The Philharmonic’s survival programs
Out of apathy, fear or intransigence, we barricade ourselves from things we don’t know—people, places, music. Symphonic music is often thrust behind these barricades, so the New York Philharmonic has created an education department to help bring it out front where it belongs.
Why does it belong out front? Director of Education Ted Wiprud explains that, beyond the music itself, the program is about “a large number of people developing skills together with the sole purpose of bringing beauty into the world. It’s an astonishing model for other things we do in our lives.”
Every month, the Philharmonic’s education department offers lectures for adults, online learning for kids (Kidzone! gets 40,000 hits monthly), young people’s concerts and partnerships with public schools. On Nov. 10, through the Musical Encounters program, young city residents attended an open rehearsal of Beethoven’s Pastoral, where orchestra members in jeans and T-shirts dispelled the image of symphonic musicmaking as a strictly black-tie affair. Meanwhile, the music itself became more approachable when played by violinists in sneakers.
On Nov. 12, teaching artists and members of the New York Philharmonic convened in Avery Fisher Hall before the famed Young People’s Concert. On the promenade of one of the most prestigious concert halls in the world, world-class musicians performed quartets composed by public school students from 3rd through 7th grade in a weekly after-school program called Credit Suisse Very Young Composers (VYC).
Jon Deak, founder of VYC, rejects the idea that kids need to know the rules of composition before they can compose. “Music comes to all of us at an early age,” he says. “We’re just going back to where music comes from.” In their weekly sessions, Deak and his teaching artists play games like Ear Fantasy and Sound Geography, encouraging students to bring into the open the music they carry inside. Older students learn how to develop a professional-level voice and musically notate their pieces without help.
Deak, who played with the Philharmonic for years, feels a tremendous sense of gratitude to the orchestra and believes deeply in maintaining its vitality through public education. He says the process works both ways—the symphony wins when kids are empowered to create. “If only people with doctorates can compose, then the art form collapses. This isn’t outreach,” he confides. “It’s self-interest.”
Church of the Epiphany: Singer-instrumentalist ensemble Trefoil performs in “Christo è nato: Lauding the Nativity in Medieval Florence.” Dec. 10, 1393 York Ave., 212-866-0468, salonsanctuary.org; 8, $25.
Immanuel Lutheran Church: Black Marble performs in “Virtuoso music for two violins by Telemann, Shield & Leclair” as part of the Midtown Concerts series. Dec. 7, 122 E. 88th St., 212-967-9157, midtownconcerts.org; 1:15, free.
Miller Theatre: Fred Sherry, Jennifer Koh, Stephen Gosling, the Talea Ensemble & others perform world premieres by John Zorn as part of the 12th season of Miller Theatre’s Composer Portraits series. Zorn will also give a late-night encore solo organ performance after the concert. Dec. 9, Columbia University, 116th & Broadway. 212-854-7799, millertheatre.com; 8, $25.
