of a dozen or so musicians from the orchestra, the concerts seemed to take shape out of thin air. As I read the email reports, I offered to help, and became involved with centralizing the coordination of volunteers. When Donna Gerhold of the Women’s Association of the CSO, emailed me offering to help, I seized on the opportunity. A few days later, I phoned my friend Jayne Gocken to ask if she would volunteer. Jayne used to run the Granville Symphony, and so has a lot experience working the front of the auditorium as the audience arrives. She jumped on it and shot off a list of questions to me which lead to some very useful outcomes, such as passing clipboards around to gather contact information from supporters so we can notify them of future events.

After one orchestra meeting, David Edge, a violinist in the orchestra, offered to go to Staples to buy the clipboards and lined paper for the signup lists. That was the day before the first concert. Things seemed to fall into place.

The concert itself went very smoothly, with E.J. Thomas as MC introducing each piece from the podium, with Jaime Morales-Matos leading the orchestra through vigorous and exciting tempos, with the heart-felt ceremonial presentation of a plaque from the Musicians of the Columbus Symphony to Marines from the Lima Company for proud service to their country, down to the excited applause between each piece and at the end.

Several musicians commented that the acoustics were not as bad as we remembered it, having rehearsed there for some Picnic with the Pops events. If we could move forward on the stage, toward the audience, the hall would fill with our music even better. The reverb (sound feedback from the hall) was not bad, a bit harsh, but better than the Ohio Theater. The stage of Vets Memorial is also suitably wide to allow the orchestra to spread out, which is the normal configuration for orchestras allowing more of the sound to get off the stage. (Unlike the box shape of the Ohio Theater stage, which bounces much of the sound back into the orchestra, rather than out to the audience. In other words, the Ohio Theater doesn’t give the patron their money’s worth.)

Considering the cavernous size of the auditorium (3600 seats) and a week’s notice for publicity, we had a good crowd, over 1500. Just think what will happen when we REALLY plan it ahead and have learned from this experience. I hope you are able to join us for our next thrilling concert!