[saxophone playing]
[laughing]
Um ...
[clarinet playing]
This one right here—
[clarinet playing]
that's definitely not supposed to do that.
[trombone playing]
That's not how it should sound.
[laughs]
It's like, no ...
We have an obese amount of broken instruments across the School District of
Philadelphia, each of which represents another kid from a disadvantaged
communitym that doesn't have a lot of social services in that communitym that
relies on things like music education to give us a sense of humanity, to give us a
sense that we're worthy individuals, that we're—we're valuable for things beyond
what you can assess in a test score. We told people as Temple Contemporary that
we were going to be having a concert, after the concert fixing those broken
instruments, and then sending those instruments, after they've been repaired,
back to the schools and back to the kids, so that they can express themselves in
ways that they never knew possible before.
It's such a beautiful and powerful and simple thing that we do as musicians, and
it's such an act of faith, you know, you have to believe in advance that coming
together can make something powerful before you have the power to come
together and make something beautiful, you know,
you have to know that in advance,
or you won't do it.
It was because of what I saw in David as a composer
that I wanted to invite him to become the composer for this project.
He recognized the need
to recognize that value of music education
across the city,
because it is, unfortunately, so under threat.
That, in many ways, arts and music are
consider luxuries,
when they, in fact, are not.
[trumpet playing]
It was a fun process. Temple Contemporary brought in these instruments from all
over the school district, and we catalogued them in, according to their
level of woundedness, and we developed a triage system which ranged from black
being dead to green being semi-functional,
walking wounded instruments.
[saxophone playing]
David was commissioned to write a piece for instruments that don't work, that
we're making sounds ... You would maybe think of them as, like, synthesizers or
strange, you know, percussion instruments that you'd have in a recording studio.
We came down and we did sessions where we recorded everything. We brought musicians
in and we tried to kind of explore each instrument and see what kind of sounds
they made. Figure out what to show David and then to record that for him. There's
something interesting in looking at all these broken instruments because you see
the quality—many cases, like, this horn is a quality horn, and we as a society used
to spend money on buying these horns for our, our kids and give them the time and
the space to play them and, we, we thought of that as a part of what it means to
have a decent society and what does it mean to collectively
let that atrophy? So there's a decent horn sitting in a closet but we can't
even play it, because we can't find the hundred bucks, 50 bucks to fix it. When I,
myself, was looking at the numbers of like well why, why do we have so many
broken instruments in the district, like how has this happened? And what I
discovered was that in 2007 there was a budget for arts support across the
School District of Philadelphia of 1.3 million dollars and if you, sort of, punch
the clock forward just 10 years in 2017 that budget was $50,000, and so that kind of
dramatic decline in support for the arts across the city speaks volumes in terms
of the children that have had to weather through that dramatic drop in support
over these past ten years—that we've basically lost a generation of artists
in our city because they haven't been taught the joys and the expression
that's possible to them. Right off the bat, the biggest
problem is the missing octave key, which makes playing the the high register
notes a little harder. A lot of the notes don't come out how they should, like
C sharp and C natural are the same notes. There's this key on the back that if I
play a certain note, just every note becomes C natural. It's kind of like
giving—giving a student a ripped textbook missing half the pages, like,
would you ever do that? No. But sometimes you're forced to. Sometimes that's all
you have, and, you know, our graveyard of instruments is slowly dwindling but I
know for a fact that other schools have bigger graveyards than ours and so, you know,
we work with what we have and it's really heartbreaking to see some of this.
The band room here has become like my little, like, getaway. If some schools
don't even have that chance, like, that place to go to or, like, somewhere where
they feel safe it's just horrible. The creative problem solving I see on how
teachers make it happen and from the music teachers that I work with and art
teachers who are my friends is absolutely amazing, but also unseen.
I hope that somehow we're able as a group to personify these instruments to
give them a voice and a sound that they don't have being tucked back in the back
of a closet if broken Orchestra can repair all these instruments it gives so
many kids like this often the same opportunity that I was given and maybe
it would even show them the same outlook that I've been given like I want to make
something of music it's just a really good opportunity my first rehearsal
leading up to it I had been you know kind of exploring my instrument and
wondering you know gee it doesn't hold a tune for longer than just a few minutes
and then it begins to slip and I can't even make any notes there's no fretboard
so I was kind of wondering what the heck am I gonna do a tap on the instrument
was okay and that like this counts as playing some of the instruments that
don't make tones
I really started to understand what some of the cues meant and how it fit
together and how it was meant to kind of purposely not fit together playing with
my students in this concert they understand the situation and they
understand why it's important that we do this concert why it's important for
music education as a whole and after playing a lot of these broken
instruments they're grateful for the ones that they have creativity doesn't
only come about as a result of playing music or writing music it can come about
as a result of problem solving and this is a really beautiful symmetrical
concise effective way of solving a societal problem out of which is coming
not just the solution but it's coming art similarly for Brooklyn Orchestra was
only possible because it was a collaborative effort there's nine
hundred and twenty three people who have adopted instruments we've raised over a
quarter of a million dollars in the past three months alone for this project 385
people who stepped up and said I want to play this composition that's brand new
that's never gonna be played again twelve year old kids,
who are just starting to learn the violin, sitting alongside
professional musicians from the Philadelphia Orchestra.
[trumpet playing]
We're part of a movement to get noticed and to get
this problem as a community solved together through a performance that I
think will be eerie, exciting and overwhelming.
[music builds]
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