Baltimore Symphony Orchestra – Baltimore Magazine

Jonathon Heyward is the Exact Right Conductor at the Exact Right Time for the BSO

Aaron Hope — Wed, 20 Sep 2023 16:15:32 +0000

Jonathon Heyward is the exact right conductor at the exact right time for the Baltimore Symphony Orchestra.

By Max Weiss

Photography by Mike Morgan

ARTS & CULTURE

The Chosen One

Jonathon Heyward is the exact right conductor at the exact right time for the Baltimore Symphony Orchestra.

By Max Weiss

Photography by Mike Morgan

Opening Spread: Heyward in front of the Joseph Meyerhoff Symphony Hall, wearing his signature Converse.

September 2023

on stage at the Joseph Meyerhoff Symphony Hall. The assembled musicians, several in their formal concert attire, others in street clothes, are all doing different things: Some are talking and laughing. Some are playing scales. Some are tuning. Some are just making noise for the sake of it.

In the box seats, another group files in—they will be the chorus for tonight’s performance. They crane their necks and peer onto the stage. They squirm. They giggle. A harried minder tries to get them to stand up straight.

Of course, these aren’t members of the Baltimore Symphony Orchestra, but rather, members of OrchKids, the public-school music program started by Maestra Marin Alsop in 2008. Tonight is their 15th anniversary gala concert and this is the dress rehearsal. They’ll be playing a jazz- and gospel-tinged version of Matisyahu’s “One Day” arranged by Brian Prechtl, a percussionist with the BSO who also chairs the percussion department of OrchKids. He’s on stage now, getting their attention, and doing the warm-ups.

At some point, a tall, impossibly slender young Black man enters from stage right. He’s dressed casually in a blue button-up shirt, grey jeans, and a pair of his signature black Chucks. He’s holding a score.

Prechtl stops the playing to introduce him.

“This is Jonathon Heyward,” Prechtl says, “and he grew up in a music program a lot like this one.”

The kids applaud.

Prechtl turns things over to Heyward, the music director designate of the BSO—at 31 years old, he’ll be both the youngest and the first Black maestro in the orchestra’s history—and he sprints onto the podium.

“Hi everyone, how are you doing?” he says brightly.

“Gooooood.” It’s the rote reply of a bunch of kids who have answered this question way too many times before.

“How are you doing?” Heyward repeats, louder this time.

This time they’re more enthusiastic: “Good!”

“How does it feel to be at the Meyerhoff?” Heyward asks.

There are whoops and cheers.

“I just want you to know that this is your home. This space is your space,” Heyward says.

And he raises his arms and begins to conduct.

Even for this dress rehearsal with a bunch of high-school, middle-school, and elementary students, Heyward’s enthusiasm for music, for conducting, for the fellowship that music creates shines through.

“You’ve got all of your bow for a reason,” he says to the cellists. “You should use all of it!”

“Can you say ‘sss’ like a snake?” he instructs the chorus.

They imitate his “sss” sound. That’s how he wants them to enunciate the word “sometimes.”

“I think you can play louder than that!” he encourages. So they do.

And as he conducts, the music becomes better—the diminuendos softer, the fortes louder, the musical expression more precise.

“Thank you everyone for being amazing!” Heyward says, hopping off the podium, satisfied that they are ready for tonight’s performance. “Bravo!”

Heyward conducts the OrchKids gala dress rehearsal. —Courtesy of Max Weiss

THEY SAY IF YOU CAN SEE IT, you can be it. But that didn’t really apply to young Jonathon Heyward. He grew up in West Ashley, South Carolina, just outside of Charleston. His father, who is Black, was a chef. His mother, who is white and Yugoslavian, was a waitress. Money was a struggle. He and his younger brother, Anthony, shared a cramped room. At times they relied on food stamps.

It’s not just that there are only a handful of Black conductors on the world stage, even to this day. It’s that young Heyward would’ve had no exposure to them. Classical music wasn’t played around his house—or at any of his friends’ houses.

All that changed when he was introduced to orchestral music at his public elementary school. They were handing out instruments and he picked the cello, not because he was particularly drawn to it, but because the line was shorter than the one for the violin. Things like this happened to Heyward a lot. Little serendipitous moments that completely changed the course of his life.

He started to play, and he liked it. “It was an outlet,” he explains. “Still is an outlet. And, you know, my brother, who’s 13 months younger than me, is very much into sports. And that was his outlet. And I think when kids find their outlet, they’ve found their voice, so they stick to it, get enamored by it. So yeah, I was completely enamored by this new outlet of classical music.”

His mother took notice and decided to have Jonathon audition for the Charleston County School of the Arts at the age of 11. He admits that the audition went badly. He wasn’t really an advanced player, he just loved making music.

“The cello was bigger than he was,” chuckles Sarah Fitzgerald, the now-retired orchestra director of the school.

“He was so precious. And I can’t say that his audition was stellar. But we were like, this guy’s got something. We’re not real sure what it is, but it’s something.”

They added his name to the waitlist.

And then another one of those serendipitous things happened. A sixth grader dropped out of the program and Heyward got his slot. (In a further coincidence, that sixth grader, who joined the school the following year, would go on to become Heyward’s best man at his wedding.)

Heyward immediately loved the school. He felt like he was among his people.

“The school was a melting pot of different socio-economic backgrounds, religions, races, creeds,” he says. “But we were all interested in the arts. That was the link. I had friends who grew up in mansions. And it didn’t faze them one bit when they came to my house that I shared a small bedroom with my brother, and we slept on these tiny little cots. Because we all just loved music, it was our common ground. It taught me so much at such a young age about how we break barriers with the arts.”

Despite the slow start, he was getting better at the cello every day, and Fitzgerald, who remains close to Heyward and has watched his career take off with great pride, took notice.

“He was like a sponge,” she says. “I mean. . . he wanted to just soak up everything around him. He was always curious and always so appreciative of the opportunity—and he still is very appreciative. He’s just such a great guy.” She gets choked up for a second reflecting on her beloved pupil. “Anyway, I’m not gonna cry. . ."

Heyward tried his hand at conducting for the first time at the Charleston County School of the Arts and yes, it was the result of another bit of extraordinary happenstance.

There was a substitute teacher who didn’t know how to conduct. Names were put in a hat to determine which student would conduct that day. Heyward’s name was drawn. (You couldn’t make this sort of thing up.) He got to the podium, raised his hands over his head, and the orchestra sat up, in attention. Then he began to conduct—and they followed him, his emotions, his tempos. It was his first time experiencing the thrill of leading an ensemble.

He became obsessed, he says, not just with conducting, but with scores—those giant books containing all the different orchestral parts. “The idea that you can make one sound out of so many different voices, that’s still something that really inspires me today,” he explains. “And I think it’s what makes classical music so powerful, actually.” He would go home and actually read scores, for fun.

“I was a giant dweeb,” he admits. And he kept getting better.

Eventually, he attended the Boston Conservatory at Berklee, as a cellist. He told his professor that what he really wanted to do was conduct.

By junior year, he was named the assistant conductor of the school’s opera department.

After Boston, in 2014 he was accepted to the Royal Academy of Music to study conducting, which changed everything.

et's start with his voice. When you hear Charleston County Art School’s Sarah Fitzgerald speak, you’re struck by how Southern she sounds—it’s a voice that evokes sweet tea and grits and a rocking chair on a porch.

Heyward sounds nothing like that. He has a clipped, quasi-British accent—he sounds positively posh. It’s the result of years studying and conducting in London and living with his now-wife, Millie Aylward, who is English.

“I’ve been in London for 10 years,” he explains. “And my job is to listen. I think I just picked it up. I’m a bit of a chameleon, actually.”

(Aylward agrees with this. “When he comes back from Germany, he’ll have a slight German twinge,” she says.)

It makes sense that he would absorb accents differently from the rest of us. Accents have a certain music-like cadence—and Heyward’s life is music.

He met Aylward his first year at the Royal Academy. She was also doing her postgrad, studying the clarinet. (A soprano, she has since switched to studying and performing voice.)

She attended an orchestral workshop that Heyward conducted and was instantly smitten.

“I know it sounds cliché, but he popped onto the podium, and I just thought, ‘Oh great. I’m marrying him.’” She relays this in a matter-of-fact voice, like it was some official bit of business that she had settled. “And then we didn’t talk for the next two years!”

She says what initially drew her to Heyward was the sense of serenity about him. “He has this inner calm,” she explains. “And also, he felt very familiar to me, even though we had just met.”

Heyward had spotted her in the orchestra and felt similar stirrings. But both were too busy to pursue a relationship. (He also insists she gave him zero signs.) Then a few months before graduation, he got “the guts” to ask her out. They began dating, as though it had been preordained. They got married last May.

The proposal, as Aylward describes it, was very romantic and bit farcical—like something out of a Hugh Grant rom-com.

It was Christmas morning. One thing you have to know about Aylward is that she loves Christmas. Her job, which she took quite seriously, was to make Brussels sprouts for the family Christmas supper. The timing was essential—“nobody likes soggy Brussels sprouts,” Aylward says. But the previous night, Heyward insisted on going for a morning walk and wouldn’t take no for an answer. She indulged him, but said they would have to get up very early to do it.

“It was very cold, very dark, like very miserable,” she says. “We were walking in our wellies, the sun hadn’t even begun to rise yet. And we got into the middle of this field that’s near where my parents live. And then the sun started to rise. And it was really beautiful.”

At that point, she was ready to turn around. “He was dawdling,” she remembers. “I was like, ‘Jonathon, I’ve come for your walk, we’ve got to speed this up!’ And he started being really mushy and did this whole speech. And then he got down on one knee. And I was like, ‘Oh my God!,’” She laughs remembering it. “I had no idea what was going on.” As for the Brussels sprouts?

“I gave them to my sister [to make]. I said, ‘I just got engaged. You can handle the Brussels sprouts.’”

After the Royal Academy, Heyward’s career took off rapidly. While in school, he had won the Besançon, a prestigious conducting competition. It set him on his path—a job as conductor of the Hallé Youth Orchestra and assistant conductor of the Hallé Orchestra in Manchester, England; an appointment as chief conductor of the Nordwestdeutsche Philharmonie.

One day, while still with the Hallé, he forgot his shoes before an educational gig in front of Manchester school children. He was in a panic, but his supervisor told him it was too late to go home and get proper shoes—he’d have to conduct with his sneaks on. Later, he received feedback from the students on little cards, and “an overwhelming number of them said that what they enjoyed most about the concert was my red Converse.”

It was embarrassing, but it taught him a valuable lesson: “Suddenly, they related to me, and they related more to classical music, just because I was wearing Chuck Taylors. And I thought, how powerful is that? It was a way to break that barrier, that wall, which is so important to me. It wasn’t on purpose, it was just another serendipitous moment, but it stuck.”

It also earned him a new nickname, the Converse Conductor, which he still uses as his Instagram handle.

Heyward was young, he was hip, he was talented, and his star was on the rise. And then the BSO came calling.

t's a wonderful thing to watch Jonathon Heyward conduct. He doesn’t just dance on the podium, as many conductors do. But he seems to use his whole body, particularly his long, graceful hands and arms, in such a way as to make geometric shapes. There are circles and semicircles, arcs, and angles—it’s as though Bob Fosse himself had choreographed his movements. When he conducts, he tends to wear close-cropped Nehru-style jackets with sleeves that are a little too short, so you can see the top of his white dress shirt and not only his hands but his dancing wrists.

He has a musicality and a joie de vivre that oozes out of him. It’s noticed by orchestras and audiences alike.

It was certainly noticed by the hiring committee at the BSO. In 2021, artistic director Marin Alsop had stepped down after a 14-year tenure and the orchestra was looking for her successor. While her years with the orchestra—which included a Grammy nomination for the orchestra’s performance of Bernstein’s Mass, a performance at New York’s Carnegie Hall, and a slew of community outreach initiatives, including OrchKids and the BSO Academy—could only be described as a success, her initial hiring had been somewhat controversial. The musicians felt they hadn’t been sufficiently consulted during the hiring process, which led to a tense start for the new maestra.

Current BSO executive director Mark Hanson was determined to do it right this time. He assembled a hiring committee that included several musicians, board members, staff members, and even some members of the community. And after each auditioning conductor rehearsed and performed with the orchestra, members were asked to fill out a card assessing their abilities. Hanson put a lot of weight on those assessments.

The first time Heyward conducted the BSO, in March of 2022, he was tackling the tricky and rarely played Shostakovich 15th Symphony. He knew it was an audition to be the permanent maestro. And it was like being thrown into the deep end.

“I had never conducted it,” says Heyward. “And they had never played it. It could’ve gone wrong very quickly.” Instead, the performance was a rousing success—he got several curtain calls. And what’s more, he and the orchestra developed an immediate simpatico.

“From the start of the rehearsal, he was doing all of the tangible and intangible things that you want from a conductor,” says BSO first violinist Greg Mulligan, who was a member of the search committee. “You want a traffic cop at times, but only when you need a traffic cop. The rest of the time you want inspiration. And he was giving us that.”

Associate principal second violinist Ivan Stefanovic was similarly inspired. “At the Meyerhoff, it’s very easy to play with a full sound all the time and to forget what a true pianissimo is,” he explains. “Because it’s a loud hall, you have to try harder to play with an intimate sound. And my God, in the first rehearsal already, Jonathon was having us play some dynamics and colors that I had not heard in a while. It was remarkable.”

(Heyward’s contrasting dynamics seem to be something of a specialty. In a Washington Post review of a May concert, critic Michael Andor Brodeur wrote, “Heyward’s way of bringing out the softer side of this orchestra is what intrigues me most about his forthcoming tenure.”)

The response was so overwhelmingly positive, BSO officials invited Heyward back a month later, in late April of 2022, this time for a benefit concert for Ukraine. Once again, crowds were euphoric.

The committee was getting to know Heyward better, too, seeing not just his talent and his rapport with the orchestra, but his bone-deep belief in programs like OrchKids and his commitment to making the Meyerhoff a more welcoming, inclusive space. Even as a guest conductor, he was keen on exploring Baltimore—the Lexington Market, Mt. Vernon Place—and interacting with its people.

“He’s an ideal music director for an organization that is very much about evolving as an institution to ensure that we not only continue to inspire and engage longtime audience members, but find the next generation of audience members,” says Hanson.

The committee knew that if they didn’t act quickly, Heyward would likely be snatched up by another orchestra. (Case in point, in the last year alone, he was named “One to Watch” on the Bloomberg 50 list and was appointed summer director of New York’s Mostly Mozart festival.)

That July, Heyward was formally announced as the BSO’s new maestro.

eyward doesn't have a lot of hobbies—remember, this is a man who likes to read orchestral scores for fun.

He is, however, a hardcore espresso drinker. Aylsworth says he always has a collection of coffee-stained demitasse cups that pile up on his nightstand and desk in Folkestone, the southeast England town where the couple has a house. This is mostly because he’s gotten so engrossed in whatever musical passage he’s studying, he forgets to take them to the sink. Otherwise, he’s good at doing his share of chores around the house. “He’s a modern man,” she says.

To that end, Heyward has recently embarked on a new hobby, one that engages all of his senses—he’s taken up flying.

“For my birthday last year, my darling wife got me my first flying lesson,” Heyward says. “And I’ve been hooked since. It’s something completely different. And I think it’s the only time where music isn’t playing in my brain, because I have to focus so much. I love it.”

Aylsworth isn’t too worried about the potential danger of her husband’s new pastime—she says it’s nice for him to have a pursuit that’s completely separate from music. “You have to have time away from music in order to bring something back into the music,” she explains. For now, she’s still in England, studying voice, but she’ll hopefully move to Baltimore later this month—at least part time; Heyward says they’re looking to find a loft-style apartment, possibly in Canton or Fells Point.

Of course, the life of a conductor, even one with a permanent appointment, is peripatetic. There are guest conducting jobs, world tours, and summer festivals. Aylsworth, who describes the whirlwind of the past two years—COVID, followed by Heyward’s rapid hiring—as “surreal,” says she likes to travel with her husband whenever possible. As a singer, she brings her “instrument” wherever she goes. And Heyward says he never would’ve accepted the position without her blessing. Luckily, she is as bullish on Baltimore as he is. “The people are just so unbelievably friendly,” she gushes.

At 31, Heyward will be one of the youngest music directors in the country. This gives him lots of advantages— an exuberance, an energy, even a touch of irreverence.

And we’ve already seen his cheeky personality come out on stage.

During a performance of Tchaikovsky’s Piano Concerto No. 1 in May (he conducted a few concerts this spring, in anticipation of his full-time appointment), the crowd got a little too excited and applauded after the first movement. This is a classical music no-no, but exactly the kind of thing Heyward wants to encourage—why shouldn’t they applaud in the middle of the piece? But the cheering went on a bit too long. Heyward swiveled on the podium and said, “Wait, there’s more.”

It happened again, later that month, after the prelude to Xavier Foley’s “Soul Bass.” This time, Heyward turned to the crowd and quipped, “It gets better.”

These incidents demonstrated a couple of things: One, that Heyward is comfortable breaking the “fourth wall” of classical music—he wants it to be fun, not this rarefied, intimidating thing. He also is clearly bringing new fans to the Meyerhoff, people who are perhaps not steeped in classical protocol, who don’t sit on their hands between movements and try so hard not to cough it results in a coughing fit.

On the other hand, being a young conductor is not without its challenges. For one thing, he’s learning a lot of these massive works of repertoire for the first time. How does he gain the respect of seasoned musicians who have possibly played the piece dozens, if not hundreds of times? As always, it comes down to the music.

“What I learned the most, as I explore life as a young conductor, is that if you have a common ground of just purely making music and collaborating, people will, nine times out of 10, be on your side,” Heyward says. “If you show the passion and love for the art form, that can be your driving force.”

That love of music is the thing that has propelled him throughout his career. He never really needed to “see it to be it,” because he was always following his own calling, his own muse. He never gave much thought to his age, or the color of his skin, or his relative inexperience. It was always about making music.

But he’ll never forget how it all started. At a public-school music program, where he stood in a shorter line and picked the cello, and at a school for the arts, where he first found his outlet—and his tribe.

The week he was in town for that Ukraine benefit—mind you, this was before he was named music director—he went to visit the OrchKids.

“He spent like three hours actually going around to two of our main sites and talking to all the students and teachers,” says Nick Skinner, the OrchKids VP. “And it was just such a beautiful experience to have someone so willing to give his time for something he’s so passionate about. And the students connected to him so well, because this was someone who had been on a similar journey as some of them. I remember thinking, ‘I hope [the BSO] hires him, because he will be so good for us.’”

It’s no secret that attendance is down at symphony halls across the country, as orchestras struggle to attract young and diverse audiences.

This is why Heyward’s appointment is so crucial. He wants to bring new people into the Meyerhoff. He wants to strip orchestral performance of its perceived stuffiness. He wants everyone, as he told those OrchKids players, to feel like this is their home. And he wants to be a role model so that young people, especially young Black people, can “see themselves on that stage.”

“Because if a 10-year-old boy from Charleston, South Carolina, can be enamored by this music, I think anyone can,” he says. “I really believe that.”

Source

Vibrant Living

Megan McGaha — Wed, 23 Mar 2022 17:44:41 +0000

ue and Thom Rinker, age 74 and 75 respectively, were feeling very isolated in their condo in Baltimore County. “We were ready for a change,” says Sue.
“My mother had lived at a Continuing Care Retirement Community (CCRC) for 20 years and some of our friends had moved to that type of community. We really liked what a CCRC offered.”

According to seniorliving.org, a CCRC (also known as a Life Plan Community) delivers independent living and an amenity-rich lifestyle with access to onsite, higher-level care should a resident’s medical needs progress. The levels of care usually include independent, assisted, memory care, and skilled nursing as well as rehabilitation therapy on the campus. This continuum of care ensures residents that they have the comfort of remaining in the place they call home and the peace of mind that comes from knowing their future care is figured out.

“We wanted a CCRC so our two children who live in the area wouldn’t be burdened with our future healthcare,” Sue continues. “But for now, we are healthy and wanted lots of great amenities.” The Rinkers, who live at Blakehurst in Towson, say that it’s like living at a five-star resort.

Robin Somers, CEO of Broadmead, a Life Plan Community in Cockeysville, says, “Today we are seeing many of our residents coming in younger. Rather than in their 80s, they come in their 70s.”

Elizabeth O’Conner, director of marketing and sales at Blakehurst, adds that not only are residents younger, “they are very active.”

Without the drudgery of home maintenance, doing daily chores like cleaning and meal planning, and even trying to get the COVID-19 vaccine booster, there’s time for residents to be physically active and explore myriad intellectual and cultural opportunities. But for those who prefer to spend time alone or with a few friends, there’s that too.

A fitness center ranks high on must-have lists for incoming residents. In many CCRCs, residents will find state-of-the-art equipment, classes including yoga, tai chi, and aerobics, and a heated pool. Sometimes there’s even a juice bar and a spa for manicures, pedicures, and massages. Parker Williamson, 81, is an avid sailor who lives at BayWoods of Annapolis, a waterfront community. He says, “I exercise every other day, but don’t like group classes, so the personal trainer worked up a routine just for me.”

Many CCRC's, like Broadmead, are pet-friendly. Photo courtesy of Broadmead.

Shutterstock.

“Today’s residents want individualization,” remarks Somers.

Sharon Krulak, 79, is a new resident at Blakehurst. She’s also an artist who works in mixed-media. When the Krulaks were looking at Blakehurst, she told O’Connor, “I need a room to do my art. And they made it happen.”

At Broadmead, two residents who were trained and experienced beekeepers had a conversation with the Broadmead executive director, and the Broadmead Apiary was established in 2013. Today, there is a group of six residents who are involved. Throughout the year they inspect the beehives, feed the bees sugar syrup, and harvest the honey into jars for sale.

Residents of Broadmead playing tennis. Photo courtesy of Broadmead.

Shutterstock.

Usually, CCRCs have councils, committees, and their own governing body where residents can make things happen. “At Blakehurst we have 43 residential-run committees,” says Sue Rinker. “Thom is on the residents’ board and I’m on the refurbishing and jigsaw committees.”

CCRCs have concerts, guest speakers, and some arrange continuing education through Osher Lifelong Learning Institutes (university-based education specifically for people 50 and older) or nearby universities. At Broadmead, they recognize artists within their community and in the greater Baltimore vicinity by having exhibits, programs, and educational outreach. This April, the Broadmead Art Council will host an exhibit of the works of Herman Maril, a Baltimore native known for painting seascapes, interiors, and landscapes. These exhibits and lectures will be open to the greater community.

Other amenities usually include endless clubs, beautiful walking trails, gardens where residents can plant vegetables and flowers, a movie theater, a library, woodworking, a beauty salon and barber shop, card and poker rooms, billiards, bocce, and a resident computer and business center. Some communities have a croquet court, a putting green, and pickleball. As most CCRCs welcome your four-legged family members, there are even dog parks. And in keeping with making life effortless, some places will deliver your incoming packages right to your door. The list of concierge services goes on, including scheduled transportation to grocery stores, shops and more. At Edenwald, a CCRC in Towson, a bus transports residents to cultural events and attractions like the Baltimore Symphony Orchestra at the Meyerhoff, a string quartet at Shriver Hall, and plays.

Cuisine plays an important part in daily life. The number of dining venues depends on the CCRC and so do the plans they offer. Many have a grill, café, bar, and outdoor dining. CCRCs pride themselves on having an excellent chef, offering plenty of choices on the menu, high quality ingredients, and dining experiences resembling a great restaurant.

In this area, all CCRCs are close to vibrant cities—Annapolis, Baltimore, and Washington, D.C. As Parker Williamson, resident at BayWoods, says with a laugh, “What’s great is we can visit Baltimore and D.C. and take advantage of all they have to offer, but we don’t have to live there.”

The Guide to Regional Continuing Care Facilities & Senior Resources

Shutterstock.

ASBURY METHODIST VILLAGE
201 Russell Ave.
Gaithersburg, MD 20877
(301) 216-4001
asbury.org/asbury-methodist-village

ASBURY-SOLOMONS ISLAND
11100 Asbury Circle
Solomons, MD 20688
(410) 394-3000
asbury.org/asbury-solomons

BAYLEIGH CHASE
501 Dutchmans Lane
Easton, MD 21601
(410) 657-4900
actsretirement.org/communities/maryland/bayleigh-chase-easton

BAYWOODS OF ANNAPOLIS
7101 Bay Front Drive
Annapolis, MD 21403
(410) 268-9222
baywoodsofannapolis.com

BEDFORD COURT
3701 International Drive
Silver Spring, MD 20906
(301) 598-2900
sunriseseniorliving.com/communities/bedford

BLAKEHURST
1055 W. Joppa Road
Towson, MD 21204
(410) 296-2900
blakehurstlcs.com

BRIGHTVIEW SENIOR LIVING
Multiple locations
(888) 566-8854
brightviewseniorliving.com

BROADMEAD
13801 York Road
Cockeysville, MD 21030
(410) 527-1900
www.broadmead.org

BROOKE GROVE
18100 Slade School Road
Sandy Spring, MD 20860
(301) 924-2811
www.bgf.org

BUCKINGHAM’S CHOICE
3200 Baker Circle
Adamstown, MD 21710
(301) 804-2159
actsretirement.org/communities/maryland/buckinghams-choice-adamstown

CARROLL LUTHERAN VILLAGE
300 St. Luke Circle
Westminster, MD 21158
(410) 848-0090
clvillage.org

CHARLESTOWN RETIREMENT COMMUNITY
715 Maiden Choice Lane
Catonsville, MD 21228
(410) 405-7683
ericksonseniorliving.com/charlestown

COLLINGTON EPISCOPAL LIFE CARE COMMUNITY
10450 Lottsford Road
Mitchellville, MD 20721
(301) 925-9610
collington.kendal.org

EDENWALD
800 Southerly Road
Towson, MD 21286
(410) 339-6000
edenwald.org

ELIZABETH COONEY CARE NETWORK
1107 Kenilworth Drive, Ste. 200
Towson, MD 21204
(410) 323-1700
Elizabethcooneyagency.com

FAHRNEY-KEEDY
8507 Mapleville Road
Boonsboro, MD 21713-1818
(301) 733-6284
fkhv.org

FAIRHAVEN
7200 Third Ave.
Sykesville, MD 21784
(410) 892-1946
actsretirement.org/communities/maryland/fairhaven-sykesville

FRIENDS HOUSE RETIREMENT COMMUNITY
17340 Quaker Lane
Sandy Spring, MD 20860
(301) 924-5100
friendshouse.com

GINGER COVE ANNAPOLIS LIFE CARE
4000 River Crescent Drive
Annapolis, MD 21401
(410) 266-7300
gingercove.com

GLEN MEADOWS RETIREMENT COMMUNITY
11630 Glen Arm Road
Glen Arm, MD 21057
(410) 592-5310
presbyterianseniorliving.org/glen-meadows-retirement-community

GOODWILL RETIREMENT VILLAGE
891 Dorsey Hotel Road
Grantsville, MD 21536
(301) 895-5194
goodwillhome.org

Shutterstock.

HARMONY AT WALDORF
11239 Berry Road
Waldorf, MD 20603
(240) 270-2759
harmonyseniorservices.com/senior-living/md/waldorf/berry-road

HERON POINT OF CHESTERTOWN
501 Campus Ave.
Chestertown, MD 21620
(443) 214-3605
actsretirement.org/communities/maryland/heron-point-of-chestertown

HOMEWOOD AT FREDERICK
7407 Willow Road
Frederick, MD 21702
(301) 644-5600
homewoodfrederick.com

HOMEWOOD AT WILLIAMSPORT
16505 Virginia Ave.
Williamsport, MD 21795
(301) 582-1472
homewoodwilliamsport.com

INGLESIDE AT KING FARM
701 King Farm Blvd.
Rockville, Maryland 20850
(240) 557-8791
inglesideonline.org/ingleside-king-farm

LEISURE CARE: THE LANDING OF SILVER SPRINGS
13908 New Hampshire Ave.
Silver Spring, MD 20904
(301) 388-7700
leisurecare.com/our-communities/landing-of-silver-spring

LUTHERAN VILLAGE AT MILLER’S GRANT
9000 Fathers Legacy
Ellicott City, MD 21042
(410) 465-2005
millersgrant.org

MAPLEWOOD PARK PLACE
9707 Old Georgetown Road
Bethesda, MD 20814
(301) 571-7444
maplewoodparkplace.com

MARYLAND MASONIC HOMES
300 International Circle
Cockeysville, MD 21030
(410) 527-1111
mdmasonichomes.com

MERCY RIDGE
2525 Pot Spring Road
Timonium, MD 21093
(410) 561-0200
mercyridge.com

NORTH OAKS
725 Mount Wilson Lane
Pikesville, MD 21208
(410) 484-7300
northoaksseniorliving.com

RIDERWOOD VILLAGE
3140 Gracefield Road
Silver Spring, MD 20904
(301) 701-4076
ericksonseniorliving.com/riderwood

ROLAND PARK PLACE
830 W. 40th St.
Baltimore, MD 21211
(410) 243-5700
rolandparkplace.org

THE RESIDENCES AT VANTAGE POINT
5400 Vantage Point Road
Columbia, MD 21044
(410) 964-5454
vantagepointresidences.org

OAK CREST VILLAGE
8800 Walther Blvd.
Parkville, MD 21234
(410) 405-7419
ericksonseniorliving.com/oak-crest

ORTHOPAEDIC ASSOCIATES OF CENTRAL MARYLAND
Six locations in the area
(410) 644-1880
mdbonedocs.com

RECORD STREET HOME–HOME OF THE AGED
115 Record St.
Frederick, MD 21701
(301) 663-6822
recordstreethome.org

THE VILLAGE AT AUGSBURG
6811 Campfield Road
Baltimore, MD 21207
(410) 834-4143
thevillageataugsburg.org

THE VILLAGE AT ROCKVILLE
9701 Veirs Drive
Rockville, MD 20850
(301) 424-9560
thevillageatrockville.org

WECARE
1852 Reisterstown Road
Pikesville, MD 21208
(410) 602-3993
wecarepds.com

WILLOW VALLEY
600 Willow Valley Sq.
Lancaster, PA 17602
(717) 464-6800
willowvalleycommunities.org

Shutterstock.

Source

Brava, Maestra!

Max Weiss — Wed, 04 Aug 2021 13:50:51 +0000

BSO's Marin Alsop on stage at the Joseph Meyerhoff Symphony Hall. —Photography by Mike Morgan

The word trailblazer is perhaps thrown around too casually, along with the word genius. Both, however, apply to Maestra Marin Alsop, the history-making outgoing music director of the Baltimore Symphony Orchestra.

During the course of her 14-year-tenure with the BSO, she became something of an international celebrity—a highly sought-after guest conductor, festival curator, and pedagogue—as well as a role model to aspiring female leaders everywhere. While she is technically continuing a relationship with the BSO as Music Director Laureate and OrchKids Founder, she will be focusing on her many other endeavors—in particular, her role as Chief Conductor of the Vienna Radio Symphony Orchestra in Austria.

Alsop’s years with the BSO were marked by soaring highs—a celebrated discography (14 of them), a prestigious world tour, community outreach programs that integrated the symphony with its city in unprecedented ways—as well as some undeniable lows: labor disputes, financial problems, and a few infamous clashes among the musicians.

Indeed, even Alsop’s arrival was not without controversy. While most of the world was celebrating her historic appointment in 2007—she was (and remains) the only female conductor to lead a major U.S. orchestra—many members of the orchestra groused about it, feeling they weren’t suitably consulted over her hiring.

In classic Alsop style, she confronted the players head on, saying, essentially: Do you want me here or not? Thank goodness for Baltimore, they wanted her. Almost a decade and a half later, she is leaving the orchestra—and the city of Baltimore—better than she found it.

You’re leaving the BSO after 14 years. How are you feeling about that?
I guess I shouldn’t say I feel great, but I feel great about it. I feel like I accomplished most of what I wanted to. I did as good a job as I think I could have. It was a really long run, and we saw lots of ups and downs. I’m super excited about what I’m doing now [with Vienna Radio Symphony]. It’s nice to have a change in life and open a new chapter and explore some new things. And I’m especially happy that I will continue a relationship with the orchestra for many years to come. That is something that hasn’t traditionally happened with exiting music directors at the Baltimore Symphony.

You’re 64. It’s great that in your line of work you can keep getting opportunities like this.
Yeah, but that said, you don’t see a lot of old ladies on the podium throughout the world, so there’s still a little bit of room to go. That’s one of my new missions—to talk about aging for women and the perception in society. But I have to say that moving my focus more to Europe has been really fun, and I’m really enjoying my time in Vienna. I think the United States is very entrenched in certain images of women. It’s very, very hard to change that perception. And I’m not saying that Europe is the mecca of open-mindedness, but they’ve been extraordinarily welcoming to me.

The maestra at the podium. —Courtesy of The BSO

Of course, you had a hand in changing the perception of female conductors around the world.
I hope so, yeah. I think the #MeToo movement really kicked it into gear. Without that, I don’t think we would have seen the dramatic changes we’ve seen in the last few years. It’s only been the last five years that orchestras have been open to inviting women to guest conduct, women from a variety of backgrounds. There have been incredibly talented women and people of color around for centuries, but they simply were not given a chance. Because they were consciously kept out. The organizations and institutions haven’t been open to them—until now. Suddenly everything is really transformed because of #MeToo and Black Lives Matter. Finally. It’s great.

You’ve been pushing for this sort of thing for years.
A couple of years ago, I did a whole manifesto for the BSO about diversity and inclusion, but it [never happened]. Maybe everything is catching up to itself now.

You’ve always been ahead of the curve.
[Laughs wryly] There’s a certain amount ahead of the curve that is a great amount. And then there’s a further amount ahead of the curve that is not helpful. I’m always way too far ahead of the curve! I think the classical music industry is so conservative. They start to do something one way and then they do it that way for a hundred years.

“YOU DON’T SEE A LOT OF OLD LADIES ON THE PODIUM THROUGHOUT THE WORLD.”

One thing I admire about you: As a woman, you’ve encountered doubters in your career, but you’ve never let them define you. You set out to prove people wrong.
I think when people say you can’t do something, there’s part of you that gets crushed by that, for sure. And you start to have self-doubt. But I think the much bigger part of me gets really mad. Because it’s not fair. I think inequity and injustice are the biggest motivators. If I don’t stand up for justice, people who don’t have the same stubborn qualities, the same thick skin, they’re really going to get hit hard. I feel like that’s my job. I’m going to stand in front of them.

By the time this story comes out, you’ll have given the commencement speech at Juilliard. What do you plan to say to the students?
That it’s probably the most important graduating class in their entire history [because of the social and cultural changes that are going on]. They stand at the crossroads of what art is going to be moving forward. What kind of relationship is society going to have to art and art to society? What kind of responsibility does art have to society? It’s going to be up to these young people to really carry that mantle forward, to make some kind of cohesive statement.

Alsop with a young violinist from OrchKids. —Courtesy of The BSO

After 14 years, what accomplishment at the BSO are you most proud of?
I would say the artistic quality of the orchestra. I think the orchestra now plays at a comparable level to the leading orchestras of the world. Technically, musically, in terms of sound palette and colors, I think the orchestra is right up there.

Next would probably be the discography that I leave them with. They’re all of extraordinary high quality. So that’s a nice legacy to leave. We’ve done some wonderful commissions. Tried to really diversify the repertoire. Bring in new composers. Feature Baltimore composers like Chris Rouse or regional composers like James Lee [III]. Celebrate creativity from the region.

And then, I’d say, the initiatives I was able to start. OrchKids, of course. And the Rusty Musicians program. And the BSO-Peabody Conducting Fellowship program. All of these things have brought a different dimension of access and inclusion to the table.

OrchKids is such a legacy. You changed lives.
The program did. I hope I contributed a little bit. The fact that [the students] see me as somebody from the neighborhood—Miss Marin: “Oh, if she can do it, I can do it.” I like that. I like that they’re so comfortable at the concert hall. They’re so comfortable listening to concerts. They’re so comfortable in front of people. The program has given them not just musical skills but also social poise. They’re really capable kids now. They can get out there and be leaders in the community. I think that’s great.

Famously, the orchestra took to the streets to perform during the Freddie Gray Uprising. What was that moment like?
It’s very important to me that you understand the impetus for that. That came from the musicians, not from me. And it was Michael Lisicky, the second oboe, who really spearheaded the idea of just stepping into the street and playing as a response. I called him and said, “Hey, if you need a conductor let me know. I’ll happily join you.” I was just a tagalong. I wish that, in that moment, we could’ve moved things forward more. To me, it was lost time between Freddie Gray and losing George Floyd.

What are some of your regrets about your tenure?
I would’ve really loved to have gotten the musicians integrated into the OrchKids program in a more meaningful way—built an ecosystem that included that program. I hope in the future that the orchestra will consider apprenticeships for the super-talented kids in OrchKids. Like, a junior apprenticeship for the top five, ten kids to come and play in rehearsals, to be mentored by some of the musicians. It could also change the complexion of the orchestra on stage, the demographics. Wouldn’t that be amazing?

Another thing I would’ve liked to accomplish, something I’ve been talking about for 10 years, is an urban redevelopment project centered on the Meyerhoff that would create a kind of arts place, an arts destination, not just for music but also for the visual arts, involving MICA, involving The Lyric. There are just so many resources. Center Stage is close by. My vision was to try to create a destination that had retail and residential and lots of creativity. Maybe a community arts center. People from the community could come and bring their kids and do things.

I mean, that’s a big lift and a big dream. But there are so many incredible creative resources in Baltimore, right? To try to connect them all up in some meaningful way would be so powerful. One of the problems is that the rest of the United States doesn’t recognize what we have in Baltimore. We haven’t been able to get together to promote it enough.

“I THINK INJUSTICE AND INEQUITY ARE THE BIGGEST MOTIVATORS.”

The BSO was more integrated in the community than ever before. Did you feel a responsibility to open the often rarefied world of classical music up to the people of Baltimore?
I did. And I do. I feel that’s part of the responsibility of being a leader. You create as much opportunity for as many people from as many varied backgrounds as possible. I think art is owned by people. I don’t think art is owned by the privileged. That’s wrong. And I really believe in access and inclusion. That’s my biggest passion.

A BSO selfie at the famous BBC Proms event. —Courtesy of The BSO

I felt like Baltimore audiences formed a real love affair with the orchestra—and you in particular.
Yeah, Baltimore audiences are awesome. They’re rowdy. It’s the only classical concert I do where people are whistling and catcalling. I’m like, bring it on, people! And the audiences have done so much. And our supporters and donors have done so much. I can’t thank them enough, really. The musicians are rock stars in Baltimore. That’s a really important part of the equation.

Now that you’re stepping down, will you watch the BSO from afar like it’s your child?
No, it’s more like being the grandparent. You can enjoy the kids. But you get to go home. I’m already feeling that. When the arguing starts or the, you know, the consternation or the divisiveness, I’m like, “Okay, see ya!” And that is a really nice place to be.

All the good stuff, none of the hassle.
Exactly. I think that’s what being a grandparent is supposed to be about.

What will you miss most about Baltimore?
Well, I’m not leaving Baltimore. I teach at Peabody, and I adore my position there. We love our house [in Roland Park]. For me, besides the orchestra, of course, whom I adore, I really love the people of Baltimore. When I’m away that’s what I miss most. I had a great run. And I’m not really going. I’ll still be around.

Source

The Baltimore Symphony Orchestra is Back at the Meyerhoff

Lauren Cohen — Fri, 06 Nov 2020 18:07:19 +0000

—Photography by Mike Morgan

This October, as the Baltimore Symphony Orchestra launched its 104th season, musicians took to the stage in their formal attire and performed to a largely empty Joseph Meyerhoff Symphony Hall.

A small team of engineers checked sound and video as the new high-definition cameras livestreamed the performance directly into the audience’s homes.

“We’re trying to embrace the weirdness of this time,” says associate conductor Nicholas Hersh, pictured right, who, like his colleagues, wore a mask. “The music is still here, and we’re working as hard as we can to keep it a part of everyone’s lives.”

An extension of BSO OffStage, a digital platform launched in the wake of COVID-19, the new BSO Sessions brings the players back to the stage after a summer of canceled concerts. Smaller, socially distanced string ensembles (for now at least—wind players can’t wear face coverings) will be performing an innovative repertoire focused on diversity and inclusion.

“The halt of live music hurt, but orchestras needed this time to reflect and improve,” says Jonathan Rush, pictured left, the BSO’s new assistant conductor. “We have such a cool opportunity to present voices we don’t often hear in classical music. I think the world is tired of the old, dead, white men. Let’s bring on women composers and composers of color and explore what else the world has to offer.”

Source

The Baltimore Symphony Orchestra Enters a New Era

Lydia Woolever — Mon, 21 Sep 2020 12:00:15 +0000

This time last year, musicians gathered outside of the Joseph Meyerhoff Symphony Hall, but instead of instruments, they held picket signs to protest a summer-long lockout and series of contentious contract negotiations at the Baltimore Symphony Orchestra.

This fall, however, it’s a much different scene for the 104-year-old symphony, which has just reached a new five-year agreement between musicians and management—the first long-term contract since the last ended in 2016—marking a new chapter on the eve of their 2020-2021 season.

“It’s an astonishing reversal of fortune,” says percussionist Brian Prechtl, who is also co-chairman of the players’ committee. “There’s a very long history of adversity and distrust at the BSO, but we’re trying to move to a new paradigm—one of collaboration, where the whole is greater than the sum of its parts.”

Even in the midst of the global coronavirus pandemic, which arrived in Maryland just as the bargaining process began again in March, the new agreement creates an unprecedented sense of stability for an orchestra long mired in internal—but rather public—disputes. But the changes afoot are the result of many conversations over the last year, through the recently established “vision committee,” including various stakeholders, from musicians and board members to community leaders, as well as the General Assembly’s mandated state working group. The organization also received advice from “turnaround king” consultant Michael Kaiser, who was hired by the BSO last fall and is credited with helping to revive the American Ballet Theatre, the Alvin Ailey American Dance Theater, and the Royal Opera House in London during times of trouble.

“We’re working together in ways we haven’t in many, many years,” says president and CEO Peter Kjome. “The pandemic may have changed our world, but it hasn’t changed our resolve to share great music and chart the course for the future.”

Due to financial pressures associated with COVID-19, with in-person concerts cancelled through November 29, musicians will take a pay cut this season, starting with a 26 percent decrease in base compensation before gradual increases through 2025, ultimately reaching a minimum annual wage of $90,100—which is more than six percent increase from pre-pandemic salaries. Musicians say this new figure will help retain and attract world-class musicians. And in that vein, the organization will also restore the number of full-time musicians from 75 to 85 over the next five years, moving closer to a peak of 98 in the early 2000s.

“This isn’t some number pulled out of the blue,” says Prechtl, noting that the country’s top orchestras have more than 100 musicians. “It was decided by Tchaikovsky and Brahms and Strauss and Mahler, many, many years ago. That’s what it takes to play the great works of art.”

Also part of the BSO’s five-year contract, and inspired by the Black Lives Matter movement, is the formation of a new task force to address diversity, inclusion, and equity within the organization—which will include examining hiring and audition practices as well as establishing fellowship programs. In early September, assistant conductor Jonathan Rush and artistic partner Wordsmith were appointed to the BSO’s artistic team, joining cellist Esther Mellon as the orchestra’s only African-American artists. Rush, a 25-year-old conducting fellow alum of the Baltimore Symphony Youth Orchestra, will join associate conductor Nicholas Hersh on the podium. Local rapper Wordsmith will serve as an advisor and collaborator, presenting original orchestral projects throughout the season, including an accompaniment to Igor Stravinsky’s The Soldier’s Tale, featuring the perspective of a Black soldier during the civil rights movement.

“We all agree that we need to do more,” says Kjome. “We’re looking forward to welcoming these additional voices to these important conversations.”

All of these changes arrive as part of a broader five-year strategic plan, created with Kaiser and announced in February, which aims to solve the BSO’s financial woes. Earlier this winter, the organization raised upwards of $7 million towards a $15 million, multi-year goal of public and private funds, plus $1.25 million toward its $60 million endowment.

“The stars sort of aligned,” says Prechtl of the donations. “That kind of dedication attracts others who have been waiting to see what will happen. I think more people will step forward. And it’s really important that we now do everything we can to drive contributed revenue, because we’ll have very little earned income to balance the books this year.”

Both the musicians and management agree that the conflict and compromise of 2019 has allowed the BSO, which did receive a Paycheck Protection Program loan, to better weather the calamity of COVID-19.

The orchestra was already operating on a reduced schedule when it pivoted to all online content via its BSO OffStage platform this spring, featuring livestreamed performances, virtual discussions, and podcasts.

February’s strategic initiative had also committed to investing in livestreaming technology, which the BSO will utilize this fall during a brand-new digital concert series, with newly installed robotic cameras bringing the symphony home to an expanded audience. Rehearsals have resumed at the Meyerhoff, but safety protocols are still being solidified, such as smaller ensembles and a socially distanced stage. Aerosols produced during woodwind performances still an area of concern.

“There’s been tremendous innovation during these times,” says Kjome. “While we might not be able to fit all of the musicians on stage for a Mahler symphony, there is some remarkable music we’re going to be performing that our audiences have not heard in a long time, if ever.”

There’s a palpable sense of excitement in the air.

“We’re hopeful,” says Prechtl. “I think we’re on the cusp of the next golden age of the BSO.”

Source

Marin Alsop To Step Down from BSO

Lydia Woolever — Wed, 26 Feb 2020 15:15:00 +0000

When she stepped onto the Joseph Meyerhoff stage for the first time in September 2007, Marin Alsop made history.

She was the first female conductor to ever lead a major North American orchestra, and over the 14 seasons that followed, the Baltimore Symphony Orchestra (BSO) maestra would become a vital figure for both local and international arts communities, known for championing inclusion, access, and outreach to music lovers at home, as well as opportunities for female conductors around the world.

Next summer, when her contract expires on August 21, 2021, Alsop will step down from her position as the BSO’s music director, the organization announced today.

That said, the following month, she will carry on in a new capacity, as the new music director laureate, where she will lead the orchestra in three concert weeks each season through 2025-2026. She will also hold an annual masterclass for conducting students at the Peabody Institute, and continue to oversee OrchKids, the educational program she founded for underserved kids in Baltimore City. The BSO will create a committee to search for her replacement.

Currently conducting in London, Alsop, 63, was not available for comment.

The news does not come as a total surprise. Last November, Alsop hinted at her departure while expressing frustrations with the BSO. During a state task force meeting conducted to address the BSO’s financial woes, she pointed to a lack of communication, poor support of programming, and missed opportunities within the organization.

“The Baltimore Symphony is the only major orchestra in the United States to have a woman as its leader, and we haven’t capitalized on that once,” said Alsop, according to The Sun. “I’m nearing the end of my tenure here.”

These comments came on the heels of contentious contract disputes between BSO players and management, as well as a subsequent 14-week lockout of the musicians, that took place earlier that year. By September, both parties had reached a new one-year agreement. Concerts resumed, and more recently, the board adopted a new five-year strategic plan to address the orchestra’s dire financial straits, created with the help of an outside consultant, Michael Kaiser, dubbed “The Turnaround King” for arts organizations. On Monday, the state task force also announced new recommendations for the orchestra to secure at least $15 million in public and private funding over the next six years in order to revive the organization’s fiscal sustainability.

“The Baltimore Symphony Orchestra is one of the world’s great orchestras and I have been proud to have served as its artistic leader,” Alsop said in a press release.

A protégé of composer and conductor Leonard Bernstein, Alsop arrived at the BSO after several years of courting that also included a rather public opposition by the orchestra’s musicians, already struggling with an unpopular CEO and millions of dollars in debt.

But with an ambitious vision, “she got our attention,” said Jonathan Carney, the orchestra’s concertmaster, in our 2007 profile of Alsop. “Ears pricked up. People liked what they were hearing. Right away, there was this big boost in morale: To hear these new ideas, these artists she wanted to bring in, her ideas in terms of her repertoire. It was energizing.”

Over the next 13 years as the organization’s 12th music director, Alsop led the BSO through the commission of more than 35 world premieres, the recording of 14 albums, and in 2018, the orchestra’s first international tour in over a decade. She also created the symphony’s popular “Off the Cuff” concert series and helped launch the New Music Festival in 2017. Even before her official tenure, in 2005, she notably became the first conductor to win a MacArthur Fellowship “Genius Grant,” which she eventually used to help launch OrchKids three years later.

“Baltimore is not really a place of elitism…It’s a city all about neighborhoods and communities. I think that’s what I like about it so much,” Alsop told us during the orchestra’s centennial year in 2015. “We’ve been able to make the BSO a world-class orchestra. But also an orchestra of the people.”

To that, Baltimore will agree.

“She’s been a great face for the orchestra to the community,” said Michael Lisicky, a BSO oboist, in that same story. “To them, she’s just ‘Marin.’”

Source

The Top Baltimore Music Moments of 2019

Lydia Woolever — Fri, 20 Dec 2019 08:00:00 +0000

Every year, we’re seriously impressed by the amount of artistic talent in Baltimore, and 2019 was no different, with top-notch music coming out of the city—making its way onto both the local and national stage. It also felt like a year where the musical community came into its own. No, Rolling Stone didn’t name us the best music city in America again (not that we need that recognition to know that we are), but there were numerous moments of reckoning, if you will. Rising artists finally got their due. Established acts performed epic homecoming shows. Hallowed institutions wrestled with their futures. There were both losses of legends and celebrations of lifetimes, and each reminded us of the great impact this city has had, and continues to have, on the musical form. Here, we round up some of the most memorable moments of 2019. And we recommend keeping your ears perked for all that is to come in 2020.

Ethel Ennis passes away.
This past February, Baltimore’s “First Lady of Jazz” passed away at age 86. During the late 1950s and 1960s, the West Baltimore singer recorded for major labels, toured Europe, headlined the Newport Jazz Festival, and performed regularly with the likes of Louis Armstrong, Miles Davis, John Coltrane, and Duke Ellington. As a child, she learned to play piano at the Ames United Methodist Church in Sandtown-Winchester and later became a mainstay at the Red Fox on Pennsylvania Avenue. Disillusioned by the music industry, Ennis ultimately eschewed national stardom and returned to Baltimore for a more simple life, where she performed until her later years. Her mark on the greater musical world remains.

Dan Deacon performs with the Baltimore Symphony Orchestra.
It felt like fate had somewhat of a hand in the moment when Dan Deacon first took to the Joseph Meyerhoff Symphony Hall stage with members of the BSO this spring. At the time, the orchestra was in the midst of a contentious contract dispute that would eventually lead to a summer-long lockout of the musicians by the organization’s management (see below), while the electronic artist—15 years after moving to Baltimore and forever changing the local music scene—was quietly working on a new record about overcoming doubt, and reckoning with age and death and time. For a few hours, the two iconic musical acts, seemingly from opposite of the sonic spectrum, though Deacon studied composition in college, came together for a night that would become a gift to the city. The musicians filled the halls with hope, as concertgoers got out of their seats, ran down the aisles, and started an impromptu dance party in front of the venerable stage.

Abdu Ali releases FIYAH!!!.
Over the last several years, few musicians have been as influential and integral to the Baltimore music scene as Abdu Ali. From the glory days of their all-inclusive, underground Kahlon dance party at The Crown to national coverage by the likes of The New York Times, The New Yorker, and NPR more recently, the avant-garde rapper has helped put Baltimore’s DIY culture on the map, remaining deeply rooted to their hometown city along the way. This spring, the release of their studio debut, FIYAH!!!, took their artistry to a new level, fusing hip-hop and Baltimore Club music with jazz and punk. The record and its release solidified Ali’s star power with a full-band lineup, led to a sold-out show at the Ottobar, and helped them nab a well-deserved “Artist of the Year” award from City Hall.

André De Shields wins his first Tony.
As a cherry on top of a 50-year acting career, 73-year-old Charm City native André De Shields took home his first Tony Award in June, winning best featured actor in a musical for his performance of the god Hermes in Hadestown. De Shields grew up in West Baltimore, one of 11 children, and graduated from City College before moving from regional theater to Broadway. He would go on to gain renown for his roles in shows like The Wiz and The Full Monty. A few weeks after the Tonys, he was also presented with a mayoral salute and key to the city by Mayor Jack Young. “This is what you get when you blow them out of the water,” he said during his acceptance speech, showing the crowd his Tony. “I did it the only way you could—the Baltimore way.”

Jeremiah Lloyd Harmon slays on American Idol.
If you don’t watch American Idol, you might have missed, in our opinion, one of the most special stories of the television show’s history. If you do watch American Idol, you’ve already been a Jeremiah Lloyd Harmon fan for months. The Catonsville singer-songwriter placed sixth in the competition, wowing judges and viewers with his sensational falsetto, his original song “Almost Heaven,” and his backstory, the son of a Baptist pastor who discovered he was gay at age nine. This fall, Harmon released his debut album and this winter, graduated from Towson University, where he studied vocal performance.

Beach House gets sentimental at the Hippodrome.
In June, dream-pop duo Beach House returned to the city for their first big hometown performance since the Windjammer music festival at Pier Six in 2015. Taking over the hallowed stage of the Hippodrome Theatre at the France-Merrick Performing Arts Center, singer Victoria LeGrand and guitarist Alex Scally put on a powerful show to promote their latest album, 7, with some old favorites thrown in along the way. Typically stoic performers, they both spoke sentimentally about the city, even referencing the Orioles. Opening acts were also must-see sets by Dan Deacon and Future Islands’ William Cashion.

The Ottobar persists and, as The Windup Space closes, Rituals opens in its stead.
Two big changes took place at local music venues this year, with the announcement of sales and closures stirring fear for a scene that already lamented a dearth of creative space. But a few months after the Ottobar announced that its longtime owners were selling the business, it was revealed that longtime bar manager Tecla Tesnau would be taking over the Remington rock club in late summer, keeping it in local hands, and it seems that little has changed. And just weeks after word surfaced that The Windup Space would be closing its doors, news broke that the location would be reopened as Rituals, a bar and venue that would keep the same all-inclusive, DIY tradition alive and well, allowing the arts community to let out a collective sigh of relief. There, lineups have included local favorites like Lower Dens, Eze Jackson, and Chiffon.

TT The Artist pays homage to Baltimore Club.
This summer, TT The Artist made her directorial debut with the sneak peek premiere of her upcoming music documentary, Dark City: Beneath The Beat. Despite relocating to Los Angeles, the beloved rapper has long been a fierce advocate of, and an active participant in, the city’s hometown musical genre, Baltimore Club—the story of which she tells in her unique, colorful film. Featuring cameos and music by fellow local artists such as DDm, Eze Jackson, Mighty Mark, and Rufus Roundtree, it now enters the finishing-touch and fundraising stages in hopes of joining the festival circuit in 2020.

DDm drops Beautiful Gowns.
This summer, DDm released his debut full-length album, Beautiful Gowns, which, unsurprisingly, turned out to be one of the most fun, infectious records to come out of Baltimore this year. That’s thanks to the pure showmanship of the city-born rapper who has brought bravado, wit, humor, and heart to his music and live performances across the city for years, from the local battle rap circuit through his Bond St. District duo and now in his solo career. A year after his planned debut, Soundtrack To A Shopping Mall, was nixed, these 13 tracks stood testament to DDm’s determination and dauntless creativity. Self-released, locally produced, and spread without the help of local radio, singles like “He Say She Say” and “Pull Up”garnered thousands of listens on Spotify and views on YouTube all on their own. We personally love the bright, buoyant ballads of “Hooray” and “Forever 21.”

Future Islands rocks out at Union Collective.
In early September, thousands of Baltimore City music lovers packed into the parking lot of Union Collective for a night to remember by local dream-pop darlings Future Islands. Much like their impromptu Hampdenfest performance in 2014, the band’s free live show took place outside as the sun set, featuring both new material off their upcoming album and fan favorites like “Seasons” and “Balance,” with frontman Sam Herring’s mercurial dance moves out in full force. Opening acts included Baltimore artists Smoke Bellow, Joy Postell, and DJs Jason Willett and Jay Buim, and the brewery’s neighbor, The Charmery, sold three Future Islands-themed flavors of ice cream to support city non-profits.

The BSO survives a tumultuous year.
It was a long, strange trip around the sun for the century-old Baltimore Symphony Orchestra: ongoing contract negotiations that tumbled into labor disputes, the cancellation of the summer season, a highly publicized lockout of the musicians by BSO management, followed by months of player protests outside the Meyerhoff Symphony Hall. But this fall, both parties reached a one-year agreement that resulted in the meeting of many players’ demands and the on-time opening of the fall schedule. The organization has also since launched their newly formed vision committee and brought in outside help from arts-org “turnaround king” Michael Kaiser, so things are looking up. (Except for maestra Marin Alsop hinting at her departure.)

JPEGMAFIA continues to soar.
It’s been another big year for JPEGMAFIA. The alternative rap artist, known as Peggy, toured the U.S., to many sold-out crowds. He performed at the likes of Afro Punk, Firefly, and Coachella, where rolling stone called his set one of the best of the festival. He opened for big-name acts like Vince Staples and Flume. He garnered national press and profiles by the likes of Billboard, The Guardian, and Paper. And this fall, he released his latest album, All My Heroes Are Cornballs, to national acclaim— a colorful, cacophonous collage that takes us on a trip into his beautiful, manic, often NSFW dream world. All the while, even though he has since relocated to L.A., Peggy always gave love back to Baltimore, his former city, selling out two nights at the Ottobar, hopping on Abdu Ali’s latest record, and bringing fellow rising local rapper Butch Dawson along on his tour. For that, for as long as we can, we’ll continue to claim him as our own.

Morgan State’s marching band leads the Macy’s Thanksgiving Day Parade.
The holidays came early this year when it was announced that Morgan State University’s Magnificent Marching Machine would be leading the iconic procession of marching bands in the 93rd annual Macy’s Thanksgiving Day Parade in New York City, making MSU the first of Maryland’s historically black colleges to perform in the parade’s history. Ahead of a giant Snoopy balloon, the college band, led by band leader Melvin Miles Jr., marched triumphantly in blue and white uniforms for nearly three miles from the Upper West Side, around Central Park, and down to the famed namesake department store on Herald Square. Millions of viewers watched from the city streets and on their television sets at home.

A star is born in Maggie Rogers.
In the 12 months of 2019, Eastern Shore native Maggie Rogers released a debut album via Capitol Records, starred as the musical guest on Saturday Night Live, sold out her U.S. tour, performed at the likes of Coachella, attended the Met Gala, and garnered her first Grammy nomination for Best New Artist. While still a student at NYU, the singer-songwriter got her first taste of fame serendipitously, when a video of Pharrell Williams going ga-ga for one of her songs went viral. But everything that came next, and all that lies ahead, has undoubtedly been the result of her own talent and star staying power.

Check out our Spotify playlist below for Lydia’s Top 30 songs of 2019.

Source

Four Key Updates on the Baltimore Symphony Orchestra

Lydia Woolever — Thu, 21 Nov 2019 10:58:00 +0000

It’s been a long, strange year for the century-old Baltimore Symphony Orchestra: ongoing contract negotiations that tumbled into labor disputes, the cancellation of the summer season, a highly publicized lockout of the musicians by BSO management, months of player protests outside the Meyerhoff Symphony Hall. Then this fall, just before the official postponement of the 2019-2020 season, both parties reached a one-year agreement that resulted in the meeting of many of the players’ demands, such as salary increases, continued benefits, and the reinstitution of the orchestra’s summer performances. And since the new shows launched in late September, even more has happened. Here, we help you catch up.

BSO Brings In Outside Help

Earlier this week, the BSO hired Michael Kaiser to act as an adviser for the organization’s multi-year strategic plan. Dubbed a “Turnaround King” by The Washington Post, Kaiser is credited with helping to revive the American Ballet Theatre, the Alvin Ailey American Dance Theater Foundation, and the Royal Opera House in London during times of trouble. President of the John F. Kennedy Center for the Performing Arts in D.C. for over a decade, he also created the DeVos Institute of Arts Management, which is now headquartered at the University of Maryland. The appointment was applauded by both the symphony management and the players’ committee. “Mr. Kaiser has an impressive track record of increasing revenues for arts organizations, and his arrival is welcomed by management, board and musicians alike,” wrote the Baltimore Symphony Musicians group on Facebook. “We look forward to building the healthy, vibrant orchestra that Baltimore and Maryland deserve.”

Marin Alsop Hints at Her Departure

Last week, Maestra Marin Alsop expressed frustration and disappointment with operations at the BSO, according to the Sun. Alsop had refrained from speaking publicly about the contentious contract negotiations between players and management that took place earlier this year, but during a work group meeting created by the state to help resolve the BSO’s financial woes, the veteran conductor—who joined the BSO in 2007—was vocal about lack of communication, poor support of programming, and missed opportunities within the organization. “The Baltimore Symphony is the only major orchestra in the United States to have a woman as its leader, and we haven’t capitalized on that once,” said Alsop, who also hinted at her departure. “I’m nearing the end of my tenure here.”

The Board Embraces Change

Following the organization’s new contract agreement, the BSO announced the re-election of 10 members of the organization’s Board of Directors in late September. But there were also big changes. After five years, Board Chair Barbara Bozzuto has been replaced by Barry Rosen, being named Chair Laureate where she will continue to work with the BSO in its fundraising efforts.

Bozzuto was the orchestra’s first female board chairwoman at the time of her election in 2014. She has been both applauded for her contributions to the BSO—such as serving as acting CEO during an eight-month transitional period and overseeing a campaign that raised nearly $50 million for the organization—as well as critiqued for the board’s recent handling of contract negotiations and the subsequent lockout, which the musicians maintained would be dire and damaging to both the players and the institution.

Rosen is the former Vice Chair of the BSO board and acting CEO and chairman of health-care law firm Gordon Feinblatt LLC. “Barbara Bozzuto is a hard act to follow, but I am excited to work as hard as I can during these important times for the BSO,” he said in a press release at the time of his promotion. Meanwhile, “Barry has shown an interest in welcoming the musicians and other constituents into the decision-making processes of the BSO,” said Brian Prechtl, co-chair of the players’ committee, to the Sun. “The musicians hope for a new era of cooperation.”

The 2019-2020 Season is Underway

After an uncertain summer, the new BSO season opened in late September to many a standing ovation with performances such as Tchaikovsky Symphony No. 4, Alsop’s Off The Cuff series, and a special night with Leslie Odom Jr. of Hamilton fame. Later this month, the revered Preservation Hall Jazz Band will perform on Thanksgiving weekend, while a holiday lineup features Handel’s Messiah, a Cirque de Soleil version of The Nutcracker, and a Holiday Spectacular show with the Baltimore Choral Arts Society. The new year will also bring a Baltimore Symphony Youth Orchestra recital, a tribute to the late Aretha Franklin, and more film screening and score presentations, such as Amadeus and The Wizard of Oz.

Stay tuned for more coverage of the BSO.

Source

Weekend Lineup: October 18-20

Kaitlyn Pacheco — Thu, 17 Oct 2019 17:00:00 +0000

EAT

Oct. 20: World Food Festival: Mera x Fadensonnen

Fadensonnen, 3 W. 23rd St. 5-9 p.m. Free.

On a snowy night last January, chef Iman Alshehab—co-founder of Mera Kitchen Collective, a co-op that empowers refugees to tap into their culinary heritage—cooked and served shawarma out of a food truck for the first time while parked at Fadensonnen. That evening, crowds of people came out to the beer garden and natural wine bar to sample her food, and since then, Mera’s chefs have hosted rotating pop-ups at the popular Old Goucher spot. This Sunday, chefs Iman, Emilienne, Anna, and Mona will come together to prepare a meal in Fadensonnen’s courtyard, featuring two new dishes from each chef. Don’t miss the chance to try new authentic eats inspired by cuisines from across the world, including dishes like Syrian lamb kibbeh, Salvadoran chicken soup, and lemon tahini shrimp.

DRINK

Oct. 19: OktoBEARfest

The Maryland Zoo, 1 Safari Pl. 12-5 p.m. $29-69.

The Maryland Zoo is known for its wide variety of furry, slimy, and flying friends, but we also love it for its boozy fundraisers that make it (a little too) easy to support the local institution. This fall-inspired beer festival offers unlimited samplings of more than 50 seasonal brews, along with tons of eats, wares by area artisans, and the chance to get up close and personal with a few of the animals.

SEE

Oct. 18-19: The Rocky Horror Picture Show

Creative Alliance, 3134 Eastern Ave. 7:30 & 10:30 p.m. $12-15.

We’re already shivering with antici…pation for this interactive screening of the weird and wild cult classic at Creative Alliance. Tighten your garters for a night filled with the traditional movie callbacks and costume contests, as well as special burlesque, drag, and tap performances by beloved local drag queens Betty O’Hellno, Venus Fastrada, and Baby. Come up to the Highlandtown lab and see what’s on the slab during this Halloween tradition that’s sure to leave you wanting more, more, more.

HEAR

Oct. 19: Off the Cuff: Brahms Symphony No. 4

Joesph Meyerhoff Symphony Hall, 1212 Cathedral St. 7-9 p.m. $25-80.

It’s only been a few weeks since the Baltimore Symphony Orchestra returned to the Meyerhoff after three months of tension between the symphony’s management and musicians over contract disputes, and this Saturday’s performance of Brahms’ Fourth Symphony is a fitting nod to both the past and the future of the orchestra. After watching world-renowned conductor Marin Alsop lead the musicians through this 20th century masterpiece, stick around to sip on brews by Peabody Heights, snack on eats by Midnite Confection’s Cupcakery and Noona’s, and listen to live music by local artist Brooks Long as you talk with fellow music-lovers about the evening’s performances.

DO

Oct. 19: Baltimore Running Festival

Paca & Camden Sts. 8 a.m. $60-280.

One thing that we love about citywide festivals is there’s usually something for everyone, and the Baltimore Running Festival is the perfect example. Since this event features five different events ranging from an all-ages 5K to the BaltiMORON-a-thon, runners of all skill levels can come together and celebrate the beauty of hitting the pavement. There’s still time to register, so secure your spot at the starting line and get ready to show off that crab-shaped finishing medal.

Source

What the Baltimore Symphony Orchestra’s One-Year Agreement Means For its Musicians

Evan Greenberg — Tue, 24 Sep 2019 13:30:00 +0000

Percussionist Brian Prechtl knows what kind of reception the Baltimore Symphony Orchestra is going to receive when the ensemble walks onstage for its official season opener: “They’re going to go nuts.”

Their entrance, done together in the European style, will mark the musicians’ ceremonious return to the Joseph Meyerhoff Symphony Hall following a four-month, tension and struggle-filled absence. After an extended period of collective bargaining, the cancellation of its summer season, and months of picketing outside of the historic venue, the BSO hosted a press conference on Monday and announced in front of city leaders that it has reached a one-year agreement.

“This has been a difficult period,” Prechtl says. “There’s a lot of anger and a lot of hurt. As soon as it looked like an agreement was going to possible, we knew we wanted to be back.”

Despite buzz about postponement, this news means that the orchestra will start its 2019/2020 season on time, with three performances this weekend at both the Meyerhoff in Baltimore and Strathmore in Bethesda.

And along with the grand return, the musicians are also celebrating that their demands have finally been met by the BSO’s board of trustees.

Those include a 2.4 percent increase in weekly salary, a continuation of the musicians’ year-round benefits package, two weeks of summer shows that include the annual Star Spangled Spectacular at Oregon Ridge, which the musicians organized and performed for free on their own this summer, as well as a bonus compensation of $1.6 million for their lost summer wages, which was made possible by donors. Management has also expressed commitment to hiring additional performers in the coming years, which has been an ongoing request from the musicians.

Both sides have also agreed to have no lockouts or strikes in this next year, and that the musicians would withdraw the unfair labor practice charge that was submitted earlier this month.

“The Baltimore Symphony is uniquely wonderful,” said BSO music director Marin Alsop at the press announcement. “It reflects this community and this city—it’s willing to roll up sleeves and get hands dirty, to show what they are about and how they feel.”

With this in mind, the BSO will also form a “vision committee” to create a broad plan for the orchestra’s future, looking far beyond the one-year agreement.

“We want to get to a place where we can sit down and talk about structure,” Prechtl says. “We’re going to sit down and struggle through it.”

But for now, what was once lost is now found again. The season will open with Tchaikovsky Symphony No. 4 this Friday, and continue with performances such as the return of Alsop’s Off The Cuff series in October, a special performance with Leslie Odom Jr. of Hamilton fame in October, and a live score to a film screening of Ghostbusters in November.

The musicians are calling upon Baltimoreans to fill the Meyerhoff and show their support for one of the city’s great institutions.

“Four months is a long time,” says Prechtl. “I can’t wait until this room is full with the amazing sounds of the BSO again.”

Source

Is the BSO Headed for a Lockout?

Lydia Woolever — Fri, 07 Jun 2019 10:54:00 +0000

[Editor’s Note 6/17/19: Last night, following months of uncertainty surrounding longstanding financial issues, expired contracts between the musicians and management, and the abrupt cancellation of the annual summer season, the Baltimore Symphony Orchestra announced that a lockout of the musicians would go into effect this morning until a bargaining agreement could be reached. The news came after the players finished their last concert of the spring season.]

One week ago, the musicians of the Baltimore Symphony Orchestra had just finished a rehearsal for a Thursday evening concert when they received notice that their upcoming summer concert season—set to start in less than three weeks—had been abruptly cancelled.

“We are stunned and grieved on behalf of our beloved BSO,” percussionist Brian Prechtl said to the audience that evening. “We will keep making music with passion as long as management keeps the lights on and the doors unlocked.”

The musicians then went on to perform an unscheduled selection, Edward Elgar’s “Nimrod,” which has historically been performed after death or tragedy.

Such turmoil is nothing new for an orchestra that has struggled with periods of financial constraint and player-management conflict throughout its 102-year history. The contentious, ongoing dispute between the organization’s management and musicians has been playing out publicly over the last few months as contract negotiations once again expired.

When that happened this January, the administration had already proposed that the ensemble’s 52-week schedule be cut to 40 weeks due to the organization’s dire financial state. Such a change would effectively eliminate the orchestra’s summer season and, as they are paid weekly, decrease players’ base salaries by at least 20 percent. The musicians rejected the proposal, calling the move a demotion of “a full-time, world-class symphony orchestra into a part-time, regional orchestra.”

Operations continued under the terms agreed upon in the musicians’ expired contract, and the next round of negotiations were set to take place this Tuesday, following a surprisingly promising spring. Three new musicians had been hired in February, an ambitious summer concert series was announced in late April, and new legislature supported by both the musicians and management—the John C. Merrill Act, named for the veteran BSO violinist who passed away earlier this year—was approved by Governor Hogan on Memorial Day Weekend. It allocated $3.2 million in state funding to the organization for the next two fiscal years and required that a committee be instated to both assess the institution’s finances and make recommendations for long-term solutions.

But five days after the bill passed, BSO management unceremoniously announced the official cancellation of the orchestra’s summer season, effectively reinstating the winter proposal that players had called “draconian.” Management cited the orchestra’s continued financial challenges as well as uncertainty over whether or not Governor Hogan would release the first half of state funding in a timely manner.

“Despite significant artistic achievements, the BSO has faced financial challenges over the course of many years,” says BSO president Peter Kjome via email. “There have been intensive efforts to increase revenues and manage costs, but despite these efforts, we have experienced consistent deficits. Extremely generous gifts to support general operations have not enabled us to overcome annual losses.”

“It felt like we were finally riding with the management toward the finish line—working together on the [Merrill Act] and with lots of positive ideas about the future and rebuilding confidence—and it feels like they sat down in the last leg of the marathon,” says Prechtl, who is also co-chairman of the Baltimore Symphony Musicians Players’ Committee. “It’s hard to know exactly what’s going on, but the effect is hamstringing the musicians’ ability to have any kind of leverage at the bargaining table. They’re trying to force us into this terrible situation, and here we are, about to be unemployed in two weeks with almost no notice, while people have families and mortgages.”

According to Hogan spokesman Michael Ricci, the Merrill Act is just one of dozens of legislative items with funding currently “fenced off” and under review. Others including $127 million for school construction, $7 million for technology updates at the Baltimore Police Department, and $1 million for Baltimore’s YouthWorks program. The governor is also reevaluating the use of funds following projections that show the state could face a $961 million deficit in the next fiscal year.

Last year, the state provided a $750,000 bonus grant to the orchestra and officials are also now in discussions to provide an additional $1 million bridge loan. Hogan’s team has also noted that the BSO has received $8.7 million in state funding since 2016 and is the largest single recipient of the Maryland State Arts Council grants program.

Still, even if the funding is released, a reinstated summer season isn’t a guarantee. “A meeting of the board will be called to review updated financial projections and discuss next steps,” says Kjome. “We recognize that this generous support alone is not sufficient to address the organization’s significant and longstanding financial challenges.”

Following last week’s news, the musicians cancelled their planned contract negotiations on Tuesday, instead appearing on WYPR’s Midday with Tom Hall along with Kjome to discuss the latest conflict. Protests have cropped up outside of the Joseph Meyerhoff Symphony Hall and The Sun and Post op-eds have been penned, calling for BSO leadership to resign.

“What management did smacks of bad faith—it kills any good will between not just musicians and the management, but people like us who support the orchestra,” says John Warshawsky, a long-time BSO donor and member of the Save Our BSO community committee formed last fall to back the musicians. “A number of people have said they are going to cut back or not contribute at all for the next year. We don’t want to be supporting an organization that treats their musicians this way.”

Fellow members of the arts community have also been voicing their concerns for what this could mean for Baltimore as a whole. “When you do something that radically endangers the people you depend on to be your frontline talent . . . it’s like saying, the schools are in trouble, I bet if we cut half the teachers and quadrupled the classroom sizes, we could make our budget—but what would that give you?” says Rebecca Hoffberger, head of the American Visionary Art Museum, which hosted a fundraiser for the musicians in February. “In a time when Baltimore is already being kicked in the stomach with so many scandals, do we really want to say goodbye to such a beautiful symphony?”

Yesterday, 72 Maryland lawmakers, led by Delegate Maggie McIntosh, a Baltimore Democrat, who sponsored the Merrill Act, sent a letter to Governor Hogan, imploring him to release the funding.

Meanwhile, other legislators have now weakened their stance on the BSO funding, such as Delegate Nic Kipke and Kathy Szeliga, who voted for the passage of the Merrill Act before penning a letter to Governor Hogan last week on the behalf of House Republicans, stating that the the breadth of the organization’s financial crisis had just come to light: “While we all appreciated the history and importance of the BSO and want to see it thrive, the state cannot throw taxpayer money at the problem without meaningful reform.”

The BSO has an annual operating budget of $28 million, but in the face of issues encountered by symphonies across the country—changing demographics, local economics, declining attendance, and inconsistent fundraising (though revenue from contributions is currently at an all-time high)—it has lost an average of $1.6 million each year over the last decade. The symphony cut more than $1 million from the budget in 2016 through layoffs, administrative streamlining, and the elimination of all professional development, as board chair Barbara Bozzuto noted in a Sun op-ed last fall. Musicians have suggested increasing the annual draw from the organization’s $60 million endowment to cover some of the costs, but the endowment trust board has stated that doing so would risk depleting the endowment principal, eliminating the possibility of further support in the future.

At this time, the musicians are not planning to go on strike, but they are considering the reality of an impending lockout. Both scenarios have played out at other major U.S. symphonies following such contentious disputes. A number of the BSO’s current players are already looking for other jobs.

“Management wants us to ‘negotiate,’ but it’s hard to negotiate when you have a gun to your head,” says Greg Mulligan, a BSO violinist and fellow co-chairman of the players’ committee. “We’re still considering all of our options. We’re still evaluating everything they’ve put on the table and we’re still doing some deep thinking about what our response to them will be. The musicians will remain flexible, but we have to have boundaries.”

“It is important that we continue our conversations at the negotiations table,” says Kjome when asked about the possibility of a lockout. “We remain committed to working together to reach agreement with our musicians and would not want to speculate on possible outcomes.”

For now, the musicians will continue to play, with Mahler’s “Symphony No. 9” to be performed this weekend and a live score to West Side Story slated for next week. Over the past several months, they have worked to get the word out with pop-up community performances across the city. They are also currently in talks to still perform the cancelled “Star-Spangled Spectacular” concert on July 3 at Oregon Ridge and the BSO Academy performance at Artscape, as well as an upcoming performance with the Orioles at Camden Yards.

“Management is silencing the music; we’re not—we’re moving ahead,” says Prechtl. “When this city and this state need the healing powers of music, we have been there, and we will continue to be.”

Source

BSO Musicians Face Uncertainty As Contracts Expire

Lydia Woolever — Wed, 16 Jan 2019 10:54:00 +0000

Yesterday morning, the musicians of the Baltimore Symphony Orchestra woke up without a contract. In an ongoing, contentious dispute, the current agreement between the players and the administration expired today, leaving the fate of the century-old symphony hanging in the balance as the BSO continues to face financial struggles.

This is the second time in less than six months that the players will be arriving to work with no contract. Last fall, their contract, or collective bargaining agreement, was expired for nearly two full months before both parties agreed to an extension through January 15. Around the same time, the administration released a proposal to cut the ensemble’s 52-week schedule to 40 weeks, effectively eliminating the summer season and decreasing player base salaries, which the musicians rejected.

“The situation that they’ve proposed is so grave—draconian,” says Brian Prechtl, a percussionist with the symphony and co-chairman of the Baltimore Symphony Musicians Players’ Committee. “It affects all of us who have decided to make our homes and our lives here in Baltimore.”

The BSO declined further comment due to ongoing negotiations, though in a statement released last night, they stated that “the BSO Board of Directors and management greatly appreciate and value the members of our orchestra and admire their superb musicianship.”

Cutting 12 weeks from the orchestra’s schedule might not seem that significant to the average concert-goer, but for an ensemble that is paid weekly, the changes would reduce salaries by at least 20 percent and adjust benefits including fewer vacation and sick days. (At press time, both pay and benefits will continue under the terms agreed upon in the expired agreement.) The players have received cost-of-living raises by a total of six percent over the past two years after a 19 percent pay cut in 2010 following the recession.

“This proposal is extremely regressive,” says Greg Mulligan, a BSO violinist and fellow co-chairman of the players’ committee. “If we were to accept it, it would damage not only our ensemble but affect our concert-goers and donors.”

The musicians call the move a demotion of a“full-time, world-class symphony orchestra into a part-time regional orchestra.” According to The Sun, only about 15 other orchestras operate on a 52-week schedule, which the BSO has done for more than 35 years.

“We think we need to be playing more in our Baltimore community, not less,” says Prechtl. “We’re just not accepting this reformatting of our season and downgrading our orchestra to a regional orchestra. We’re just not.”

The current situation has been one of many contract disputes over the past several years, and just another drop in the bucket for an orchestra that has struggled with periods of financial constraint and player-management conflict throughout its 102-year history. What makes this dispute different, according to Mulligan, is that the symphony is made up of 75 players, including two music librarians, compared to 98 in 2000. The current contract calls for a minimum of 83 players.

“It’s getting laughable that we continue to call ourselves a major orchestra while having significantly fewer full-time musicians than our peers,” says Mulligan.

For example, the New York Philharmonic, Philadelphia Orchestra, Cleveland Orchestra, and Boston Symphony all have around 100 musicians. In recent years, similar reductions, in size and pay, have taken place at symphonies like the St. Louis Symphony and the Atlanta Symphony Orchestra, though the former has recently negotiated to increase the players’ base salary to $100,000 (compared to the BSO’s $82,742 base) and the latter has just agreed to add 11 new positions with a 3-percent pay increase.

The musicians fear that lower salaries, combined with a shorter season and a reputation for in-fighting, will inspire fewer and fewer substantial musicians from considering the BSO a worthy place of employment. Mulligan and Precthl both mentioned that a number of the ensemble’s current musicians are looking for other jobs or considering retirement.

The BSO has an annual operating budget of $28 million, but in the face of issues encountered by symphonies across the country—changing demographics, local economics, declining attendance, and inconsistent fundraising (though revenue from contributions is currently at an all-time high)—it has lost $16 million over the past decade, or an average of $1.6 million each year. The symphony cut more than $1 million from the budget in 2016 through layoffs, administrative streamlining, and the elimination of all professional development, as board chair Barbara Bozzuto noted in an op-ed to The Sun last November.

“In spite of successful fundraising, our costs have outrun our revenues in recent decades,” she wrote. “It is not enough to raise more funds. Our business model needs alignment between an exceptional product and market demand.”

After “a careful analysis of our current financial situation,” the administration has concluded that it is “not feasible to maintain our current business model as a 52-week orchestra,” according to a statement released in November by president and CEO Peter Kjome, who arrived at the BSO in early 2017 after a six-month vacancy following the department departure of Paul Meechum. Without restructuring, tours such as last fall’s successful trip of the United Kingdom and Ireland with maestra Marin Alsop—their first overseas visit in 13 years—will also be “highly unlikely,” according to Bozzuto’s op-ed.

In late December, donors and supporters banded together to form a “Save Our BSO” committee in response to the administration’s proposal. “Management’s proposal may be one that would produce lower costs, but, in doing so, we believe it will exacerbate the BSO’s problems retaining its musicians and will seriously hinder the BSO’s ability to attract the caliber of musicians who have made the BSO a world class orchestra,” they wrote in a letter to the symphony’s board of directors in December, calling for better use of the organization’s endowment trust in this time of financial need.

The purpose of the $62.3-million endowment trust “is to support the long-term sustainability of the organization, while honoring the intent and directives of the donors,” according to the proposal. Each year, the BSO draws more than $3.5 million from the trust for operation, which the musicians have suggested increasing as a short-term solution. “We are certainly not supporting raiding the endowment,” Prechtl says. “But right now, when we’re throwing our hands up. We believe there are other places we could apply ourselves, other things that we could try. Until those happen, this feels very, very premature. We don’t believe they’ve actually done everything that they could.”

In the months since the proposal’s release, the BSO musicians and administration have met for intermittent negotiations, as they did yesterday as well. “We’re hoping that at some point we’ll be able to have a more constructive dialogue,” Prechtl says. “For the time being, [management] has articulated that they would not lock the musicians out and we have articulated that we will not strike.” The last strike ended in 1989 after 22 weeks, which, at the time, was the longest of its kind in American history. But the musicians will play on, like during the BSO Pulse concert with Dan Deacon this Thursday or this weekend with performances of the Sibelius violin concerto both at the Strathmore and Meyerhoff.

“There is just something in our ethic that will change almost nothing about how we play,” Prechtl says. “When you do this for your living, the performance is a sacred space. It’s a sacred time and we leave all of our reservations and resentments off the stage. I have been really proud; I really think the orchestra is playing better now than it ever has. It’s just so precious to us. This is not just a job. This is our great passion. When you come and see the orchestra play, you will still see an incredible performance.”

That being said, they’ll still be handing out leaflets about the contract negotiations at future performances, much as they did throughout the end of last year, when musicians popped up in various places across the city, such as outside of the Meyerhoff or at impromptu performances inside Penn Station or along the median of North Charles and Centre streets as part of what could best be characterized as an ongoing goodwill tour.

“A hit to any one of us is a hit to all of us,” says Mulligan of the impact on the larger city. “We give short shrift to Baltimore sometimes. It’s a very cool, creative, artistic, cultural city, and to have the biggest musical organization taken down a notch—or three—would certainly hurt. . . . We love to play, we love to play for Baltimore, and we’re going to keep doing that for as long as we possibly can.”

Source

Dan Deacon Ready to Make His Meyerhoff Debut

Lydia Woolever — Mon, 14 Jan 2019 14:19:00 +0000

When Dan Deacon makes music, he likes to think about more than just the individual notes and their complex arrangements. These days, the local musician often finds himself bouncing between writing his signature electronic music, full-length solo albums, and intricate, acclaimed film scores—each approach influencing the way he thinks about the next, leaving him to ponder big questions.

Like, “What is the role of an album, or a concert, or a score? And how and where are people going to listen to it?” poses Deacon. “When you’re at home listening to music, it’s like furniture—it enhances the living experience. When you go to a show, it’s like theater—you’re supposed to watch and become immersed into another world. With film, the score helps keep you within a specific universe. . . . It’s like when you make a meal. You think of who’s coming to dinner, where you’re eating it, if it’s a fancy dinner or a casual get-together or a pot-luck.”

Big things to think about on the eve of a feast: his debut performance at the Joseph Meyerhoff Symphony Hall as part of BSO Pulse, the innovative concert series, now in its fourth season, that pairs indie musicians with the Baltimore Symphony Orchestra. Pulse has featured other notable performances by Baltimore acts, such as Lower Dens and Wye Oak, but as a founding father of the city’s DIY music scene, Deacon’s performance feels like the series’ pinnacle.

“Thinking about that gigantic stage, in an acoustically perfect room, how to fill out the space and find a way to utilize the seated audience in a beautiful way—it became very exciting to think about all the possibilities,” says Deacon, calling the whole thing a big experiment. “We’ll see on Thursday night.”

At the same time, for a classically trained composer who studied musical composition with a computer music concentration at SUNY Purchase in New York, performing with a full orchestra is a sort of capstone as well. The average listener might not know it, but Deacon’s music has long been influenced by his education—though “I never really had any interest in 18th- or 19th-century music”—with his early albums inspired by minimalist composers such as Philip Glass, Steve Reich, and Terry Riley, featuring both orchestral arrangements and multi-part suites. It seems as if his entire career has been building toward a moment like this—each record growing in vision and virtuosity, from exuberant party-starters to avant-garde opuses.

The Meyerhoff is a far cry from the warehouse venues that Deacon first performed upon arriving in Baltimore some 15 years ago, but he’s no stranger to hallowed stages, either, having performed at Carnegie Hall in New York and the Waterloo Symphony in Canada. (His music has also been adopted by the New York City Ballet.) But this will be the first time the musician will be sitting down to play alongside a full philharmonic orchestra.

Co-hosted by WTMD, the Pulse performance will begin with a set by the BSO (including classics by Sebastian Bach and Erik Satie and a contemporary work by Du Yun), followed by a solo set from Deacon (including a few tracks from his 2015 Gliss Riffer), concluded by a collaborative set with both acts. For the main event, Deacon will also include his own 24-person ensemble, which he has performed with in past shows and on previous records, featuring instrumental arrangements by local composer Patrick McMinn, as well as a new vocal choir, featuring vocal arrangements by Allison Clendaniel of experimental classical music collective Mind On Fire. In total, there will be more than 40 musicians on stage.

“The whole spirit of the night is about the Venn diagram of what we [Deacon and the BSO] both do while also being willing to reach into the other side,” he says. “These shows take so much work—months. You could fill a wing of the Enoch Pratt with just the emails. We’re not just showing up and setting up our equipment. Everything about this night is from the ground up.”

“Working with Dan has already been a hugely rewarding collaboration,” says associate BSO conductor Nicholas Hersh. “The [final set] will truly be the centerpiece of the show, much more extensive and integrated than in past Pulse programs. We are all ridiculously excited to take on this challenge and witness months of preparation come to fruition.”

Both locally and internationally, Deacon has become known for his infectious live shows that typically incite some sort of interactive dance-off among the audience. If you attended his performance at Space 2640 to commemorate the 10th anniversary of his debut Spiderman of the Rings in 2017, you know what we’re talking about. (If not, just watch his NPR Tiny Desk concert to see what we mean.) Of course, this creates a predicament in a 2,443-seat symphony hall that commonly draws an older crowd. That grand, gilded room will play host to only the second seated show Deacon has ever performed in Baltimore, counting the Windjammer concert with Future Islands and Beach House at Pier Six as his first.

But during their collaborative set, Deacon and the BSO will be performing “Pink Batman” and “Snookered” from 2007’s Spiderman of the Rings and 2009’s Bromst, respectively, as well as his lush four-part suite “USA” from 2012’s America and a world premiere of a new work. “To me, you’d listen to all of those pieces sitting down,” says Deacon. “I don’t want people to feel like sitting is bad. I love sitting. With 40-plus musicians on stage, there’s just going to be a lot to look at, a lot to take in. I’m just imagining myself sitting in a chair in that room, which is so rich, in and of itself, hearing that sound from the stage, and having it bounce off the walls, and the ceiling above me.”

But he hasn’t ruled anything out: “I can’t help myself. I have no idea what I’ll do.”

Since moving to Baltimore after college in 2004, when he helped found the Wham City arts collective at the Copycat Building in Station North, Deacon has fostered a sense of creative freedom and community in this city, across a wide mix of artists and genres. After seven records, international tours, and opening sets for the likes of Arcade Fire and Miley Cyrus, Deacon still calls the city home and continues to support both old friends and up-and-coming artists. Last year, he curated the lighting during an Abdu Ali show at the Metro Gallery; celebrated the release of Riddles, the acclaimed new album by local post-punk duo Ed Schrader’s Music Beat, which he co-wrote and produced; and headlined the Believe In Music Halloween party at the Maryland Science Center.

Today, he sees the local music scene much “how I’ve always seen it, which is just full of amazing, incredible talent,” he says. “It’s a really driven and diverse ecosystem. The hardest part is getting anyone from outside of town to pay attention. But I feel like that’s changing. I just wish there were more venues and opportunities for people to play in front of larger audiences . . . But that’s what makes this show so special—it opens up the door to people who wouldn’t normally be in a space like this, and I hope they continue the series and open it up to more Baltimore artists.”

That altruistic ethos is embodied in the evening’s pre-show lineup, where Deacon has asked a handful of local artists to be part of a special performance, with five solo sets by saxophone player Jamal Moore, electronic artists Amy Reid and Alex Silva, and experimental musicians Amanda Schmidt and Stewart Mostofsky taking place simultaneously in the Meyerhoff lobby starting at 7 p.m.

Of course, this performance comes just two days after the expiration of the BSO’s contract negotiations between players and the administration, which aims to reduce the symphony’s schedule, effectively eliminating the summer season and decreasing musician salaries. The move has the potential to demote the “full-time, world-class orchestra into a part-time regional orchestra,” according to a statement from the musicians.

“I just want to state that I back the players entirely and support what they are putting themselves on the line for,” says Deacon. “Imagine if the Baltimore Museum of Art closed for a significant portion of the year, having wings closed and the art shifted out. When you think about it in any other context, it’s clearly a massive mistake. Imagining Baltimore without the BSO would be a shame.”

For him, after the show, he’s back to work, finishing up two more film scores and a new record—his eighth—by this spring. But for now, he’s looking forward to Thursday night, to the very moment when the show begins.

“The whole point is to be completely and utterly present—to kind of forget that time is moving,” says Deacon, an artist whose mind is in constant motion—thinking, assessing, reassessing, connecting dots, breaking them apart again—a visionary composer, and a benevolent conductor of the Baltimore music scene after all these years. “Much of the show will be the orchestra and the ensemble and all the players, so I can step back a little bit more than usual and just be.”

Source

My Top Ten with John Locke

Jess Mayhugh — Tue, 23 Oct 2018 08:30:00 +0000

Christopher Myers

Source

Show Stoppers

Jess Mayhugh — Wed, 09 May 2018 08:30:00 +0000

Rams Head Live
Veronica M Eduardo top ($66) and Joggers ($84) at Brightside Boutique. Long fringe earrings ($10.95) at Doubledutch Boutique. Lovoda Black Satchel ($28) at Doubledutch Boutique. BLANK NYC Onyx studded suede jacket ($218) at Brightside Boutique. Donald Pliner Billie sandal ($345) at Sassanova.

Merriweather Post Pavilion
Fiona Midi dress ($58) at Brightside Boutique. Hammitt North Mist Snake Clutch ($175) at Sassanova. Savana heels ($99.95) at South Moon Under. Gold Circular Earrings ($28) at Sassanova.

Baltimore Symphony Orchestra
One shoulder green dress ($280) at Panache. Sam Edelman Haide Black heels ($91) at Sassanova. Statement necklace ($32) at Poppy & Stella.

WTMD First Thursdays at Canton Waterfront Park
Echo Panama hat ($69) at Sassanova. Kara bag ($88) at South Moon Under. Cotton Candy LA gingham tie dress ($40.95) at Doubledutch Boutique. Clear sunglasses ($15) at Doubledutch Boutique. Adam Tucker Tarin suede heels ($100) at Poppy & Stella.

Source

Variations on a Theme

Jess Mayhugh — Mon, 07 May 2018 08:30:00 +0000

Local institutions make classical music accessible—and relevant—in the 21st century.

By Lauren LaRocca
Illustrations by Marcos Chin

Arts & Culture

Variations on a Theme

Local institutions make classical music accessible—and relevant—in the 21st century.

By Lauren LaRocca. Illustrations by Marcos Chin.

IT’S A SATURDAY AFTERNOON in February, and the Baltimore Symphony Orchestra musicians are performing Handel’s Water Music for a modest crowd. The conductor, concentrating fiercely, bounces her baton in time, while violinists and French horn players occasionally glance up from their sheet music to meet eyes with her.

She’ll certainly have a story to tell her friends at the playground next week. You see, this conductor is no older than 10, and the ensemble is not performing at the Joseph Meyerhoff Symphony Hall but amid a world of glimmering turquoise waters and corals at the National Aquarium.

Though a seemingly unusual scene, unusual is becoming the norm for many classical musicians in Baltimore. In an attempt to draw in more diverse audiences and a new generation of musicians, groups such as the BSO, Peabody Institute, Baltimore School of Music, and others have paved new ways to lure listeners to the music—whether it’s pairing it with yoga, performing pop-up concerts in public, playing new works by underrepresented composers, or collaborating with hip-hop artists. In the case of BSO’s show at the aquarium, visitors were invited to act as guest conductors to see what that feels like.

Classical music is timeless—that much has been proved—so musicians and administrators are banking on the fact that it’s the culture that keeps many potential listeners at a distance.

Performances did not always conjure up images of formal attire and etiquette—musicians wearing coattails and white bow ties for daytime concerts, black bow ties at night.

Experiencing classical music was not always seen as rigid or potentially dull. Stravinsky’s Rite of Spring and accompanying ballet choreography were met with riots during the work's Paris premiere in 1913. To this day, audiences in Italy still freely boo during concerts. And it’s no secret that Mozart would write raunchy lyrics to his compositions to be performed at parties (his “Lick me in the arse” canon in B-flat major comes to mind)

Symphony attendance has been dropping across the country for decades, although some local initiatives show promise. Attendance for BSO’s Off The Cuff series, for example—which includes an informal talk with BSO music director Marin Alsop, a condensed concert format, and an after party—has increased by 46 percent since it began in 2008, and nearly 40 percent of those ticket buyers are under the age of 40. Its Pulse series, launched in 2015, consistently attracts young audiences.

Several people are determined to push this music forward into the 21st century. And the goal is not to merely make it more accessible. After all, in the digital age, music—and pretty much everything—is accessible at the touch of a screen. Rather, musicians are striving to create doorways into the music so that they can enlighten us as to why it’s still vital and relevant while creating the next generation of lifelong music fans.

BSO at the National Aquarium. valerie june, backed by the bso at a pulse show.

BALTIMORE SYMPHONY ORCHESTRA

When the BSO performs Tchaikovsky’s “Souvenir de Florence” at the Meyerhoff in March, they’re essentially acting as the opener for Valerie June, who then takes the stage in a showy red dress, dreadlocks piled on top of her head, and belts out her soulful Appalachian vocals over guitar and banjo. But then something even more interesting happens: In a third and final set, June is backed by the BSO, which plays full arrangements of her songs in a magical collaboration.

In partnership with 89.7 WTMD, BSO’s Pulse series is conducted and co-curated by BSO associate conductor Nicholas Hersh, who has given a lot of thought to how to make classical music more palatable for his generation, the millennials.

It started as an experiment: pair a classical piece with an indie artist—not necessarily a piece that fits snugly, but something related by general sound or feeling. For example, June is a passionate, wear-your-heart-on-your-sleeve kind of singer-songwriter, so Hersh looked for a composer of similar essence. The idea is that people will come for the indie act and in so doing might discover a classical piece.

“I think a lot of people like classical music—they just don’t know it,” says Rafaela Dreisin, audience development manager at the BSO and co-founder of Classical Revolution. “We’re trying to be flexible.”

Peabody students at The Johns Hopkins Wilmer Eye Institute;

PEABODY CONSERVATORY

Peabody in Mount Vernon is the oldest music conservatory in the U.S., and it prides itself on keeping tradition alive and training musicians in a manner that’s tried and true.

But in recent years, staff and students alike have found ways to extend their reach beyond the walls of the prestigious institution, challenging the very idea of what a conservatory is.

“Conservatories have not done a particularly good job on rethinking how we train our students for a landscape that is constantly evolving in the 21st century,” says Fred Bronstein, who became dean in 2014. “It’s really important for them to be part of the community and be an asset.”

One way students have done this is through mini concerts in unexpected places—a water taxi, City Hall, even right on the sidewalk.

“Classical music expresses the same love and hate and anger and calm—the same emotions” as other genres of music, says Peabody Conservatory student Yoshi Horiguchi. “This informality allows us to carry on the music without the restrictive culture. It gives an accessibility to people who can’t afford tickets. And it’s a different feeling. Outside, I can walk around with my bass and weave through the audience. And it’s nice to follow up with conversations with people.”

Content has pushed tradition, too. In February, Peabody Chamber Opera performed Out of Darkness: Two Remain, based on the true stories of two unlikely Holocaust survivors—a homosexual Protestant man and a political prisoner who hid her identity.

Also new: An online music tech class that prepares students for ways in which technology can enhance their careers and Wendel Patrick’s hip-hop class, where students learn the history of the genre and work on their own material.

Darin atwater, founder of soulful symphony

SOULFUL SYMPHONY

As Darin Atwater, an accomplished Baltimore-based conductor and pianist, moved through the world of classical music, he began asking himself why American symphonies weren’t really dealing with our country’s native music, and why our classical music is still so very Eurocentric—from Mozart’s Austrian folk themes to Tchaikovsky’s Russian folk music. Why were we not looking to jazz and hip-hop and gospel and blues?

In 2000, he took it upon himself to form an orchestra of predominantly African-American and Latino members dedicated to performing American music. Though he had no point of reference because there weren’t—and still aren’t—any other groups like it, Atwater founded Soulful Symphony, which is now 85 members strong.

Their original compositions showcase rhythmic songs with a vibrant brass section and gospel choir vocals. In 2007, Atwater led the group in a hip-hop symphony.

“The future of classical music in America is going to have to confront this music eventually,” Atwater says. “It’s the music of our native tongue.”

Classical guitarist James Lowe at Sherwood Gardens.

BALTIMORE SCHOOL OF MUSIC

James Lowe has three degrees in music, lives and breathes it, but still gets bored at formal orchestral concerts. He knows how insular that world is.

He started the Baltimore School of Music in 2012 to give all ages the opportunity to learn to play classical music in a casual, non-competitive environment. Instructors aim to find ways into the music that are fun and engaging. For example, Lowe played the beginning of The Beatles' song “Blackbird” to show students that it was derived from the 1700s classical piece “Andante in G” by Ferdinando Carulli, which they then learned.

Students also perform in unconventional places—for example, alongside a yoga class at Sherwood Gardens and, this month, at Monument City Brewing Company, right next to the fermenters.

SYMPHONY NUMBER ONE

Symphony Number One is a chamber orchestra that formed three years ago to showcase substantial new pieces through performances, typically at churches in Baltimore, and live recordings.

“It’s important to record it. It helps the composers,” says music director Jordan Randall Smith. “It’s not like a painter who just needs a canvas. They need the orchestra.”

Smith is mindful of including underrepresented, diverse artists.

“It’s appalling how with many major orchestras, you won’t see a single woman composer in 30 or 40 weeks of shows,” he says. “That, to me, is not acceptable.”

Symphony Number One performances often include a piece by a traditional composer—a dead white guy, as Smith puts it. To some, this is like eating your vegetables before dessert. But when they do indulge in that contemporary piece, it’s often surprising and full of flavor.

Classic Revolution performs.

CLASSICAL REVOLUTION

Peabody alumnae Rafaela Dreisin and Stephanie Ray started the Baltimore chapter of Classical Revolution, a casual open mic for classical musicians to gather and perform at nontraditional venues. Duos and small ensembles—on strings, wind, and brass—play chamber pieces new and old, then wrap up the evening with a jam. Sometimes there are opera singers. Sometimes hip-hop artists join in. Sometimes people just show up and courageously sight-read.

“I take the approach of being fully immersed,” beatboxer Shodekeh, cultural ambassador of the collective, says about freestyling to complicated time signatures. “The slightest movement—you have to sync up with it, anticipate it. I watch micro-expressions in the face, changes in their breathing.”

Ray says they try to push their own boundaries. “We want to show people that it’s not so serious all the time.”

Their first event, at the now-defunct Bohemian Coffee House in 2011, was packed, and they’ve gone on to host gatherings at Joe Squared, The Windup Space, The Reginald F. Lewis Museum, and The Bun Shop, to name a few. One was simply a Spotify playlist listening party at The Crown.

In February, they partnered with WTMD to perform in a live broadcast that featured classical instrumentation alongside electric guitar and beatboxing. “We had people screaming in the audience,” Ray says. “Classical musicians don’t usually get that kind of reception.”

MIND ON FIRE

Mind on Fire, a chamber orchestra "family" of about 18 players led by James Young, formed in 2017 to perform music by diverse living composers.

In their short time together, they've made music with and performed alongside over 50 artists-somatic artists, poets, puppeteers, actors, filmmakers, and a large array of musicians, including Dan Deacon at his 10th Anniversary Spiderman of the Rings show last fall.

On May 19, they'll premiere Brooklyn-based composer Elori Saxl Kramer's work for orchestra and electronics "The Blue of Distance" at EMP Collective.

THE EVOLUTION CONTEMPORARY SERIES

Composer and Peabody Institute faculty member Judah Adashi founded the Evolution Contemporary Series in 2005 and serves as its director. He's presented work by more than 75 composers and has featured world-renowned guests.

In its current season, the series has showcased composer, singer, and pianist M. Lamar's multimedia song cycle Funeral Doom Spiritual, a radical exploration of the African-American spiritual tradition, as well as chamber works by Bryce Dessner, the guitarist in The National.

Concluding the season on May 8, Baltimore artists including Adashi, Outcalls, Joy Postell, The Witches, Ellen Cherry, Brittani McNeill, Shodekeh, and Sophia Subbayya Vastek will perform from the 2017 release Bjork: 34 Scores for Piano/Organ/Harpsichord & Celeste in a concert they're calling The Björk Songbook at An Die Musik. "The concert will honor the voice-plus-keyboard arrangements created by Björk and her collaborator Jonás Sen," Adashi explains, "while leaving space for these extraordinary local artists to bring their own interpretive instincts to bear on the music."

BALTIMORE GAMER SYMPHONY ORCHESTRA

What better way to get the kids hooked on symphonic music than through video game themes?

Musicians in the Baltimore Gamer Symphony Orchestra, which runs through the Baltimore County Department of Recreation and Parks, are able to join without auditioning and play to have fun, usually performing publicly twice a year.

"It's a really safe environment for blooming musicians or rusty musicians," says founder and director Kira Levitzky, who finds video game songs online and arranges the music herself.

The orchestra bridges a gap between classical music and popular culture. The music is a means to escape, like a video game itself, she says. "When you play a video game, it becomes your world, and you are part of the story."

IN THE STACKS

Music in the Stacks was born in 2017 when Peabody students planned a free, after-hours show inside the George Peabody Library. They worked in some talking points and interactive elements, wanting to engage with their audience, and catered the program's content to tie into the library itself.

They were hoping for 50 to 70 people to show up; they ended up ushering in a few hundred.

A second show proved to be just as successful.

"Every time I've played in orchestras, I've felt like there's a disconnect between the audience and performers," says Sam Bessen, 25, founder and artistic director of the series and a 2017 graduate of Peabody's master's program. "Being [Peabody] students, we thought that library had a lot of potential. It's just such a beautiful room."

Those first two shows were a trial run, used to gauge community interest. When it returns for an official season, tentatively beginning this summer, the series will be called, simply, In the Stacks, opening up performances to additional artistic disciplines (drama, art, dance, film, etc.).

As before, the shows will be held during the library's off-hours and admission will be free, though a $10 donation is suggested to pay the musicians.

Bessen is already brainstorming a theatrical production whose stage might be on various library levels, or live music played as the score of a silent film screening.

Scenes from the Occasional Symphony.

OCCASIONAL SYMPHONY

Occasional Symphony has made it part of its mission to bring classical music "out of the concert hall and into the city," says its board president, Elisabet Pujadas. They find intriguing venues and settings to house their concerts.

She is most proud of their Halloween shows at 2640 Space. At these flagship events, the orchestra and audience members come in costume for a screening of a black-and-white horror film set to a score that combines classical pieces with those by contemporary composers. The next one is slated for Oct. 31, 2018.

Since their founding in 2012, they've also hit the Port Discover Children's Center, Mari Luna Bistro, and the Turner Auditorium on the campus of the Johns Hopkins Hospital.

Kings of the Road

Future Islands makes it big but sticks to its Baltimore roots.

For the Record

The resurgence of vinyl culture is on full view at the Arbutus Record Show.

50 Artists to Know

We've rounded up the 50 best local artists to know right now.

Source

Culture Club: Mother Earth Poetry and Paying Homage to Martin Luther King Jr. and Edgar Allan Poe

Lauren LaRocca — Thu, 04 Jan 2018 12:30:00 +0000

Visual Art

Scott Pennington’s Two-Minute Joys
Scott Pennington’s art is nothing if not fun. He draws from his experience as a furniture maker to craft large-scale, interactive artwork. Through several light-based installations and wall pieces, his latest show, Two-Minute Joys, explores a tradition Pennington grew up with: the carnivals that make their rounds from town to town, bringing people together among their bright lights, rich colors, and the sweet scent of carnival food. It’s what the artist refers to as the “carnival aesthetic,” prevalent throughout his work. Indulge in a carnival trip of the mind at Maryland Art Place, courtesy of Pennington. Jan. 18 through March 10, MAP, 218 W. Saratoga St. Reception from 6 to 9 p.m. Jan. 18.

Curatorial tour of Beyond Flight: Birds in African Art
The Baltimore Museum of Art exhibit Beyond Flight: Birds in African Art shows the many uses of birds in sub-Saharan art. See the dramatic masks worn during rituals, herbalists’ staffs, and household objects embellished with bird imagery while meditating on how these winged creatures have piqued our curiosity over the centuries. As BMA associate curator of African art Kevin Tervala pointed out, birds make up less than one percent of living things and yet are used extensively throughout all artistic genres. Through June 10, BMA, 10 Art Museum Drive; curatorial tour from 2 to 3 p.m. Jan. 5.

Art talk with longtime MICA instructor James Hennessey
As a decades-long painting instructor at Maryland Institute College of Art, James Hennessey influenced the work of thousands of Baltimore artists. His retrospective exhibit at the Creative Alliance, Enduring Concerns, celebrates him with a survey of his paintings done over the years that he’s worked in the city. Through Jan. 13, with an artist talk at 7 p.m. Jan. 6, Creative Alliance, 3134 Eastern Ave.

Dance

King of What: Bboy/Bgirl Jam
Motor House will play host to breakers from across the U.S. and Canada during its five-hour King of What, which kicks off with a cypher that will allow hundreds of dancers to showcase their skills before a selected few move into one-on-one competition—i.e., before things get real. One lucky break-boy or -girl will be named the best and take home $1,000 (and someone else will win a $100 prize for having the flyest getup). And if five hours isn’t enough, there’s an after party. 5 to 10 p.m. Jan. 20 at Motor House, 120 W. North Ave.

Music

Hirsute live
The only thing better than an album listening party is an album performed live in its entirety. Amy Reid will provide us with this gift at the performance of her 2017 release Hirsute at the Motor House. She’ll be joined by a band to combine electronica, vocals, and live instrumentation. Plus, guest artists Infinity Knives & Randi will perform, and Hanna Olivegren (of Zomes) and Noelle Tolbert will explore movement and sound. 9 p.m. Jan. 6 at the Motor House, 120 W. North Ave.

Off The Cuff: Impressionist Masterworks
For a tasty music and art pairing, try the January installment of the Baltimore Symphony Orchestra’s Off the Cuff series, where the music of Debussy and Ravel will be performed alongside projected images of Impressionist art by Monet, Degas, Cézanne, and others, and you’ll learn how Impressionism influenced composers of the day. In collaboration with the Baltimore Museum of Art, the Impressionist Masterworks short-format concert includes commentary from BSO music director Marin Alsop and BMA senior curator of European painting and sculpture Katy Rothkopf, who will provide context to enrich the experience. An after party, Ravel on the Rocks, will extend the night with live gypsy jazz by Orchester Prazevica and food from Dooby’s. 7 p.m. Jan. 13, Joseph Meyerhoff Symphony Hall, 1212 Cathedral St.

Literary Arts

Red Emma’s Mother Earth Poetry Vibe
The gift of poetry is its ability to inspire us. With that idea in mind, Red Emma’s Mother Earth Poetry Vibe is an open mic that focuses on work that engages conscious thought, spirituality, justice, equality, and, in short, raises the vibration of our collective consciousness. All are welcome to share, while Philadelphia-based lyricist, author, educator, and voiceover artist Lyrispect will be the featured guest of the evening. 6:30 to 9 p.m. Feb. 3 at Red Emma’s Bookstore Coffeehouse, 30 W. North Ave.

Miscellanea

Edgar Allan Poe: Evermore
Raise your glass for a toast to the macabre poet Baltimore claims as its own, Edgar Allan Poe, who would have been 209 on Jan. 19, had he not died of . . . well, either alcohol, brain congestion, cholera, drugs, heart disease, rabies, tuberculosis, or suicide (don’t worry, folks, you’ll just be drinking nonalcoholic apple cider, courtesy of Poe Baltimore). 6 to 6:30 p.m. Jan. 19 at Westminster Hall and Burying Ground, 519 W. Fayette St.

Dr. Martin Luther King, Jr. Parade
“We’ve got some difficult days ahead,” Dr. Martin Luther King, Jr. said to a crowd in Memphis, Tennessee, less than 24 hours before he was assassinated. “But it really doesn’t matter with me now because I’ve been to the mountaintop. . . . I’ve looked over, and I’ve seen the promised land. I may not get there with you, but I want you to know tonight that we as a people will get to the promised land.” Baltimore will celebrate the legendary Civil Rights activist on his birthday with a parade down Martin Luther King Jr. Boulevard. Noon to 2 p.m. Jan. 15.

Moonifestations of Ancestor Earth closing
What do you get when you combine meditation with January’s waxing moon? One guess is Moonifestations. Xander Dumas and Elliot Moonstone, better known as The Dandy Vagabonds, will close out their fiber-art installation Moonifestations of Ancestor Earth: a voyage of expansion at the Bromo Seltzer Arts Tower with a guided meditation. Through the use of astrology and gemstones, they’ll help the group to “moonifest” individual and collective intentions. Come dressed in the likeness of your favorite element, stone, or planet, and bring a journal. Noon to 2 p.m. Jan. 27, Bromo Seltzer Arts Tower Galleries, 21 S. Eutaw St.

News

Resort, a new contemporary art gallery
Resort, a new gallery in Baltimore exhibiting contemporary art, will hold its inaugural show this month. A Big Toe Touches a Green Tomato will showcase the work of former artistic director of The Contemporary Ginevra Shay and Philadelphia-based artist and self-described “plant person” Roxana Azar. Jan. 20 through March 3; opening reception from 5 to 8 p.m. Jan. 20, Resort, 235 Park Ave.

Source

Weekend Lineup: Dec. 1-3

Lydia Woolever — Thu, 30 Nov 2017 15:09:00 +0000

Five things to eat, drink, see, hear, and do with your Charm City weekend.

EAT

Dec. 2: Olde Tyme Christmas

Fells Point, Broadway & Thames St. 8 a.m.-7 p.m. Free.

Once December hits, Fells Point transforms into a charming Christmas town, adorned with green garlands, crimson bows, and tons of glimmering lights. This Saturday, walk through the cobblestoned streets of this historic neighborhood during Olde Tyme Christmas, a winter tradition now in its 14th year. Revel in holiday activities, like the beloved eggnog-drinking contest or annual tree lighting ceremony, and along the way, treat yourself to a tasting of the local restaurant offerings. At Abbey Burger, a breakfast buffet should get you through the day with all-you-can-eat mini pancakes and breakfast sliders. On weekends, Thames Street Oyster House offers one of the best Bloody Marys in town (and oyster shooters, too). And, of course, there’s the newly renovated Jimmy’s, with the old-school diner brought into the 21st century but our favorite waitresses and delicious brunch staples still around all day. By the evening, after mussels at Bertha’s and a beer-filled jaunt at Max’s, your stomach is sure be as full as Ol’ St. Nick’s.

DRINK

Dec. 2: Mozarts & Martinis

Joseph Meyerhoff Symphony Hall, 1212 Cathedral St. 7-11 p.m. $30-99.

The story behind Mozart’s final masterpiece can only be defined as mysterious. As legend has it, a stranger knocked on his door and asked him to write a requiem mass—the work that would come to consume the rest of the famed composer’s life. While he never did complete it, you can still hear a rendition of this masterwork by the Baltimore Symphony Orchestra and University of Maryland Concert Choir, led by maestra Marin Alsop. Following the concert be sure to swing by the Gothic-inspired after-party, featuring beer, wine, $6 martinis, and dumplings from Mt. Vernon Marketplace’s Pinch in the Meyerhoff lobby. We’ll never know if it was the angel of death who commissioned Mozart’s requiem, but we’ll gladly discuss conspiracy theories over classical-music-inspired cocktails.

SEE

Dec. 1-3: Night of 100 Elvises

Lord Baltimore Hotel, 20 W. Baltimore St. Fri. 7-11 p.m., Sat. 4 p.m.-1 a.m., Sun. 11 a.m.-2 p.m. Prices vary.

Slick back your hair and hop in your flared jumpsuit for Charm City’s eclectic three-day tribute to the King of Rock and Roll. Whether you’re a fair-weather Elvis fan or a full-time Presley devotee, get your groove on at the new location of the Lord Baltimore Hotel, with live music by tribute bands, scores of impersonators, and local brews. While the music is the main event, don’t forget to admire the sights—classic cars, vintage rock-and-roll memorabilia, an ice carving of Mr. Presley himself, and, of course, the legend’s favorite snack—fried peanut butter and banana sandwiches.

HEAR

Dec. 2: Saturday Morning Tunes

Senator Theatre, 5904 York Rd. 9-11:30 a.m. $10-40.

Are your little ones tired of singing along to the same TV show theme songs or Kidz Bop soundtracks? This weekend, introduce them to the rising artists of the children’s music scene at Saturday Morning Tunes, WTMD’s local concert series tailored just for kids. Inside the historic Senator Theatre in Belvedere Square, your kiddos can listen to Lard Dog & The Band of Shy and The Rhode Tavern Troubadours as they perform their kid-friendly indie rock, or “kindie,” hits. But that’s not all—inflatable instruments, animal sketches, bicycle rides, videos on the big screen, and a holiday-themed photo booth will keep your tykes in a good mood for the rest of the day. Even if you can’t make it, you can stream the show live or turn your radio dial to 89.7 F.M.

DO

Dec. 1: Baltimore Square Dance

Ideal Arts Space, 905 W. 36th St. 7:30-11 p.m. $7-12.

Since 2013, Baltimore Square Dance has been bringing together people of all ages for a memorable night of simple dance moves and do-si-do. On Friday, this Best of Baltimore-winning event will return to Ideal Arts Space in Hampden. Forget club music and twerking and spend your evening swinging around to old-time string music with regional folk artists like Sam Gleaves and Tyler Hughes. If you’re a square dance newbie, don’t worry—steps will be taught and called throughout the night. You don’t need to show up with a partner or cowboy hat, but feel free to B.Y.O.B., especially if you need some liquid courage to get your feet moving.

Source

Weekend Lineup: Sept. 29-Oct. 1

Jess Mayhugh — Fri, 29 Sep 2017 08:30:00 +0000

Five things to eat, drink, see, hear, and do with your Charm City weekend.

EAT

Sept. 29: Trucktoberfest

The Rotunda, 711 W. 40th St. 5-10 p.m. Free-$43.19. 410-235-8771

There’s no better way to celebrate the start of October than a food truck edition of Oktoberfest. Don your best lederhosen or dirndl and head on over to Hampden’s one-night Deutschland to enjoy food, beverages, street vendors, and authentic German music. Hosted by The Gathering, Baltimore’s outdoor food truck festival, the event headlines local food trucks competing for the title of the best Oktoberfest-style menu. With fiery competition, food trucks are keeping their German-inspired specials a secret, so you’ll have to go to check out their own renditions of bratwursts, schnitzels, and pretzels. And of course, there will be beer, so grab a glass (or several) of your favorite German brews, too. We know you’ll be yelling prost by the end of the night.

DRINK

Oct. 1: Southside Stakes

R. House, 301 W. 29th St. 7-10 p.m. $50-60. 443-347-3570

Last summer, Baltimore magazine co-hosted a competition in which the city’s top bartenders duked it out to see who could concoct the best Southside, the signature cocktail of Baltimore County. But this Sunday, Baltimore Bartenders’ Guild is rekindling the competition with up-and-coming barkeeps. Join the judges in sampling drinks shaken and stirred by the promising bunch, made with regional spirits like Baltimore Whiskey Company, Lyon Distilling, New Liberty Distillery, and One Eight Distilling—plus help choose the best maker in town. While you’re there, eat your way around R. House’s food stands, take a break with Union Craft beers, and participate in a bar tools and spirits raffle. The best part? Proceeds will go to support House of Ruth, so you’ll be Sunday Fundaying for a good cause.

SEE

Sept. 29: Gilded Lily presents Pour Some Glitter on Me

The Windup Space, 12 W. North Ave. 8-11:30 p.m. $10. 410-244-8855.

Tease out your hair and travel back in time to the decade of excess with Baltimore’s premier burlesque troupe, Gilded Lily. Starring their very own Maria Bella, Ruby Spruce, Gigi Holliday, and Mourna Handful, plus special guests Ona Monsoon and MC Kittie Glitter, the bodacious troupe will be paying tribute to the sounds of ’80s hair metal with a titillating performance complete with crimped hair, fishnets, and copious amounts of glitter. After all the razzle and dazzle, be sure to in on rock-and-roll karaoke with Black Lodge Karaoke and DJ Penfold.

HEAR

Sept. 30-Oct. 1: BSO Movie with Orchestra: Jurassic Park

Joseph Meyerhoff Symphony Hall, 1212 Cathedral St. Sat. 8 p.m., Sun. 3 p.m. $17.50-69. 410-783-8000.

When Steven Spielberg’s Jurassic Park came out in the ’90s, many were in awe of the CGI dinosaurs and considered the film a cinematic masterpiece. Even today, the movie’s legacy endures with its reputation as an award-winning sci-fi adventure that redefined the entertainment business with its sequels and souvenirs. This weekend, you can relive its majesty with Baltimore Symphony Orchestra’s live performance of John Williams’s iconic score, as conducted by Nicholas Hersh. Watch the film as you listen to one of the most memorable soundtracks in movie history, and don’t miss out on local food truck Jurassic Pork, which will be serving up its old-school barbecue before the Saturday screening.

DO

Sept. 29-Oct. 7: Baltimore Innovation Week

Locations & times vary. Free-$75.

Move over, Silicon Valley—it’s Baltimore’s time to shine. With the growth of its technology and innovation sector, Charm City was recently named as one of the fastest-growing cities for tech. Starting this weekend, you can discover the nascent novelties of the city’s technological world. A plethora of programs will be scattered across the city—from groundbreaking gameplay to collaborative workshops—and give you the chance to meet local visionaries and entrepreneurs or learn about startups and inventions. Who knows? Maybe you’ll be inspired to jump on the tech wagon, make a revolutionary device, and become the next Steve Jobs.

Source

Culture Club: BSO Pulse Lineup, Abdu Ali, Maryland Art Place

Gabriella Souza — Wed, 06 Sep 2017 16:16:00 +0000

Performing Arts

Sally McCoy

Sept. 14-Oct. 1, The Fallout Shelter at United Evangelical Church, 923 S. East Ave. Cohesion Theatre Company presents the world premiere of its co-founder, Alice Stanley’s new play. Set in August of 1882, in the midst of the first gruesomely violent event of the legendary Hatfield and McCoy feud, and with her three eldest sons captured by the Hatfield clan, Sally McCoy defies her womanly place in the home and crosses miles of Appalachian wilderness in the dark of night in order to save her children from certain death at the vengeful hands of the Hatfields. After traveling miles alone in the dark of night to the home of the Hatfield patriarch, “Devil” Anse Hatfield, Sally refuses to let anything stand in her way until she’s seen the “Devil” face to face.

The Terrible Secret of Lunastus

Sept. 15-Oct. 8, Zion Lutheran Church, 400 E. Lexington St. The Baltimore Rock Opera Society (BROS) opens its first (and only) full-scale production for 2017, “The Terrible Secret of Lunastus”. It’s a sci-fi comedy set in the near future about the impending destruction of Earth, and the efforts of four astronauts and their stupid robot to find a new home for the human race, all performed to an original soundtrack inspired by classic 1970s rock.

Outcalls Album Release Show with Super City, J Pope and the HearNow
Sept. 15, WTMD Studios, 1 Olympic Place, Towson Like many of its Baltimore music peers, Outcalls is fearless. It loves to experiment and collaborate, and lift each other up through innovative songwriting and captivating live shows. Led by Melissa Wimbish and Britt Olsen-Ecker—both classically trained singers—Outcalls draws inspiration from political and social events and fills their music with melodic and harmonic surprises. Their songs unfold in chapters, and have a cinematic quality. Joining them are glam pop rockers Super City and the soul, fun, hip hop fusers J Pope and the HearNow.

Amy Reid album release
Sept. 15, The Crown, 1910 N. Charles St. The song and synthress that is one half of the group Chiffon is releasing her first solo album, and is celebrating with this show at The Crown. Best of Baltimore winners :3lon and DJ Trillnatured will be on hand as well.

Abdu Ali: I’m Still Here
Sept. 22, EMP Collective, 307 W. Baltimore St. Baltimore Club Artist Abdu Ali is launching his national tour with this new style performance with drummer Josh Stokes. TT the Artist will get the party started.

Visual Art

Out/Side & In/Between/The Holy Ghost Goes to Bed at Midnight/ A Parable at School 33
Through Oct. 28, School 33 Art Center, 1427 Light St. Three new exhibits open this month at School 33. Out/Side & In/Between is the first of two annual juried group exhibitions, curated by Jarvis DuBois. “The Holy Ghost Goes to Bed at Midnight is a solo exhibition of new works by James Bouche’, and A Parable is an installation and ongoing performance by NI Xin. on Friday, September 8, 6-9 p.m. All three shows will be on view from September 1-October 28.

A Woven Thread at Terrault
Sept. 9-Oct. 28, 218 W. Saratoga St. This exhibition features the works of Alex Dukes and Liora Ostroff. Dukes’ paintings are an autobiographical exploration of memory, identity, race, and how they all are intertwined. Liora Ostroff’s current body of work uses paired art-historical themes with imagery drawn from contemporary life.

Altered Realities at Maryland Art Place
Sept. 14-Nov. 4, Maryland Art Place, 218 W. Saratoga St. The exhibition aims to subvert the viewer’s perspectives by focusing on uncanny interpretations of the everyday experience, highlight exceptional works ranging from painting, sculpture, video, fiber arts, virtual reality, and photography. Featured artists include Scott Cawood, Se Jong Cho, Phaan Howng, and Balti Virtual.

Cardinal Grand Opening
Sept. 16, 1758 Park Ave. During the grand opening of this new Bolton Hill art space you can get a tour of the building, which includes exhibition space as well as artist studios. Also, on display will be its first exhibition, Natural Order, which invites each contributor to create a typewritten list on a legal-sized piece of paper, which will go on view immediately following its creation.

Events

Bollymore
Sept. 8, Metro Gallery, 1700 N. Charles St. This bi-monthly night of art and dance is inspired by the sounds + stories of the subcontinent. Bollymore is Baltimore’s space of fellowship and exchange amongst the South Asian diaspora. It aims to celebrate the arts and collaborating across cultures, featuring the music of Jacob Marley, Nikilad, and DJ Beti.

The Joy and Pain of Collecting Art
Sept. 16, Reginald F. Lewis Museum, 830 E. Pratt St. Need help picking the perfect artwork? Want to know how to start collecting art? Hear from experts in the field to get the inside scoop about how to build your very own collection. Presenters include Myrtis Bedolla from Galerie Myrtis, and renowned Collector Walter O. Evans who has amassed one of the greatest fine art collections in the country.

Philip Glass Film & Opera Series
Sept. 22, Centre Street Performance Space, 5 E. Centre Street Baltimore native and Peabody Preparatory alumnus Philip Glass turned 80 on Jan. 31. To celebrate this great composer’s birthday, Peabody Conservatory is hosting screenings of Glass’s “portrait” operas—Einstein on the Beach, Satyagraha, and Akhnaten. His meditation on the great physicist Einstein opens up the series.

Fall For Art
Sept. 24, Hooper Mill Studios, 3500 Parkdale Ave. Celebrate fall in Woodberry and discover new works by local artists. Tour the studios of six local artists, featuring sculpture, painting, drawing and photography. Proceeds benefit The Walters Art Museum and its educational programs and exhibitions.

News

The Baltimore Symphony Orchestra has announced the 2017-2018 BSO Pulse lineup. This season, at the concert series that pairs classical music with prominent indie and alternative artists, see Grammy-winner Esperanza Spalding (October 19), Tiny Desk concert winners Tank and the Bangas (January 4), and the acclaimed singer-songwriter Valerie June (March 22).

For the second year, all concerts at Peabody Institute are free. It also happens to be the debut season of Peabody’s recently appointed artistic director of ensembles Joseph Young, whose first performance of the season will be with the Peabody Chamber Orchestra in a performance of Dvořák’s Othello Overture and works by Handel and Schubert on Sept. 19.

Other season highlights include the Peabody Chamber Orchestra, performing Baroque and early-Classical-era works and smaller orchestral works of the present day, and the Peabody Studio Orchestra, making its debut on Halloween with popular music from movies. And the Peabody Symphony Orchestra concerts will be led by Maestra Marin Alsop (September 28), and feature the legendary Leon Fleisher (October 11).

Source

Events Not To Miss At Artscape 2017

Gabriella Souza — Mon, 10 Jul 2017 17:42:00 +0000

Let’s be honest—what we love most about Artscape is the way the city is transformed for three days and nights into an art-loving, community-vibing, dancing-in-the-street big party. In fact, one of the best things to do, in our opinion, is simply walk around Charles Street and Mount Royal Avenue, soaking up all the sights and sounds of summer in the city.

But we’d be remiss if we didn’t weigh in on the extensive list of performances, exhibits, installations, and family events that make up the country’s largest free arts festival that runs July 21-23. So without further ado, we give you our list of what not to miss at this year’s camp-themed Artscape.

Installations

One of the biggest visual cues that Artscape will have arrived will be the appearance the larger-than-life works of art in Mount Vernon and Station North. Take the Charles Street Trail, for instance, where, between Penn Station and Lanvale Street, you can meander among works by three artists that hint at more mysterious encounters than a typical wander in the woods. (And, apparently, you should watch for a Sasquatch!) Then, there’s Let’s Build a Big Campfire!, a 20-foot-tall sculpture made from steel and logs that features a marshmallow on a 30-foo-long skewer. Large scale, indeed.

Mount Royal Avenue at Dolphin Street will transform into Aquarium Falls, a participatory installation presented by the National Aquarium in collaboration with visual artist and Maryland Institute College of Art graduate Kasey Jones. Festival-goers will assist Jones in the creation of a waterfall created entirely of repurposed plastic materials, and playfully explore a park-like landscape complete with a winding stream, stepping stones and trail activities.

And while camping is thought of as a way to get away from it all, Who’s Watching (Charles Street by Penn Station) reverses this by exploring aspects of surveillance. This installation brings viewers into one of two physically separated custom framed tents. Initially, participants may be aware only of the chamber into which they are entering, without knowledge that they are watching each other. The live feed will be erratically interrupted by surveillance footage from 2015 now available online, connecting the surveillance occurring live in the space with historical surveillance in Baltimore City.

Performances

So, yes, on Friday, the MICA Main Stage will feature Sheila E., Prince’s drummer, collaborator, and former fiancé (he proposed to her on tour while performing “Purple Rain”, swoon.) And that crazy Gypsy punk band Gogol Bordello takes the stage on Saturday and Sunday features soulsters Robert Randolph and the Family Band. But make sure to check out J. Pope and the Hear Now, the funk-infused Baltimore group whose debut album Soul Searching has made a splash since its release this summer.

At the Morgan State University Sound Off Live! Stage (Mount Royal Avenue near Lafayette), check out Wordsmith (Saturday 2-3 p.m.), a rapper and musician who will perform with the Baltimore Symphony Orchestra next season, and Super City (Sunday, 1-2 p.m.) a indie quintet made up of Towson University grads.

The Johns Hopkins University Station North Stage has a diverse lineup that is so perfectly Baltimore, from Baltimore City Public Schools students (Friday 12-1:30 p.m.) to punk rockers Natural Velvet (Sunday 4:30-5:30 p.m.) and PLRLS (Sunday 7:15-8 p.m.). Also check out up-and-coming rapper Martina Lynch (Saturday 2-3 p.m.) and Wing Dam (Saturday 8-9 p.m.), who make a return trip to their Baltimore hometown from their new digs in San Diego. And don’t for get about the George Michael Tribute on Friday night.

One of our personal favorites this year is Dance Camp (Charles Theater parking lot), where you don’t have to be a budding ballerina to get the full workshop and performance experience. In fact, the schedule was artfully designed to provide the audience with an experience of a typical day at camp. Each day, campers can wake up to morning yoga, attend dance workshops, listen to a fireside chat and, most importantly, just dance. Competitions, games, and talent shows are spread throughout the three days so you can participate and cheer on your favorite professional crews and dancers. Check out all types of battles, choreography workshops, even Parkour instruction, and as the days eases into night, check out a special version of 4 Hours of Funk and a Mobtown Ballroom-sponsored dance party with a live jazz band.

Film

Celebrate the return of film to Artscape at the newly opened Parkway Theatre, home of the Maryland Film Festival. On Friday from 6-9 p.m., programming starts with a free feature film, Wet, Hot American Summer. On Saturday and Sunday from 12-6 p.m., a variety of free short films are shown throughout the day with filmmaker Q&A’s.

The Lyric, Theatre Project, The Meyerhoff, and MICA Brown Center

An Argentinian dance company that blends precise footwork, drumming, and a 17th-century style South American song, Che Malambo brings their fast-paced footwork and traditional drumming to the Modell Performing Arts Center at the Lyric (Saturday and Sunday, 1 and 6 p.m., 140 W. Mount Royal Ave.).

Per usual, Theatre Project presents dance performances, including a Dirty Dancing tribute (Saturday 12:30-2 p.m., 45 Preston St.), where you can audition to join the company.

In addition to the BSO presenting a concert of classical favorites, the Meyerhoff (1212 Cathedral St.) will also host the Dunbar High School Alumni Jazz Band, the Polytechnic Institute Extradition Step Team, and the Baltimore City College “Knights of Jazz.”

The Brown Center at the Maryland Institute College of Art (1301 Mount Royal Ave.) features a broad-reaching program, including the Victoria Piano Trio performing music of the great outdoors by Gershwin and Beethoven (Friday 3:30-4:30 p.m.), Baltimore Concert Opera exploring what makes up an opera with an engaging program for kids (Saturday 3:30-4:30 p.m.), and Full Circle Dance Company presenting a new work based on the experiences of Harriet Tubman (Saturday 6:30-7:30 p.m.).

Pop-Ups

These small but might performances have the advantage of choosing wherever and whenever they want to perform during the festival. And while you might not be able to plan to see them, if you do encounter them, we guarantee you’ll be entertained. It’s an eclectic mix, from Smallfoot, a mysterious giant creature who roams Artscape and drum students from the BSO’s OrchKids program to belly dancers, a dance crew, and the skating wizards of It’s My Skate Night.

Street Theater

Experience an unbelievable performance from Dimitri Reeves, who’s won acclaim as a Michael Jackson impersonator (Friday 8-9 p.m.). On Satuday, check out Spirit of Ma’at, (11:30 a.m.-12p.m.) a Baltimore based troupe that mixes traditional belly dance with hip-hop, African and modern dance, and a showcase by Bmore Than Dance and Follow the Art (7-7:30 p.m.) that features of a variety of dance styles including popping, b-boy, ballet, tap and modern hip-hop. And on Sunday, Tradiciones Bolivianans (2:30 – 3:30 p.m.) take festival-goers on a trip to South America.

Source

Culture Club: Baltimore Symphony Orchestra, Area 405, Doors Open Baltimore

Gabriella Souza — Thu, 06 Jul 2017 12:31:00 +0000

Visual Art

Undesign the Redline Exhibit
Through July 9, Gallery CA, 440 E. Oliver St. This interactive exhibit connecs the intentional, systematic housing segregation by race of the 1930s to the political and social issues of today through the powerful narratives of the people and communities affected by redlining—the practice of restricting access to credit for prospective homebuyers based on the demographics (particularly race) of the community they want to buy into.

The Dog & Pony Show
Through July 30, Area 405, 405 E. Oliver St. During its 12-year run, The Janet & Walter Sondheim Prize has generated an elite alumni of visual arts from the Baltimore/Washington region. This new exhibit at Area 405 (whose own director Stewart Watson is one such esteemed alumnus) recognizes those who have been previously selected as Sondheim finalists as a community of high achieving visual artists. The exhibit at Area 405 is curated by Watson, and Cara Ober, Editor of BmoreArt and is designed to celebrate the award and the evolving careers of former finalists.

Through the Layers Pt. 1 at Terrault
July 8-29, 218 W. Saratoga St., Third Floor. Antonio McAfee’s fascinating work made him the winner of Terrault’s juried art show earlier this year. In this exhibit, McAfee appropriates photographs from W.E.B. Du Bois and Thomas Calloway’s Exhibition of American Negroes (1900) into various 3D images and collages, attempting to provide alternate ways to see black figures, ways that allow for the subjects to have multitudes of possibilities, real and imagined within a still image.

The Weight of Absence
Through Aug. 13, Goucher College’s Rosenberg Gallery, 1021 Dulaney Valley Rd. The architectural drawings that artist Erin Fostel is working on came about through grieving the loss of her father in 2014. He was an architect who enjoyed exploration, always interested in finding new ways to get from here to there. She wanted to create a body of work that served as both a commemoration of his life, and a relief from the heartbreak of his death, so she started exploring parts of Baltimore City she did not know well. At some point, she began taking photographs of certain buildings and structures that caught her attention, ones she thought would have been of interest to her dad. These ruminations, explorations, and photographs have become the foundation for her new body of work.

S33 Studio Biennial/Ursula Populoh/Giulia Livi
School 33 Art Center, 1427 Light St. Three new shows open at School 33 this month, including an exhibition that highlights the work of the studio artists in residence there, including Taha Heydari, Cheeny Celebrado-Royer, and Lynn Cazabon. And catch solo exhibits by fiber artist Ursual Populoh, and Giulia Livi, whose geometric objects and paintings utilize materiality to investigate light, form, and the weirdly functional.

Performing Arts

Baltimore Symphony Orchestra’s New Music Festival
July 13-15, various locations. This inaugural event has the BSO musicians performing at new, unique venues—like pizza favorite Joe Squared on North Avenue. There’s also a concert that features two BSO premieres by Polish composer and soprano Agata Zubel, as well as the World Premiere of Syrian-American composer Malek Jandali’s The Silent Ocean. And as an added bonus, all of the composers featured in the festival will be in attendance so you can say you’ve brushed elbows with true creative geniuses.

Tick Tick Boom at StillPointe Theatre
July 14-28, 1825 N. Charles St. You likely know Jonathan Larson from his epic, Broadway-changing musical Rent—but you might not know its intimate, autobiographical predecessor. This deeply personal peek into the life of an artist follows one man’s journey to define success on his own terms.

News

Doors Open Baltimore, the architectural tour that showcases all things eclectic, historic, and truly Baltimore, is expanding to two full days this fall. Locations range from returning favorite the Arabber Center, a must-see attraction at one of the country’s last remaining locations for this African-American folk tradition and Charm City Meadworks, Baltimore City’s only meadery and the event’s newest addition, which will be open for tours and tastings of mead, a honey-based historic beverage similar to wine.

After more than 10 years of serving emerging artists, collectors and the Baltimore community at large, Jordan Faye Contemporary is closing its doors at the Maryland Art Place building at 218 W Saratoga Street, effective July 28th. “What an incredible journey it has been,” founder and director Jordan Faye Block wrote in an e-mail. “Never did I think, when I moved here from a small college town in New Hampshire 14 years ago, that I would fall so in love with this city – its culture, its visionary people, its architecture & the art community.” Block said she is exploring options for a new venture within the city.

The owners and operators of downtown Baltimore’s Platform Gallery—Abigail Paris and Lydia Petit—have announced they are handing over the reigns of the exhibition space to Baltimore Youth Arts, an artist-run, after school program that provides artistic and professional opportunities to youth, ages 14-22. “We could not be more thrilled to have this location and space occupied by a cause that is so crucial to the community, and we encourage everyone who supported us to continue to attend the events they hold,” Petit and Parish wrote in a statement.

Source

Weekend Lineup: March 31-April 2

Lydia Woolever — Fri, 31 Mar 2017 10:49:05 +0000

Weekend Lineup: Jan. 13-15

Lydia Woolever — Thu, 12 Jan 2017 10:27:00 +0000

BSO Oboist Katherine Needleman Plays a Mean Double-Nose Recorder

Mike Smith — Tue, 20 Dec 2016 13:53:00 +0000

Katherine Needleman, oboist for the Baltimore Symphony Orchestra, channels her inner third-grader to get into the holiday spirit this year.

Source

Weekend Lineup: Dec. 16-18

Lydia Woolever — Thu, 15 Dec 2016 15:53:00 +0000

Only the Sound of Strings

Web Intern — Tue, 13 Dec 2016 09:00:00 +0000

“I tell you, it was totally liberating,” says Chang Woo Lee.

The Baltimore Symphony Orchestra associate principal cellist is talking about her move from a 6,026-square-foot house in Guilford to this much smaller 1,613-square-foot home in rural Glenwood in Howard County.

Although Lee describes the downsizing as a major undertaking—she and husband Kirk Laughton sold and donated a majority of their possessions, including a collection of Korean and Japanese antique furniture—she found it surprisingly easy to pare down their belongings to the essentials. “I’m not a sentimental person,” says Lee. “I can be very practical. I say, ‘These are things. I don’t have to keep everything.’”

A sleek design is punctuated by eclectic pieces of art.

Even the bathroom merits art.

“This is the first major antique piece that we purchased, about 35 years ago,” Lee recalls, cradling a 17th century Korean vase in her hands. “It has a lot of character,” she says, running her thumb over brush strokes depicting a full moon. The couple picked up the piece on a trip to South Korea, where Lee was born and lived until she was offered a scholarship from the University of Indiana in 1970 to study with legendary cellist Janos Starker. Her family remains in Korea, save her three children and one nephew, who live in Ellicott City.

On the coffee table, a pair of vibrantly painted Iznik ceramics returned with the couple from a trip to Istanbul. A bronze sculpture of a female figure at rest by Baltimore artist and Maryland Institute College of Art alumnus Reuben Kramer was acquired to mark their 20th wedding anniversary.

“All our friends said, ‘You should go to Paris,’ and we thought maybe we might do that, but then we found this,” Lee recalls, eyeing the sculpture fondly.

But it’s the couple’s own art that reveals their eclectic spirit. In the master bedroom, alongside the functional mint- and black-colored cello cases, one case stands out. No, it’s no longer in use, but it has graduated to oeuvre d’art. It’s a heavy plywood case with every inch covered with photos of sultry models, clipped from the pages of Vogue magazine. “Isn’t that fun? My husband and I made that in 1984,” Lee says. “I put the sassiest one on the bottom,” says Laughton, pointing to a scantily clad woman in a black bustier, “so if you’re walking behind her as she carries the case, you see it.”

The decoupage creation stood out among the ubiquitous black cases of the day. “People who have been around long enough to remember ask me if I still have it. I’m going to auction it when I retire,” Lee jokes.

The master bedroom is where the fabled cello case lives.

Nestled at the end of a long driveway, the first turn onto the property gives a taste of Lee’s design style, which she describes playfully as “easy modern living, with some funkiness.” Among the first things to greet you visually are the energetic lines of a bold, Alexander Calder-inspired metal sculpture installed on the front lawn.

From the outside, the home has the look of a modern cabin, with wood siding and three-sided deck helping it to blend into the trees. Despite the limited square footage, windows on three sides of the great room bring the outside in, with a sliding door leading to a spacious wooden deck that feels like a seamless extension of the living space. It’s the tall windows and vaulted ceilings of this wide-open room—which encompasses the kitchen, living, and dining areas—that sold Lee on the unique residence.

After cosmetic updates completed over the course of a few years (like replacing wall-to-wall carpeting with dark hardwood and painting over a “sunset in the South Sea”-style mural in the master bedroom), the home has come to feel like a sanctuary, Lee says.

In keeping with her modern and funky aesthetic, a sleek, clean design scheme is punctuated by eclectic pieces of art that survived the couple’s serious downsizing.

“All our friends said, ‘You should go to Paris,’ and we thought maybe we might do that, but then we found this,” Lee recalls, eyeing the sculpture fondly.

Chang Woo Lee in 30 seconds

Grew up: South Korea

Age that she learned cello: 10 years old, which Lee describes as “kind of late.”

An accidental calling: Lee never thought she’d become a professional musician. “I never had that dream. It just happened, and I was very lucky.”

Getting noticed: Lee won her first competition in elementary school for her performance of a Boccherini cello concerto. After winning a national event in high school, she was discovered by cellist Janos Starker. He invited her to study with him at Indiana University on a full scholarship in 1970.

Career moves: She played with the Atlantic Symphony Orchestra and National Arts Center Orchestra in Canada before she joined the BSO in 1978. In 1982, she was named Musician of the Year in South Korea.

What’s next: As a private instructor, Lee works with musicians of all ages. But she especially enjoys her adult students. “It’s so different than teaching youngsters, because they’re so committed, and it’s their second—or more than second—career. They really do appreciate me, and I appreciate them. So I think I’ve found my career after my retirement, with a little bit of interior design.”

To Lee, the home will always be a work in progress. “Nothing is permanent for me,” she says. “The important thing is you keep editing.”

It’s not so different from her work as a musician. “When practicing, if I don’t like the way this sounds or I don’t like the phrasing, then I would have to come up with a new solution,” she says. “I would call that editing, as well, you see?”

For an accomplished musician who has performed as a soloist with orchestras around the world and coached many young cellists into professional careers, Lee’s home rehearsal space is humble. “I practice where that chair is,” she says, pointing to a simple, wooden chair and sheet-metal music stand in the corner of the great room. “I just love playing in this open space, and looking out the windows,” she says, comparing the acoustics here to a concert hall. “My dream is that someday I will invite all the cellists and we will have a cello ensemble here.”

Source

BSO Appoints New President and CEO

Gabriella Souza — Tue, 06 Dec 2016 10:07:00 +0000

Cameo: Nicholas Hersh

Jess Mayhugh — Fri, 18 Nov 2016 08:30:00 +0000

Nicholas Hersh joined the Baltimore Symphony Orchestra in 2014 and, along the way, has brought youthful energy and enthusiasm to the organization. We talked to him about how his age affects his work, how to attract younger audiences to the symphony, and how he made the musicians feel like rock stars.

You started your music career as a cellist. How did you end up becoming a conductor?
I started playing the cello in elementary school, and technically, I still play now, though I don’t have as much time to practice. In high school, I was in a youth orchestra called Midwest Young Artists in the north suburbs of Chicago. That got me more interested in the symphony repertoire as I realized how complex and amazing that music was. Though I’d decided that I wanted to go into music professionally with the cello, I bought my first baton senior year of high school on a lark. And one of the great things about the music department [at Stanford University] was that they allowed undergraduate students to dabble in conducting. I took some private lessons, put together groups of friends to conduct, and from there, I really had the bug. I applied for grad school, got into Indiana University, and was there for four years before I auditioned and got this job.

It seems like it would be a big transition going from playing cello to conducting a whole orchestra.
There’s a different mindset, for sure. A lot of conductors in the past were pianists, but in my case as an orchestral cellist, I saw what other conductors did that worked and didn’t work. One of the hardest things to learn how to do as a conductor is rehearse—to learn what things to say to all these professional musicians and what not to say, and what kind of words and gestures work.

Directing seasoned performers must be difficult, especially when you’re 28, as you are.
As an assistant conductor, you’re expected to work at a professional level, and you’re also expected to not know nearly as much as anyone else on the stage. There’s a learning curve, and the mentality for this kind of job has to be one of confidence and also great humility. You have to be able to go up there and do your work, but also to learn what these great musicians have to offer.

And how do you do that?
It’s very hard. The best thing you can do as a conductor is just know the piece you’re conducting so well. It shows that you put in the time, take this really seriously, and can say thoughtful and constructive things to an orchestra so it doesn’t just seem like you’re flailing up there. Orchestras can easily see through a show of bravado. It’s important, too, to be a human being off the podium. I consider myself friendly with a number of the musicians and just having a conversation with them about what it’s like to make music can be incredibly enlightening.

You were 26 when you auditioned for this job. Do you view your age as a benefit or a detriment?
I consider myself very fortunate to be where I am, when I am. This was a great first job out of grad school and this was a huge get for me. From a public relations stand point, there is something exciting for an orchestra about having a young person up there to connect with people of my generation, which is honestly one of the most underrepresented demographics in the concert hall these days. That ties in with what we do with [the concert series] Pulse. As a millennial, I know where a lot of my peers are coming from. I wouldn’t say I’m the most socially aware person, but I’m sort of current on what’s trending, and I can work that in to connect the orchestra to the audience.

How did you get involved with Pulse?
The initial concept was crafted after a meeting with Toby Blumenthal, who at that point was the director of rentals at the Meyerhoff. In his line of work, he had contact with all of the bands that wanted to use our stage, and he came to me and said, ‘It’s a shame that we have all these acts coming through here and we don’t get them an opportunity to perform with the orchestra.’ So we started throwing out ideas about having a concert with both a band and the orchestra doing what they do best and then a collaboration between the two. We wanted to make the Meyerhoff unintimidating, unstuffy. We wanted it to be a really cool, fun, social place to gather and really make it feel less like our grandparents’ orchestra hall and more like the amazing, vibrant cultural hub that the Meyerhoff is and should be. We structured the concert in a way that would seem almost familiar to people who had been to shows before, where the main act comes on second and the orchestra basically opens for them. But it’s much more than that. I choose each piece the orchestra plays incredibly carefully to make sure that there’s some connection between the band and this particular composer. It’s a way of saying, ‘If you like this band, then you’re really going to like this piece of music.’ I guess it’s a ploy in that way to get people interested in orchestral music.

A lot of the orchestral works that you’ve performed at Pulse have been relatively recent compositions.
And that’s intentional. We wanted to make the point that these aren’t composers who died hundreds of years ago, [so people can’t say] ‘Why should we care?’ This is music that’s happening currently, that’s happening within our lifetimes, and it shows that orchestral music is much more than hearing music that’s become associated with a high-class, elitist mentality. It’s much more alive and much more current than what you might think it is.

What are you impressions of Pulse so far?
Overall, Pulse has been extremely successful. We’ve sold it not only to our audiences and to our management, but our musicians as well. I remember one of them walking off stage after the Dr. Dog show and telling me, “This is why rock and rollers do drugs—they want to re-create the high of having thousands of people on their feet, absorbed in every moment of what you’re doing up there.”

Why do you think younger people aren’t connecting with the symphony?
It’s a difficult question. I think a lot of it is that music education skipped a generation or two, and we were the ones who got left out. I was lucky enough to be raised by parents who were more interested in classical music than the norm. But coming through school, there wasn’t nearly as much emphasis on how to listen and experience these great Beethoven, Brahms, Mozart, and Mahler pieces. In the same way that you take English class to be able to analyze the Bronte sisters or F. Scott Fitzgerald, you need this music education in order to experience a lot of these high-level pieces. It’s not that you need to be spoon-fed everything—in fact, a lot of pieces work better if they aren’t spoon-fed to you—but having the patience and mindset. That’s what we’ve tried to do at Pulse—give the audience the context that allows them to enjoy these pieces. I remember our first concert last year, [we played] Philip Glass, which is very difficult to listen to. I remember that audience being one of the most attentive and pin-drop-silent audiences that I’ve ever experienced. There’s something to be said for re-contextualization, for giving people the means to experience these monumental testaments to human ingenuity.

Is a lack of younger audiences the biggest issue the symphony is facing right now?
What we’re lacking right now are audiences, especially diverse audiences in terms of race, ethnicity, and age. For me, in an ideal situation, an orchestra, and really any cultural institution, would have the same fan following—the fierce fandom, that sports teams like the Orioles and Ravens have. Because we are a world-class orchestra, we have some of the best players in the world, and people should want to come to every concert and follow the orchestra’s every move —have pride when the orchestra succeeds and weep when the orchestra does not. And in order to get to that level, we have to start thinking differently about the concert experience, we have to experiment. We should also be open to things like allowing cell phones in the hall and be open to what our patrons, our community would want and what would make them want to keep coming back.

Where do you see yourself going in your career?
You can’t be committed to one path, not in my business, anyway. I’m constantly applying for music directorships of professional, regional orchestras, say in a smaller city. That’s a good logical step for me to take. In the end, I like teaching. I think my ideal gig would be one where I would teach at a university level and have the opportunity to work with professionals regularly as well. I love traveling, and conductors have an opportunity to do that when they reach a certain level. I want to travel the world doing what I love—bringing the music I make to different parts of the world and experiencing the music they make and learning from that. That’s the dream. It’s a hard job, and it can be hard to get a job like this, but in the end musicians and conductors have some of the highest job satisfaction. You’re doing what you love constantly, and each performance is new and fresh. That keeps your soul in a good place.

Source

Culture Club: Akimbo, Baltimore Book Festival, BBW

Gabriella Souza — Thu, 08 Sep 2016 12:20:00 +0000

Performing Arts

Akimbo
Sept. 10, Station North Arts District At five years old, this dance and movement art festival continues to expand our minds when it comes to how we think about dance, and where it can take place. This year, as in the past, performances are spread throughout Station North, from the stairs of the Montessori School to inside venues like The Windup Space and The Crown. And there’s something for everyone—whether you’d like to see more traditional dance forms, have your mind expanded, or bond with fellow movement enthusiasts by participating in a drum circle and dance jam.

Wait Until Dark
Through Oct. 9, Everyman Theatre, 315 W. Fayette St. You might have seen this classic Audrey Hepburn movie, but everything’s always better live, right? Murder, secret identities, and a switchblade named Geraldine set the stage for this thriller perfect for pre-Halloween.

Baltimore Afrobeat Society
Sept. 16, Fifth Dimension at the H&H Building, 425 N. Eutaw St. When the horn blasts and thumping beats of Fela Kuti’s music begin, who could possibly sit still? The Afrobeat Society—comprised of five percussionists, three guitarists, two trumpets, five singers, one bass, and five saxophones—will test that theory.

Itzhak Perlman plays Mendelssohn
Sept. 17, Joseph Meyerhoff Symphony Hall, 1212 Cathedral St. You must take advantage any time you can hear this violin legend—especially when he’s playing his signature piece. At this BSO gala performance, also hear a BSO-commissioned world-premiere from composer Caroline Shaw.

BSO Pulse with Houndmouth
Sept. 22, Joseph Meyerhoff Symphony Hall, 1212 Cathedral St. The groundbreaking WTMD and Baltimore Symphony Orchestra concert series that pairs symphony musicians with indie bands—is back for round two. And the first concert of this year includes the alt country band Houndmouth.

Blacksage Record Release
Sept. 23, The Ottobar, 2549 N. Howard St. We’ve been anticipating the next release from this electro-goth duo, and singer Josephine Olivia and producer Drew Scott always put on an impressive live performance. Plus, music scene mainstays like :3ION, Soul Cannon, and DJ James Nasty join them on the bill.

Visual Art

Good and Plenty, Relative Territory, and Annoying Poem
Sept. 9-Oct. 29, School 33, 1427 Light St. Three new exhibits open on Friday at School 33, featuring an installation, sculpture, and intermedia works by 2016 Sondheim finalist Darcie Book, Brazil-based Lydia Malynowskyj, Dina Kelberman, and Matt Hollis.

BBW
Sept. 10-Oct. 1, Platform Gallery, 116 W. Mulberry St. Artist Theresa Chromati (you’ll know her from the vibrant posters she’s created for the musical event Kahlon) has created an installation to compliment her series of works on paper that celebrate the excellence of the black woman. In each figure, Chromati highlights the beauty of black women, from their poses to the elegant curves of each silhouette.

Invisible Children
Sept. 15-Oct. 22, C. Grimaldis Gallery, 523 N. Charles St. Rania Matar’s photographs document young Syrian refugees on the streets of Beirut and third-generation Palestinian girls living in refugee camps. Matar depicts these children at work: selling red roses, carrying beat-up shoe-shining equipment, often camouflaging themselves with the graffiti they stand before.

Lest We Forget
Sept. 12-Oct. 16, Galerie Myrtis, 2224 N. Charles St.Works by the likes of 2016 Sondheim finalist Larry Cook, Wesley Clark, and Shaunte Gates examines pivotal moments and figures in U.S. history, as well as everyday occurrences and unknown individuals that have impacted the African American experience.

Onslaught of Obsolescence
Sept. 9-Oct. 2, Institute of Contemporary Art Baltimore at Spacecamp, 16 W. North Ave. Artist David Ubais is serious about making silly paintings. David utilizes modest materials such as paper pulp, hot glue, and wood and the result is intensely textured and colored paintings that teeter on the threshold of relevance while also questioning whether we can maintain a constant state of curated comfort.

Teacher
Sept. 10-Oct.2, Terrault, 218 W. Saratoga St. Artist, and Baltimore native Dominic Terlizzi uses a symbolic palate and textural lexicon to discuss youth and unknowing in this latest show. Spectrums of color offer a lush backdrop to divergent narratives and coded meanings.

Events

Baltimore Book Festival
Sept. 23-25, various locations throughout the Inner Harbor This celebration of all things literary is back on the Inner Harbor with bestseller Terry McMillan, hometown favorite D. Watkins, and a special edition of The Stoop Storytelling Series.

Female Trouble on 35mm, presented by the Johns Hopkins Film Society
Sept. 9, Shriver Hall, Johns Hopkins University Some call this cult classic John Waters’ best film, and what better way to view Divine in all her glory than in luscious 35mm?

News

Starting Sept. 19, you might notice some changes to WYPR 88.1 FM’s daytime programming. Current Midday host Sheilah Kast will be creating a program consisting of interviews on current events and topics to air following Morning Edition from 9:30 to 10:00 a.m. And Tom Hall, the current host of Maryland Morning, will be moving to Midday, which airs weekdays from noon to 1:00 p.m.

Source