 |
|
Ray Cramer was appointed to The Midwest
Clinic Board of Directors in 1990, and served as The Midwest Clinic’s
President from 1997 until 2009. Mr. Cramer and Executive Director
Kelly Jocius spoke in The Midwest Clinic office on Sunday, September
27, 2009.
 Kelly Jocius: When was the first time you attended
The Midwest Clinic, and what do you remember best about those early
years?
Ray Cramer: The first time was my junior year in college, in 1960.
At that time, the event was held in the Sherman House Hotel. There
were three or four music education students who came up from Western
Illinois University. We would all try to sit as close as possible
to the stage at the concerts because at that time there was a photo
taken from the back of the auditorium, and everyone would turn around
to face the camera. We wanted to make sure that you could recognize
our faces, but also, we knew that the closer we were, the more we
could learn about the relationship of the conductors to the ensembles.
What were some standout performances from those years that you can
recall?
The Joliet Grade School Band was just amazing, as was Harry Begian’s
Cass Tech Band, the band that came from Edina-Morningside in Minnesota,
Mark Kelly’s band from Centerville, Iowa, and in 1966, the
Parma, Ohio, Senior High School band that performed Aaron Copland’s
Emblems. Little did I know that a year later I would become the director
of that band! These are just a very few of the concerts that stick
out in my mind.
What did you take away from those concerts?
More than anything, they changed my thinking on what it was possible
for young musicians to achieve. I had excellent band experiences
in high school and college, but this was a whole different perspective
for me. It set a new horizon for me as an educator.
Can you share any other ways that being an attendee at the Midwest
Clinic has helped you in your career?
I learned new teaching techniques I could use each year. I attended
many clinics that gave me fresh ideas about how to teach beginning
students. I used this information while I was working with my own
elementary school students. I passed along this important information
to my music education students at Indiana University as well. I also
remember some great sessions on conducting. Of course, in the sixties,
one of the biggest names in conducting was Frederick Fennell. Even
though he was young, he was already an icon. I remember going to
a clinic where he was using a demo group. Fred was doing his thing
with all kinds of gestures and faces, and I thought, “Wow!
That’s great! Look what’s happening. I’m going
to become Fred Fennell the Second!” I went back to my own band
and I started doing my best Fred Fennell imitations, and the band
got worse and worse. It took a freshman contrabass clarinet player
to open my eyes. In a lesson one day, I said, “I don’t
understand what’s going on. Everything had been going so great.” And
this freshman contrabass player looked at me and said, “Well,
Mr. Cramer, you just haven’t been yourself lately.” I
thought, “Hmm, okay. I’m not gonna be a Fred Fennell!” It
helped me realize the importance of doing what you do through your
own personality and taught me that what works for others may not
work for me.
Based on your own experiences, what would you say is the value of
the Midwest Clinic to music educators?
First of all, there’s the value of the educational instruction
and knowledge that can be gained from going to clinics and the exhibits.
It’s always an opportunity to stay on top of literature, teaching
and conducting techniques, new instruments and other innovations
in the music industry. All through my teaching career, I gained a
lot of knowledge through the exposure to these companies. The opportunity
to compare products and costs helped me approach parents and administration
to inform them they were getting their money’s worth. Finally,
the inspiration from hearing outstanding groups perform always provided
a kick-start after the football season in preparation for the concert
season. It helped me re-establish my musical goals and to re-focus
on those elements that were most important in music making. The Midwest
Clinic maintained its viability all these years by maintaining its
educational mission, not only for me, but also for my university
students.
What was your reaction to being invited to serve on the board?
I was surprised. It had never crossed my mind that I might become
a member of the board. I had been invited to give a conducting clinic
in 1989, and I remember the Executive Administrator, Barbara Buehlman,
and President, John Paynter, were both in the audience. I was amazed
at how many people attended that session. As I later learned, following
that clinic the board discussed my appointment. That happened to
be the conference right before I went on a sabbatical. So after Christmas,
Molly and I drove to Colorado and rented a cabin with no phone. I
had given my secretary instructions that no one was to contact me
unless it was an emergency. One day, I was summoned to the main office
to take a call. It was Barbara, inviting me to be part of the board
and to come to the spring meeting. I felt very honored to have been
invited to membership on the board of directors.
What were your goals when you were appointed President of The Midwest
Clinic?
Survival! Let’s face it, you and I both came into our positions
unexpectedly. No one expected John and Barbara to pass away when
they did. Those responsibilities were thrust upon us without much
time to think about it, and all we could do was react. I was humbled
by the board’s willingness to put me in that position. Of course,
I only thought that I would serve for three or four years, not thirteen.
At the very first board meeting, I told them that I would work as
hard as possible to make sure that the mission of The Midwest Clinic
would be sustained, and that I would try to run meetings in a professional
manner that would encourage everyone to participate. At the same
time, I felt like we needed to make some changes, and the first area
was in the board’s committee structure. Back then, there was
not anything tied to technology. For several years now, we have had
a Technology Committee that watches over all the different ways that
The Midwest Clinic is impacted by technology. In addition, I wanted
to see the Performance Coordinating Committee take a much more proactive
stance in looking at concert programs. I also realized that in the
same way we structured a Group Selection Committee, we needed a committee
to oversee the clinic selections. Developmentally, we have been able
to make many changes over the years to help our growth and expansion
of offerings, and at the same time generate a more focused workload,
in order to create avenues of better service. I’m pleased with
how that has gone. However, after thirteen years in the presidency,
I feel like it’s time to make a change.
What are the biggest changes to the Midwest Clinic in the
years you’ve
been attending?
The obvious one is size—not only in the number of attendees
and the amount of physical space we require, but in the expansion
of clinic offerings and the number of performing ensembles, which
now include international ensembles, bands, orchestras, jazz ensembles,
and chamber groups. The other big change relates to the staff. The
Midwest Clinic went from an all-volunteer organization, with one
fulltime administrator, starting in 1983, to our current employment
of three fulltime staff, additional part-time staff and hourly help
during the most busy times of the season.
Do you have a favorite “Midwest Memory”?
It would be very difficult for me to single out a favorite Midwest
memory. There have been so many that have a special place in my memory,
it just might be unfair to try and name any. Obviously there have
been GREAT concerts that brought goose bumps to my arms; clinics
that gave me pause to appreciate and respect the knowledge and professionalism
of the presenter; the opportunity to meet people in our profession
who were icons and finding them to be so open, friendly, and giving;
these memories flash across my consciousness like a movie in reverse
and bring to mind specific concerts, clinics, and personalities that
I will be eternally grateful for having had the opportunity to share
the experience. There have been wonderful invitations to guest conduct
ensembles from professional to elementary. Finally, to have had the
opportunity to conduct three of my own ensembles in concert at the
Midwest, the Indiana University Wind Ensemble in 2003 and the Musashino
Academy of Music Wind Ensemble in 1995 and 2006 will be milestones
in my musical memories. I will never forget the fantastic response
of the Midwest audiences to these performances.
What did it mean to you to perform at The Midwest Clinic and how
was it different from other performances?
Every conductor who performs here knows The Midwest Clinic audience
is the most musically intelligent and responsive audience that will
ever hear their ensemble. Sure, there are many other opportunities
to perform, but nowhere will you find this many knowledgeable and
understanding musicians who hear your performance. For me, I think
of the students, the work that went into the preparation and the
sense of satisfaction I saw in their faces at the conclusion of their
performances. Many times, anticipation is greater than the realization.
But for these concerts, the audience response is so engaging that
everyone feels truly rewarded for all their efforts. Those feelings
are rare, but at the Midwest, they happen often.
Did bringing bands to perform at The Midwest Clinic change anything
about how you looked at the conference?
Actually it worked the other way around. My views and expectations
of The Midwest Clinic only heightened my involvement in preparing
my bands for those performances. Understanding those expectations
helped me to more effectively prepare the students for their participation
at the conference.
What advice would you give a director who is bringing his or her
ensemble to perform at The Midwest Clinic for the first time?
My best advice would be, “Don’t over program.” I’ve
heard some outstanding groups at every level, but some groups either
run out of rehearsal time, or stretch the endurance and concentration
of younger players. It’s a strain. When those young people
walk out on the stage and see 2,000 people sitting there, it can
create a stress that works against them from the very beginning.
I want every group to feel comfortable about what they’ve chosen
to play and confident in their ability to perform it.
What advice would you give someone who is attending The Midwest Clinic
for the first time?
Attending The Midwest Clinic for the first time can be overwhelming.
When you pick up the program book and look at all the possibilities,
you quickly realize you can’t get to everything. First-time
attendees should go through and pick out those areas where they need
more information in order to become better teachers. If I’m
a brass player, and I hear about a really great clinic on how to
teach double reed instruments, I’m going to attend that clinic,
because I know I need help teaching that instrument. Also, they should
pick out concerts by ensembles they can identify with. Going to any
concert is an educational experience in itself—hearing the
ensemble, watching how conductors relate and watching how they conduct.
If I’m a junior high school band or orchestra director, then
I particularly want to hear junior high bands or orchestras. Yes,
I’ll be inspired by the military and other adult ensembles,
but what I’m really looking for is how I’m going to relate
better to the group that I’m going to go home and conduct.
What advice would you give to someone joining the board of directors
in the future?
If you’ve been invited on the board to fulfill a specific role,
whether it’s as an orchestra director or an industry member,
ask yourself how you can fill that role in the most significant way,
while also seeing the overall workings of the entire board. The board
must always keep the mission of the clinic forefront in their planning.
One of the things I’ve enjoyed most about working with
you over the years is seeing you backstage after a performance, congratulating
a group as they come off the stage, especially younger performers.
I doubt they even realized you were the president. What was the message
you were trying to impart to them?
After most performances, the directors and guest conductors are invited
to step out in front of the curtain and greet the audience members,
which is very important. But often, the students come off the stage
and there’s no one there to thank and congratulate them. I
know how much effort goes into their performance and what the experience
means to them. It is right after the concert that the students need
the assurance they have done well. So it’s important to give
them a pat on the back, shake their hands, give them a big smile
and just tell them how much I enjoyed their performance and appreciate
them for sharing their talent with us.
If I were to ask your wife, Molly’s, thoughts on The
Midwest Clinic, what do you think she would say?
The first thing she would say, with a smile on her face, is that
she had to delay her wedding date three days because I had to attend
The Midwest Clinic. We got married at Christmastime, and she wanted
to get married before the holiday, but I desired to wait until after
the Clinic. At that point, she knew what The Midwest Clinic was,
and what it meant to me, but not to the degree that she would later
know. She was always very supportive of my attending. After I joined
the board, it took on a new role for both of us. She saw the additional
time and responsibilities, and because she was good friends with
so many board members and their spouses, she would spend a lot of
time in Chicago herself. These were very important associations for
us, not just as professional colleagues, but as good friends. And
of course, that only strengthened our bond with The Midwest Clinic.
Is there anything that directors might not realize about The Midwest
Clinic that you would like to pass along?
I have often told directors that there are many groups that have
applied several times to perform at The Midwest Clinic without being
invited. I can specifically think of groups over the years that have
applied three or four times, and each time they applied, their ensemble
improved. Eventually, some of these groups were invited, and I think
part of the reason was they had reached a better understanding of
what it takes. So I tell people, “Even if you don’t get
invited to perform, the experience of preparing your ensemble for
the audition CD is something that makes your whole program better.” The
Midwest Clinic is still the premiere performance venue for instrumental
ensembles in the country, and just setting that as your goal can
bring out the best in your program.
What is your vision for the future of The Midwest Clinic?
One of our goals as an organization is not to see how big we get,
but to keep working at the quality of our offerings. As long as we
maintain the quality and attendees arrive knowing that they will
see and hear the best, The Midwest Clinic will be fine. The move
to McCormick Place came about because we felt we were being restricted
in our offerings, due to the space shortage. This move is all about
improving the experience of the conference for attendees. If that
results in greater numbers, that’s wonderful, but we will always
need to work at building the quality. The Midwest Clinic staff is
totally devoted to our mission. There is a deep love and commitment
that is very important to the success of this organization. The same
is true of the board of directors. Most people don’t realize
that the board is made up of volunteers. While their expenses are
covered, they receive no compensation for their time or effort. As
I look at the board, it’s interesting to me how many members
have the same kind of relationship with The Midwest Clinic that I
do. The Midwest Clinic was an important part of our professional
development, throughout our careers, which has created a deep appreciation
for the mission and how it all comes together. That has meant everything
to this organization, and I expect it will continue for years to
come. I want to thank each and every member on the current Board
of Directors as well as all the former board members who helped pave
the way before us; for your expertise, knowledge and commitment to
this great organization.
Finally, thank you, Kelly, for giving me the opportunity to share
a few thoughts. I want to personally and respectfully thank you,
Jennifer, Kathleen and the rest of the Midwest staff for your diligent,
focused and dedicated work that is always so professional and visionary
on the Midwest mission. Our attendees need to understand the heavy
workload and the depth of detailed, operational collaboration that
takes place on a daily basis. Your sense of vision and devotion to
the Midwest Clinic is truly amazing and greatly appreciated. My blessings
to all as you continue to provide the best instrumental clinic in
the world. |
|
|
|
Print this page 
Email this page 
