Blog Post No. 3

Submitted by cellist and intern Nick Sterner, in response to Me2/’s dress rehearsal and performance for First Night Burlington on New Year’s Eve.

Following a stint of spring-like weather, the air quickly resumed its frigid squall as New Year’s Eve approached. Me2/ met for one last rehearsal before the annual First Night celebration that brings musicians of all genres, performing troupes and festive merriment to Burlington for one last hurrah.

As Me2/ ran through the program of Strauss dances and other Viennese New Year’s fare a final time, the orchestra was restless. Coming in late myself, the environment seemed to show the true colors of the musicians’ personalities. We all seemed to resonate with each other, and most of all with the anticipation that we had a program to play the following evening. Mixed as the mood was, the rehearsal went brilliantly as Ronald reminded us that he would conduct spontaneously the following night. In any other group, Ronald’s vow of spontaneity would usually cause greater anxiety among the musicians, but the members of Me2 seemed excited and unphased by a potential ‘curve ball.’

The following evening, the musicians started to arrive for the 5 o’clock call. As the small green room inside of the Baptist Church became alive with friendly chatter, laughter and the tones of tuning instruments, there was no anxiety in sight. Whatever anticipatory mood that was prevalent the previous evening had disappeared and was replaced not with overt confidence, but rather a content joy. It was one of those unique moments that seem to arise when a group of people gather for an in-the-moment experience, together.

FNB2Calmly content, the group filtered into the sanctuary where we began with the rolls of a snare drum that harkened in the Radetzsky March and our conductor to the podium. As the concert proceeded, time seemed to stand still as Ronald led us through the program with the spontaneity he had promised us, leaving us to play without him during one instance as he walked through the aisles greeting the audience with an outstretched hand, only to come back to us to conclude the piece.

After we ran through the bulk of the program, Caroline Whiddon stood up from her seat amongst the horn section where she spoke about Me2/ and its message of inclusion in a stigma-free environment. After answering questions and comments from the audience, the string section played Jingle Bells with the audience ringing the strategically placed bells intended for this moment along to the beat of the music.

Ronald then emerged from the back of the orchestra without applause as he lifted his arms for the opening sparkles of the Blue Danube Waltz. As we traveled through the suave melodies of the lush dance, we took the time he wanted us to take as the group pushed and pulled the rubato together, creating the classic Viennese schwung.

In the final crescendo that marked the end of the dance, the audience rose immediately to their feet greeting us with their smiles and applause. As the concert came and went, the musicians were again in the green room, packing up their instruments and entangling themselves in their mass of warm coats. It seemed as if it was all in a day’s work for the members of Me2/, to play as they did with great feeling and playfulness, only to leave the church with a job well done.

Playing with Me2/ is a pleasure. This group of musicians comes together to play with music, not to make music. They come to each other as they are, with a vivaciousness that comes from a love of life, and left their performance humbly content. On New Year’s Eve, Me2/ played with music as if they had been the Vienna Philharmonic enclosed within the Musikverein. They dared to ask the music for a chance to dance, and that they did.

If you don’t think you know someone with a serious mental illness, you’re wrong.

Last night Ronald Braunstein and I had the opportunity to speak to a group of students at the University of Vermont. It was a casual gathering in one of the dorm buildings, so we kicked back and enjoyed nearly an hour of explaining how Me2/Orchestra got started, how we serve the mental health community, and telling stories about our performances in correctional facilities. It was a fun evening with a great group of curious and intelligent young minds.

At one point I told the group that they all know someone with a “serious” mental illness – if not a close family member or friend, maybe someone else that they come in contact with on a regular basis. Maybe it’s one of the helpful librarians on campus, the waitress at their favorite restaurant downtown, or their career counselor. We don’t know who is living with bipolar disorder, depression, OCD, or schizophrenia, even though we interact with people who have these diagnoses every single day. Mental illness looks different in each person it affects, and it isn’t something we can obviously SEE when we meet someone.

I thought about this point today when I ran across an article in The Guardian, titled “Forget the headlines – schizophrenia is more common than you might think.” It’s great reading for anyone interested in the broad criteria under which schizophrenia and other mental illnesses are diagnosed.

Ronnie and I are grateful to our hosts at UVM last night. If you have a group that would be interested in learning more about Me2/, please don’t hesitate to let us know!

Music in Prison: “I felt appreciated and useful.”

Me2/Orchestra performed for inmates in the Southern State Correctional Facility (Springfield, VT) earlier this month. I asked the musicians for their feedback on the experience of performing in prison. Here are a few of their responses:

Margie: “I was a little bit nervous when we first got to the prison, and a little bit more nervous when the inmates started coming in.  And then still a little bit more nervous during our first piece (the Overture to Handel’s Music for the Royal Fireworks).  I thought, I hope we haven’t misled these people in any way; maybe they were expecting some kind of concert other than a classical music concert.  But then they were so appreciative and so open with us and so nice to us after we finished that first piece.  Truly, by the end of the evening, I felt like these were normal guys who just happened to have made mistakes.  I was really happy to have spent some time relating to them, getting to know them a little bit better.”

Travis: “I have found that the most genuine way to erase stigma is to have people spend time face to face, providing them with the opportunity to realize their similarities and transcend their differences.  Both the Me2/ players and our enthusiastic audience members had that unique opportunity inside the Southern State Correctional Facility. We were able to use music to find common ground. Events like this performance help people who are in need of a positive identity forge one for themselves.”

Kate: “Playing at the prison was a remarkable experience: being able to interact with the attentive and interested prisoners and share a little bit of what is normal for us was great. I felt appreciated and useful. It was an honor to share this experience with the individuals in the Springfield prison.”

One of the most striking things I noticed in the comments and in conversations with nearly every orchestra member after the performance is that they all said how much fun it was to play for the inmates. Many remarked that this was one of the most enjoyable concerts they had ever played because they had the opportunity to truly engage with the audience in a very direct way.

The audience was invited to provide feedback and ask questions after every piece was performed. This rarely, if ever, happens in orchestral performance situations. Granted, it would be nearly impossible in a performance hall seating 1,500+ people, which is the setting in which most orchestral performances occur. The opportunity to have 22 musicians performing for an audience of 40 people in an intimate, classroom-type setting is very rare and truly special. The members of Me2/Orchestra walked away from the performance feeling “appreciated and useful” because they were not only playing music for an audience (which by itself has enormous value), but sharing a musical experience on a personal level and uncovering our commonalities as human beings.

Some might say that we, the members of Me2/Orchestra, learned a thing or two about stigma by interacting with the prisoners in Springfield. We know there are men inside that facility who committed serious crimes, and if we’d known the history of some of the men in our audience it might have scared us. Regardless, on a Saturday night in Vermont we sat together in a small room and focused on the things we have in common, including our love for music.

When we asked the prisoners if any of them played instruments, a young man in the front row raised his hand:

“I can play ‘Mary Had A Little Lamb’ on pretty much any instrument, he said. “I have a degree in music education.”


Posted by Caroline Whiddon, Me2/Orchestra Executive Director