>> HELLO AND WELCOME TO "INSIDE LOUISVILLE" WHERE WE INTRODUCE YOU TO THE PEOPLE, PLACES AND THINGS THAT MAKE UP KENTUCKY'S LARGEST CITY.

I'M YOUR HOST, KELSEY STARKS.

THIS WEEK WE TAKE YOU INSIDE THE LOUISVILLE ORCHESTRA'S CREATOR CORPS FIRST LAUNCHED IN 2022, IT IS A PROGRAM THAT BRINGS CREATORS TO THE CITY OF LOUISVILLE TO CREATE NEW MUCK FOR THE COMMUNITY.

THE UNIQUE ASPECT IS THAT THESE COMPOSERS OR CREATORS ACTUALLY LIVE IN LOUISVILLE FULL TIME FOR THEIR ONE-YEAR RESIDENCY.

THEY SPEND AN ENTIRE SEASON COMPOSING NEW MUSIC FOR THE ORCHESTRA, DOING EDUCATION OUTREACH AND FINDING NEW WAYS FOR COMMUNITY ENGAGEMENT.

THIS IS SOMETHING THAT HAS NEVER BEEN DONE ANYWHERE IN THE UNITED STATES AND YOU HAVE TO GO BACK CENTURIES TO THE TIME OF MOZART AND BALK TO FIND A BACKTO FIND A PROGRAM LIKE IT IN HISTORY.

MEET THE LOUISVILLE'S CREATORS CORPS.

>> AN ENTIRELY NEW WAY OF THINKING ABOUT THE RELATIONSHIP BETWEEN COMPOSERS, ORCHESTRAS AND THE COMMUNITY.

AND THE RECIPROCAL RELATIONSHIPS THAT THESE THREE ELEMENTS CAN HAVE.

>> THINKING ABOUT FROM A PRACTICAL AND MATERIAL LEVEL, WHAT DOES IT MEAN TO BE A COMPOSER IN A COMMUNITY AND HOW CAN WE, AS CREATIVE ARTISTS TAKE OUR SKILLS AND THE THINGS THAT WE ARE GOOD AT AND PASSIONATE ABOUT AND SERVE A COMMUNITY IN SOME SORT OF WAY.

SO MY COMMUNITY PROJECT WAS WORKING WITH STUDENTS AT THE WAL DORTCH SCHOOL-- WALDORF SCHOOL AND WORK WITH THEM THE ENTIRE SEASON.

THE FIRST HALF THE SEASON THEY CREATED AN ORIGINAL SHORT STORY AND IN THE SECOND HALF OF THE SEASON, I WORKED WITH THEM TO CREATE MUSIC FOR THAT STORY AND THEY ALSO WORKED WITH TWO STUDENTS FROM THE UNIVERSITY OF LOUISVILLE TO CREATE ANIMATION FOR THE STORY AND ALL OF THAT CULMINATED IN A PROJECT THAT CONSISTED OF ORIGINAL ANIMATION AND LIVE MUSIC PLAYED BY THE ORCHESTRA AT CREE EIGHTIVE FEST.

>> MY COMMUNITY PORTION OF MY RESIDENCY WAS TO ESTABLISH THE LOUISVILLE ORCHESTRA YOUNG COMPOSER PROGRAM.

A FIVE WEEK PROGRAM FOR STUDENTS 4-12 IN THE PUBLIC SCHOOLS.

THEY HAVE THE OPPORTUNITY TO WORK WITH MEMBERS OF THE LOUISVILLE ORCHESTRA DURING THE SESSION AND THE PIECES ARE PERFORMED DURING THE MAKING MUSIC CONCERT SERIES AND PUBLIC RECITAL IN THE SPRING.

>> I PUT THAT TOGETHER BECAUSE I WAS THINKING, IF I WERE IN THEIR SHOES AT THAT AGE, THIS IS EXACTLY WHAT I WOULD HAVE WANTED.

THROUGH CREATIVE CORPS I WAS ABLE TO WRITE TWO PIECES FOR THE ORCHESTRA.

THAT'S THREE SCORES I HAVE WRITTEN FOR THE ORCHESTRA.

THE THREE SCORES HAVE ESSENTIALLY PROVIDED THE FOUNDATION FOR ALL OF THE PROFESSIONAL GROWTH THAT HAVE I BEEN GETTING SINCE THE RESIDENCY SO THIS INCLUDES AWARDS FROM THE SAN FRANCISCO SYMPHONY, COMMISSION THROUGH THEM, AND THIS DANIEL R. LEWIS FELLOWSHIP AT THE CLEVELAND SYMPHONY.

IF IT WEREN'T FOR THAT FOUNDATION OF WORK, TEDDY, MUSICIANS OF THE ORCHESTRA, YOU KNOW, THESE OPPORTUNITIES WOULDN'T REALLY BE POSSIBLE.

DISWR JOINING US NOW TO TALK MORE ABOUT THE LOUISVILLE ORCHESTRA CREATORS CORPS IS THE GRAMMY AWARD WINNING MUSIC DIRECTOR OF THE LOUISVILLE ORCHESTRA TEDDY ABRAMS AND I HAVEN'T SPOKEN TO YOU SINCE YOU HAVE WON A GRAMMY.

I GOT TO START THERE.

WHAT WAS THAT EXPERIENCE LIKE?

>> IT WAS SURPRISING IS REALLY WHAT IT WAS.

I DID NOT EXPECT TO WIN.

I GUESS EVERYBODY ALWAYS SAYS THAT, YOU KNOW, BUT I NEVER THOUGHT-- I MEAN YOU HAVE A ONE IN FIVE CHANCE IN OUR CATEGORY SO I KNEW THERE WAS A CHANCE AND THE PRODUCT WAS REALLY SPECIAL AND WE STOOD BY IT BUT EVERYBODY IN THE CATEGORY WAS AMAZING.

AND I SAT IN THE MIDDLE OF THE ROW SO I WOULDN'T JINX IT.

I THOUGHT IF I SAT CLOSE TO THE AISLE THINKING I WOULD GET UP AND WIN, FOR SURE I WON'T.

SO I DEFY ANTLY SAT IN THE MIDDLE NEXT TO KILLER MIKE AND HIS PEOPLE.

HE HAD JUST WON A WHOLE BUNCH... >> YES.

>> AND REALLY THE BEST PART OF IT WAS JUST HOW LOUISVILLE REACTED BECAUSE IT WAS LIKE WINNING THE SUPER BOWL FOR OUR CITY.

>> SURE, ABSOLUTELY.

>> IN MUSIC THAT'S REALLY-- OF COURSE A PRIZE, THAT'S APRIL EXTERNAL VALIDATING FACTOR BUT FOR EVERYBODY TO GET TO CELEBRATE IN LOUISVILLE, WE NEED THOSE MOMENTS OF REAL JOY FOR OUR CITY.

>> AND SO MANY OF THOSE MOMENTS YOU HAVE HELPED PUT LOUISVILLE ON THE MAP IN SO MANY WAYS.

AND ONE OF THEM IS THE CREATORS CORPS WHICH IS WHAT AN INCREDIBLE PROGRAM.

I DON'T THINK A LOT OF PEOPLE REALIZE IT IS SO UNIQUE.

ONE OF A KIND TELL ME THE VISION OF BRINGING THIS TO LIFE.

>> THERE ARE TWO STORIES THAT COME TOGETHER WITH THE CREATORS CORP.

THE FIRST IS THE LOUISVILLE ORCHESTRA'S OWN STORY.

AS YOU MAY KNOW, IN 1937, THE LOUISVILLE ORCHESTRA WAS FOUNDED IN A WAY TO BRING THE CITY TOGETHER AFTER THE FLOOD.

PEOPLE THOUGHT IF WE HAD A GREAT ORCHESTRA TO INSPIRE PEOPLE, IT WOULD GIVE HOPE TO THE CITY AFTER A DEVASTATING SITUATION.

AND WHEN THE MAYOR FARNSLEY BECAME MAYOR, UNEXPECTEDLY, HE HAD A BIG VISION FOR THE WHOLE CITY AND HE WANTED TO FUNNEL IT THROUGH THE LOUISVILLE ORCHESTRA.

HE WANTED LOUISVILLE TO BE THE MOST FORWARD THINKING ARTISTIC CITY IN AMERICA COMBINING CONFEW SHUNNISM WITH GREEK PHILOSOPHY.

HE WAS A WHACKY GUY.

A PHILOSOPHER TYPE.

IF THE LOUISVILLE ORCHESTRA DID SOMETHING DIFFERENTLY INSTEAD OF JUST PLAYING WHAT EVERY OTHER ORCHESTRA PLAYED AT THE TIME, AND INSTEAD COMMISSIONED LIVING COMPOSERS, THAT WOULD MAKE THE LOUISVILLE ORCHESTRA VERY DISTINGUISHED, DIFFERENT AND INTERESTING IN THE SEA OF OTHER ARTIST GROUPS AROUND THE COUNTRY.

AND THAT'S WHAT THEY DID.

MAYOR FARNSLY WENT TO THE ROCKEFELLER FOUNDATION GOT A GIANT GRANT $500,000 IN 1953 AND ENDED UP PAYING FOR ALL OF THESE NEW PIECES TO BE COMMISSIONED BY THE LOUISVILLE ORCHESTRA, PERFORMED MULTIPLE TIMES IT IS A STAGGERING AMOUNT OF MONEY.

THE NEXT PROLIFIC ORCHESTRA WAS THE BOSTON ORCHESTRA AND THEY WERE DOING A THIRD OF WHAT THE LOUISVILLE ORCHESTRA WAS DOING.

LOUISVILLE WAS A FLEDGLING NEW ORCHESTRA.

THAT'S ONE STORY.

THE OTHER THING THAT IS WORTH CONSIDERING, WHEN YOU THINK BACK TO THE CLASSICAL AGE, RIGHT, THE AGE OF MOZART AND OF-- OR THE BAROCHE PERIOD WITH BACH AND HANDEL.

COMPOSERS WERE PUT ON THE VERY TOP OF THE PYRAMID.

COMPOSURES WERE THE MOST IMPORTANT PEOPLE IN THE MUSIC BECAUSE THEY WERE THE ONES MAKING NEW MUSIC.

THERE WASN'T OLD MUSIC THAT PEOPLE WERE PLAYING BACK THEN.

THEY WERE LISTENING TO MODERN COMPOSERS IF YOU LIVED IN LI IPZIEG WHEN BACH WENT THERE, YOU WOULD HEAR A NEW PIECE EVERY SUNDAY.

IF YOU LIVED WITH THE ESTHER FAMILY IN HUNGARY, HEIDEN WROTE A STRING QUARTET OR CHURCH WORK OR SYMPHONY EVERY SINGLE WEEK.

I THOUGHT ISN'T IT WEIRD THAT WE DON'T DO THAT ANYMORE?

SOMEHOW WE STARTED SAYING, THE MUSIC OF THE PAST WAS MORE IMPORTANT THAN THE MUSIC OF THE PRESENT.

THE IRONY IS THAT WHEN THOSE PIECES WERE WRITTEN, THEY WERE THE MUSIC OF THE PRESENT SO IF WE LOOK AT THOSE TWO, LOUISVILLE HAS HISTORY WITH COMPOSERS AND YOU THINK ABOUT THE GOLDEN AGE OF MUSIC WHERE COMPOSERS WERE AT THE TOP, WE WANTED TO RECREATE THAT RIGHT NOW.

HOW COULD LOUISVILLE BE THE CENTER OF CREATIVITY BY GIVING COMPOSERS A REAL VOICE IN THE CITY, NOT JUST SAYING WE ARE GOING COMMISSION YOU FOR ONE PIECE AND NEVER SEE YOU AGAIN BUT GIVING THEM A ROLE AT THE ORCHESTRA, WHERE JUST LIKE HEIDEN, THEY'RE WORKING FOR THE CITY.

THEY ARE LOUISVILLE'S COMPOSERS, NOT JUST A COMPOSER WHO WRITES A PIECE FOR LOUISVILLE AND THEN HAS NO RELATIONSHIP WITH THE TOWN.

THAT'S WHY THEY COME HERE.

THEY LIVE HERE.

THEY'RE ON STAFF.

THEY'RE NOT COMMISSIONED BY THE PIECE.

THEY'RE PUT ON THE STAFF SO THEY HAVE LIKE FOUR-YEARS SALARY WITH BENEFITS, UNHEARD OF.

DOESN'T EXIST ANYWHERE ELSE.

THE WHOLE IDEA IS THAT WE CREATE A VIBRANT LIVING CULTURE OF MUSIC SO THAT OUR AUDIENCES KNOW THE MUSIC.

IT'S LIKE FARM-TO-TABLE.

KNOW THE FARMER WHO MADE THE FOOD.

YOU HAVE AN EMOTIONAL CONNECTION TO IT AND IT'S BEEN WILDLY SUCCESSFUL.

>> YES, AND JUST A FEW YEARS IN NOW, HAVE YOU HAD SOME OF THESE CREATORS DECIDE TO CALL LOUISVILLE HOME FOR GOOD, RIGHT?

>> YES, SEVERAL HAVE BOUGHT HOMES IN LOUISVILLE.

SEVERAL HAVE STAYED.

THEY CONTINUE TO NOT ONLY HAVE A RELATIONSHIP WITH THE ORCHESTRA BUT THEY LOVE LIVING IN LOUISVILLE AND ALL OF THEM HAVE GONE ON TO ADDITIONAL SUCCESS, AS I SAID, EXTERNALLY VALIDATING FACTORS, THEY ARE IMPORTANT TO MEASURE WHAT IS HAPPENING WITH THE PROJECT LIKE THIS.

SO JUST TAKE A LOOK AT SOME OF THE RECENT GRADUATES OF THE PROGRAM BRITTANY GREEN IS GOING TO BE A RESIDENT COMPOSER AT THE LEXINGTON PHILHARMONIC.

OSWALD WYNNE JUST WON THE ROME PRIZE.

ONE OF THE HIGHEST PRIZES IN MUSIC AND GETS A FULL YEAR LIVING IN ROME WITH THE AMERICAN ACADEMY THERE.

A HUGE DEAL, TYLER TAYLOR WAS JUST ANNOUNCED THE RESIDENT COMPOSER OF THE CLEVELAND ORCHESTRA.

ONE OF THE MOST FAMOUS ORCHESTRAS IN THE WORLD.

THIS IS AN ENORMOUS DEAL.

AND ALL OF OUR NINE CREATORS ARE ACHIEVING INCREDIBLE SUCCESS IN THE PROCESSION-- IN THE PROFESSION AND ALL HAVE YOU TO DO IS ASK A COMPOSER LIKE ANDREW NORMAN, A VERY FAMOUS COMPOSER JUST WITH US AT THE LOUISVILLE ORCHESTRA BECAUSE WE WERE PLAYING ONE OF HIS PIECES.

HE WENT ON THE RECORD SAYING THIS.

IT'S ONE OF THE MOST IMPORTANT PROJECTS HAPPENING IN ORCHESTRAS RIGHT NOW.

AND HE WOULD KNOW.

HE HAS HAD HIS PIECES PLAYED BY EVERYONE FROM THE BERLIN PHILHARMONIC TO THE LOS ANGELES PHILHARMONIC.

HE CAME TO SPEND A WEEK WITH US BECAUSE HE FEELS CONNECTED TO THE CREATORS CORP. >> IT IS HAPPENING HERE AND A LOT MORE THAN THE MUSIC YOU CAN HEAR AT ALL OF THESE PERFORMANCES, BUT TALK ABOUT THE COMMUNITY OUTREACH.

I KNOW THAT'S A REALLY BIG PART OF IT AND GOING OUT INTO SCHOOLS AND REACHING KIDS IN OTHER COMMUNITY WAYS.

AND IT'S ABOUT A LOT ARE THAN JUST PERFORMANCES.

>> IT IS.

AND MY CONTENTION HAS ALWAYS BEEN THAT MOST CREATIVE PEOPLE ACTUALLY WANT TO HAVE A VOICE IN INSTITUTIONS.

AND A LOT OF TIMES, INSTITUTIONS FEEL LIKE WELL, LET'S JUST TELL THE CREATIVES WHAT TO DO.

MY IDEA WAS THAT BRING THE COMPOSERS INTO THE INSTITUTION AND LISTEN TO THEIR VISION FOR COMMUNITY WORK.

MOST CREATIVE PEOPLE WANT TO HAVE A RELATIONSHIP TO PEOPLE.

THEY WANT TO MAKE MUSIC THAT MATTERS.

THEY WANT TO CHANGE LIVES.

THEY WANT TO HELP INSPIRE AND CONNECT THE DOTS IN SOCIETY.

BUT IF WE TELL THEM HOW TO DO IT AND WE TELL THEM WHY TO DO IT OR WHERE TO DO IT, THEN THEY'RE NOT GETTING THE FULL CREATIVE POTENTIAL OF THESE FOLKS.

NOW WE VET THESE CREATORS, WHEN WE DO OUR INTERVIEWS, A RIGOROUS PROCESS, WE WANT TO MAKE SURE THEY HAVE THE SAME SPIRIT AS THE LOUISVILLE ORCHESTRA, THE SAME VALUES AS OUR INSTITUTION.

SO WE ASK THEM.

WHAT WOULD YOU WANT TO DO IN A CITY LIKE LOUISVILLE.

WE WANT TO SEE IF THEY'VE DONE THEIR RESEARCH, DONE THEIR HOME WORK.

DO THEY UNDERSTAND WHAT LOUISVILLE IS?

DO THEY GET OUR PROBLEMS AND CHALLENGES AND DO THEY HAVE IDEAS TO HELP US SOLVE THEM?

THE PEOPLE THAT GET THE JOBS THAT BECOME OUR CREATORS HAVE DONE THAT WORK AND BY THE TIME THEY GET HERE, ONE OF THE REQUIREMENTS FOR THE JOB IS THAT THEY HAVE TO DO A SPECIAL PROJECT THAT HELPS US FURTHER OUR GOALS.

LOUISVILLE ORCHESTRA IS SOON SEEN AS A PUBLIC SERVICE, WE ARE ALL ABOUT BRIDGING DIVIDE.

SOME OF IT IS DONE ON TOUR THROUGHOUT KENTUCKY AND OTHERS IS DONE IN LOUISVILLE, A POPULATION THAT COULD USE A CREATIVE OUTLET.

LET'S MAKE SOMETHING HAPPENING.

THE THING IS, THEY'RE COMING UP WITH THESE CREATIVE IDEAS BECAUSE IT'S WHAT THEY WANT TO DO.

IT'S HOW THEY EXPRESS THEMSELVES.

WE'VE SEEN PROGRAMS THAT TAKE, INS, WITH ALEX BURKO,ELDERLY POPULATIONS AND YOUNG POPULATIONS.

HE ASKS THEM BOTH QUESTIONS THAT THEY ANSWERED AND THEN HE TOOK THE ANSWERS AND INTEGRATED THE VERBAL RESPONSES INTO A PIECE OF MUSIC HE CREATED AND BROUGHT TWO POPULATIONS TOGETHER BECAUSE HE SAID WE HAVE A PROBLEM IN SOCIETY RIGHT NOW.

GENERATIONS ARE NOT COMMUNICATING WITH EACH OTHER EFFECTIVELY.

LET'S USE MUSIC TO DO SOMETHING LIKE THAT, THAT LITERALLY BRINGS FOLKS TOGETHER.

TYLER TAYLOR DID AN AMAZING THING WHERE WE WENT TO JCPS SCHOOLS AND TAUGHT KIDS WHO HAD NEVER WRIT ENG A ING IS WILL NOTE BEFORE HOW TO COMPOSE AND THEY GOT THEIR ORIGINAL COMPOSITIONS PLAYED BY THE LOUISVILLE ORCHESTRA THROUGHOUT THE SEASON.

WHERE IS THAT HAPPENING.

WE HAVE THE COMPOSERS LIVING HERE, NO THE JUST COMING IN FOR A SINGLE PREMIER.

THEY'RE WITH US ALL YEAR AND EVERY ING IS WILL COMPOSER HAS DONE A PROJECT LIKE THAT.

LISA WENT ON EASTERN KENTUCKY AND MET MUSICIANS FROM APRIL LASH APPALACHIA AND THEY COMPOSED A PIECE TOGETHER TO PERFORM WITH THE LOUISVILLE ORCHESTRA WHEN WE WENT ON TOUR AND IF YOU ARE TALKING ABOUT HELPING PEOPLE TO FEEL LIKE WE ARE ONE KENTUCKY, UNITED KENTUCKIANS, THAT'S THE WAY YOU DO IT.

YOU LITERALLY EXTEND YOURSELF.

YOU GO TO PLACES THAT NORMALLY YOU WOULDN'T GO AND SAY LET'S SHARE THE RESOURCES THAT WE ARE LUCKY ENOUGH TO HAVE.

>> WHAT DO YOU THINK IT IS ABOUT LOUISVILLE PARTICULARLY.

I KNOW HAVE YOU SUCH PASSION FOR THIS CITY.

WHAT IS IT ABOUT A CITY OUR SIZE WITH OUR PASSION AND OUR PROBLEMS, TOO, THAT MAKES A PROGRAM LIKE THIS MAKE SENSE HERE?

>> THAT IS A GREAT QUESTION.

IT'S HARD TO KNOW WHAT GIVES A CITY ITS CHARACTER.

I SUSPECTED WHEN I GOT HERE THAT THERE WAS A UNIQUE OPENNESS TO NEW IDEAS AND CREATIVITY.

AND THAT'S BECAUSE I LOOKED AT THE LANDSCAPE OF THE CITY.

THE ORCHESTRA'S HISTORY, BEING SUCH AN HAVE HAD-- BEING SO ADVENTUROUS, IF YOU WERE LOOKING IN AT LOUISVILLE FROM NEW YORK OR LONDON AND SAID, LOUISVILLE KENTUCKY, THIS IS THE CITY OF LIKE BOURBON AND HORSE RACING AND IT'S KIND OF, YOU KNOW, THE ESTUARY OF THE SOUTH AND MIDWEST.

WHY ARE THEY COMMISSIONING NEW MUSIC WHICH WAS AVANT GARDE AND OUT THERE.

WHY?

BUT THEN YOU WOULD SEE A THROUGH LINE BETWEEN THAT AND ACTOR'S THEATER WITH THE HUMANA FESTIVAL.

THESE WERE EXTREMELY ADVENTUROUS CUTTING EDGE PLAYS THAT CAME TO LOUISVILLE EVERY SINGLE YEAR.

MANY WENT ON TO WIN TONE EASE AND WENT TO BROADWAY.

; YOU LOOK AT THE 1st, THAT STARTED HERE.

THAT'S CHALLENGING AND DIFFICULT NEW ART.

THERE IS SOMETHING ABOUT THIS POPULATION THAT MAYBE WE ARE ROOTED IN A LOT OF TRADITIONAL ELEMENTS OF AMERICANA, OUR HORSE RACING TRADITIONS BOURBON TRADITIONS, THOSE ARE GOOD STANDARD FORMS OF AMERICAN CULTURE.

THERE IS ALSO SOMETHING ABOUT US THAT I THINK YEARNS FOR NEWNESS, FOR DISTINGUISHING OURSELVES.

THAT ASKS HOW DID WE BE DIFFERENT FROM THE EXPECTATIONS OF A CITY LIKE LOUISVILLE?

LIKE THE THINGS THAT PEOPLE EXPECT FROM US, THAT DOES NOT HAVE TO BE THE THING THAT WE DELIVER TO THEM.

AND THAT'S WHAT SETS CITY AS PART BUT JUST HAVING THAT SENTIMENT ISN'T ENOUGH.

IT TAKES PEOPLE THAT'S ARE GOING TO ACTUALLY DO SOMETHING WITH THAT POTENTIAL.

THERE ARE MANY CITIES THAT PROBABLY CRAVE SOMETHING SPECIAL AND UNIQUE AND DIFFERENT BUT IT TAKES THE RIGHT CIRCUMSTANCES, THE RIGHT FUNDING, THE RIGHT VISION, THE RIGHT HARD WORK ON THE GROUND, THE RIGHT INSTITUTIONS TO ACTUALLY MAKE THAT HAPPEN.

AND THE CONFLUENCE SEEMS TO BE HERE IN LOUISVILLE WHEN I GOT HERE.

THE ORCHESTRA HAD BEEN THROUGH SUCH A TOUGH TIME BEFORE I GOT HERE.

I THINK PEOPLE WERE WILLING TO TRY NEW IDEAS.

THEY REALIZED THAT JUST REPEATING TRADITIONS AND JUST REPEATING WAYS OF WORKING, THAT HAD CEASED TO WORK WAS NOT A PATH FORWARD.

SO IDEAS LIKE THIS ACTUALLY FOUND FERTILE GROUND AND I THINK THAT'S JUST THE RIGHT CIRCUMSTANCES AT THE RIGHT MOTIVATION AND HARD WORK OF MANY, MANY PEOPLE TO MAKE IT POSSIBLE.

>> YEAH, AND WHEN YOU CAME UP WITH THIS IDEA, PARTICULARLY, I MEAN YOU HAVE HAD A LOT OF VERY GRAND IDEAS I FEEL LIKE IN YOUR 10 PLUS YEARS SINCE YOU HAVE BEEN HERE, BUT THIS IDEA PARTICULARLY WHAT WAS YOUR GOAL AND HOW DID YOU PRESENT IT IN A WAY THAT, YOU KNOW, ENCOURAGED PEOPLE TO GET ON BOARD?

I MEAN IT IS HARD GETTING PEOPLE TO GET ON BOARD WITH SOME OUT OF THE BOX IDEAS SOMETIMES.

AND THEN WHAT HAS IT BEEN LIKE FOR YOU NOW TO SEE ITS SUCCESS AND HOW IT'S REALLY WORKING.

>> IT'S INTERESTING BECAUSE THE MOTIVATION FOR DOING THIS ULTIMATELY CAME FROM THE OUTSIDE SO I ENVISIONED THIS PROJECT YEARS AND YEARS AGO, SORTLY AFTER I GOT HERE.

I REALIZED THAT ONE OF THE BIG CHALLENGES FOR SOMEBODY LIKE ME COMING TO THIS CITY.

IF YOU TAKE THE ORCHESTRA OUT OF THE PICTURE, THERE ISN'T A HUGE SCENE FOR CLASSICAL MUSIC AND NOT A HUGE SCENE OR ENVIRONMENT FOR LIVING COMPOSERS.

THIS IS NOT A DESTINATION FOR RECENT GRADUATES OF JULLIARD OR CURTIS OR COAL BURN OR RICE OR ALL THESE MAJOR CONSERVATORIES.

THEY'RE NOT FLOCKING TO LOUISVILLE AND I THOUGHT IT WASSED ON WHEN YOU HAVE AN ORCHESTRA THAT IS EXCITED AND RECEPTIVE ABOUT NEW MUSIC.

WERE CRNTD OF WEREN'T THESE PEOPLE COMING HERE.

IF YOU LOOK AT THE NUMBER OF CLASSICAL MUSICIANS IN THE CITY, IT'S A SMALL NUMBER AND COMPOSERS IS A TINY NUMBER, YOU CAN PROBABLY COUNT ON ONE HAND BEFORE THIS PROGRAM.

I ALWAYS THOUGHT HOW DID L.A.

BECOME THE CENTER FOR FILM IF HOW DID NEW YORK BECOME THE CENTER FOR BROADWAY AND THEATER?

HOW DID MIAMI TAKE ON THIS NEW MANTLE AS ONE OF THE GREAT CREATIVE CENTERS FOR VISUAL ART?

I SAW THAT HAPPEN WHEN I LIVED THERE.

EVERY YEAR IT WOULD GET BIGGER AND BIGGER AND MORE EXCITING AND ARTISTS ON WOULD FLOCK THERE.

THERE IS SOMETHING INHERENT IN THE LANDSCAPE THAT MADE THIS.

IT'S PEOPLE.

IT'S A SLOW PROCESS OF MAKING DECISIONS THAT LEAD TO A RESULT THAT YOU CAN ALL MAYBE EXPERIENCE TOGETHER ONE DAY.

SO I HAD THIS IDEA THAT IF WE BROUGHT THE COMPOSERS HERE TO ULTIMATELY LIVE AND WORK IN LOUISVILLE, IT WOULD SLOWLY CREATE AN ENVIRONMENT THAT WOULD ATTRACT MORE.

AND WOULD YOU KIND OF HAVE A COLONY EVENTUALLY BECAUSE PEOPLE WOULD SAY THE LOUISVILLE ORCHESTRA IS DOING THIS.

THERE IS A VIBRANCY TO THE COMMUNITY THAT HAS BUILT AMONGST THE PEOPLE THAT IS ATTRACTIVE AND THE THING THAT IS KEEPING THEM IN NEW YORK OR CHICAGO OR L.A. OF.

THERE ARE PEOPLE THAT ARE LIKE THEM.

ARTISTS WANT TO BE AMONG THEIR OWN KIND, EVEN IF IT MEANS PAYING THE RENT AND ORCHESTRA THAT DOESN'T PAY THEM ATTENTION.

THEY WILL DO IT BECAUSE THERE IS COMMUNITY.

WE NEEDED TO DO THAT.

BUT NOBODY HERE FUNDED IT INITIALLY.

IT ALL HAPPENED BECAUSE I WAS TALKING TO A LADY NAMED SUSAN FATER AT THE MELON FOUNDATION.

DURING THE PANDEMIC, SUSAN CALLED ME UP AND SAID I KNOW WE HAVE BEEN TALKING ABOUT THIS FOR YEARS.

THE TIME IS NOW.

A LOT OF IT WAS BECAUSE LOUISVILLE WAS GOING THROUGH%A TOUGH MOMENT WITH BRIONNA TAYLOR AND PROTESTS AND COVID ALL CONVERGING.

SHE SAID I THINK THIS IS THE MOMENT WHEN A PROJECT LIKE THIS WOULD HELP BRING PERSPECTIVE AND NEW RING TO YOUR TOWN SO LET'S DO IT.

I SAID AMAZING.

I THINK PEOPLE THOUGHT WE WERE CRAZY FOR TAKING IT ON AT THAT MOMENT BUT WE DID AND SOMETIMES YOU JUST HAVE TO LEAP INTO IT.

THEY HAD JUST GIVEN US A 700,000 GRANT.

THAT WAS THE SEED CAPITAL NEEDED TO HAVE OTHER PEOPLE SAY YES, WE WANT TO SUPPORT THIS PROGRAM.

YES, WE WANT TO MAKE THIS HAPPEN.

AND THE PROGRAM, IT'S EXPENSIVE, CONDITIONAL PLI INDICATED BUT IT PAYS OFF.

THE COMPOSERS GET HOUSING, SALARIES, THEY GET STIPENDS FOR THEIR PROJECTS SO THAT THEY CAN ENVISION THE THINGS THAT THEY REALLY DREAM OF.

AND ULTIMATELY THE RESULTS ARE SELF-EVIDENT.

MANY OF THEM ARE STAYING AND EVEN THE ONES THAT ARE NOT STAYING MAINTAIN A RELATIONSHIP WITH THE L.O.

AND WANT TO KEEP WRITING FOR THE L.O.

WE ARE SEEN AS A DESTINATION CITY FOR CREATIVES AND THANKS TO THE MELON FOUNDATION FOR THE VISION, SHOWS THAT INVESTING IN INSTITUTIONS WHEN THE IDEAS ARE THE RIGHT ONES, CAN CHANGE A CITY.

>> IT MATTERS.

YEAH IT MATTERS.

THAT'S INCREDIBLE.

I DID NOT REALIZE THAT.

AND SO LOOKING AT SOME OF YOUR OTHER BIG IDEAS THAT HAVE COME TO FRUITION.

ONE IS THE IN HARMONY TOUR WHICH IS COMING UP.

AND CONTINUING AND THIS IS-- EXPLAIN FOR HOSE WHO DON'T KNOW.

YOU GO TO CITIES SAUL OVER KENTUCKY PERFORMING AND IN A WAY, INTEGRATING WITH THOSE COMMUNITIES BECAUSE YOU ARE BRINGING IN MUSICIANS LOCAL TO THOSE COMMUNITIES TO WORK WITH YOU ALL.

>> THAT'S RIGHT.

YES.

SO THAT IS ANOTHER OF OUR BIGGEST PROJECTS.

IN FACT BOTH THE CREATOR'S CORPS AND THE IN HARMONY TOUR ARE ANSWERS TO A QUESTION.

WE POSE A QUESTION.

WE SAY HOW CAN WE TAKE WHAT AN ORCHESTRA IS OR WHAT AN ORCHESTRA CAN BE AND HELP OUR WORLD OR OUR COMMUNITY OR OUR STATE, WHATEVER IT IS, SOLVE A PROBLEM THAT MUSIC AND AN ORCHESTRA CAN UNIQUELY SOLVE.

IN THE INDICATE OF THE CREATOR'S COURSE, IT'S HOW DO WE BECOME A DESTINATION CREATIVE CITY.

A CITY WHERE CREATIVES FEEL THIS IS A PLACE THAT IS INSPIRE INSPIRING FOR THEM TO MOVE TO AND ULTIMATELY DEVELOP THEIR WORK IN.

THE TOUR WAS HOW CAN WE USE MUSIC TO HELP BRIDGE THE MANY DIVIDES IN OUR SOCIETY.

AMERICA IS FULL OF DEMOGRAPHIC DIVISIONS.

WE DON'T COMMUNICATE WITH EACH OTHER EFFECTIVELY.

WE HAVE MOVED COMMUNICATION ONLINE AND RIGHTS CAUSTIC.

IT'S CRUEL.

WE DON'T TALK LIKE THAT WHEN WE ARE IN PERSON.

WE DON'T TALK LIKE THAT AFTER WE HAVE HAD A MEANINGFUL CREATIVE EXPERIENCE.

WHEN YOU GO GONE THROUGH SOMETHING CATHARTIC AND BEAUTIFUL TOGETHER, YOU DON'T SCREAM AND YELL IN THE SAME WAY AS YOU MIGHT IF WE DON'T SEE EACH OTHER.

SO THIS DIVIDE, WHICH IS SO PERNICIOUS AND IT IS SO INTRACTABLE, IS ACTUALLY THOUGH NOT UNSOLVABLE.

MUSIC IS ONE OF THOSE THINGS THAT NO MATTER WHAT YOU BELIEVE OR WHAT YOUR POLITICAL STANCE OR YOUR IDEAS ABOUT HOW TO LIVE OR WHERE TO LIVE, MUSIC IS SHARED.

GREAT MUSIC CUTS ACROSS ALL OF THOSE DIVISIONS IT'S INCUMBENT UPON AN ORGANIZATION LIKE OURS TO USE THE LANGUAGE TO BRIDGE THOSE DIVIDES TO BRING PEOPLE TOGETHER, EVEN JUST THE SYMBOL OF TAKING A LOUISVILLE INSTITUTION AND SPENDING TIME IN PLACES WHERE MOST LOUISVILLIANS NEVER GO.

EVEN JUST THE SYMBOL NOT TO MENTION THE ACTUAL MUSIC ITSELF IS A STEP IN THE RIGHT DIRECTION.

NOW WE ARE NOT SELF-AGGRANDIZING.

WE KNOW THIS IS JUST A SMALL STEP FOR A COUNTRY THAT-- AND FRANKLY, A STATE THAT IS A MICROCOSM OF A COUNTRY OR DEALING WITH THESE CHALLENGES.

THEY ARE DEEP.

THEY RUN DEEP.

BUT MY STANCE IS THAT IF I AM LUCKY ENOUGH TO BE THE LEADER OF AN INSTITUTION THAT BEARS OUR CITY'S NAME, THEN I HAVE TO DO THIS WORK.

WE ALL HAVE TO DO THIS WORK.

ANYBODY WHO IS EMPLOYED BY THE LOUISVILLE ORCHESTRA HAS A SIFNG ROLE-- A CIVIC ROLE AND IF WE CAN'T TELL OUR AUDIENCES, OUR FUNDERS, OUR LEGISLATORS HOW WIRE HELPING SOCIETY IN SOME WAY, THEN WE ARE MORALLY BANKRUPT.

WE HAVE TO BE ABLE TO ANSWER THAT QUESTION.

YOU CAN'T JUST SAY BECAUSE WE WANT TO DO THE THING WE HAVE ALWAYS DONE.

THAT'S NOT GOOD ENOUGH.

YOU CAN CERTAINLY PLAY THE MUSIC THAT YOU LOVE.

THAT'S A BASELINE THING BUT HAVE YOU TO HAVE THAT HIGHER CALLING RIGHT NOW.

INSTITUTIONS NEED THAT KIND OF DEEP MISSION.

AND I WAS AS THRILLED AND SOMEWHAT SHOCKED THAT OUR LEGISLATORS AGREED, BECAUSE THAT'S NOT COMMON IN AMERICA.

>> █YEAH.

>> THAT'S VERY UNUSUAL FOR A LEGISLATURE TO STEP UP AND SAY, YOU KNOW WHAT?

A CULTURAL ORGANIZATION HAS A SOLUTION TO A PROBLEM.

OR AT LEAST THEY WANT TO TRY.

LET'S GIVE THEM A SHOT.

AND I APPLAUD THAT.

THAT WAS INCREDIBLY PRESCIENT OF THEM AND GENERAL GENEROUS BUT THEY SAW WE WERE SERIOUS.

WE DIDN'T WANT TO JUST PLAY MORE SHOWS.

WE WANTED TO HELP ACCOMPLISH THE THINGS WE WANTED FOR ALL KENTUCKIANS.

>> WHICH BEGS THE QUESTION, WHAT IS THE NEXT BIG IDEA?

>> THE NEXT BIG IDEA?

>> WHAT IS YOUR NEXT BIG VISION THAT WE ARE GOING TO SEE HAPPEN OR WHAT IS GOING ON IN YOUR MIND AT LEAST.

>> WE ARE ALWAYS WORKING ON CRAZY IDEAS.

ALWAYS WORKING ON THEM.

THERE ARE DEFINITELY SOME-- I THINK THE FUTURE FOR ORCHESTRAS AND MAYBE THE NEXT BIG PROBLEM TO SOLVE IS A LITTLE MORE INTERNAL.

IT'S ABOUT MAKING SURE THAT EVERY MUSICIAN IN THE ORCHESTRA HAS THEIR CREATIVITY EXTENDED AND EMPOWERED BECAUSE THAT'S A PROBLEM AT THAT TIME MOST PEOPLE WOULDN'T REALIZE, BUT ORCHESTRAS OFTEN FOCUS ONLY ON THE COLLECTIVE AND IT COULD BE VERY EASY TO GET INTO AN ORCHESTRA AND SIMPLY BE PART OF THE GROUP AND PART OF A ROUTINE THAT FEELS ALMOST UNCHANGING AND MY GOAL FOR THE LOUISVILLE ORCHESTRA, IN THIS NEXT PHASE, IS THAT EVERY SINGLE PERSON IN OUR ORCHESTRA HAS AN OPPORTUNITY FOR THEIR PERSONAL CREATIVITY TO EXPRESS ITSELF.

AND THAT'S A KIND OF FRONTIER THAT I DON'T THINK ANY ORCHESTRA HAS FULLY EXPLORED OR EVEN TRIED TO BECAUSE IT'S A LITTLE SCARY OUT THERE BUT WE NOW HAVE, I THINK THE ORCHESTRA WITH THE MOST POSITIVE AND ENTHUSIASTIC ATTITUDE I'VE EVER SEEN.

AND IF THERE WAS EVER AN ORCHESTRA THAT COULD DRAW ON THAT PERSONAL SENSE OF WHATY WOOPT TO CONTRIBUTE NOT ONLY AS A GROUP BUT AS INDIVIDUALS, IT'S OURS.

♪ ♪ ♪ ♪ YOU CAN WATCH AND SHARE THIS EPISODE ANY TIME AND VIEW ALL OF OUR PAST PROGRAMS ONLINE AT ket.org/INSIDELOUISVILLE AND DON'T FORGET TO FOLLOW US ON SOCIAL MEDIA.

THERE YOU WILL SEE TEDDY'S UPDATE ON THE NEW ALI MUSICAL WITH MUSIC HE COMPOSED.

THAT SHOW WAS SUPPOSED TO BE ON BROADWAY THIS FALL.

YOU WILL SEE HIS INSIDER'S UPDATE ON INSTAGRAM.

THAT'S AT KET IN LOU.

THANKS FOR SPENDING TIME GETTING TO KNOW LOUISVILLE.

HOPE TO SEE YOU HERE NEXT TIME.

UNTIL THEN, MAKE IT A GREAT WEEK.

♪ ♪ ♪