1 00:00:00,160 --> 00:00:03,720 Speaker 1: This is Alec Baldwin, and you're listening to Here's the Thing. 2 00:00:07,320 --> 00:00:11,920 Speaker 1: James Gandry runs one of New York's great cultural institutions, 3 00:00:12,320 --> 00:00:16,160 Speaker 1: the Manhattan's School of Music, but he spent years as 4 00:00:16,200 --> 00:00:19,959 Speaker 1: a working musician throughout the eighties. He sang tenor in 5 00:00:20,200 --> 00:00:24,759 Speaker 1: ensembles large and small and solo where he could. You're 6 00:00:24,840 --> 00:00:28,639 Speaker 1: listening to a recital he gave at four, This is 7 00:00:28,720 --> 00:00:53,640 Speaker 1: Franz lists Patch non Trovo. In three he even auditioned 8 00:00:54,040 --> 00:00:57,720 Speaker 1: successfully to be a backup singer in the Pet Shop 9 00:00:57,840 --> 00:01:08,800 Speaker 1: Boys number one hit Go Best These days, it's a 10 00:01:08,880 --> 00:01:13,559 Speaker 1: fitting anthem for the Manhattan School of Music's changing student body. 11 00:01:13,959 --> 00:01:15,800 Speaker 1: We have more applications now than we ever have in 12 00:01:15,840 --> 00:01:18,760 Speaker 1: our entire history. But the change has been that it's 13 00:01:19,760 --> 00:01:24,160 Speaker 1: more and more international students from Asia filling those spaces. 14 00:01:24,160 --> 00:01:26,880 Speaker 1: Why do you think that is, um? I think the 15 00:01:26,920 --> 00:01:30,000 Speaker 1: reason is it's because those cultures have a very strong 16 00:01:30,240 --> 00:01:34,160 Speaker 1: educational program from elementary school on and they have a 17 00:01:34,200 --> 00:01:36,240 Speaker 1: commitment to it. And I think what happened in North 18 00:01:36,280 --> 00:01:39,959 Speaker 1: America is that there's less and less education at a 19 00:01:40,000 --> 00:01:42,720 Speaker 1: lower level, and so you have fewer and fewer people 20 00:01:42,720 --> 00:01:44,399 Speaker 1: who are then going to take it seriously because they 21 00:01:44,400 --> 00:01:46,400 Speaker 1: didn't have the early training and exposed to it. Right, 22 00:01:46,800 --> 00:01:48,560 Speaker 1: you believe that it's the same in Europe as well 23 00:01:48,600 --> 00:01:51,800 Speaker 1: as what's happening here, that they're solely eroding that. Yeah, 24 00:01:51,840 --> 00:01:53,840 Speaker 1: when I talk to my colleagues, they're the heads of 25 00:01:54,320 --> 00:01:57,920 Speaker 1: the major independent conservatories in Europe. The same thing is happening. 26 00:01:57,920 --> 00:02:01,480 Speaker 1: It's just it's just delayed, maybe ten years from what 27 00:02:01,560 --> 00:02:05,440 Speaker 1: we were. Do you see a future in which you 28 00:02:05,560 --> 00:02:08,000 Speaker 1: just moved the school to Beijing? Why make all of 29 00:02:08,000 --> 00:02:09,760 Speaker 1: them come all the way over here when most of 30 00:02:09,760 --> 00:02:12,880 Speaker 1: them are there? I don't. Who knows about the future 31 00:02:12,919 --> 00:02:14,959 Speaker 1: is going to hold? But I don't because there's there's 32 00:02:14,960 --> 00:02:17,960 Speaker 1: something else has happened that's countered the lack of education 33 00:02:17,960 --> 00:02:20,200 Speaker 1: in public schools a bit, which is that community music 34 00:02:20,200 --> 00:02:23,079 Speaker 1: schools have gotten better and better, and they have grown 35 00:02:23,080 --> 00:02:26,360 Speaker 1: in size, and they have actually filled a lot of 36 00:02:26,360 --> 00:02:28,600 Speaker 1: the gap and in some ways done it better than 37 00:02:28,880 --> 00:02:31,320 Speaker 1: public schools would have done it because they're they're focused 38 00:02:31,360 --> 00:02:34,320 Speaker 1: solely on music. So you have places like the Merritt 39 00:02:34,400 --> 00:02:38,960 Speaker 1: Music School in Chicago, which produced the McGill brothers, and 40 00:02:39,200 --> 00:02:42,080 Speaker 1: in New York there's the Harlem School for the Arts 41 00:02:42,680 --> 00:02:45,440 Speaker 1: and the settlement school in in the in the village. 42 00:02:45,880 --> 00:02:49,400 Speaker 1: Those places have all branched out and gotten larger and 43 00:02:49,480 --> 00:02:51,880 Speaker 1: done a better job than they had in the past, 44 00:02:52,280 --> 00:02:54,320 Speaker 1: in part to make up for what's happening in the 45 00:02:54,320 --> 00:02:58,080 Speaker 1: public school system. I'm assuming schools not just Manhattan School 46 00:02:58,120 --> 00:03:02,040 Speaker 1: of Music, but other famous schools like Julian and Mannis. 47 00:03:02,080 --> 00:03:05,080 Speaker 1: I'm sure they will have some differentiation in their approaches. 48 00:03:05,639 --> 00:03:08,840 Speaker 1: But but so there's not an academic program while they're there, 49 00:03:08,919 --> 00:03:12,400 Speaker 1: or there is, I would say, you know, at a 50 00:03:12,440 --> 00:03:15,560 Speaker 1: normal university or college, a kid goes to school for 51 00:03:15,600 --> 00:03:18,600 Speaker 1: maybe fifteen hours a week of class, and the rest 52 00:03:18,680 --> 00:03:20,919 Speaker 1: of their time is up to them to study, to 53 00:03:21,840 --> 00:03:26,639 Speaker 1: join clubs, to do volunteer work for themselves. Where I 54 00:03:26,639 --> 00:03:28,960 Speaker 1: think at a conservatory, what you find is that the 55 00:03:29,080 --> 00:03:31,920 Speaker 1: kids are so First of all, they're so driven because 56 00:03:31,919 --> 00:03:33,639 Speaker 1: they're clear what they want at least at this point 57 00:03:33,680 --> 00:03:37,720 Speaker 1: in their lives. And secondarily, the curriculum is probably somewhere 58 00:03:37,720 --> 00:03:41,880 Speaker 1: around twenty five to thirty hours of classic academic right. Um, 59 00:03:42,080 --> 00:03:44,520 Speaker 1: we're credited by Middle States Association, which is the same 60 00:03:44,600 --> 00:03:48,200 Speaker 1: crediting agency that a credits Columbia University, and so we 61 00:03:48,240 --> 00:03:51,000 Speaker 1: have to provide. We we on the undergraduate level, we 62 00:03:51,000 --> 00:03:52,920 Speaker 1: we offer a Bachelor of Music degree and Master of 63 00:03:53,000 --> 00:03:54,680 Speaker 1: Music degree at the graduate level and a Doctor of 64 00:03:54,760 --> 00:03:58,840 Speaker 1: Musical Arts. So in those programs you are probably in 65 00:03:58,840 --> 00:04:01,440 Speaker 1: class twenty to thirty hours a week as opposed to 66 00:04:01,480 --> 00:04:03,240 Speaker 1: a fifteen hour and then you've got all the practice 67 00:04:03,280 --> 00:04:06,320 Speaker 1: and all the rehearsals and everything else. So a for instance, 68 00:04:06,320 --> 00:04:10,280 Speaker 1: a voice major a school like mine would take voice 69 00:04:10,320 --> 00:04:13,520 Speaker 1: lessons obviously, might take choir of things that you would expect, 70 00:04:13,960 --> 00:04:16,880 Speaker 1: and then they would also take French diction, Italian diction, 71 00:04:16,920 --> 00:04:21,159 Speaker 1: German diction, English diction. They'll take music theory for two years, 72 00:04:21,200 --> 00:04:23,599 Speaker 1: they'll take music history. They have to also take a 73 00:04:23,680 --> 00:04:28,080 Speaker 1: humanities core as well. So every semester that science, no 74 00:04:28,160 --> 00:04:31,680 Speaker 1: science and math at my institution of most conservatives don't 75 00:04:32,839 --> 00:04:35,680 Speaker 1: when they come to your school, is there an audition. 76 00:04:35,720 --> 00:04:38,640 Speaker 1: That must be an audition process. So each year, the 77 00:04:38,680 --> 00:04:42,719 Speaker 1: first week of March manis College of Music, ourselves and 78 00:04:42,800 --> 00:04:45,640 Speaker 1: Juilliard hold our auditions the same week, so students that 79 00:04:45,680 --> 00:04:48,320 Speaker 1: are coming wanting to come to your can come and 80 00:04:48,360 --> 00:04:50,680 Speaker 1: do all of us at one time. And so we 81 00:04:50,760 --> 00:04:54,200 Speaker 1: have over two thousand students audition the first week in 82 00:04:54,279 --> 00:04:58,200 Speaker 1: March every year for about four hundred spaces now the 83 00:04:58,279 --> 00:05:01,040 Speaker 1: two between you or at your scho at my school. 84 00:05:01,520 --> 00:05:04,280 Speaker 1: And but before that there's a pre screening audition. So 85 00:05:04,320 --> 00:05:09,640 Speaker 1: we actually do a primary screening which students send in 86 00:05:09,760 --> 00:05:14,280 Speaker 1: recordings and then they are either accepted to go to 87 00:05:14,320 --> 00:05:17,800 Speaker 1: the live audition or not. So there's another eight hundred 88 00:05:17,880 --> 00:05:20,479 Speaker 1: or so before the two thousand that are screened out 89 00:05:20,839 --> 00:05:22,520 Speaker 1: that we just say there's no way that they're going 90 00:05:22,560 --> 00:05:24,440 Speaker 1: to make the audition. Is it safe to assume that 91 00:05:24,480 --> 00:05:27,359 Speaker 1: they're all good if they're applying to you? Um, I 92 00:05:27,360 --> 00:05:29,440 Speaker 1: would say most are good, but there's a few that 93 00:05:29,480 --> 00:05:32,560 Speaker 1: go in there every year I think being naive, uh, 94 00:05:32,560 --> 00:05:36,000 Speaker 1: and not knowing the level at all. To think that 95 00:05:36,040 --> 00:05:37,680 Speaker 1: you didn't really know what you were getting into when 96 00:05:37,680 --> 00:05:40,080 Speaker 1: you sent your tape into Juilliard seems absurd to me. Well, 97 00:05:40,120 --> 00:05:42,320 Speaker 1: I think again, most of the vast majority do. But 98 00:05:42,360 --> 00:05:44,159 Speaker 1: there are always a few that you know, they they 99 00:05:44,279 --> 00:05:47,039 Speaker 1: they've been told all their lives that they're fabulous, and 100 00:05:47,200 --> 00:05:50,880 Speaker 1: you know, they don't know they're from I don't know, Wichita, 101 00:05:51,000 --> 00:05:53,720 Speaker 1: Kansas and they don't. And then when there has told them, 102 00:05:53,920 --> 00:05:56,760 Speaker 1: dear you don't really have it. Yeah, well, their finger 103 00:05:56,800 --> 00:06:01,640 Speaker 1: paintings are Picasso's. Exactly when the student body arrives in 104 00:06:01,720 --> 00:06:06,240 Speaker 1: the incoming class, I would imagine not everybody makes it. 105 00:06:06,279 --> 00:06:09,520 Speaker 1: Is there some attrition after the first year? Yeah, the 106 00:06:09,520 --> 00:06:12,080 Speaker 1: attrition every year. There's a bit of attrition in the 107 00:06:12,120 --> 00:06:15,720 Speaker 1: first years, and maybe seven of the students don't come back, 108 00:06:15,880 --> 00:06:18,400 Speaker 1: and when they don't want They were the best in 109 00:06:18,400 --> 00:06:20,840 Speaker 1: their hometown and now they're with a bunch of other 110 00:06:20,839 --> 00:06:23,240 Speaker 1: people who were the best in their hometown, and suddenly 111 00:06:23,279 --> 00:06:25,480 Speaker 1: they're not sitting in the in the principal seat of 112 00:06:25,520 --> 00:06:27,880 Speaker 1: the orchestra. They're sitting at the back of a section 113 00:06:28,040 --> 00:06:30,680 Speaker 1: or something, and I think they realize, oh, this is 114 00:06:30,720 --> 00:06:33,080 Speaker 1: going to be harder than I thought. Talent alone isn't 115 00:06:33,080 --> 00:06:34,960 Speaker 1: going to do it. I actually have to work really hard. 116 00:06:35,000 --> 00:06:37,760 Speaker 1: But going from college to the NFL, right, I would 117 00:06:37,760 --> 00:06:40,640 Speaker 1: imagine some cultural conditions as well where they come to 118 00:06:40,720 --> 00:06:42,480 Speaker 1: that they're not New Yorkers, they don't want to live 119 00:06:42,480 --> 00:06:44,400 Speaker 1: in New York, and there's sort of that. There's a 120 00:06:44,480 --> 00:06:46,400 Speaker 1: far there's a little bit of that, but I think 121 00:06:46,400 --> 00:06:47,919 Speaker 1: that actually most of the kids who come to New 122 00:06:48,000 --> 00:06:49,920 Speaker 1: York really want to be here. Because New York is 123 00:06:49,920 --> 00:06:53,159 Speaker 1: not a place that you feel lukewarm about. New York 124 00:06:53,200 --> 00:06:55,320 Speaker 1: is a place that you either love or you really 125 00:06:55,360 --> 00:06:56,640 Speaker 1: don't want to want to get out. You want to 126 00:06:56,640 --> 00:06:58,320 Speaker 1: get out, and I think so. I think most of 127 00:06:58,320 --> 00:07:01,320 Speaker 1: the students that's not why they leave. You think about 128 00:07:01,480 --> 00:07:05,479 Speaker 1: young people going to school. I had some pretty intense 129 00:07:05,520 --> 00:07:08,480 Speaker 1: conversations with the staff at one or two schools, and 130 00:07:08,680 --> 00:07:11,960 Speaker 1: they described me privately, Um, you know some of the 131 00:07:12,000 --> 00:07:16,520 Speaker 1: statistics drug over doses and sexual assault, and I would 132 00:07:16,520 --> 00:07:19,440 Speaker 1: always imagine that the discipline that was part of the 133 00:07:19,760 --> 00:07:22,160 Speaker 1: classical repertoire. You have a minimum if if none of 134 00:07:22,200 --> 00:07:25,360 Speaker 1: that correct. Yeah, I think compared to most other institutions, 135 00:07:25,400 --> 00:07:27,560 Speaker 1: we have very little, but we have our own. Every 136 00:07:27,560 --> 00:07:29,600 Speaker 1: every institution, some people come in there and they're young, 137 00:07:30,160 --> 00:07:32,160 Speaker 1: they're very in the years old, and they're in New 138 00:07:32,240 --> 00:07:34,640 Speaker 1: York and they're away from their parents for the first time. 139 00:07:35,200 --> 00:07:37,640 Speaker 1: We certainly have some of that, but it's not nearly 140 00:07:37,680 --> 00:07:41,120 Speaker 1: one of my colleagues that more traditional institutions tell me about. 141 00:07:41,880 --> 00:07:45,320 Speaker 1: Now you're from Sheboygan, I am what did your dad 142 00:07:45,320 --> 00:07:48,600 Speaker 1: do for a living? My father was a pattern maker 143 00:07:48,960 --> 00:07:52,360 Speaker 1: in a furniture company, which was he made the first chair. 144 00:07:52,680 --> 00:07:55,200 Speaker 1: If when a when a chair was designed, he would 145 00:07:55,240 --> 00:07:57,560 Speaker 1: take it from the designer, make the first chair, and 146 00:07:57,600 --> 00:07:59,840 Speaker 1: make the patterns that would then be used on the 147 00:08:00,000 --> 00:08:04,000 Speaker 1: family line to mass produce it. Your mom did she work? 148 00:08:04,360 --> 00:08:07,360 Speaker 1: She worked in the home until she was in her fifties, 149 00:08:07,800 --> 00:08:10,440 Speaker 1: and then she decided she was going to break out 150 00:08:10,440 --> 00:08:13,680 Speaker 1: of my father's a stricture of never working outside the 151 00:08:13,720 --> 00:08:17,240 Speaker 1: house because he was the breadwinner. Um. And she got 152 00:08:17,240 --> 00:08:19,880 Speaker 1: a job at a grocery store as a checkout clerk, 153 00:08:20,240 --> 00:08:23,320 Speaker 1: and she did that until she was never happier. She didn't. 154 00:08:23,440 --> 00:08:25,840 Speaker 1: She stopped working when she was seventy eight years old 155 00:08:26,240 --> 00:08:28,920 Speaker 1: when she said she just couldn't stand that long for 156 00:08:28,960 --> 00:08:32,200 Speaker 1: that many hours any longer. Well, my mother, who had 157 00:08:32,720 --> 00:08:35,160 Speaker 1: six children and was home in a very kind of 158 00:08:35,160 --> 00:08:38,480 Speaker 1: suffocatingly traditional How many kids in your and there were five, 159 00:08:39,480 --> 00:08:43,040 Speaker 1: three biological, two adopted, and then my parents had foster children, 160 00:08:43,360 --> 00:08:45,360 Speaker 1: so we had about ten foster children coming in and 161 00:08:45,360 --> 00:08:47,880 Speaker 1: out of the house when I was growing up. I'm 162 00:08:47,960 --> 00:08:50,840 Speaker 1: number three of the biological. What was music in the 163 00:08:50,920 --> 00:08:53,120 Speaker 1: family when you were a child? None of none of 164 00:08:53,120 --> 00:08:56,280 Speaker 1: my parents are musical. Um. So I got my start 165 00:08:56,360 --> 00:09:00,440 Speaker 1: through public education. So in fourth grade, we got to 166 00:09:00,520 --> 00:09:03,440 Speaker 1: choose an instrument if we wanted to, and I started 167 00:09:03,440 --> 00:09:07,439 Speaker 1: playing the trumpet, and then I switched to french horn. 168 00:09:07,520 --> 00:09:09,880 Speaker 1: Later I wasn't a very good trumpet player at french 169 00:09:09,880 --> 00:09:13,240 Speaker 1: horn player. And then in tenth grade, when I went 170 00:09:13,240 --> 00:09:16,400 Speaker 1: to high school, my best friend said to me, let's 171 00:09:16,480 --> 00:09:19,240 Speaker 1: join the choir. And I said, no, no, no, I'm 172 00:09:19,240 --> 00:09:21,040 Speaker 1: not going to join the choir. Thank you very much. 173 00:09:21,080 --> 00:09:23,199 Speaker 1: We're not going to do that. He kept being persistent, 174 00:09:23,760 --> 00:09:26,800 Speaker 1: so we did, and I immediately was placed in the 175 00:09:27,559 --> 00:09:29,360 Speaker 1: at that time, the top choir because it was several 176 00:09:29,400 --> 00:09:32,360 Speaker 1: It was quite a robust music program back then in 177 00:09:32,400 --> 00:09:35,040 Speaker 1: the dark ages. And I was also put in this 178 00:09:35,280 --> 00:09:39,640 Speaker 1: very very small choir that was only sixteen people. So 179 00:09:39,720 --> 00:09:44,319 Speaker 1: immediately I started singing and being very successful at that 180 00:09:45,160 --> 00:09:46,800 Speaker 1: and that's when I decided I was going to go 181 00:09:46,840 --> 00:09:50,120 Speaker 1: into music. Um, I had first wanted to be a minister, 182 00:09:51,320 --> 00:09:53,800 Speaker 1: then I wanted to be a social worker, and then 183 00:09:53,840 --> 00:09:55,880 Speaker 1: I wanted to be a teacher. There's a pattern in there. 184 00:09:56,280 --> 00:09:59,160 Speaker 1: Then I went to college and studied music and decided 185 00:09:59,200 --> 00:10:01,520 Speaker 1: I was going to be a perform and then later 186 00:10:01,880 --> 00:10:07,720 Speaker 1: when I got through uh my bachelor's and master's degree. Uh, 187 00:10:07,760 --> 00:10:10,199 Speaker 1: and moved to New York. I realized that I liked 188 00:10:10,480 --> 00:10:14,280 Speaker 1: education and I wanted education transformed by life because I 189 00:10:14,320 --> 00:10:17,640 Speaker 1: came from a working class family, and I thought there 190 00:10:17,679 --> 00:10:20,800 Speaker 1: would be nothing better than to combine music and my 191 00:10:20,960 --> 00:10:24,600 Speaker 1: love for higher education and help transform other people's lives. 192 00:10:26,080 --> 00:10:30,679 Speaker 1: You went to Lawrence University in Appleton. Mari ton of 193 00:10:30,720 --> 00:10:34,880 Speaker 1: Gucci was your voice coach, and uh, we do a 194 00:10:34,920 --> 00:10:38,640 Speaker 1: little bit certace. What made Mari Tona Gucci so effective 195 00:10:38,679 --> 00:10:41,360 Speaker 1: for you? Well, she was both effective and frightening. Um. 196 00:10:41,400 --> 00:10:44,320 Speaker 1: She was about five feet tall. She was somebody that 197 00:10:44,440 --> 00:10:49,200 Speaker 1: everyone revered and feared. She could reduce you to rubble 198 00:10:49,280 --> 00:10:53,040 Speaker 1: in two seconds. Where she was from. She was born 199 00:10:53,040 --> 00:10:57,520 Speaker 1: in California. Her parents were from Japan. Um. She she 200 00:10:57,559 --> 00:11:00,520 Speaker 1: taught me about excellence, and she taught me she was 201 00:11:00,559 --> 00:11:02,840 Speaker 1: probably one of the best musicians I ever met. She 202 00:11:02,880 --> 00:11:05,599 Speaker 1: wasn't a very good voice teacher, actually, but she was 203 00:11:05,640 --> 00:11:08,360 Speaker 1: a great musician. And she really taught me that every 204 00:11:08,360 --> 00:11:13,720 Speaker 1: single nuance and every millisecond counts and matters, and that 205 00:11:14,200 --> 00:11:17,640 Speaker 1: I think is something that is rare in society now, 206 00:11:18,320 --> 00:11:22,079 Speaker 1: that attention to detail, that attention to being as perfect 207 00:11:22,120 --> 00:11:24,440 Speaker 1: as you can be she wasn't a very good voice teacher, 208 00:11:24,440 --> 00:11:26,680 Speaker 1: which was a great musician. How do you distinguish the two. 209 00:11:27,200 --> 00:11:29,679 Speaker 1: Being a great voice teacher is how they teach you 210 00:11:29,880 --> 00:11:33,680 Speaker 1: at the technique of singing to actually produce a sound 211 00:11:34,040 --> 00:11:37,000 Speaker 1: better and better every time. I got better, but I 212 00:11:37,040 --> 00:11:39,600 Speaker 1: didn't get better I think in the ways that I 213 00:11:39,640 --> 00:11:42,600 Speaker 1: should have. If my next teacher at the San Francisco 214 00:11:42,600 --> 00:11:47,200 Speaker 1: Conservatory music for my master's degree, with someone who instilled 215 00:11:47,200 --> 00:11:51,120 Speaker 1: in me a sense of pride and myself and confidence 216 00:11:51,160 --> 00:11:55,800 Speaker 1: in myself, because because Marina Gucci had sort of reduced 217 00:11:55,840 --> 00:11:58,000 Speaker 1: that a bit, because if she was so demanding and 218 00:11:58,360 --> 00:12:01,720 Speaker 1: kind of a punitive way, my next teacher was just terrific. 219 00:12:01,760 --> 00:12:04,920 Speaker 1: He just built me up. You know. Personally. Was your 220 00:12:04,920 --> 00:12:07,160 Speaker 1: family supportive of you doing this kind of work? Yeah, 221 00:12:07,160 --> 00:12:09,280 Speaker 1: they were supportive, I think in part because they didn't 222 00:12:09,440 --> 00:12:14,719 Speaker 1: They didn't really know much of education, so so what 223 00:12:14,800 --> 00:12:16,480 Speaker 1: was great about that was they just said, we want 224 00:12:16,520 --> 00:12:18,760 Speaker 1: you to be happy. And the great thing about my 225 00:12:18,800 --> 00:12:22,600 Speaker 1: parents always was that if I had been a truck 226 00:12:22,640 --> 00:12:25,240 Speaker 1: driver or i'd be a president of a conservatory, it 227 00:12:25,360 --> 00:12:27,240 Speaker 1: wouldn't have mattered to them. As long as I was 228 00:12:27,240 --> 00:12:29,480 Speaker 1: a good person. I worked hard and I did my best. 229 00:12:29,679 --> 00:12:31,400 Speaker 1: It's always interesting when you have parents who say they 230 00:12:31,400 --> 00:12:33,760 Speaker 1: want you to be happy and they mean it. Yes, 231 00:12:34,320 --> 00:12:38,280 Speaker 1: was it at Appleton or San Francisco that William Sloane 232 00:12:38,280 --> 00:12:41,320 Speaker 1: Coffin spoke in the campus? It was first semester of 233 00:12:41,320 --> 00:12:44,440 Speaker 1: my freshman year in Lawrence. Yes, and uh it was 234 00:12:44,520 --> 00:12:47,400 Speaker 1: political activism, something that was royal ing for you when 235 00:12:47,400 --> 00:12:50,560 Speaker 1: you were going to school. It was beginning to boil 236 00:12:50,640 --> 00:12:54,400 Speaker 1: I had. I had been a nuclear power sort of 237 00:12:54,480 --> 00:12:56,840 Speaker 1: activist when I was in high school. They were trying 238 00:12:56,880 --> 00:12:59,280 Speaker 1: to build a nuclear power plant near my home, my 239 00:12:59,320 --> 00:13:03,280 Speaker 1: hometown and no, well they had several already along the 240 00:13:03,400 --> 00:13:05,040 Speaker 1: along Lake Michigan, but they were kind of trying to 241 00:13:05,040 --> 00:13:07,679 Speaker 1: build another one. And I was working and I was 242 00:13:07,880 --> 00:13:11,760 Speaker 1: doing some protests here there to star not anti nuclear weaponry, 243 00:13:11,760 --> 00:13:14,080 Speaker 1: anti utility. Correct, That's what I've worked in for about 244 00:13:14,120 --> 00:13:17,400 Speaker 1: twenty five years. And so when I went to college 245 00:13:17,400 --> 00:13:19,360 Speaker 1: and I saw and I heard williams sound Coffin, he 246 00:13:19,400 --> 00:13:23,160 Speaker 1: was talking about nuclear proliferation as in war. And I 247 00:13:23,200 --> 00:13:27,000 Speaker 1: had never been to a public lecture before, and I 248 00:13:27,040 --> 00:13:29,520 Speaker 1: went because I they said it was good for me, 249 00:13:29,559 --> 00:13:32,320 Speaker 1: and so I went because the authorities at the school 250 00:13:32,320 --> 00:13:34,200 Speaker 1: said it was good for me. So I went and 251 00:13:34,240 --> 00:13:37,000 Speaker 1: I loved it. I couldn't. I thought, this is what 252 00:13:37,120 --> 00:13:39,240 Speaker 1: college is about. I can learn all these things and 253 00:13:39,280 --> 00:13:42,960 Speaker 1: I can get exposed to these incredible, inspiring people. He 254 00:13:43,080 --> 00:13:48,200 Speaker 1: really was important in my education because it was so 255 00:13:48,240 --> 00:13:50,240 Speaker 1: early on. And then later when I lived in New 256 00:13:50,280 --> 00:13:52,280 Speaker 1: York and I saw him walking down the street near 257 00:13:52,360 --> 00:13:55,720 Speaker 1: Riverside Church, which is where he spent many years since 258 00:13:55,760 --> 00:13:58,000 Speaker 1: you know, um, I went up to him and I said, 259 00:13:58,040 --> 00:14:01,280 Speaker 1: I heard you wish and you really thank you so 260 00:14:01,360 --> 00:14:04,400 Speaker 1: much for that great You know, we were your parents 261 00:14:04,600 --> 00:14:06,800 Speaker 1: were either we're both of your parents liberal or vaguely 262 00:14:06,840 --> 00:14:09,440 Speaker 1: liberal people or now no, I would say my parents 263 00:14:09,480 --> 00:14:11,840 Speaker 1: were on the conservative side. Although they were independents. They 264 00:14:11,840 --> 00:14:16,280 Speaker 1: would vote. They would always say they voted for the person. Um. 265 00:14:16,320 --> 00:14:19,800 Speaker 1: My mother, however, in her later years, has become a Democrat, 266 00:14:20,520 --> 00:14:23,360 Speaker 1: and it is very much kind of hard not to 267 00:14:23,520 --> 00:14:26,800 Speaker 1: these days. She was very happy when Governor Walker was defeated. 268 00:14:27,160 --> 00:14:30,040 Speaker 1: She's very unhappy when Hillary didn't win. And I think 269 00:14:30,080 --> 00:14:34,000 Speaker 1: that came out because when I, um, I think when 270 00:14:34,040 --> 00:14:38,360 Speaker 1: I came out of the closet, she started changing her 271 00:14:38,400 --> 00:14:41,160 Speaker 1: views and she realized that her child was not being 272 00:14:41,200 --> 00:14:47,240 Speaker 1: protected by society and right and was treated fairly, and 273 00:14:47,360 --> 00:14:50,680 Speaker 1: she was and that changed a lot of her views. 274 00:14:51,640 --> 00:14:56,720 Speaker 1: And she's just the most incredible person you could ever meet. 275 00:14:56,920 --> 00:15:00,640 Speaker 1: And back, Yeah, when we go back to in my hometown, 276 00:15:00,680 --> 00:15:03,280 Speaker 1: my husband and I, she introduces my husband as her 277 00:15:03,520 --> 00:15:05,560 Speaker 1: son in law and it's very sweet and it's and 278 00:15:05,560 --> 00:15:08,840 Speaker 1: it's important. Actually, was that difficult to come out with 279 00:15:08,880 --> 00:15:14,880 Speaker 1: your roots? Well, it was in the nineteen nine so 280 00:15:14,920 --> 00:15:16,600 Speaker 1: it was. It was not easy at a place like 281 00:15:16,720 --> 00:15:21,240 Speaker 1: Lawrence Appleton is the home of Joe McCarthy. Um. Perfect. 282 00:15:22,400 --> 00:15:24,320 Speaker 1: So but you know, I have to say that that 283 00:15:24,520 --> 00:15:28,320 Speaker 1: I didn't have any overt problems among the faculty or 284 00:15:28,320 --> 00:15:30,880 Speaker 1: the administration. There were some student things that I endured, 285 00:15:30,920 --> 00:15:34,040 Speaker 1: but um. And then when I went to San Francisco, 286 00:15:34,680 --> 00:15:36,600 Speaker 1: I didn't know it. I didn't know what San Francisco 287 00:15:36,640 --> 00:15:40,040 Speaker 1: the honest when I moved there. But I found out 288 00:15:40,080 --> 00:15:43,320 Speaker 1: very quickly. More oxygen there for you, Francisco, A little 289 00:15:43,320 --> 00:15:48,400 Speaker 1: bit for you. What was the joy of singing? Well, 290 00:15:48,400 --> 00:15:52,040 Speaker 1: I love I have to say I love being on stage. Um. 291 00:15:52,200 --> 00:15:55,640 Speaker 1: I remember when I was student training and one of 292 00:15:55,640 --> 00:15:58,000 Speaker 1: the opera directors was saying to the group, now, you've 293 00:15:58,000 --> 00:15:59,720 Speaker 1: got to make sure you get in the light, getting 294 00:15:59,720 --> 00:16:03,720 Speaker 1: the light. Jim never is out of the light. I 295 00:16:03,840 --> 00:16:07,960 Speaker 1: just I naturally went to wherever the spotlight was right. 296 00:16:08,560 --> 00:16:11,560 Speaker 1: So I love that part of it. I also loved 297 00:16:11,640 --> 00:16:17,800 Speaker 1: the magnificent magnificence of the music. Um, you know, to 298 00:16:17,920 --> 00:16:21,480 Speaker 1: be performing with a great orchestra in a great hall 299 00:16:21,800 --> 00:16:24,960 Speaker 1: like I've performed with the New York Philarmonic maybe eight 300 00:16:25,080 --> 00:16:28,840 Speaker 1: hundred times. In the New York choral artists back in 301 00:16:28,880 --> 00:16:32,120 Speaker 1: the nineties and the eighties. Joe what's his name, Joe Flummerfeld, 302 00:16:32,960 --> 00:16:35,080 Speaker 1: I always say his name on the on the other radio. Yeah, 303 00:16:35,200 --> 00:16:39,280 Speaker 1: and the New York Choral artist, Joe Flummerfeld director, I'd say, correct. 304 00:16:39,360 --> 00:16:42,520 Speaker 1: But so you perform with them, yes, a lot under 305 00:16:42,560 --> 00:16:45,640 Speaker 1: Mayton Massour mostly, but also with Sir Colin Davis and 306 00:16:45,680 --> 00:16:49,440 Speaker 1: Bernstein and other guest conductors as well. I mean to 307 00:16:49,480 --> 00:16:54,320 Speaker 1: work with Bernstein. Was we did Maller second course. Mahler 308 00:16:54,440 --> 00:16:57,920 Speaker 1: was the thing that he was particularly noted for, um 309 00:16:58,040 --> 00:16:59,840 Speaker 1: and it was a year before he died, and it 310 00:17:00,280 --> 00:17:04,159 Speaker 1: was for performances and he never looked, He never had 311 00:17:04,160 --> 00:17:05,919 Speaker 1: a score in front of him and he's getting up 312 00:17:05,960 --> 00:17:08,359 Speaker 1: there in age, and obviously he was relatively close to death, 313 00:17:09,160 --> 00:17:12,520 Speaker 1: but the amount of energy and inspiration that he gave 314 00:17:12,520 --> 00:17:15,920 Speaker 1: from the podium was I'll never forget it. Then there's 315 00:17:15,920 --> 00:17:19,240 Speaker 1: a physical part of singing. It's just viscerally feels good 316 00:17:19,680 --> 00:17:22,720 Speaker 1: when it's on. You just can't imagine anything feeling better 317 00:17:22,720 --> 00:17:26,480 Speaker 1: than that, especially with a symphony. Granted this was not 318 00:17:26,560 --> 00:17:28,520 Speaker 1: a philharmonic, but I was on the stage with Jim 319 00:17:28,560 --> 00:17:30,600 Speaker 1: and Nanni with a big orchestra, like when adp Sorra 320 00:17:30,720 --> 00:17:33,720 Speaker 1: or ninety and when they fired up Bali high and 321 00:17:33,760 --> 00:17:36,119 Speaker 1: almost classically did a medley, you felt the chill go 322 00:17:36,240 --> 00:17:38,040 Speaker 1: up your spine. Here will those people played that music 323 00:17:38,240 --> 00:17:40,960 Speaker 1: five ft behind you. There's nothing like a live orchestra, 324 00:17:41,000 --> 00:17:43,080 Speaker 1: and there's nothing like an orchestra of a size because 325 00:17:43,080 --> 00:17:45,680 Speaker 1: the Broadway the orchestras get smaller and smaller. They're miked 326 00:17:45,760 --> 00:17:48,080 Speaker 1: and so masks a little bit of how small they are. 327 00:17:48,119 --> 00:17:51,200 Speaker 1: But it's just not the same as an acoustic orchestra 328 00:17:51,320 --> 00:17:55,359 Speaker 1: that's huge. South Pacific kind a very successful run. I 329 00:17:55,400 --> 00:17:58,160 Speaker 1: guess Broadway audiences have become much more generous in terms 330 00:17:58,200 --> 00:18:01,040 Speaker 1: of the lower their expectation about that sound quality because 331 00:18:01,119 --> 00:18:02,720 Speaker 1: the music it did sound a little thin, you know, 332 00:18:02,720 --> 00:18:04,199 Speaker 1: it was only like a I don't know what it 333 00:18:04,240 --> 00:18:07,560 Speaker 1: was like. I don't like it was such a difference 334 00:18:07,960 --> 00:18:11,400 Speaker 1: now to get back to and for our listeners we 335 00:18:11,480 --> 00:18:14,080 Speaker 1: mentioned that ms M. I'm referring to the Manhatan School 336 00:18:14,080 --> 00:18:16,720 Speaker 1: of Music. So when does MSM begin for you? You 337 00:18:16,760 --> 00:18:19,600 Speaker 1: start teaching their when Well, I didn't teach there in 338 00:18:19,600 --> 00:18:21,160 Speaker 1: the beginning. I moved to New York a day after 339 00:18:21,240 --> 00:18:24,399 Speaker 1: Christmas night four solely because I wanted to study with 340 00:18:24,440 --> 00:18:28,240 Speaker 1: a wonderful, wonderful teacher who taught me really how to sing, 341 00:18:29,200 --> 00:18:31,919 Speaker 1: Marlene Amalas. And she is a teacher of people like 342 00:18:31,960 --> 00:18:34,000 Speaker 1: Susan and Graham and Touchy on a try on us, 343 00:18:34,160 --> 00:18:37,239 Speaker 1: and the whole bevy of people who have sung at 344 00:18:37,280 --> 00:18:40,439 Speaker 1: the mat um. She taught at Manhattan School Music at 345 00:18:40,440 --> 00:18:43,040 Speaker 1: the time. She now teaches at Manhattan School Music, Julliard 346 00:18:43,040 --> 00:18:45,200 Speaker 1: and Curtis. So I went there because I wanted to 347 00:18:45,200 --> 00:18:47,760 Speaker 1: study with her, and also because I needed to defer 348 00:18:47,840 --> 00:18:51,800 Speaker 1: my student loans. So I did that, and after a semester, 349 00:18:52,960 --> 00:18:55,000 Speaker 1: I needed to have find a job because I was 350 00:18:55,080 --> 00:18:57,280 Speaker 1: running out of money, and I did pay my rent 351 00:18:58,119 --> 00:19:00,400 Speaker 1: so party town, are you living here? I was living 352 00:19:00,400 --> 00:19:04,080 Speaker 1: in health kitchen and eighth back back when I with 353 00:19:04,119 --> 00:19:07,680 Speaker 1: the place, living at a cheap compartment, right, no longer, right, exactly, 354 00:19:07,720 --> 00:19:10,920 Speaker 1: It's as expensive as everywhere else there. And then um 355 00:19:10,960 --> 00:19:13,199 Speaker 1: so I got a job as an administrative assistant in 356 00:19:13,240 --> 00:19:16,560 Speaker 1: the Summer school office. And then four months later I 357 00:19:16,720 --> 00:19:19,280 Speaker 1: started working the admission office as assistant director. And then 358 00:19:19,320 --> 00:19:20,920 Speaker 1: I became the director of career planning, and then I 359 00:19:20,960 --> 00:19:23,920 Speaker 1: came the director of admission. You're doing that early run 360 00:19:23,960 --> 00:19:26,160 Speaker 1: you're talking about. You got the bug? You liked it? 361 00:19:26,680 --> 00:19:30,080 Speaker 1: I did, And I realized then beyond liking a steady paycheck, 362 00:19:30,119 --> 00:19:33,640 Speaker 1: you liked the realized that not only the institution was great, 363 00:19:33,680 --> 00:19:35,640 Speaker 1: but this is what I really wanted to do. This 364 00:19:35,720 --> 00:19:40,480 Speaker 1: was actually giving me more fuel for my soul over 365 00:19:40,560 --> 00:19:44,960 Speaker 1: a daily in a daily basis than what being a 366 00:19:45,000 --> 00:19:47,040 Speaker 1: singer was. And it was, but I but the great 367 00:19:47,080 --> 00:19:49,960 Speaker 1: thing was I was able to continue to sing, singing 368 00:19:49,960 --> 00:19:51,800 Speaker 1: in two groups for the most part, the New York 369 00:19:51,840 --> 00:19:53,840 Speaker 1: Choral Artists with the New York Philharmonic and a few 370 00:19:53,840 --> 00:19:56,920 Speaker 1: other visiting orchestras, and then another group in the village 371 00:19:56,960 --> 00:19:58,880 Speaker 1: called Voices of ascension. So I had what I thought 372 00:19:59,000 --> 00:20:02,320 Speaker 1: was the perfect combination and of being a professional musician 373 00:20:02,640 --> 00:20:07,520 Speaker 1: and yet doing full time what I wanted to do. Interesting, 374 00:20:07,640 --> 00:20:10,760 Speaker 1: when you find a job and you're a performer, and 375 00:20:10,840 --> 00:20:12,520 Speaker 1: so it's I think it's the same for whole performers, 376 00:20:12,520 --> 00:20:16,159 Speaker 1: regardless of what your singing, classical repertoire, or you're acting 377 00:20:16,280 --> 00:20:19,480 Speaker 1: or playing an instrument or what have you are doing comedy. 378 00:20:19,560 --> 00:20:22,280 Speaker 1: I don't know that when you find that job, it's 379 00:20:22,280 --> 00:20:25,199 Speaker 1: the money gig, that's the paycheck gig. You stumble on 380 00:20:25,200 --> 00:20:27,560 Speaker 1: one that you actually like, and it's the birth of 381 00:20:27,560 --> 00:20:30,280 Speaker 1: a career. I agree, and I can't imagine doing anything 382 00:20:30,320 --> 00:20:41,040 Speaker 1: better with my life. You're listening to Manhattan's School of 383 00:20:41,119 --> 00:20:45,040 Speaker 1: Music president James Gandry from his days as a tenor 384 00:20:45,600 --> 00:20:49,119 Speaker 1: making ends meet from gig to gig. He's here in 385 00:20:49,160 --> 00:20:53,120 Speaker 1: the choir singing Porgy and Bess with the New York 386 00:20:53,119 --> 00:21:01,280 Speaker 1: Philharmonic under the incomparable Zubin Mehta, enough leader of the 387 00:21:01,320 --> 00:21:05,440 Speaker 1: New York classical music scene. His former New York Philharmonic 388 00:21:05,520 --> 00:21:10,560 Speaker 1: director Zarin made a Yes, that's Zubin's brother. It wasn't easy, 389 00:21:10,840 --> 00:21:14,760 Speaker 1: but I got Zaren on the record about his favorite composers. 390 00:21:16,320 --> 00:21:20,119 Speaker 1: I mean it sounds pretty trite with people want to 391 00:21:20,160 --> 00:21:22,840 Speaker 1: hear this Shoe. I love Shoe, but sho was song 392 00:21:23,000 --> 00:21:35,399 Speaker 1: She's Somewhere. You're indifferent too, Yeah, haven't got enough time here. 393 00:21:35,720 --> 00:21:40,320 Speaker 1: Zaren made his other strong opinions in our archive at 394 00:21:40,359 --> 00:22:09,520 Speaker 1: Here's the Thing dot org. This is Alec Baldwin and 395 00:22:09,600 --> 00:22:12,960 Speaker 1: you're listening to Here's the Thing. I'm back with the 396 00:22:13,080 --> 00:22:16,880 Speaker 1: president of the Manhattan School of Music, James Gandry. You're 397 00:22:16,920 --> 00:22:20,840 Speaker 1: listening to his very first recording as a professional singer 398 00:22:21,400 --> 00:22:25,919 Speaker 1: in John Adams Harmonium with the San Francisco Symphony, recorded 399 00:22:25,960 --> 00:22:35,280 Speaker 1: in Gandry has ultimate responsibility for the hiring and firing 400 00:22:35,359 --> 00:22:38,320 Speaker 1: of the school's two hundred and fifty full and part 401 00:22:38,359 --> 00:22:42,200 Speaker 1: time teachers, who spend every day with students in classrooms 402 00:22:42,520 --> 00:22:47,080 Speaker 1: and one on one. It's a relationship that is very intimate, 403 00:22:47,119 --> 00:22:49,760 Speaker 1: and I don't mean that in an inappropriate way, particularly 404 00:22:49,760 --> 00:22:53,480 Speaker 1: in voice, because unlike other instruments where you can a 405 00:22:53,520 --> 00:22:58,000 Speaker 1: teacher can actually show the student, hold your fingers this way, 406 00:22:58,119 --> 00:23:00,159 Speaker 1: hold your arm this way, put the violin and or 407 00:23:00,200 --> 00:23:04,120 Speaker 1: your chin this way. Um, raise your elbows this way. 408 00:23:04,200 --> 00:23:07,280 Speaker 1: For a pianist or something. You can only do that 409 00:23:07,320 --> 00:23:10,800 Speaker 1: really through imagery and through feel with the voice. Because 410 00:23:10,840 --> 00:23:14,760 Speaker 1: you can't see the voice, you can't manipulate the voice. UM. 411 00:23:14,840 --> 00:23:17,840 Speaker 1: So I think that half of the half of the 412 00:23:17,880 --> 00:23:23,440 Speaker 1: success of any voice teacher student relationship is a personal one. 413 00:23:23,920 --> 00:23:25,879 Speaker 1: The other half is a technical one and knowing what 414 00:23:25,920 --> 00:23:31,919 Speaker 1: you're saying and and and being able to translate imagery 415 00:23:32,040 --> 00:23:36,800 Speaker 1: to doing something that actually works for the student and 416 00:23:36,800 --> 00:23:39,960 Speaker 1: and and each student is different because each body is different. Also, 417 00:23:40,080 --> 00:23:44,840 Speaker 1: so residences are slightly different for everybody. So the intuition 418 00:23:44,920 --> 00:23:48,280 Speaker 1: that a great teacher has to know how to change 419 00:23:48,520 --> 00:23:52,960 Speaker 1: the approach that they do to technical the technical work 420 00:23:53,000 --> 00:23:57,040 Speaker 1: that the student the teacher are doing is what I 421 00:23:57,080 --> 00:24:01,119 Speaker 1: think UM delineates between a eight teacher and an okay 422 00:24:01,119 --> 00:24:04,000 Speaker 1: teacher and just a bad teacher it just doesn't really 423 00:24:04,040 --> 00:24:07,080 Speaker 1: know how to teach at all and shouldn't be teaching UM. 424 00:24:07,160 --> 00:24:08,840 Speaker 1: And also, I think to make sure that you know 425 00:24:08,880 --> 00:24:12,919 Speaker 1: how to guide the student to put themselves out there 426 00:24:12,920 --> 00:24:15,679 Speaker 1: again into risk because I think you know, being on 427 00:24:15,760 --> 00:24:19,160 Speaker 1: stage every time you perform, there is a risk. There's 428 00:24:19,160 --> 00:24:20,480 Speaker 1: a risk that you're not going to do well, and 429 00:24:20,520 --> 00:24:23,040 Speaker 1: you're in front of all these people. Know, most people 430 00:24:23,119 --> 00:24:25,960 Speaker 1: don't do their job in front of an audience, and 431 00:24:26,160 --> 00:24:28,040 Speaker 1: often they want to be safe, and when they're safe, 432 00:24:28,040 --> 00:24:31,240 Speaker 1: they actually don't do the right thing. And I would 433 00:24:31,240 --> 00:24:33,200 Speaker 1: teach it, and that's it was like no new drop on. 434 00:24:33,320 --> 00:24:35,479 Speaker 1: I'd sit there and I'd say, you've got to develop 435 00:24:35,520 --> 00:24:39,280 Speaker 1: this very artificial ability. You've got to develop this very 436 00:24:39,359 --> 00:24:43,280 Speaker 1: foreign capacity to not care what people think about you. 437 00:24:44,440 --> 00:24:46,639 Speaker 1: And we care very much about what they think about this. 438 00:24:46,680 --> 00:24:48,760 Speaker 1: But and we do before we go on stage, and 439 00:24:48,760 --> 00:24:50,760 Speaker 1: we do after become on stage. But the trick is 440 00:24:50,800 --> 00:24:54,480 Speaker 1: that while you're on stage doing it, you have to risk. 441 00:24:54,680 --> 00:24:57,080 Speaker 1: You have to jump off the cliff and dry anyway. 442 00:24:57,119 --> 00:24:58,680 Speaker 1: Do you have a teach Do you have a teach voice? There? 443 00:24:58,880 --> 00:25:01,280 Speaker 1: I don't now what I did back in the in 444 00:25:01,320 --> 00:25:04,560 Speaker 1: the day I taught performance classes, not actually individual voice 445 00:25:05,440 --> 00:25:08,160 Speaker 1: who told them all how to find their light. Indeed, 446 00:25:08,800 --> 00:25:10,760 Speaker 1: and continue doing that when I was when I moved 447 00:25:10,760 --> 00:25:13,840 Speaker 1: to Chicago in two thousands. You left ms M, Yes, 448 00:25:13,880 --> 00:25:18,760 Speaker 1: I did. After fifteen years. I left MSN sure too, 449 00:25:18,840 --> 00:25:20,520 Speaker 1: because I thought it was time to move on. I 450 00:25:20,560 --> 00:25:22,520 Speaker 1: needed to grow in different ways than I could. I 451 00:25:22,560 --> 00:25:25,480 Speaker 1: think if I had stayed I love the institution, but 452 00:25:25,520 --> 00:25:28,560 Speaker 1: I wanted to actually lead an institution. So the opportunity 453 00:25:28,600 --> 00:25:32,040 Speaker 1: to be the head materialized where where I was the 454 00:25:32,080 --> 00:25:35,440 Speaker 1: dean of Chicago College of Performing Arts at Roosevelt University. 455 00:25:36,400 --> 00:25:37,960 Speaker 1: So I did that for seven and a half years, 456 00:25:38,760 --> 00:25:40,480 Speaker 1: and in the last year and a half, I was 457 00:25:40,520 --> 00:25:43,879 Speaker 1: asked by the then provost of the institution to be 458 00:25:43,920 --> 00:25:46,120 Speaker 1: the interim dean of the College of Education as well. 459 00:25:46,200 --> 00:25:49,280 Speaker 1: So I had to deanships at once. Then she laughed, 460 00:25:49,359 --> 00:25:53,000 Speaker 1: the institution the provost and I became the interim interim provost. 461 00:25:53,480 --> 00:25:55,200 Speaker 1: Provost is sort of the dean of the dean's It's 462 00:25:55,240 --> 00:25:57,280 Speaker 1: the chief academic officer and all the deans of the 463 00:25:57,320 --> 00:25:59,840 Speaker 1: colleges report to the provost. So I had the dean 464 00:25:59,840 --> 00:26:01,600 Speaker 1: of pharmacy in the Den of Business and the dean 465 00:26:01,640 --> 00:26:06,560 Speaker 1: of education is um. I wanted it because I thought 466 00:26:06,600 --> 00:26:08,200 Speaker 1: that I could be a president. To me, like, you're 467 00:26:08,200 --> 00:26:13,960 Speaker 1: just power badge. Your power now, transforming people's lives and 468 00:26:14,040 --> 00:26:17,479 Speaker 1: making a difference in them is what I get off on. 469 00:26:18,359 --> 00:26:21,159 Speaker 1: So I realized more and more that unless you're at 470 00:26:21,200 --> 00:26:24,439 Speaker 1: the very top roll, you can't change an institution. You 471 00:26:24,480 --> 00:26:27,000 Speaker 1: can have an effect in a certain number of people's lives. 472 00:26:27,440 --> 00:26:30,840 Speaker 1: But when you're the president, you affect significance. I'm assuming 473 00:26:30,880 --> 00:26:34,840 Speaker 1: that as you climb this ladder administratively at these fine institutions, 474 00:26:35,359 --> 00:26:37,240 Speaker 1: does the performance and the part of you that's a 475 00:26:37,280 --> 00:26:39,680 Speaker 1: singer gets squeezed out more and more when you climb 476 00:26:39,760 --> 00:26:43,040 Speaker 1: the ladder. Almost everyone does. And whether you're a historian 477 00:26:43,160 --> 00:26:45,600 Speaker 1: or you're a physicist or whatever, when you climb that ladder, 478 00:26:45,640 --> 00:26:49,800 Speaker 1: you stop doing your the other work because you just 479 00:26:49,880 --> 00:26:53,520 Speaker 1: can't any longer. It just takes up judge job. So 480 00:26:53,680 --> 00:26:55,800 Speaker 1: you're there for seven and a half years, and what 481 00:26:56,000 --> 00:26:58,760 Speaker 1: entices you to come back? So after my seven half 482 00:26:58,840 --> 00:27:00,280 Speaker 1: years is Dean and then five and a half years 483 00:27:00,320 --> 00:27:04,159 Speaker 1: as provost, I was beginning to think of looking for presidencies, 484 00:27:04,200 --> 00:27:07,280 Speaker 1: And so I was, and so the president of manhatt 485 00:27:07,320 --> 00:27:10,320 Speaker 1: School Music had just resigned, and so someone had said 486 00:27:10,320 --> 00:27:13,560 Speaker 1: to me, you know, can I nominate you? And I 487 00:27:13,560 --> 00:27:16,399 Speaker 1: said sure, But I mean, Manhattan School Music is not 488 00:27:16,520 --> 00:27:19,680 Speaker 1: going to hire me. Why do you say that? Because 489 00:27:19,680 --> 00:27:21,000 Speaker 1: I have an idea, which is that? Is it the 490 00:27:21,040 --> 00:27:22,880 Speaker 1: idea that they knew you when you were like junior, 491 00:27:23,680 --> 00:27:25,840 Speaker 1: You were in the lower ranks and they just didn't 492 00:27:25,840 --> 00:27:28,240 Speaker 1: have the ability to see you. And that's what I thought, 493 00:27:29,359 --> 00:27:30,959 Speaker 1: And I'm sure there was part of that during the 494 00:27:31,000 --> 00:27:33,880 Speaker 1: process of them. I'm sure that was a discussion they had. 495 00:27:34,440 --> 00:27:37,120 Speaker 1: But in the end I was offered the job, and 496 00:27:37,160 --> 00:27:39,080 Speaker 1: I was thrilled to death to be coming back to 497 00:27:39,119 --> 00:27:41,680 Speaker 1: a place where I had started as an administrative assistant 498 00:27:41,720 --> 00:27:45,199 Speaker 1: at one time. UH to become the ninth president of 499 00:27:45,200 --> 00:27:48,560 Speaker 1: the school, following some people who were pretty impressive. Did 500 00:27:48,640 --> 00:27:50,879 Speaker 1: much change and did much change of Manhattan since you 501 00:27:50,960 --> 00:27:54,399 Speaker 1: were gone. One of the things about conservatories is that 502 00:27:54,520 --> 00:27:59,840 Speaker 1: conservative is in their name. Higher education in general, although 503 00:28:00,600 --> 00:28:05,520 Speaker 1: politically fairly liberal, is in their own curriculum and their 504 00:28:05,560 --> 00:28:10,640 Speaker 1: programs fairly conservative. Um, So conservatives have a hard time changing. 505 00:28:10,760 --> 00:28:12,919 Speaker 1: So right now we're in the middle of a planning 506 00:28:12,960 --> 00:28:14,600 Speaker 1: process and one of the things we're gonna be talking 507 00:28:14,600 --> 00:28:17,439 Speaker 1: about is how should we change and how do we 508 00:28:17,520 --> 00:28:20,760 Speaker 1: continue to hold onto the traditions which are important at 509 00:28:20,760 --> 00:28:25,000 Speaker 1: the same time as looking forward to a new world 510 00:28:25,080 --> 00:28:29,639 Speaker 1: that we need to prepare our students for. So um, 511 00:28:29,680 --> 00:28:31,800 Speaker 1: there was a lot that was very similar. I think 512 00:28:31,800 --> 00:28:33,840 Speaker 1: what what the institution had always done a really great 513 00:28:33,920 --> 00:28:37,400 Speaker 1: job at was the actual education of the students. What 514 00:28:37,560 --> 00:28:41,040 Speaker 1: institutions like MIND have neglected are the facilities and the 515 00:28:41,120 --> 00:28:45,480 Speaker 1: promotion of the institution. I'm assuming that thirty years ago, 516 00:28:45,480 --> 00:28:47,560 Speaker 1: schools have Manhattan School of Music didn't have to do 517 00:28:47,680 --> 00:28:51,600 Speaker 1: much promotion. People who were disposed towards that they knew 518 00:28:51,600 --> 00:28:53,520 Speaker 1: who you were, and they were like like Harvard, they 519 00:28:53,520 --> 00:28:55,520 Speaker 1: were headed in your direction. There was a lot of that. 520 00:28:55,560 --> 00:29:00,200 Speaker 1: There was also, um, a sense that doing that kind 521 00:29:00,200 --> 00:29:06,080 Speaker 1: of promotion maybe was yes, and so you just didn't 522 00:29:06,080 --> 00:29:09,960 Speaker 1: do it because those of us do at this level. 523 00:29:10,480 --> 00:29:13,440 Speaker 1: So I think that's long gone, thank goodness. Um. But 524 00:29:13,560 --> 00:29:15,920 Speaker 1: when I arrived, there was very little social media going on, 525 00:29:16,040 --> 00:29:20,760 Speaker 1: almost none. Um. We were not promoting ourselves very much, 526 00:29:21,520 --> 00:29:23,440 Speaker 1: and we were living off our reputation, which was a 527 00:29:23,440 --> 00:29:25,920 Speaker 1: great reputation and thank god, it is so good. So 528 00:29:26,000 --> 00:29:28,160 Speaker 1: the institution kept going. But now I think we have 529 00:29:28,200 --> 00:29:33,080 Speaker 1: a different presence. You do start uh adding to that dent. 530 00:29:33,280 --> 00:29:34,840 Speaker 1: But the good news is, you know, the number of 531 00:29:34,840 --> 00:29:39,280 Speaker 1: followers on Twitter and Facebook, etcetera. Have been exponentially growing 532 00:29:39,320 --> 00:29:43,760 Speaker 1: for us. So that's been terrific. In our numbers are 533 00:29:43,800 --> 00:29:47,440 Speaker 1: this year. Application numbers are up again what percentage to 534 00:29:47,520 --> 00:29:49,240 Speaker 1: the extent you can say, are on some kind of 535 00:29:49,280 --> 00:29:53,400 Speaker 1: financial aid. About two thirds are on institutional financial light, 536 00:29:53,920 --> 00:29:57,920 Speaker 1: meaning in money that we give them. Uh, there's another group, 537 00:29:57,960 --> 00:30:02,240 Speaker 1: another percentage I'm not exactly sure that also received government 538 00:30:02,280 --> 00:30:04,760 Speaker 1: aid and outside aid, but not necessarily for lots. You 539 00:30:04,800 --> 00:30:08,800 Speaker 1: have four hundred incoming per year, correct, because the most 540 00:30:08,800 --> 00:30:12,440 Speaker 1: conservatories have a disproportionate number of graduate students. A lot 541 00:30:12,480 --> 00:30:15,640 Speaker 1: of graduate students go to universities for their undergraduate education 542 00:30:15,680 --> 00:30:19,160 Speaker 1: and then they come to conservatories for their graduate program. 543 00:30:19,240 --> 00:30:22,920 Speaker 1: So you'll find either fifty fifty or sixty forty kinds 544 00:30:22,960 --> 00:30:27,120 Speaker 1: of balances at most conservatories graduate to undergraduate. So that's 545 00:30:27,120 --> 00:30:29,320 Speaker 1: why there's four hundred coming in every year, because we 546 00:30:29,320 --> 00:30:31,479 Speaker 1: were replacing them every two years as opposed to four 547 00:30:31,520 --> 00:30:34,920 Speaker 1: year undergraduate program in entering freshman classes, how many of 548 00:30:34,960 --> 00:30:40,240 Speaker 1: the four which the housing imperative for them in an 549 00:30:40,240 --> 00:30:42,520 Speaker 1: institution in Manhattan, So we have a we have a 550 00:30:42,600 --> 00:30:46,200 Speaker 1: residence hall where my husband and I live. Actually, um, 551 00:30:46,400 --> 00:30:48,320 Speaker 1: we have a slightly better dorm room than they do. 552 00:30:49,280 --> 00:30:51,600 Speaker 1: Where is that. It's at the school, So it's at 553 00:30:51,640 --> 00:30:55,880 Speaker 1: one and Claremont Avenue, which is right across from Riverside Church. 554 00:30:56,760 --> 00:30:59,280 Speaker 1: About half of our student body lives in the residence hall, 555 00:30:59,400 --> 00:31:02,440 Speaker 1: and fresh and sophomores are required to live there. When 556 00:31:02,480 --> 00:31:04,800 Speaker 1: I went to that commencement with Long Long, where was 557 00:31:04,840 --> 00:31:06,880 Speaker 1: it held? The game with the side, Can I tell 558 00:31:06,880 --> 00:31:09,840 Speaker 1: you something? It was? Absolutely it was. I mean I 559 00:31:09,920 --> 00:31:12,440 Speaker 1: had tears streaming down my face. We were up on 560 00:31:12,480 --> 00:31:15,360 Speaker 1: that altar and I'm there with Long Long who I 561 00:31:15,480 --> 00:31:18,960 Speaker 1: worship that commencement? Oh my god, that's the advertisement for 562 00:31:19,040 --> 00:31:21,000 Speaker 1: your school right there. You should take that and put 563 00:31:21,040 --> 00:31:23,320 Speaker 1: it online. We do not live stream it actually doesn't 564 00:31:23,360 --> 00:31:27,680 Speaker 1: have it. Um every year when I have people like 565 00:31:27,720 --> 00:31:30,240 Speaker 1: yourself getting honorary doctorates and I say to them, what 566 00:31:30,320 --> 00:31:32,320 Speaker 1: it's going to be alike, and you know, I explained 567 00:31:32,320 --> 00:31:35,640 Speaker 1: it to them and they they understand it, but when 568 00:31:35,680 --> 00:31:39,400 Speaker 1: they actually experienced it, they just remember bbne Earth when 569 00:31:39,400 --> 00:31:41,360 Speaker 1: we gave her an honorary doctrine and she's now on 570 00:31:41,360 --> 00:31:44,360 Speaker 1: our board of trustees. Also, I told her, I said, 571 00:31:44,400 --> 00:31:46,240 Speaker 1: you're going to be overwhelmed in a way that you've 572 00:31:46,280 --> 00:31:49,280 Speaker 1: never been overwhelmed, no matter all the great things you've 573 00:31:49,280 --> 00:31:51,000 Speaker 1: done in front of the lights and everything. This is 574 00:31:51,040 --> 00:31:53,720 Speaker 1: going to be one of the big moments. And she 575 00:31:54,120 --> 00:31:56,440 Speaker 1: after it was over, she said, Jim, you were absolutely right. 576 00:31:56,520 --> 00:31:58,520 Speaker 1: That was one of the greatest things in my life 577 00:31:58,800 --> 00:32:00,840 Speaker 1: to get that honorary Doctor trit and to be there 578 00:32:00,840 --> 00:32:03,280 Speaker 1: in that grandeur of that whole thing, and to see 579 00:32:03,360 --> 00:32:05,400 Speaker 1: the kids and the who the whole thing is. It's 580 00:32:05,440 --> 00:32:08,040 Speaker 1: it's everyone who knows me well knows. There are two 581 00:32:08,080 --> 00:32:10,160 Speaker 1: days that are my favorite days of the year. Which 582 00:32:10,200 --> 00:32:13,360 Speaker 1: is the day, that moving day, when the kids come 583 00:32:13,360 --> 00:32:15,400 Speaker 1: with their families and they've got their cars and their 584 00:32:15,440 --> 00:32:18,680 Speaker 1: unloading their stuff, and they are full of energy and 585 00:32:18,720 --> 00:32:21,800 Speaker 1: excitement and a little bit of fear about this journey 586 00:32:21,800 --> 00:32:24,600 Speaker 1: they're about to take. And then it's the last day, 587 00:32:24,760 --> 00:32:27,080 Speaker 1: which is commencement, which is the same thing. They're excited 588 00:32:27,080 --> 00:32:29,120 Speaker 1: and they're also fearful the next step they're going to take. 589 00:32:29,160 --> 00:32:30,400 Speaker 1: They don't know what it's going to be on. Do 590 00:32:30,440 --> 00:32:33,280 Speaker 1: you teach conducting as well, Yes, we do, And and 591 00:32:33,320 --> 00:32:35,720 Speaker 1: you know, being a conductor is a very very hard job. 592 00:32:35,960 --> 00:32:38,160 Speaker 1: Why do you tell me what? Well, first of all, 593 00:32:38,280 --> 00:32:40,800 Speaker 1: just technically it's it's difficult because you have to make 594 00:32:40,840 --> 00:32:43,479 Speaker 1: sure that you know how to guide an orchestra so 595 00:32:43,560 --> 00:32:47,080 Speaker 1: that every single person understands the slightest thing that happens 596 00:32:47,080 --> 00:32:50,120 Speaker 1: in the tip of your baton, but also it's leadership 597 00:32:50,160 --> 00:32:53,560 Speaker 1: without bludgeoning. Often. I mean some conductors, certainly old time 598 00:32:54,920 --> 00:32:57,120 Speaker 1: um you know, George Zel, etcetera, were known as to 599 00:32:57,120 --> 00:32:59,760 Speaker 1: be pretty pretty hard task masters. That doesn't really work 600 00:32:59,800 --> 00:33:02,760 Speaker 1: some watch anymore. But to be able to inspire a 601 00:33:02,800 --> 00:33:07,200 Speaker 1: group of people to follow you and also at the 602 00:33:07,280 --> 00:33:10,800 Speaker 1: same time demanding that they do um and having a 603 00:33:10,800 --> 00:33:13,680 Speaker 1: certain rapport with the audience, all of that together. I mean, 604 00:33:13,800 --> 00:33:16,920 Speaker 1: I've watched Leonard Slatkin teach, because he's on our board 605 00:33:16,960 --> 00:33:20,400 Speaker 1: all Sound. He now teaches. He takes two fellows from 606 00:33:20,400 --> 00:33:23,200 Speaker 1: our conducting program and works with them every year, has 607 00:33:23,240 --> 00:33:28,720 Speaker 1: them conduct here, and then he goes until this year 608 00:33:28,720 --> 00:33:31,880 Speaker 1: when he stepped down from Detroit. He would take them 609 00:33:31,880 --> 00:33:33,960 Speaker 1: to the Detroit Symphony and give them a full rehearsal 610 00:33:34,000 --> 00:33:36,120 Speaker 1: with the Detroit Symphony on the same repertoire that they 611 00:33:36,240 --> 00:33:38,479 Speaker 1: conducted with our students. So he takes half the concert, 612 00:33:38,560 --> 00:33:40,840 Speaker 1: they take the other half of the concert, and just 613 00:33:40,920 --> 00:33:44,400 Speaker 1: watching him work with really talented young people, telling them, 614 00:33:44,760 --> 00:33:46,440 Speaker 1: do you see what you didn't do right there? If 615 00:33:46,440 --> 00:33:48,840 Speaker 1: you had just done this slightly different thing with your risk, 616 00:33:48,920 --> 00:33:50,960 Speaker 1: they would have followed. But what you did was unclear 617 00:33:51,400 --> 00:33:56,480 Speaker 1: those new ones, and you can't see anything consistently. I mean, 618 00:33:57,120 --> 00:34:00,360 Speaker 1: books are keys trying to, you know, sweep a smoke 619 00:34:00,400 --> 00:34:02,480 Speaker 1: away from a from a pan that's on fire in 620 00:34:02,480 --> 00:34:06,040 Speaker 1: a kitchen. And remember the two conductors that I would 621 00:34:06,080 --> 00:34:08,440 Speaker 1: I worked with the most, which was Zuba Mata and 622 00:34:08,640 --> 00:34:11,080 Speaker 1: Kurt Massour the New York Philharmonic, And they could not 623 00:34:11,160 --> 00:34:16,920 Speaker 1: have been more different conductors. I mean they are world's apart. Um. 624 00:34:17,480 --> 00:34:22,600 Speaker 1: Zuban's stick technique is as good as any I ever 625 00:34:22,640 --> 00:34:27,719 Speaker 1: worked with him. You could follow that baton without any problem, anytime, 626 00:34:27,800 --> 00:34:31,120 Speaker 1: during any problem of any sort. He was amazing. He 627 00:34:31,239 --> 00:34:39,080 Speaker 1: was also incredibly effusive in a very generous kind of way. Um. 628 00:34:39,320 --> 00:34:43,680 Speaker 1: And I think Missour was chillier he was. He was 629 00:34:43,719 --> 00:34:46,280 Speaker 1: harder his stick. He wasn't very good in part because 630 00:34:46,320 --> 00:34:48,200 Speaker 1: he had a you know a bit of a disability 631 00:34:48,239 --> 00:34:51,440 Speaker 1: with his right arm. But it was always easy to 632 00:34:51,480 --> 00:34:53,759 Speaker 1: follow him because what he did was he learned how 633 00:34:53,880 --> 00:35:00,640 Speaker 1: to convey what he wanted through his face and his body, 634 00:35:00,760 --> 00:35:03,040 Speaker 1: so he made up for what he was lacking with 635 00:35:03,080 --> 00:35:05,479 Speaker 1: his right arm. And what goes into the choice between stick, 636 00:35:05,520 --> 00:35:09,440 Speaker 1: no stick, have no stick? Oh really, I didn't remember 637 00:35:09,440 --> 00:35:12,600 Speaker 1: that but there's very few conductors who don't use a stick. 638 00:35:12,920 --> 00:35:15,120 Speaker 1: Sometimes the conductors will mostly use a stick and then 639 00:35:15,120 --> 00:35:19,400 Speaker 1: put it down for certain passages, usually in very subtle, 640 00:35:19,480 --> 00:35:23,920 Speaker 1: soft passages. I don't find it necessary. It's certainly easier 641 00:35:23,920 --> 00:35:26,280 Speaker 1: with a stick. Um. I think you have to look 642 00:35:26,760 --> 00:35:29,920 Speaker 1: if you're if you're a performer, you have to watch 643 00:35:30,880 --> 00:35:33,680 Speaker 1: far more closely if you don't have a stick. I 644 00:35:33,760 --> 00:35:36,680 Speaker 1: got two more questions for you. Your husband, What kind 645 00:35:36,680 --> 00:35:39,880 Speaker 1: of work does he do? He's a psychotherapist? Oh my goodness, 646 00:35:40,400 --> 00:35:43,920 Speaker 1: former lawyer turns the psychotherapist that comes in handy or 647 00:35:43,920 --> 00:35:46,319 Speaker 1: it's an ongoing pain in the ask to have someone, No, 648 00:35:46,520 --> 00:35:49,200 Speaker 1: it's not at all. Um. People he meets they asked him, 649 00:35:49,480 --> 00:35:51,080 Speaker 1: you know, are you analyzing? And he says, you're not 650 00:35:51,120 --> 00:35:53,719 Speaker 1: paying me, so no, I'm not, you know, and the 651 00:35:53,719 --> 00:35:55,359 Speaker 1: same thing you probably would say for me. But when 652 00:35:55,400 --> 00:35:57,080 Speaker 1: you know, when you're home, you're just you're just a 653 00:35:57,120 --> 00:35:59,920 Speaker 1: couple like anybody else. Was he a classical music of 654 00:36:00,000 --> 00:36:01,799 Speaker 1: a senato when he met you. I mean he grew 655 00:36:01,880 --> 00:36:05,680 Speaker 1: up playing piano, so he knew about classic He wasn't 656 00:36:05,680 --> 00:36:08,640 Speaker 1: going to the symphony or the operator regular basis, although 657 00:36:08,640 --> 00:36:11,480 Speaker 1: he was going, and now we go of course a lot. 658 00:36:11,920 --> 00:36:15,680 Speaker 1: And oh and he's got great ears. He can he can, 659 00:36:15,800 --> 00:36:18,319 Speaker 1: especially with singers. He will start to explain why he 660 00:36:18,360 --> 00:36:20,360 Speaker 1: thinks the singer was good or bad, and then I 661 00:36:20,360 --> 00:36:22,719 Speaker 1: will tell him the technical reasons why what he's saying 662 00:36:22,840 --> 00:36:25,600 Speaker 1: is correct. And the other question I have is people, 663 00:36:25,640 --> 00:36:28,440 Speaker 1: when they finished the program, where do most of them 664 00:36:28,560 --> 00:36:32,719 Speaker 1: end up? The vast majority of our our graduates have 665 00:36:32,840 --> 00:36:36,239 Speaker 1: what would be called portfolio careers UM. And what I 666 00:36:36,239 --> 00:36:39,120 Speaker 1: mean by that is that they might play in a 667 00:36:39,160 --> 00:36:44,839 Speaker 1: regional symphony orchestra, they'll teach privately or at a college UM, 668 00:36:44,880 --> 00:36:48,040 Speaker 1: and they might be an administrator at a nonprofit. And 669 00:36:48,080 --> 00:36:52,560 Speaker 1: so they put together this portfolio care of somewhat freelancing, 670 00:36:52,560 --> 00:36:56,560 Speaker 1: but they're steady, and that has been true forever. I 671 00:36:56,560 --> 00:37:00,520 Speaker 1: remember hearing of the now former president of Juilliard talk 672 00:37:00,560 --> 00:37:05,279 Speaker 1: on thirty years ago, maybe Joe Pleasey, and he said, uh, 673 00:37:05,360 --> 00:37:10,000 Speaker 1: of Juilliard graduates. Of the graduates said they their primary 674 00:37:10,040 --> 00:37:13,799 Speaker 1: source of income was teaching, not performing. And I think 675 00:37:13,800 --> 00:37:16,680 Speaker 1: that's been true forever. And I don't think that's going 676 00:37:16,719 --> 00:37:21,040 Speaker 1: to change. Ensembles, the major ensembles, and not just confining 677 00:37:21,040 --> 00:37:22,839 Speaker 1: ourselves to the Big Five, as they used to say, 678 00:37:22,920 --> 00:37:25,319 Speaker 1: but on not to l A and UH and so 679 00:37:25,400 --> 00:37:28,319 Speaker 1: forth and around the world. Would you say that a 680 00:37:28,400 --> 00:37:34,120 Speaker 1: significant number of chairs have roots in Manus, MSM and Juliet, Oh. 681 00:37:34,160 --> 00:37:38,080 Speaker 1: Absolutely from New York. If you look at the seven 682 00:37:38,120 --> 00:37:42,480 Speaker 1: independent conservatories of music in America San Francisco, Cleveland, New England, Curtis, 683 00:37:43,480 --> 00:37:46,239 Speaker 1: and then the New York Conservatories UM, you will find 684 00:37:46,280 --> 00:37:49,920 Speaker 1: that the majority of people in the top twenty orchestras 685 00:37:49,960 --> 00:37:54,680 Speaker 1: in America are graduates from those institutions. There's something about them, 686 00:37:54,920 --> 00:38:00,839 Speaker 1: the smallness, the intensity, the quality of the faculty that 687 00:38:02,000 --> 00:38:06,120 Speaker 1: I think it's a hothouse for great music making. You know, 688 00:38:06,239 --> 00:38:08,240 Speaker 1: you look at to the New York Pharmonic, for instance, 689 00:38:08,280 --> 00:38:11,120 Speaker 1: ten percent of the members are are graduates of our school. 690 00:38:11,640 --> 00:38:17,040 Speaker 1: About nearly of the met Orchestra is UM. The the 691 00:38:17,080 --> 00:38:20,640 Speaker 1: Detroit Symphony for instance, about more than ten percent. Also, 692 00:38:20,719 --> 00:38:23,520 Speaker 1: so you look at all these orchestras, then you add 693 00:38:23,640 --> 00:38:26,760 Speaker 1: all these other institutions in there, and it's the vast 694 00:38:26,800 --> 00:38:30,279 Speaker 1: majority of those orchestras well. I have never been as 695 00:38:30,360 --> 00:38:34,520 Speaker 1: inspired to want to aid a cause. Then when I 696 00:38:34,560 --> 00:38:37,239 Speaker 1: was invited, it was a lovely day. I thought why 697 00:38:37,280 --> 00:38:38,960 Speaker 1: are you people giving me an award? You know what 698 00:38:39,000 --> 00:38:40,880 Speaker 1: I mean? And I was so humbled and to be 699 00:38:40,920 --> 00:38:43,080 Speaker 1: there with Long Long was one of the greats. I mean, 700 00:38:43,120 --> 00:38:45,319 Speaker 1: what you guys do there, it is a miracle. It's 701 00:38:45,360 --> 00:38:48,319 Speaker 1: so beautiful. And when I see these kids do what 702 00:38:48,400 --> 00:38:51,160 Speaker 1: they do and grow up and change, and then when 703 00:38:51,200 --> 00:38:52,759 Speaker 1: I get to go to the met or to go 704 00:38:52,800 --> 00:38:54,520 Speaker 1: to the New York Pharmonic and see them and they 705 00:38:54,560 --> 00:38:57,399 Speaker 1: were students and now they're on that stage, it's just 706 00:38:58,000 --> 00:38:59,680 Speaker 1: I mean, this year alone, for instance, there are more 707 00:38:59,719 --> 00:39:02,520 Speaker 1: than any of our grads are are at the Metropolitan Opera. 708 00:39:02,840 --> 00:39:04,960 Speaker 1: And I try to go to every performance of of 709 00:39:04,960 --> 00:39:08,880 Speaker 1: of all the all the alumni performances. I mean, my pride, 710 00:39:08,960 --> 00:39:21,120 Speaker 1: it's like this incredible father pride that one has. This 711 00:39:21,440 --> 00:39:25,880 Speaker 1: too is James Gandry. Last year, to celebrate the renovation 712 00:39:25,920 --> 00:39:29,840 Speaker 1: of the school's main concert hall, Jim the working tenor 713 00:39:30,400 --> 00:39:43,640 Speaker 1: re emerged. He cleared his president's schedule to rehearse Beethoven's 714 00:39:43,719 --> 00:39:48,840 Speaker 1: Choral Fantasy. The result is this performance, alongside dozens of 715 00:39:48,960 --> 00:39:57,799 Speaker 1: current and former Manhattan School students and faculty. This is 716 00:39:57,840 --> 00:40:05,400 Speaker 1: Alec Baldwin and you're listening to here's the thing is 717 00:41:00,480 --> 00:41:21,920 Speaker 1: said to say, is as s