20 Years: Faith in People and Respect for Past Work

20 Years: Looking back on some of the ingredients that make the BSO what it is. ​Today’s theme: “Program Building Based on Faith in People and Respect for Past Work.” 
 
Musically speaking, I come from a strong line of program builders.  A general understanding of program building in orchestras would imply: helping a group grow in numbers and artistic ability over a long period of time. Stephen Heyde at Baylor University, William Jones who built the Greater Twin Cities Youth Symphonies; Murry Sidlin who created Defiant Requiem; Joseph Giunta who has built the Des Moines Symphony over 3 decades; JoAnn Falletta who is currently celebrating 25 years with the Buffalo Philharmonic. And the late Larry Rachleff who built the program at Rice University. I could go on, but all of these people share similar traits: dedication to a particular place/community; unwavering belief in the human spirit; patience during tough times; persistence. 
 
When I first came to Bemidji, like many young conductors, I did not necessarily see myself staying here for a long time. But those influences mentioned above, kept inspiring me. I will never forget Ann Hayes saying, “We have a belief that this can be more than it is.” I know that over the course of my career, I have been accused of “over-programming.” Not making concerts too long; but selecting music that some would think not appropriate or doable by a “community orchestra.” The influence particularly of Stephen Heyde played a large roll in this tendency in me. I was a student at Baylor during the lean years for the orchestra- during a time of regrowth. (I would encourage you to go on YouTube and listen to recent recordings of the Baylor Symphony to see what it ultimately had become as of 2 years ago when Stephen retired.) Mr. Heyde was criticized by the faculty back then for programming pieces too difficult for the orchestra. But his unwavering belief in the students to rise above, to accomplish something beyond their dreams, paid off. And this became my standard with the Bemidji Symphony.
 
Along with the belief that “this could be more,” and the belief in the musicians to keep raising the bar, was a dedication in me to be respectful of what had gone on before me.  I was not creating an orchestra from scratch. In fact, the conductor, Tom Swanson, continued to PLAY in the BSO under my direction! This was unheard of. The support of Tom, and Pat Riley, Bobby Sellon, Ann Hayes, Eve Sumsky, and others who were/are long time members of the orchestra, played a crucial role in our growth together. In my years here, regardless of how proud I have been of the growth or how monumental our achievements, I have never wanted to tout that in a way that disrespected those who gave so much of their time, resources and talent to make the BSO what it is today.  

I want to celebrate these 20 years with the BSO and celebrate those who have worked tirelessly (and usually without pay) to build this program. I want to celebrate achievements like concerts with André Watts, the Defiant Requiem, Mahler 2, working with Carol Wincenc and others, and to look forward enthusiastically to the future to dream even bigger for the BSO!

Maestra Beverly Everett