A tale of three cities, three bands, and one conductor

Am I praying for divine guidance?  I honestly don't know....

Many may not be aware (or haven't kept track) that I am now conducting three community music groups in three different cities.  Since our first rehearsal on May 9, 1995, I have led the Tri-State Wind Symphony of Dubuque.  The autumn of 2007 brought me to the Quad City Wind Ensemble and just this past January, I took over the reins of the Bettendorf (IA) Park Band.  But my history with the latter goes back much further than my current tenure:  I was living in Davenport during the "birthing" of the QCWE, having heard several concerts between 1987 and 1991.  My final few years in the area brought me to the BPB, first as a member of its outstanding euphonium section, and eventually as the first-ever Associate Conductor, appointed to the post by the man I eventually succeeded, my good friend and mentor, James Crowder.

Each ensemble is different, in its make up, rehearsal schedule, and demeanor, but that does not mean that my standards are any less demanding.  The TSWS holds two rehearsals for each of its five summer performances; the BPB plays mostly year-round, but is primarily active in the summer; the QCWE--in a manner akin to professional orchestras--holds five rehearsals preceding each of its concerts, which are, on the whole, more substantive in size, scope, and level of difficulty.  This is a serious group, but I try to keep the atmosphere as light as the players will allow.  Quite honestly, that can sometimes be difficult.  Still, despite the differences, everyone performs in each individual group for the love of music and the camaraderie that comes with making music with ones friends.

Programing, in many ways necessitated by rehearsal time (or lack thereof) is different with each group.  While the QCWE can tackle the "big pieces" (Hindemith "March" from Symphonic Metamorphosis and a variety of others), one has to ascertain a concert plan for the other ensembles more judiciously.  The TSWS is always a surprisingly crackerjack group, willing to take on the challenges in front of them.  Still I "front load" the tough stuff and lighten up (a bit anyways) toward the end.  Much the same is true for the BPB, although I'm working to try to raise the bar, hence the inclusion of the Holst Suite.  I'm hoping that we'll be able to take on at least one major work per concert.  We've had Jerry Bilik's American Variations, a long-lost former standard of the repertoire, in our folders for several months now.  It needs to see the light of day (and be heard) for our July 4 concert.

Our Dubuque band's beautiful home, high above the Mighty Miss...

This summer I have had to take some time away from the TSWS to attend to my new duties in Bettendorf.  That doesn't mean the ensemble is not in capable hands, for we have a number of talented conductor/educators in the group.  It is difficult to turn ones "baby" over to another caretaker, but it's always nice to return.  (This past week I had an unexpected rehearsal with the group as I was the sub for my sub, who'd taken an unexpected and quickly planned trip to London to hear a slew of military bands.  It was kind of weird conducting someone else's program, but I got over it).

The BPB's first summer concert, June 6, 2014

The Bettendorf Band is a group in transition.  As I said, I took over from James Crowder, who had led the ensemble for 25 years, so obviously the band had gotten used to a certain way of doing things.  That said, I have to compliment the entire ensemble on their welcoming presence, as well as their dedication to my oft-mentioned idiosyncrasies on the podium.  Our first concert together in April was a challenge, as they were still getting used to my mannerisms on the podium.  Take the Holst E-flat Suite for example:  suffice to say, we had some "moments" during the April concert.  I decided to repeat it for our first summer concert (June 6) and the differences were striking.  The piece sparkled with nearly all of the nuance that I've spent years studying and preparing.  This band is starting to play with much more finesse and best of all, is starting to grow.

The Quad City Wind Ensemble was another group in transition when I "auditioned" in October 2006.  After my permanent appointment, I make have tried to bite off more than we were ready for, as some of those early concerts were a bit ragged.  BUT, one could tell that there was a good ensemble there; we all just needed to work out some refinement as well as basic fundamental issues, particularly in the area of intonation and balance.  

Such things take time.  Early in my career, one of my trusted mentors told me that it takes seven years to actually get an ensemble where you want it to be.  AND, early in my career, I was never anyplace long enough to see that to fruition (four years in each of my first two teaching positions).  I'm also not the most patient fellow either and have been known to try to take an overly large bite out of difficult repertoire to prepare for the future.  Such was the case of the Dubuque Youth Symphony; we may not have been ready for the finale to Tchaikovsky's fourth symphony, but--after that--everything else was a whole lot easier.

Peace out baby?  "V" for victory?

There have been bumps and bruises (egos and otherwise) with the QCWE, but one must admit that we're on track.  The ensemble won the 2012 American Prize (community division) for outstanding wind band performance and was a finalist in 2013.  Less than a month ago we had the privilege of performing for the Iowa Bandmasters.  I already have future plans in the back of my mind as well as what I think is some thrilling programing.  The challenge for the group?  Thinking out of the box.  Our rehearsal space has become too small, BUT we don't own any of our own equipment, making a move almost impossible.  Our performance space has many problems, in terms of location (close to the "bad side of the tracks) as well as its acoustics.  The players simply cannot hear across the ensemble.  We discovered exactly how true that was when playing in a ballroom (mostly carpeted, except for the performing surface) in Des Moines.  We shouldn't have been able to hear as well as we did, but we (ALL) could, and the results were amazing.  Everyone could actually hear where they "fit," making balance easy and intonation easier....we need a new space, yes?

Each group has its separate challenges but all share something in common:  the reward that each offers for the conductor fortunate enough to lead them.