BCS Connections and Reflections no. 11: Cellist, orchestra contractor, and friend of BCS, Martha Lhamon reflects on her unique association with BCS through the years.
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A Unique Perspective
When David Grindle invited me to play principal cello in the 2008 BCS performance of the Brahms' Requiem, I jumped at the chance. We had moved to town recently, and I was trying to figure out how to navigate the Bloomington classical music scene, dominated as it was (and still is) by terrific Jacobs IU players. Not knowing what to expect, I attended my first rehearsal at the Unitarian Universalist Church with Julie Grindle conducting. All went fine and I looked forward to the week's rehearsals and the concert.
At the second rehearsal, this nice stranger approached me in the middle of playing a certain section and told me that we cellos should be "sweeping" the phrase to a climax to match the text, which at that point was something like "Rise Up!" Who was this person interrupting our playing!? I had never met Gerry Sousa before, but was delighted that he was highlighting the text to us instrumentalists. It was a wonderful experience to play the Brahms, and it has been wonderful to play every concert since.
For many years now I have also been contracting the instrumentalists for BCS. My first role as Contractor began with a concert program of John Adams' On the Transmigration of Souls and Brahms’ Ein Deutsches Requiem. This time Gerry was conducting, and I felt like I was thrown into a firestorm! After the initial meeting with Gerry outlining what instrumentalists were needed, pay, rehearsal schedules, etc., I remember panicking over how I would ever hire some 70 players—I joked that I was going to stand on the corner of 3rd Street and Jordan Avenue and accost anyone who walked by with an instrument case. I had always attended IU concerts and recitals, but now, instead of dropping each program in the recycling bin after the concert, I would come home and search for contact information for listed players who I found particularly wonderful and appropriate to play with BCS. As a string player, I wasn't familiar with the various requirements of winds or brass registers. Isn't a trombone just a trombone? You mean they come in alto, tenor and bass? (apologies to Carl Lenthe)
I quickly learned the many pitfalls of being a contractor. My attempts to get the best players often ran up against obligations at IU, personality clashes or misunderstandings and individual scheduling problems, which, incidentally, continue up to the day of the concert. Gerry warned me early on that players would cancel on me; little did I know how frequently that would happen, and at what inopportune times. Instrumental soloists also often need to schedule extra time with Gerry and the singers. Timpanists rarely own their own kettle drums, and BCS needs to be alerted in advance to scour the area for a particular instrument. Harpists need to know where and when they can arrive at the hall and safely store their harp. Music parts need to be distributed; some players don't even look at their part before the first rehearsal, but many, myself included, need time to go over everything in advance of the first rehearsal. (The unwritten rule of thumb in a symphony orchestra is that players get the parts two weeks before the first rehearsal.) All players need to have space to play comfortably, so much time and consideration is spent with the Board (particularly with David Rohlfing—who knew the treasurer would also be the resident "stage designer?"). Then there is the inherent shelf-life: students graduate and leave town, leaving me having to cultivate new players all over again.
The frustrations of pulling together an orchestra for each concert all fade away at concert week, however; it's enormously satisfying to reach that final week and know that I've helped to create the best instrumental foundation possible to the chorus.
An unexpected and lovely bonus of being Contractor is the friendships I've made, both with members of BCS and the players I've hired over the years. My friendship with Gerry, particularly, has enriched my life immeasurably.
I've had a great run playing and working with BCS. I do miss it and hope we can be back together safely in the near future.
Musical Offering
My musical selection is a bit funky: Pie Jesu, from Andrew Lloyd Webber's
Requiem. This is a very different version from last week’s version of the same piece! This recording features Stjepan Hauser, a member of “2Cellos,” which is a Croatian, classically trained cello duo.
I've been whispering in Gerry's ear for years to have BCS present Lloyd Webber's Requiem; maybe he'll take the hint some time!
