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CALIFORNIA TOUR, January 25 - February 7, 2009
What is the value of playing concerts in Prison? Is it coddling them as some see
it? Is it a moment of distraction as others see it? Or could it be something more
profound?
Of course, I always hope it's the profound, life-changing experience and wish it
for every inmate in every group that I play for. Looking at their faces, I think
sometimes It happens. On my most recent trip, two weeks in California where I
presented 18 concerts and workshops at 14 facilities, I began to be more
proactive. On this trip, I was accompanied by the classical guitarist Lars
Frandsen and we put together a challenging program. I played the Prelude and
Fugue from Bach’s 5th Cello Suite. Then Lars played a beautiful Spanish Air by
Albinez after which we played a twentieth century Brazilian sonata for guitar and
cello by Ramadez all followed by a story or two. An interesting and sophisticated
program. Instead of talking about the music, I talked about the experience that I
hoped they would have listening to the music.
What is the value of playing concerts in Prison? Is it coddling them as some see
it? Is it a moment of distraction as others see it? Or could it be something more
profound?
Of course, I always hope it's the profound, life-changing experience and wish it
for every inmate in every group that I play for. Looking at their faces, I think
sometimes It happens. On my most recent trip, two weeks in California where I
presented 18 concerts and workshops at 14 facilities, I began to be more
proactive. On this trip, I was accompanied by the classical guitarist Lars
Frandsen and we put together a challenging program. I played the Prelude and
Fugue from Bach’s 5th Cello Suite. Then Lars played a beautiful Spanish Air by
Albinez after which we played a twentieth century Brazilian sonata for guitar and
cello by Ramadez all followed by a story or two. An interesting and sophisticated
program. Instead of talking about the music, I talked about the experience that I
hoped they would have listening to the music.
"Music brings emotions. Different emotions for every
person, for every piece of music every time it's played. You
don't need to know anything or think about anything in
particular. Just open yourself up and see what happens.
You can sit here and watch or drift off and daydream or go
over the wall somewhere or just empty your mind. Don't
applaud between sections so you can stay in the silence and
just enjoy being here in a room full of people alone with the
music and the musicians playing it. This is why we are
here; to give you this experience."
person, for every piece of music every time it's played. You
don't need to know anything or think about anything in
particular. Just open yourself up and see what happens.
You can sit here and watch or drift off and daydream or go
over the wall somewhere or just empty your mind. Don't
applaud between sections so you can stay in the silence and
just enjoy being here in a room full of people alone with the
music and the musicians playing it. This is why we are
here; to give you this experience."
While I was playing Bach, Lars would look at the faces of
the inmates. And while he was playing Albinez, I did the
same. What we saw was intensity, an almost child like
willingness to be open; humans straining to feel the music
and to have something happen; eager for the experience.
Not what you expect from "hardened criminals." The lesson
that I learn over and over in the places I play is that
stereotypes like "hardened criminals" in prison and
"terrorists" in Palestine and "wild-eyed fundamentalists" in
Afghanistan are just a way to distance ourselves from the
fact that these people are our fellow human beings and they
need our respect and our help. What do I want for the
inmates in prison? For them to get programs and education
and drug rehab and encouragement so that they can
succeed when they come out. As you can read in the
following letters the concerts that Bach With Verse present
are like a visit from a more hopeful part of the universe and
the experience of listening to music a window into a happier
way of being. Is it important? Yes!
the inmates. And while he was playing Albinez, I did the
same. What we saw was intensity, an almost child like
willingness to be open; humans straining to feel the music
and to have something happen; eager for the experience.
Not what you expect from "hardened criminals." The lesson
that I learn over and over in the places I play is that
stereotypes like "hardened criminals" in prison and
"terrorists" in Palestine and "wild-eyed fundamentalists" in
Afghanistan are just a way to distance ourselves from the
fact that these people are our fellow human beings and they
need our respect and our help. What do I want for the
inmates in prison? For them to get programs and education
and drug rehab and encouragement so that they can
succeed when they come out. As you can read in the
following letters the concerts that Bach With Verse present
are like a visit from a more hopeful part of the universe and
the experience of listening to music a window into a happier
way of being. Is it important? Yes!
California Institution for Men - Chino
Violetta Peter, Artist Facilitator at California Rehabilitation Center
in Norco, transporting Lars.
in Norco, transporting Lars.
| Inside walls of San Quentin State Prison |
It seems obvious but it's not. Why does anyone listen to music? In order to understand it? No. It's for the emotion. Why do people
often reject classical music? Because they think they can't enjoy it unless they understand it. The truth is that no one understands
music and how it works or why it works. It just affects us. There are clearly people who know a lot about music. That is not the
same thing as understanding it. There is also music that doesn't call up an emotion in some people sometimes. That's about taste or
openness or other factors beyond our control. Once these ground rules were set, it was amazing to see how open these audiences
were, how unprejudiced they were against classical music and how eager they were to have the experience.
often reject classical music? Because they think they can't enjoy it unless they understand it. The truth is that no one understands
music and how it works or why it works. It just affects us. There are clearly people who know a lot about music. That is not the
same thing as understanding it. There is also music that doesn't call up an emotion in some people sometimes. That's about taste or
openness or other factors beyond our control. Once these ground rules were set, it was amazing to see how open these audiences
were, how unprejudiced they were against classical music and how eager they were to have the experience.
| Robert Vincent |
| Old Folsom State Prison |
