I must confess, I am very spoiled.
I grew up middle-class, never wanting for access to food, jobs, a warm house, a supportive family, a caring father, and educational opportunities like perhaps as much as half of America did. And I’m black; which means I really beat the odds. I knew early on, likely because my whole family was educators, artists, and doctors, that this access shouldn’t be taken for granted. So I took advantage of these opportunities to “play the game,” “listen to elders,” and “climb the ladder” to do what I truly wanted to do, which was to play symphonic music in one of the world’s top orchestras. Once I achieved that I wanted to go further, to create more music for my awkward instrument that might also bring new audiences into the wonderful universe of classical music. Few Americans can claim to have done this.
Yes, I earned good money and benefits just being a member of a major orchestra. Yes, we received praise just for joining and staying with that orchestra. But more importantly I’m very spoiled because classical music makes me feel rich beyond belief. Any time of day or night, I can recall a stirring melody by Mozart, Schubert, or Brahms that transports me to safe, imaginative spaces; a place in my head to feel alive; music that reminds me of powerful experiences I’ve had; or music from the past that adds profound weight (meaning) to the present. Few Americans pick up these powerful tools, even when they are physically available.
Even richer, I can recall my unique role, purpose, and personal differences I’ve made playing in orchestras, ensembles, solo recitals, and concertos. I made sure each musical phrase had shape and purpose, and led dramatically to the next. I made sure my sound stayed invisible when it wasn’t needed; to exaggerate the contrast of texture set up by the composer. These memories validated my capacity to be a team player, section leader, or music director as necessary. Many good musicians can claim to have done this.
Being a major orchestra musician for 22 years certainly spoiled me too. Our audiences placed us on a pedestal; we were paid well; we toured, recorded and were constantly called exceptional or special. So much so that I began to question it. For any special status seemed to further alienate Americans from trying classical in the first place; as if new listeners had to be specifically educated, special or discerning themselves.
What good is the public domain music if it becomes less and less common? What good are we elite musicians if we can’t relate (make relevant) this music to the regular folk who could never discern (decide which is better) one performance over another? Few seem to ask these questions.
And so ultimately, I spoiled myself because I learned how to transcribe my favorite music (and not just classical) to start two ensembles. Since 1994 I have had a ball leading and experimenting with them! I spoiled myself much further when I started to compose my own music blending many styles of music (Pork ‘n Beans anyone?). I express my many moods, ideas, and special occasions, and I let audience join in on toy percussion sometimes. Everyone feels validated and spoiled here as I can share this golden treasure in new ways and venues. Some of these compositions have spoiled me further with awards, large donations to compose and experiment more, and cool artistic projects. I get to eat, drink beer, ride my bike, and earn a comfortable living. Few composers can say that. So I am grateful.
Yet perhaps the biggest reward is simply finding and creating opportunities to share all these in very meaningful ways, with people who would never attend classical music concerts. As far as I’m concerned EVERYONE deserves to feel spoiled by the dramatic adventures of classical music. Paradoxically, by trying to be a more common musician, I have become more exceptional in the industry.
So, because I pretty much get whatever I want, and esp. since I sacrificed much to get it, I want to spoil America with a growing body of paid musicians who also feel driven to share symphonic music so that it works outside of traditional concerts and art spaces. We can all feel rich together! It’s neither easy nor hard: it’s attitude, talent, and common sense.
I also want to codify the working theories and methods of “new classical.” But given that I’m in my mid-fifties, my train is slowing down even as it emerges from the tunnel. CutTime® is ready for a new conductor, more cars, and engines, plus the fuel to barrel through.
For the sake of both classical music and bringing the country together around it, spoil me, would you?
(Revised Sept. 2022)