OrchKids – Baltimore Magazine

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.

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Q&A with OrchKids First Executive Director Raquel Whiting Gilmer

Gabriella Souza — Wed, 20 Jul 2016 10:34:00 +0000

This month, OrchKids is getting its first boss. Raquel Whiting Gilmer—a Baltimore native who most recently was an executive vice president at the educational organization Learn It Systems—will take the helm as executive director. Serving more than 1,000 students at six public schools, OrchKids hosts during- and after-school programs in some of Baltimore’s poorest neighborhoods. We talked to Gilmer about her own musical background, her plan for OrchKids, and why she loves the theme song from Rocky.

It seems like your new position with OrchKids touches on your own background here in Baltimore.

RWG: Growing up in Baltimore, I had a lot of the same economic challenges that the students who are in the program experience. I knew what it meant to have my world opened up with music and opportunity from the hard work of my mother. It’s just something that I want to be part of. The skills and discipline that they’ll develop will not only help them if they decide to continue in the orchestral field, but it will also help them in their life. The practice, the succeeding after hard work, these are important principles they gain from this program.

You grew up playing the clarinet and piano.

RWG: I did. I played the piano longer than the clarinet. I stopped the piano when I went to college, and I regret that. I tell my husband, who’s a bass player, ‘I want a family band one day so I’m going to have to get back to my music.’

How were you introduced to music?

RWG: Music has been part of my family for generations. I’m an only child and my mom worked three jobs to make sure I had lots of different opportunities, and one of those was buying me a piano and making me take lessons. Even though financially we didn’t have a lot, my mom always made sure I had music, and that’s from the tradition of her own grandmother growing up in St. Mary’s County. I grew up in West Baltimore, mostly on the county side. But, in my early years, I was around Springdale [Avenue], and we lived not far from Leakin Park for a number of years.

And you attended private school, right? You must have had quite a unique perspective coming from West Baltimore.

RWG: My mom felt like she wanted to make a sacrifice to send me to Roland Park Country School. The students and faculty at Roland Park were incredible. I was offered a scholarship—if I wasn’t offered a scholarship, even working three jobs, my mom wouldn’t have been able to pay for it. One of the things they instilled in us was to be our very best, and I do feel like, what kind of opportunities can we provide for students across our city where they can be their best? I’m excited about offering lots of opportunities to students who are in our public school system. That’s what OrchKids is all about—making the world bigger for our students and providing access in areas where, traditionally, they were not available. When I think about my life, I think about having that foundation from my mom and understanding that I could do anything I wanted. I think that’s led to a lot of the successes I’ve had professionally. No matter what my economic situation was like at home, I just felt like I could do whatever I wanted to do.

How would you say that music change your life?

RWG: Learning that, unless I practiced and put the time in, I didn’t do well. Really seeing that that was something that helped me be driven and focused in my professional and personal life, understanding that, if I want to do well, I have to put my time in—whether that’s a new job, in school, going from college to law school and realizing it was difficult but I had done this before.

Also, I always tell people that you need a soundtrack in your life, and your soundtrack needs to motivate you—whether you’re at the gym and you’re trying to finish your workout, or when I’m preparing for a big presentation, I listen to inspirational music. You’re going to laugh at this, but I love ‘Gonna Fly Now’ from Rocky when I’m preparing for something. Music played a huge role—whether it’s what I learned from music, or how it makes me feel.

What kept you here in Baltimore?

RWG: I left for a while, for college [at Princeton University], then law school at the University of Virginia. I moved back 10 years ago because I wanted to come here and make a difference. I started a division and was regional manager of Educate Inc. that was offering free tutoring for students in Title I schools, and the technology so that tutoring could happen at home. I wanted to invest back in a community that’s given me a lot.

You’re coming to OrchKids at a time when arts education is being cut from schools across the country.

RWG: It’s critical for us to keep music and the arts available to our students. It’s going to help them in so many different ways. Obviously, there’s a focus on reading, writing, and math, which I think are absolutely necessary, but the skills that are developed through music [are as well]. When you practice a new piece, and at first you’re really bad at it, but you keep working on it, and eventually you’re able to play it at a recital, those are incredible lessons. It’s like nothing else that you can do. I remember hearing one student talk about how she saw other students playing more complicated pieces, and she thought, ‘I’ve got to get there.’

Students in the program get instruments, which is huge. I was at a meeting once where [Rep.] Elijah Cummings spoke, and said he always wanted to be in the band, but he didn’t have an instrument. The fact that we provide mentorship and academic tutoring, too, and all of this is free to families is incredible. And they have opportunities, whether that’s performing or going to competitive camps like Interlochen. Those are all opportunities that, without OrchKids, would not be available for students and families.

As the first-ever executive director, what will your role be like? Have you given yourself any particular goals?

RWG: My first step is to gauge what’s working really well and see how we can expand on that. I really feel like my role will be a lot about partnerships, and building them within the music and symphony community, as well as Baltimore, the school district, businesses, and community groups. There are so many people in Baltimore who are committed to making sure our students have a great life, and that they have great opportunities. There are a lot of obstacles, and unless we all work together we’re not going to get there. We want to expand the program into more communities, so that’s something I’ll focus on a lot.

I’m coming in to a great situation where there are incredible staff members, some of whom have been working with the program since the beginning, and an amazing relationship with the BSO and music director Marin Alsop. They’ve gained the trust of the communities where we’ve worked. Programs come and go in the city for various reasons like budget cuts, but the fact that OrchKids has been around for eight years, has been extremely successful, and has continued to grow is incredible. The community knows that OrchKids is there, that they’re going to continue to be there, and that they’re committed to making the students successful.

What do you see as some of its successes and challenges?

RWG: I don’t know that I have a great answer for that since I haven’t started yet, but from what I’ve seen, the successes are the students. There was a YouTube video uploaded of the students playing an original composition that they’d written, and after they were finished, Yo-Yo Ma started riffing off of it and playing with them. Each year we have more students going to the Baltimore School for the Arts, which may not have been on [the students’] radar before OrchKids. Another success is that the BSO has been such a great supporter of the program, and the donors are such generous people that get what we’re doing, they get that this is transformational and they want to invest in it. We’re going to have to expand our circle of funders and supporters, but I don’t see that as a challenge as much as an opportunity.

When you look down the road five to 10 years, what would you like OrchKids to look like?

RWG: Marin always says that she wants to be in every single neighborhood in the city, for OrchKids to touch every community. I would echo that, that at the very least, in five to 10 years we’re impacting all the communities in our city, no matter what that looks like.

Why is OrchKids such a good fit for Baltimore?

RWG: One of the things that OrchKids brings is this promise of what can be. Our students and families need that a lot. They need to see instruments in their school, they need to see performances of varying genres, and they need to see something that is hopeful.

Baltimore is a great city; I love this city. I remember going to one of our sites and seeing the kids playing, and when you saw the outside neighborhood, you wouldn’t necessarily imagine that you were going to go in and see this program. It’s amazing. Music really is transformational for the larger community, whether they go to concerts or they see a student walking down the street with a tuba.

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BSO President Paul Meecham Leaving For Position In Utah

Gabriella Souza — Fri, 05 Feb 2016 12:31:00 +0000

After 10 years, the president and CEO of the Baltimore Symphony Orchestra has announced that he is leaving for a similar position in Utah.

Paul Meecham starts his new post with the Utah Symphony and Utah Opera in July.

“I told my wife I would never leave Baltimore for just another orchestra job,” Meecham said in an interview Thursday, “and this happens to be not just an orchestra, but an opera company, and it has a robust summer season as well.”

Meecham joined the BSO in October 2006, after serving in leadership roles in London, San Francisco, New York, and Seattle. He saw the orchestra through a period of declining fundraising and ticket sales after the economic downturn, which required furloughs, a staff reduction, and pay cuts, and emerged at the other end with a budget that is close to what it was before the recession.

Along with music director Marin Alsop, he established initiatives to strengthen the orchestra’s presence in the community—the inner-city schools program OrchKids, for example, and adult amateur programs such as the BSO Academy. He’s also championed affordable ticket pricing based on a successful $25 subscription pricing model, which “has increased access and attendance,” according to the BSO website.

“Paul came to lead the BSO at an especially challenging time, and he has worked tirelessly to strengthen our institution,” the Baltimore Symphony Orchestra Players Committee said in an email statement from chair Gregory Mulligan.

The news comes a week before the BSO’s 100th anniversary concert, which features violinist Joshua Bell, and is a celebration of the orchestra’s past, present and future. Meecham said he wanted to give the BSO five months notice, so the search for his successor could begin.

“BSO musicians look forward to working with our board to help select our next president in this, our one-hundredth anniversary season,” the players committee statement said, “and to continuing to strengthen the world class Baltimore Symphony that our great city, Montgomery County, and the state of Maryland expect and deserve.”

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OrchKids Receives $1 Million Gift

Jess Mayhugh — Fri, 17 Jan 2014 13:30:00 +0000

Robert Meyerhoff and Rheda Becker have donated $1 million to OrchKids,
the BSO-sponsored afterschool music program.

The announcement was made
during a City Hall ceremony earlier today that recognized OrchKids with a
Certificate of Achievement for “promoting measurable academic and
social change.”

According to a program-wide study recently conducted by
UMBC, OrchKids students score higher on standardized math tests and show
improved school attendance.

The money will be used to expand the
program from five to eight city schools and bump enrollment from 750 to
1,600 students.

This is the second million-dollar gift from Meyerhoff
and Becker. The first, in 2008, was used to help launch the program.

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