On the eve of launching our Musical Caravan Project, in which the HFO will be bringing music to the students in their schools, I have been looking into the latest on music and the arts in education. 

 Honestly, I am amazed. 

 By now there is such a huge body of research and statistics demonstrating the profoundly positive effects of arts education, that  everyone should be demanding that it be increased, restored, or if need be newly established in  their children’s schooling. 

 The benefits for the growing mind are proven by measurement of all aspects of child development.

Arts education

• Expands and enhances thinking skills
• Develops creativity in problem-solving
• Improves test performance in all subjects
• Has positive effects on social interaction
• Increases the level of success in adult life after schooling
• Raises income levels of students and their families

The evidence is so strong that arguing for music and arts education in school seems just about as obvious as saying that the sun rises in the East.

 But here it is: Educating school students in music is good for them, good for us, good for the economy, good for our  country, and good for the world.

 Here are a few supporting statements and facts.

 Data show that high earnings are not just associated with people who have high technical skills. In fact, mastery of the arts and humanities is just as closely correlated with high earnings.

—Tough Choices or Tough Times: The report of the new Commission on the Skills of the American Workforce, 2007

 “When I hear people asking how we fix the education system, I tell them we need to do the opposite of what is happening, cutting budgets by cutting music programs…. Nothing could be stupider than removing the ability for the left and right brains to function. Ask a CEO what they are looking for in an employee and they say they need people who understand teamwork, people who are disciplined, people who understand the big picture. You know what they need? They need musicians.”

— Former Arkansas Governor Mike Huckabee, 2007

 Students in high-quality school music programs score higher on standardized tests compared to students in schools with deficient music education programs, regardless of the socioeconomic level of the school or school district.

Christopher M. Johnson and Jenny E. Memmott, Journal of Research in Music Education, 2006

 Schools with music programs have significantly higher graduation rates than do those without programs (90.2% as compared to 72.9%).

Harris Interactive poll of high school principals, 2006

 Students of music continue to outperform their non-arts peers on the SAT, according to reports by the College Entrance Examination Board.

The College Board, Profile of College-Bound Seniors National Report for 2006

 Nearly 100% of past winners in the prestigious Siemens Westinghouse Competition in Math, Science and Technology (for high school students) play one or more musical instruments.

The Midland Chemist (American Chemical Society) Vol. 42, No.1, Feb. 2005

 Children with music training had significantly better verbal memory than those without such training, and the longer the training, the better the verbal memory.

Summary of paper by Ho, Y. C., Cheung, M. C., & Chan, in Neuropsychology, 2003

 Young children who take music lessons show different brain development and improved memory over the course of a year, compared to children who do not receive musical training.

Dr. Laurel Trainor, Prof. of Psychology, Neuroscience, and Behaviour at McMaster University, 2006

 “Music is one way for young people to connect with themselves, but it is also a bridge for connecting with others. Through music, we can introduce children to the richness and diversity of the human family and to the myriad rhythms of life.”

— Daniel A. Carp, Eastman Kodak Company Chairman and CEO.

 “…Children are among those that benefit most from music and the arts. The study of music can greatly enhance a child’s analytical skills, interest in school, creativity, discipline, and self-esteem. Moreover, music education programs can also offer at-risk youth life-saving alternatives. Music motivates children by stimulating their imaginations and increasing their confidence. It is no surprise that numerous studies have linked music education with increased academic achievement…”

- U.S. Senator Paul S. Sarbanes

 “The life of the arts, far from being an interruption, a distraction, in the life of the nation, is close to the center of a nation’s purpose – and is a test to the quality of a nation’s civilization.”

— President John F. Kennedy

An article on the Benefits of Music Education can be found at:

http://www.menc.org/documents/temp/benefits_of_music.pdf

I am looking forward to bringing our music to the schools!

David Commanday

Artistic Director/Conductor

Heartland Festival Orchestra

Have you seen our banners? They’re out now all across Peoria!

Heartland Festival Orchestra

Orchestra Hall, Chicago

On Monday the 16^th of May the HFO and I had the pleasure and honor of making our Chicago debut in Orchestra Hall, home of the Chicago Symphony and a space rich in musical history and tradition.  I was in the hall and on the stage in advance of the musicians, preoccupied with stage management questions (Who would sit where for which works on the program?) when the musicians appeared.  The buses were early, and suddenly I could see them standing at the rear stage wall, waiting for the OK to come on stage – they were ready now!

The excellent Orchestra Hall stagehands, in addition to having consummate professional command of their space, are also blessedly flexible and helpful in attitude … and said, yes, the players could come on.  It was a pleasure to see my HFO family take the stage, and watch them begin to get acquainted with it.

The space gives to the players warmly.  Each musician has a good, real sense of his or her own sound, while able to hear everyone else.  It makes a huge difference in an orchestra, this important balance between hearing oneself and hearing the ensemble.  Beyond hitting this balance, Orchestra Hall adds a lovely nimbus to the collective sound.  It gave us our own warmth of sound right back, beautifully.

And so we began our Beethoven First Symphony rehearsal, making friends with the space while we re-focused our Beethoven.  Just a few words from me in advance of each movement, in some cases changing details from our last performance, and we ran it. The musicians were, typically, totally prepared.  In a few cases individuals asked questions about specific spots, helping to clarify my intentions to everyone.  It was what I treasure in my relationship to the musicians of the HFO – a collaboration in pursuit of excellence.  This is orchestral chamber music — chamber orchestra!

Later in the afternoon I had a new experience – hearing the HFO from the hall, not from the podium.  Simon Carrington (founder of The King’s Singers and an eminent conductor and musician) rehearsed them in the Faure Requiem – and I was struck by the beauty of their sound and clarity of execution.  The violas shone in their rare ‘top voice’ role in this work, the cello section was crystal, horns, trumpets, bassoons, basses, and timpani dead on.  Sarah Gentry’s violin solo was angelically pure in intonation, and Julia Jamieson’s harp perfect and beautiful.

A scant two hours later we were in performance.  The intensity of the musicians’ looks made clear – they were determined, excited, and a bit nervous.  My role, both for them and for me, was to remain in the Beethoven, in the instant – not conducting in order to avoid mishap, but re-imagining and re-creating this music as it developed, just as Beethoven conceived.  Energy, character, imagination, spontaneity, and invention — all are needed in a fine performance, and that is what the musicians and I gave each other and shared with the audience.  Audience members and musicians alike have been writing in to express glowing reviews of the performance. One musician noted, “we were so focused together on our performance that it wasn’t until near the end of the Beethoven that I realized Maestro Commanday was conducting without a score.  On purpose, of course.”

The Heartland Festival Orchestra musicians played at their absolute best; it was beautiful, and it was alive.  What a pleasure, and what a privilege, to be at the helm of such an ensemble.  Simon Carrington and the other musicians in the hall were lavish in their praise.  The producers said to the musicians while onstage, “Peoria is lucky to have such an orchestra.  When are you going to play in New York?”

Just a brief glance back in history shows us two shining examples of unsung Maternal (and Human!) excellence; women who were both wives and mothers, wellsprings of support for great men, but also huge creative talents in their own right: Fanny Mendelssohn and Clara Wieck Schumann.

Fanny Mendelssohn

Fanny Mendelssohn, sister of Felix, was born like her illustrious brother with prodigious talents and gifts for music, but in the early 19th century was neither encouraged nor trained for a career as a composer. She was a source of expert counsel and advice to her brother in his career as composer and conductor, but never pursued one of her own. She married and had a child, and although she composed 466 pieces of music, she was virtually unpublished in her lifetime. Generations later her talent and accomplishments were recognized for their great worth.

Have a listen:
Lied: Larghetto from Song Without Words, Op. 8, No.3
Piano Trio Op. 11 Mvt IV Finale – Allegro Moderato

Clara Schumann

Clara Wieck was a brilliantly gifted young pianist and composer who captured the heart of Robert Schumann – when finally her father approved the marriage, the Schumann’s were wed, and Clara set her ambitions (somewhat) to the side… Clara raised seven children, performing on concert tour after tour, and continuing to compose as she supported Robert. She continued on with motherhood and career through her husband’s mental illness and forty years after his death… and serving as muse, inspiration, and support to Johannes Brahms through his adult life. Her strength in achieving her successes, while raising her children and caring for her husband, was truly astonishing.

Hear works by Clara Schumann:
Piano Concerto in A Minor Op. 7 Allegro Maestoso
Piano Trio in G Minor Op. 17 Andante

These stories are remarkable only in the scale of these mothers’ gifts and achievements – they are otherwise typical and characteristic of what mothers have been doing, and continue to do, through the millennia – they do it all with unknowable strength and love.

So today, and tomorrow and after, let us sing our mothers’ praises and thank them for their song!

We are all your creations, and we
Thank you all!

Post By: David Commanday
Artistic Director / Conductor of the Heartland Festival Orchestra

FOR IMMEDIATE RELEASE:

HEARTLAND FESTIVAL ORCHESTRA AND DAVID COMMANDAY

HONORED BY ILLINOIS COUNCIL OF ORCHESTRAS

In a press release dated March 18, 2011, The Illinois Council of Orchestras announced the winners of its 2011 awards:

The Illinois Council of Orchestras is pleased to announce the 2011 recipients of its annual awards for excellence in the field of music performance and for support of musical organizations. An awards panel that included judges from the Illinois Council of Orchestras Board of Directors and from independent arts organizations reviewed nominations representing orchestras, youth orchestras, and chamber ensembles from throughout Illinois.

The Heartland Festival Orchestra was named Professional Orchestra of the Year, and HFO Artistic Director David Commanday was named Professional Orchestra Conductor of the Year.

The Illinois Council of Orchestras has over 158 member organizations from throughout Illinois, and

Its Press Release continues:

The Illinois Council of Orchestras was founded in 1974 with a mission:

• to encourage, promote, and assist orchestras throughout the State of Illinois

• to promote an exchange of information among members, including providing consultants and speakers

• to hold educational conferences for member organizations, including musicians, staff: boards, volunteers, and audiences.

Presentation of the ICO Awards will take place during March through July 2011 at local concerts and other events of the winning orchestras.

HFO President Jim Kidder commented:
Working with David Commanday, board members, volunteers, musicians, and audience members during the past two seasons has been a tremendously gratifying experience.  These awards are a validation of a new vision for the orchestra experience, and we are all tremendously grateful for the wonderful recognition.

HFO Administrative Director Laura Evancho made this statement:
These awards honor our many communities which have strongly supported the Heartland Festival Orchestra since its creation in 2009.  This recognition of excellence, coming so early in the existence of the HFO, underscores the high value of fine music in the lives of people here.  Even more, the orchestra’s support of area charities in our partnership program has further endeared the HFO to the people of Central Illinois.  All connected with the orchestra are justifiably proud that Maestro David Commanday and the HFO were selected for these prestigious awards.

Artistic Director David Commanday commented:
I am deeply grateful for and honored by the recognition the HFO and I have received from our peers in the Illinois Council of Orchestras.  This is an affirmation not merely of personal achievement, but of the team which created and sustains the Heartland Festival Orchestra.  Outstanding musicians, visionary staff and board members, and a generous audience and community all deserve recognition and credit for these awards.  These honors will always be a source of great pride for me and the HFO.

Get tickets for the 11th at 7:30pm – Get tickets for the 12th at 2:00pm

A recent article in the Peoria Journal Star

Interview of Academy Director Rebekah von Rathonyi on WCBU 89.9′s “Out and About”

A message from our Artistic Director David Commanday:

“The Heartland Festival Orchestra and I are thrilled to collaborate with the Peoria Ballet as we make LIVE music part of the Nutcracker this holiday season. We will bring Tchaikovsky’s masterpiece to life in this all-new production. I have been the conductor for countless Nutcrackers in my career – none will be more special or more meaningful to me than this one”

Rehearsing Nov 21st at Epiphany Roman Catholic Church in Normal

J.S. Bach Concerto for 2 Violins in d minor

Beethoven’s First Symphony

Lukas Foss’ Renaissance Concerto for Flute and Orchestra

This piece is difficult to find online. Here is what I came up with: the first is a link to an Amazon.com Music Sampler of a CD which includes the Renaissance Concerto. From this link you can get 30 second samples of the four movements.

Here’s the link Amazon CD Sampler

To supplement here is a review of the piece by Andrew Lindemann Malone, Rovi, which was found at this link:

Renaissance Concerto for Flute and Orchestra

“Twentieth century composers from Igor Stravinsky to Alfred Schnittke and everywhere in between explored material from the Renaissance and Baroque periods in their own compositions. When Lukas Foss was asked by flutist Carol Wincenc to compose a concerto for flute, he settled on the sound of Renaissance music as both a target and a point of departure. The resulting concerto uses transcriptions, evocations, and extensions to create, as Foss describes it, “an homage to something I love, a handshake across the centuries.” The precariousness of this concerto’s balance between ancient pipings and the thoroughly modern sound of Foss make it both a little unsettling and quite riveting. While a normal Renaissance suite might have opened with a sarabande, Foss’ “Intrada” is, as he describes it, “part flute cadenza, part chorale, and part circus music.” The flute-cadenza passages seem to be composed entirely of period-appropriate ornamental trills and runs, without an intervening melody; these mix with a jaunty processional melody in the winds, then a sonorous brass chorale delivered by trumpets from high perches on opposite corners of the stage to evoke music played from atop town walls. A “Baroque Interlude (after Rameau)” follows, which transcribes that master’s harpsichord piece “L’enharmonique,” from Nouvelles suites de pièces de clavecin, for flute, harpsichord, and full orchestra. The scoring is thin and open, as high notes in flute and harpsichord and pizzicato plucking mingle with precise timpani taps. The somewhat distorted melody becomes chirpy in Foss’ flute transcription, leading to a coda featuring a couple of jokey delays. The third movement is titled “Recitative (after Monteverdi),” and the flute part is freely adapted from a recitative from Orfeo. In a move away from Orfeo, the flute is supported by soft dissonant washes in the strings, echoed in canon by an offstage ensemble. Occasionally, the orchestral flute imitates the soloist as well. The textures are dreamlike, and the slowly shifting harmonies become almost hypnotic. This mood is dispersed quickly by the spirited canon which begins “Jouissance,” derived from a madrigal by Melville. Soon, however, this yields to a flutter-tongued flute cadenza, which in turn yields to strange evocations of Galilei, Gesualdo, and Peri. After these have left the stage, the flutist reenters over eerie glissandos in the strings and leaves the stage as well, its music dropping from forte to pianissimo and then to mere key-clicks as the soloists walks off. Foss’ response to Renaissance music is individual and inventive.” ~ Andrew Lindemann Malone, Rovi

See you at the concert!