Springfield Symphony Orchestra The SSO in Rehearsal November, 2009 Kevin Rhodes, Music Director and Conductor Review by Donna Bailey-Thompson Some time ago, I read or heard that conducting a symphony orchestra is as easy as herding cats. For a conductor's over-arching agenda to succeed, he needs to take into consideration the passions of the individual musicians, integrate their ideas that are compatible with moving the orchestra forward but, when necessary, use his own vision to trump the suggestions that don't and do so without stepping on their egos. Although the number of people involved in the Springfield Symphony Orchestra does not come close to the number of employees under the leadership of, say, a CEO of General Motors, there are similar responsibilities. Both are hired to lead and to improve the product. Based upon the stimulating difference in the sound of the Springfield Symphony Orchestra now and nine years ago when Kevin Rhodes became its music director, I wondered if attending a rehearsal might offer insight into how this metamorphosis happened -- insight beyond what I gathered when observing their formal concerts. Getting from the Stage Entrance to the stage required navigating steep, narrow stairways and sharp corners that testify to the building's long history. Alone or in twos and threes, the members of the orchestra arrived at the stage. For that informal setting, they were casually dressed in jeans, sweaters, faded shirts. They were the same individuals who, when attired in their concert black, visually imply they are the makers of a grand and cohesive sound. Their exchanges of pleasantries were brief. The musicians took their assigned seats and began practicing whatever sections of the program troubled their performance standards. When musical instruments are independently bowed and blowed, whether at high or low registers, the result, to my ears, is not annoying noise but the pleasing sounds of dedicated musicians honing their craft. The moment the Maestro arrived, the energy level went up. Jaunty in a visor cap, leather jacket, white shirt, a scarf wrapped artistically at his neck, tailored black jeans (no tails to conceal his long legs) his clothing reflected the influence of who he is -- wholesome Midwestern American burnished by European style -- unquestionably the dynamic leader of the SSO. Throughout the rehearsal, Kevin Rhodes tweaked phrasing with surgical precision that enhanced the musicality of a desired mood. While focused for several minutes on achieving the sought after accents within a crescendo, in an aside to musicians who were enjoying a private conversation, he barely interrupted his train of thought to say, softly, "Please talk quietly," before returning his full attention to the pesky crescendo. When the crescendo produced the desired sound, he exclaimed, "Ah, that's good!" The devil is in the details. Under tempo -- bring it up. Big sound -- make it richer. Relax the tempo a little bit. Shorten eighth notes but don't rush in. Accent all the off beats. There are six fortes! Long bow. Deeper. Deeper! When a musician brought something in the score to Rhodes' attention, he said, "Oh, thank you; I forgot that." Together, Rhodes and the musicians have created a partnership. A few years ago, I was told that a member of the SSO had said, "We're playing our hearts out for him!" The programs exude life. The orchestra -- all those talented, individual cats -- play as one. The result seems magical but the ongoing maturing sound of the SSO is due to informed leadership that inspires its musicians to rise to new challenges. Rhodes' enthusiasm is contagious, his striving for the best and most appropriate sounds during rehearsals pays dividends during concerts. Ergo, the insights are in plain sight. Posted: January 19, 2010

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