As I perform my last week as a full-time member of Detroit Symphony Orchestra, I am looking back and appreciating the last 22 years. With DSO, I've experienced a thousand joys, playing some of my favorite music with such an incredibly dynamic ensemble for our beloved, adoring fans. There were so many brilliant conductors and music directors who teased out of us performances we hardly thought possible. They also encouraged me to keep growing as an ambassador for the orchestra and to touch new audiences with classical music. My belief that we can do MORE to share our music... even with people who avoid it... has matured along with my capacity to do something about it.

The Classical Revolution Detroit series I began has just celebrated its first anniversary, with some success in bringing this music to untapped audiences. One highlight was when DSO Music Director Leonard Slatkin and soprano Kimberley Dolanski Osburn publicly read Samuel Barber's Knoxville: Summer of 1915 at the Majestic Theater in Detroit. With each event I discover new ways to articulate these thousand joys of classical music to younger and darker audiences. The Classical Revolution movement, now a worldwide effort, presents us with opportunities to explore new presentation styles, concert environments, public perceptions, audience engagement, and marketing of paid concerts. We are breaking down the barriers by offering this series FREE in venues where the young can experience and enjoy its magnificence. It's not a PURE concert experience but it certainly gives some a good taste.

Last Monday, a group of DSO musicians (CutTime Players) read a short Christmas program for about 50 black men at a homeless shelter known as Mariner's Inn. I arrived early, set up and found myself with time to kill. Half of them had nothing to do but watch me, so I went into a solo act and encouraged them to ask questions. When they said they were most familiar with the bass performing jazz, I played a stock bass phrase. As if on CUE someone asked me if that was hard to do. I said "No, but THIS is". And I launched into the pyrotechnics of the Gigue from Bach's 3rd cello suite. With that I was able to address the burning question of why a brotha would WANT to play the music of dead, white Europeans rather than play jazz. Yet another asked me WHY it's called classical music. Increasingly I am drawn to opportunities like these: to address objections to classical music. Even though these men will never donate financially to the orchestra, I made several of them CURIOUS enough to want to come HEAR DSO. Many didn't know we were a few blocks away. These was a golden opportunity!

On November 6, CutTime Simfonica in Detroit enjoyed a major success in partnership with Detroit Symphony Orchestra and the Arts League of Michigan at the Virgil H. Carr Cultural Arts Center. With DSO musicians (see picture) we drew a large audience many of whom were somewhat new to classical music. They appreciated our playing a variety of works, half of which I wrote. And they loved the Hardcore Detroit break dance ensemble illustrating contemporary stories to my works Pork 'N Beans and City of Trees. Future collaborations are assured given the positive feedback we received! In fact, DSO and CutTime are partnering again for two more concerts at the Virgil Carr Center April 28 and June 1.

CutTime® also achieved success with freelancers in Cleveland with two performances of Simfonica music. The CutTime® brand continues to grow as we feature its name wherever I play my publications. In this case we rehearsed and performed for Classical Revolution Cleveland at the famous Happy Dog bar. We played amplified for about 120 people whose median age was probably 32. This was yet another dream come true... despite the fact we could barely HEAR ourselves for all the talking! This was a marvelous adventure, much like the music we play, and we received a standing ovation... in a BAR!

So I hope you understand why I feel I CAN and MUST leave DSO on this quest for broader audiences, outreach and education partnerships, and frequent touring. But I can't do this alone. I am asking for whatever influential and/or financial support you care to offer. Together, we can make an effective contribution to the classical music industry in 2012. 

On January 3, I begin my solo tour along the East Coast to introduce myself and my music to orchestras, chamber ensembles, music schools, major string quartets, and concert presenters. I will set up meetings, radio interviews and readings to then set up future bookings. I'm joining a growing network of new ensembles and established institutions with similar missions. Bookings are beginning to trickle in and an upcoming interview with NPR's Guy Raz will help.

Please recommend CutTime to outreach and education directors, orchestra musicians, music faculty and classical DJs. Please call the Arts League of Michigan to arrange a tax-deductible contribution to CutTime®. Please forward this newsletter to those who may be interested using the link below. Together we can cut the time it takes new audiences to love classical music!
You can track my progress on Facebook. Thanks and see you in February!