One always wants to do due diligence, right? But under these circumstances, due diligence would be duly difficult. Maestro Levine was travelling back to OKC from Florida. It was a weekend; a holiday weekend. And the chances of getting hold of other artist managers, much less artists, would be a challenge. Our General Manager, Kris, scoured the internet to find evidence of Mr. von Oeyen's previous experience with the concerto, and she quickly learned that he had played with work to great critical acclaim. Further, it seems that he is especially suited for the core German piano repertoire. Great!

Once we were able to talk with Joel and report that von Oeyen was a perfect candidate (experienced in the rep, available, affordable, willing) and to also talk through the challenges of investigating any other artists given the time of year, we went about securing Mr. von Oeyen.

Next comes releasing the news to the press and to ticket holders. The rule in our business is that you never announce a change until you have the replacement plan confirmed. The website and email blast are the easy parts. The newspaper is the tricky one. The Oklahoman is typically able to run a beautiful cover story on the upcoming concert in the Sunday edition's Life section. The Sunday edition begins hitting news stands on Saturday, meaning that it was already printed by the time we confirmed the change. So the Sunday paper ran with a wonderful interview with Mr. Lortie discussing the Beethoven - no harm done, really. But fortunately, Rick Rogers was able to include a brief announcement in the final edition. Whew!

So the show goes on. And luckily, in this case, with the original program and rehearsal schedule in tact. To our friend, Louis Lortie, we wish a speedy recovery. And we look forward to his third OKC visit as soon as possible. And thanks to Andrew von Oeyen, who will leave Paris late tomorrow night for a quick trip to USA. Just for you. See you at the concert!

This decision to change the program was especially saddening. Mahler takes great advance preparation from both the players and especially from the conductor. This is musicians' music; conductors' music. For them it's like that perfect once-in-a-decade football bowl-game match-up. Or a really fantastic cruise that you've planned for five years. Except that on the day before, you suddenly realize that it's not going to happen. The rug is pulled out from under you. The wind is out of your sail.

So of course, we rescheduled it immediately for this season. Without question. And I personally can't wait. For me, Mahler, along with a small handful of other composers, is music best experienced live. Oh, it's good on a recording, but Mahler is monumental. He is a master of subtlety and of architecture and of contrast. Joel tells me it "waves down" pretty easy, but it's how a conductor makes sense and makes real the nearly infinite and very specific dynamic markings that really makes it succeed or not. One needs to be in the same space with the artists. To breathe the same air. To see and feel them working with a collective intensity and concentration. That's what makes the journey so damn special. It's work. For the players, to be sure, and sometimes even the audience. But it's worth it. And we're all a little better for the experience. The shared experience.

I can tell you that when Maestro Levine and the players take their bows, they will have climbed to the mountain-top. And we get to go along for the ride. See you there on the 19th!

Eddie

Now let me say at the git-go, it's not just OKC - I experience it most everywhere I travel and for most all forms of the performing arts.

The word 'ovation' comes from the Latin ovo meaning "I rejoice". Historically, there are centuries old military customs for standing applause, and modern-day practices are found for certain achievements in baseball and in the somewhat unfamiliar (to Americans, anyway) sport of cricket. And then there's the political arena - how much shorter could the President's annual State of the Union address be if they'd all quit standing and sitting???

But back to the arts. This week I've been considering my own habits on this subject. We've all attended performances so thrilling that the audience is on its feet with sudden and collective hysteria. These are the concerts that we remember for years or even a lifetime. There are also occasions when the performers receive this gesture as a sincere reward for the audience's shared recognition of a great accomplishment; perhaps a monumentally difficult symphony or a testament to an occasion or special cause. I will admit that sometimes I stand with others when I might not personally feel the recognition warrants the ovation but I do so because of my position - sometimes I just have to.

In the end, I come back to "I rejoice".  As with clapping between movements, I'm totally fine with an obligatory standing ovation. It expresses an audience's appreciation for what really is hard work - I can tell you from my long-ago days, as a performer, you need and want it. It's a response that celebrates the collective experience of live performance. Standing and cheering is good for us. Oh hell, it just makes me feel better.

First stop - Indianapolis. The Indianapolis Symphony Orchestra has created a pops machine that produces one new themed show each season. A handful of other orchestras partner with them in the creation of these shows. It's extremely labor intensive, from the initial concepts, to the selection of music, casting, creating the orchestral arrangements, costumes and props - it's like creating a mini Broadway show for the concert stage. Once mounted, these shows can then be booked on orchestral pops series around the nation. Some of these we've featured here to great response include "Pops Goes Vegas", "The Beat Goes On: Music of the Baby Boomers" and most recently, "Irving Berlin: From Rags to Ritzes". We open this year's pops with "Mysterioso", one of the most entertaining and funniest concerts I've seen! Magic, music, illusion, mystery and hilarious comedy.

But back to tomorrow. This weekend they're premiering their latest: "Can You Hear The People Sing", built from the music of Les Miz, Miss Saigon and other great shows from Boublil and Schonberg. AND it features some of these shows' original cast members, including Lea Solonga and Terrance Mann. Can't wait!

Sunday morning takes me to Portland, Maine to see the US Navy Mens Glee Club. I'm really intrigued by this one. It appeals to me on many levels, and I've seen the program - should be great fun.

So send me your thoughts, and I'll give you mine when I return. I'll also try to tweet a bit from the road, so if you're not following me yet on Twitter, check me out @Eddie_says.

OVERTURE is designed to build affinity for orchestral music through social networking and service. And to be honest, we also aim to develop tomorrow's audiences, donors, volunteers and leaders. A season package includes tickets to three concerts and monthly social gatherings. And this season - half price tickets for Ben Folds!! For more info please call the Phil office, 405-842-5387.

Live music is all about a shared experience. As good as the Philharmonic is, it's nothing but a rehearsal without an audience. Writers often speculate that orchestras will go the way of the dinosaur in this age of electronic media and 24/7 availability of just about anything. But I think they're wrong. What orchestras offer is something that is becoming more and more special - the shared experience of live performance of great music. And what could be better than sharing it with friends? I look forward to seeing you with us this season as the fun continues!

I'm excited to be able to share some behind-the-scenes insight into our world of orchestra management. It's a wonderful and odd, thrilling and scary business. Many who find their way into it become hooked, while others find it too much. It's not for the faint of heart.

The inspiration for this blog was to offer a peek into what goes into programming a season. Specifically, the Pops Series. The process is one part Gulliver's Travels, one part Star Search, and a dash of Pin The Tail On The Donkey. I'll chronicle some of my travels and the artists I see along the way, but I also want to hear from you. I hope you'll react to what I"m up to and also provide your own thoughts and ideas.

Periodically I may comment on national and local trends or issues facing orchestras and other arts groups. And if you have a question you've always wanted to ask, this can be the place.

So let's have fun exploring this common passion that is the professional symphony orchestra. I look forward to hearing from you and to seeing you at the concerts!

Eddie