Tag Archives: the orchestra world

responses to tragedy

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I was reading this article in today’s Sunday New York Times, about the New York Philharmonic’s music director designate Alan Gilbert, when I was struck by the first paragraph, which describes how an orchestra he was guest conducting responded to the death of a colleague:

ALAN GILBERT stood before the Royal Stockholm Philharmonic last month in one of the most difficult moments he has faced as the orchestra’s chief conductor. An hour before, the players learned that a well-liked former member had committed suicide.

“It feels strange to rehearse,” Mr. Gilbert quietly told them as they sat on the stage without instruments, looking stricken. Some held each other. Several sobbed. “On the other hand, not to rehearse, not to do what we do as musicians, is even stranger,” Mr. Gilbert added. “It’s a shame that it takes sometimes a terrible thing like this to remind us that we are a family.”

That could just as well describe the scene Friday morning, as the rehearsal period began for this weekend’s pops series. Beloved OSO flutist Martha Herby had died that morning, around 5 a.m. Much of the orchestra had gotten the news via phone (news travels quickly in the orchestra), but some had not heard the news. A colleague of mine said that she was glad that there was a rehearsal, even under those difficult circumstances, because “being here with friends is better than sitting home alone”.

There’s something about having to work just after having heard horrible news. I almost always find it to be therapeutic. Giving the mind something to do while the subconscious starts processing the shock and grief. Being with many other people who share similar connections to the deceased as you do. And just “being professional” and doing your job even when you think you can’t possibly keep it together.

It helps when those you work for are sympathetic and sincere. OSO president Elaine Calder came out at the start of the rehearsal and announced the news, with great emotion and sincerity. A ten-minute hold on the start time was given to allow people to react and compose themselves, and only the musicians remained on stage, silently reflecting, weeping, hugging one another, connecting across the orchestra with their eyes, or simply sitting eyes cast downward, trying to absorb it all.

Joy and sorrow really do define the direction and tenor of our lives, and I’ve shared both within this orchestra, and so it becomes my extended family.

martha’s obituary

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Courtesy of Niel Deponte, OSO principal percussionist

Martha Herby, 1951 – 2007
by Niel dePonte, Principal Percussion, Oregon Symphony

Martha Herby, 55, became the Second Flutist of the Oregon Symphony in
1981 and also served as the Acting Principal Flute of the symphony on
many occasions. She was a graduate of the Eastman School of Music,
where she earned a Master of Music degree and the Performer’s
Certificate, before being named to the school’s faculty in 1976. She
also held the position of Principal Flute in both the Bloch Music
Festival orchestra in Newport, OR, and the Cascade Music Festival in Bend.

Martha appeared as a concerto soloist with the Oregon Symphony, the
Brockport Symphony, the Rainier Symphony, the Chautauqua Festival
Orchestra and the West Coast Chamber Orchestra, where she played
Principal Flute from 1980-1990. She taught on the faculties of The
Eastman School of Music, The National Music Camp at Interlochen, MI,
and Lewis and Clark College in Portland, OR.

After making her Portland solo debut with the West Coast Chamber
Orchestra, Willamette Week wrote, “in spite of visits by Jean-Pierre
Rampal and Ransom Wilson, Herby provided the best flute playing in
Portland this year.”

Martha can be heard as both principal and second flute on most of the
Oregon Symphony’s compact disc recordings with James DePreist
conducting. She also recorded two CD’s with the Third Angle New Music Ensemble.

Martha was born in Jamestown, N.Y. and received her Bachelor’s degree
from the State University of New York college at Fredonia, where she
majored in Music Education. She studied with and was coached by some
of the world’s outstanding flutists including soloist James Galway,
Walfrid Kujala of the Chicago Symphony, James Walker of the Los
Angeles Philharmonic, Bonita Boyd of the Rochester Philharmonic and
Eastman school, and master pedagogue and soloist Keith Underwood.

Among her many extra-musical activities, Martha was an avid gardener
and member of the Oregon Symphony’s garden club, where she enjoyed
her honorary title “Queen of Dirt.” She was a collector of “Christmas
in the Village” ceramic pieces and each year built a new Christmas
Village in her home, taking up most of her living room. This served
as an excuse to invite her friends over during the holidays to see
the village and eat some of her legendary cheesecakes.

Martha is survived by her parents, Norman and Violet Herby, and her
brother and sister-in-law Paul and Sue Herby, as well as her nephews
Chris and Tim, and niece Catelin of Chanhassen, Minnesota. Her last
public performance was as a member of the Oregon Ballet Theatre
Orchestra flute section during performances of Sleeping Beauty in
June of 2007, where she performed with many of her musical colleagues
in Portland who knew and loved her, especially principal flutist
Georgeanne Ries and conductor Niel DePonte.

Martha passed away due to complications stemming from gall bladder
cancer that was diagnosed in July of 2007. Martha loved the Oregon
Symphony with all her heart and was a devoted member, participating
on many committees. At the time of her death she was one of two
orchestra members appointed to the board of directors. A memorial
service is being planned for Saturday November 10 at 2 PM.
Contributions can be made in her name to the Oregon Symphony Annual Fund Drive.

martha

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Today we lost a beloved colleague, wonderful musician, and cherished friend in Martha Herby.  There are many from within the orchestra (and from without) who were closer to her than I, and who knew her longer than I, and who spent more time with her than I did.  At times like this, it’s hard not to measure yourself against other friends and relatives of the person who has passed, to see if your grief is as deserving as theirs.  I’ve seen some of the ugliest fights over what the deceased “would have wanted”.

In the end, that all doesn’t matter.  What matters to me is that someone who greeted me with warmth, wry humor, vitality and humanity on my first day of work 12 years ago (and who was on my audition committee) is now gone from the face of the earth.

Martha and I had a unique relationship in that we each felt that we could give each other shit without excuses or ill will or hurt feelings.  We just said what was on our minds and got along well for it, and we both knew exactly where we stood with each other on the topic at hand.  For all of her bluster and volume, she was a remarkably sensitive soul.  I knew, mostly without consciously knowing it, that this facade covered up a person of great depth, sensitivity, self-doubt, and love.  That’s what I’ll miss the most.

And I’ll never again look at a rubber ducky without thinking of her and smiling to myself.

Rest in peace, Martha, I can’t believe you’re gone.

NY Phil to play in N. Korea?

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From today’s NY Times:

With the encouragement of the State Department, officials of the New York Philharmonic were en route to North Korea yesterday to discuss a possible concert in Pyongyang in February.

The idea of a visit to North Korea, where the totalitarian government keeps a tight rein on the people and sharply restricts access to the outside world, began with a somewhat vague invitation in August but has taken shape in recent weeks. Zarin Mehta, the orchestra’s president, and Eric Latzky, its public relations director, were in Beijing yesterday and are due in North Korea tomorrow.

Complete article here.