RAISING THE INVISIBLE CURTAIN

A young Philadelphia Orchestra violinist recently said of his experience onstage: "Once the music starts, gravity has been lifted and you're in a place of weightlessness and breathlessness; it's an incredible feeling."

While it's fair to say that those actually making music are likely to have the most intense experiences, most audience members can recall moments of being "lost" in the music, "swept away," "caught up," or, simply, fully engaged. It is the desire to repeat that experience that keeps us returning to concerts.

Music has the potential to enter our bodies and spirits in such a direct way that it goes right to the emotions. Recent brain research shows that the reception center for music is shared by only two other sensual experiences: eating and sexual pleasure. Most of us probably would like to feel more deeply engaged more of the time - experience more of that "flow" experience. But how?

The Philadelphia Orchestra is embracing this challenge as it looks to expand and cultivate its audiences, develop new listeners for the future, and explore ways for everyone to take deeper delight in the music. With the help of a nationally respected leader in arts education, Orchestra musicians and staff are exploring ways to help our audiences enhance, broaden, and strengthen their musical experience. "I have worked with many orchestras over the years, but I have never seen anything like the commitment, imagination, and excitement I have seen at The Philadelphia Orchestra," says Eric Booth, an actor and arts educator who has been facilitating the Orchestra's process. A consultant to arts, business, and school organizations across the U.S., he has worked with orchestras nationally, and is currently on the faculties of the Juilliard School, the Kennedy Center, and Tanglewood. "It is unprecedented to work with an entire organization, from the administrative staff to volunteer leaders to musicians and music director," Booth continues. "I think they are breaking new ground in the American symphonic world in opening up the music and seeking to make connections with audiences in more direct, personal ways."

Orchestra cellist Gloria de Pasquale is helping organize her colleagues' participation in the process. "We've had over 70 Orchestra members involved in brainstorming and idea exchange," she reports. "There's a real desire to find new ways to reach people, especially young people. Next season, expect to see and hear more musicians speak about their experiences, during concerts and following them. Ideas for new concert formats are also being developed, as well as traveling programs directed specifically towards families and college audiences."

As part of this season's Mahler Festival, Maestro Eschenbach hosted a symposium, held a post-concert question-and-answer session, and introduced a new practice in which he and a guest artist offer a mini-recital following the symphonic performance, which he calls a "Postlude." "I explained that since neither of us could sleep after this, we might as well make more music together," he told the delighted audience, before launching into songs of Mozart, Schumann, and Brahms with mezzo-soprano Lorraine Hunt Lieberson.

Christoph Eschenbach led a symposium to launch the recent Mahler's World Festival. Left to right: Henry-Louis de La Grange, Christopher H. Gibbs, Mr. Eschenbach, and Gerlad Fox

Among the more dramatic "Raising the Curtain" initiatives was the placement of a large outdoor video screen on Broad Street during last fall's Opening Night concert, so that passersby could experience a taste of what was happening inside Verizon Hall. "If people stop for a few minutes and feel what we are doing, perhaps next time they will be interested to come inside the hall."

Less obvious, perhaps, are new elements in Playbill, such as a glossary of musical terms, and changes to the Orchestra's website, www.philorch.org. All are designed to provide more points of entry to the music and the experience.

"When people dig into a work of art, they no longer have to ask about its value because they know," writes Eric Booth in The Everyday Work of Art. In order to "dig in," each of us needs a point of access, not necessarily involving "learning" or dealing with musical terminology, but rather some experiences or guiding ideas that help draw us in and hear with more than our minds, closer to the way musicians can.

Sarah Johnson, the Orchestra's new director of education and community partnerships, observed the value of this approach first-hand when she served as a teaching artist for the New York Philharmonic. "When we invite young people into the artistic or creative process it helps them to find personal relevance in classical music. This creates active, engaged listeners. They have more tools for listening." In school settings she often gave students recorders, on which they could play and compose for themselves. As preparation for a Family Concert conducted by Maestro Eschenbach, she recently distributed batons to pre-concert attendees, and invited a number of them to "conduct" some Orchestra musicians on hand for the occasion. Those children, and others who watched them, experienced the concert from an entirely new vantage point. She has incorporated similar ideas into her plans for next season's Family and Student concerts.

Featured on one of those programs will be elements from a new film that follows Philadelphia Orchestra musicians exploring the role of music in their lives. Music from the Inside Out is a cinematic essay on how the complexity and depth of music give all of us a connection to the beauty and power of life. Created by Anker Productions for PBS broadcast within the coming season, the film is also being adapted for national educational use. Sarah Johnson is working on creating opportunities for the Orchestra and several Philadelphia area schools to pilot these programs in various settings.

For The Philadelphia Orchestra, "Raising the Invisible Curtain" is a long-term commitment. And while all involved point out that the effort is still very much in the formative stages, the creative process is generating exciting energy. Already many more people are peeking behind that infamous curtain. And we are only getting started.