Dale Hedding (BM ’86) Joins Arts Consulting Group

Dale-Hedding-3383041_220Nonprofit fundraising expert Dale C. Hedding (BM ’86) has joined Arts Consulting Group as vice president. Mr. Hedding will lead the firm’s growing revenue enhancement practice, working with arts and culture organizations throughout North America. Most recently, Mr. Hedding served as vice president of development of the Baltimore Symphony Orchestra.

Earlier in his career, Mr. Hedding served four years as principal trombone in the U.S. Air Force Band of New England. Mr. Hedding received his Bachelor of Music from the Indiana University Jacobs School of Music, and Master of Business Administration in Arts Administration from Binghamton University School of Management, State University of New York.

More Information Here:                 http://www.artsconsulting.com/pdf_acg_news/hedding_acg_release.pdf

Kim Carballo is Entrepreneur of the Month!

Kim-1-212Meet Kim Carballo: Pianist, Entrepreneur, Vocal Coach, and Mentor – and Project Jumpstart’s October Entrepreneur of the Month!

As a first-rate pianist and innovative project director, opera coach Kim Carballo offers important insights into building a not-for-profit arts organization and career preparation in the 21st century. Kim founded Reimagining Opera for Kids (ROK), a Bloomington-based opera company that serves the community by introducing opera to children and provides young professional musicians with an opportunity to hone their production and performance skills.

“Entrepreneurship is a chance to be creative in a setting that allows one to combine business and art. I think the real power and potential of entrepreneurship is that it can help take away the sense of terror that we may have as we thinking about what’s ahead of us. You don’t have to think ‘I have to fit in this particular box’ or ‘I have to take this predetermined path.’ Rather, you create a box or path that fits the shape of your passion and skills. This is extremely liberating.”

Read on for an inspirational discussion on what it takes to engage the world as a classical musician today >

IU Opera scores in the end zone with plans to stream at stadium

By Marcela Creps Herald-Times Oct. 23, 2014 Ever been sitting in IU’s Memorial Stadium and wished someone would break into … Continue reading

Music Review: IU Chamber Orchestra and Neely

IU Chamber Orchestra shines in performance with Neely as conductor

By Peter Jacobi


The program was to have featured Prokofiev, Beethoven and Wagner. Puccini was a late addition. His melancholy and exquisite “Crisantemi” (“Chrysanthemums”) was added in memory of Ik-Hwan Bae, the beloved faculty violinist who had been scheduled to conduct the concert but died last summer.

The gesture came from the guest who did conduct Wednesday evening’s Indiana University Chamber Orchestra program in Auer Hall, David Neely, a Jacobs School alum now a seasoned pro who currently serves as music director and principal conductor of the Des Moines Metro Opera and as head of the orchestral conducting program at the University of Kansas.

“Crisantemi” initially was written for string quartet and to mark the death, in 1890, of Duke Amedeo of Savoy. Later it was scored for an orchestra of strings and, on Wednesday, that was the version heard in a performance, both radiant and poignant. Professor Bae, I believe, would have loved it.

Maestro Neely then moved into what he had planned and announced for his visitation: Prokofiev’s Symphony Number 1 (“Classical”), Beethoven’s l814 version of the Overture to “Fidelio,” and Wagner’s “Siegfried Idyll,” a short and yet substantive program. He made the most of his opportunity; the Chamber Orchestra played exceedingly well for him. His movements and signals were crisp and clear, obviously communicating his wishes to the musicians.

Prokofiev’s brief, 15-minute “Classical” Symphony pays homage to a period of composition he came to love as a student and to a favored master of that period, Haydn. Had Haydn lived in the 20th century, Prokofiev reasoned, “He would have retained his own style while absorbing something of the new at the time.” The score, an absolute delight, sparkles and, often, races and dances and frolics. Neely not only captured the charms of old built into the music but, from what one caught via the ears, he must have resolutely drilled the players, so together were they while bouncing and speeding through the extent of the symphony.

The “Fidelio” Overture is much more succinct than the “Leonore” Overtures Beethoven also wrote as, over a decade, he made changes in his one and only opera, but it fittingly features the major themes and sets the mood for the ultimately triumphant nature of the story. Again, Neely cajoled the orchestra to come along, so to capture the music’s urgency.

The music of Wagner reportedly holds a special place in the conductor’s heart. In “Siegfried Idyll,” he had a package considered one of the composer’s most dreamy and exultant creations, built on motifs that found their way into the opera “Siegfried.” Wagner wrote the idyll initially not for public consumption but as a birthday gift to his wife Cosima. Could there be another gift more lovely? Consider being a composition’s inspiration and then to be serenaded by it in one’s home on birthday eve? .

In Wednesday’s reading, the dreams were intact and so, too, the exult. Neely and the Chamber Orchestra delivered a deftly shaped and beautiful-to-hear performance of this idyll, this glorious expression of a husband’s love for his wife. It had focus and featured all the needed passion. The visiting Neely proved to be an effective conductor; he caused the Chamber Orchestra to shine.


© Herald Times 2014


Musicians dig deep to learn more about classical masterpiece

By Peter Jacobi


When you come to the Musical Arts Center on Wednesday evening for the IU Symphony Orchestra concert, the printed program will tell you that you’ve come to an out-of-the-ordinary event. It comes with a title, “Behind the Score.”

And that is meant to tell you the orchestra has undergone a somewhat altered path from preparation to performance. There has been the usual series of rehearsals, of course, these under guest conductor Grzegorz Nowak. But the training has also included talks and discussions, designed to give the musicians enhanced understanding of what the work they’re playing is all about historically and musically.

Courtesy photoGrzegorz Nowak will be guest conductor at Wedneday's "Behind the Score" concert.

Courtesy photoGrzegorz Nowak will be guest conductor at Wedneday’s “Behind the Score” concert.

The piece they will play and you will hear is Stravinsky’s “Rite of Spring,” which last year marked the 100th birthday of its premiere. And according to a gentleman named Richard Taruskin, it is considered by quite a few scholars and others to be the 20th century equivalent of Beethoven’s 19th century Ninth Symphony, an important landmark that heralded change in the future of music.

The eminent Richard Taruskin, Professor Taruskin, headquarters at the University of California, Berkeley, and happens to be a highly regarded musicologist, music historian, and critic with a special interest in Russian music. It is he who lectured the members of the Symphony Orchestra last Monday afternoon, enlightening them on “Rite of Spring’s” 100-year course as ballet score and as concert piece, from a hissed and booed dance premiere in Paris by Serge Diaghilev’s Ballets Russes all the way to current recordings, sans dance, that show how conductors have continually redefined musical interpretation of the score.

Earlier, the musicians were treated to a panel discussion involving IU musicologist Gretchen Horlacher and ballet department Chairman Michael Vernon, each treating aspects of the score’s past, Horlacher on what Stravinsky contributed to musical language and Vernon on how updates from the original choreography by Nijinsky have altered perceptions of “Rite” as a ballet.

So, the musicians you’ll be hearing have explored “Behind the Score” aspects of this groundbreaking masterpiece, as planned by the “curator” behind this event. That’s what Jorja Fleezanis calls herself. She thought up the idea and planned it and peopled it, just like a museum curator puts together an exhibit. Fleezanis holds two faculty titles: professor of music (violin) and Henry J. Upper Chair in Orchestral Studies. These cover the artistic skills that she brought with her, mastery of the violin and 20 years as concertmaster of the Minnesota Orchestra. She can teach the instrument, and she can tell students how orchestras function.

“Rite of Spring” is the second composition put under the “Behind the Score” microscope. Last year, it was Beethoven’s Fifth Symphony, chosen by Curator Fleezanis; Cliff Colnot, principal conductor of the Chicago Symphony’s Civic Orchestra and frequent guest conductor/coach in the Jacobs School, and Thomas Wieligman, administrator of the school’s orchestral ensembles.

That trio chose this year’s candidate, too. Colnot had to bow out because of illness, causing Fleezanis to seek a substitute (He is now on the mend!). A choice proved available: Grzegorz Nowak, artist-in-residence at Florida International University and principal associate conductor of the Royal Philharmonic in London.

“I was here recently to do a master class,” says Nowak, “and was delighted to return when asked to fill this emergency, especially for the Stravinsky. It is a fantastic work that’s had a huge success after the initial scandal. The music is thrilling and shows definite progress from his earlier ballet scores, ‘Firebird’ and ‘Petroushka.’ Just in the way he uses folk music sources and builds this to such a dramatic force: that proves how great a composer Stravinsky was. For me to have the opportunity of taking a new look at an old work is always exciting. I do this with opera and oratorio, and I’m challenged to do it here with ‘Rite of Spring.’”

Jorja Fleezanis expresses love for the “Behind the Score” concept. Her wish is that more such projects could be done. “But for now,” she says, “one a year is probably all we can manage. Think, though, how much background has been given to these musicians. Normally, conductors only have time to instill what the score requires. That’s what the usual rehearsals are about. Here, Michael Vernon first told them how the dance was invented. Gretchen Horlacher talked about rhythm and meter, so central to Stravinsky and his music. And then Richard Taruskin came in to introduce the people who were behind the score and to trace ‘Rite’s’ passage through the century.

“Consequently, the players are armed with more and significant information,” Fleezanis continues. “The conductor has all this other ammunition as he seeks to help the players interpret the music through their own minds and then to work with Maestro Nowak on how the music should sound on Wednesday night. I’m truly invested in this approach to performance.”



Fleezanis plans to introduce the “Behind the Score” concept to the audience and, then, to show “a seven- or eight-minute video, a collage of what went into this event, so you can sense the spirit and color of what this sort of learning is about. Maestro Nowak may also have something to say. The performance follows. I hope you and the rest of the audience will be happy with the results.”

I hope to be.


© Herald Times 2014


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