Innovating Through Artistry

Eli Epstein, ETA Competition Round I Winner

fireworks3Dear Eli,
Thank you for your devotion, dedication and passionate desire to help many experience the true meaning of classical music. Your efforts, through your Inside Out concerts, are creating new listeners in a declining segment of the music industry desperately in need of innovation. By helping each audience member make an emotional connection to the music you perform, you are making a difference in their lives. You are also helping them learn how to share their newfound experience of classical music with their children, family and friends.

We applaud your innovative efforts and want you to know we believe in your mission! Your heartfelt determination and efforts moved us greatly and we hope we can help lift your work to a new level of success.

To All the ETA Entrepreneurial Artist Competition Contestants:
Thank you for sharing with all our readers your heartfelt stories and passionate artistic entrepreneurial pursuits. We truly wish each and every one of you great success on your journey.

From the ETA Entrepreneurial Artist Competition Judges:
Lisa Canning, Bert Tenzer, William Shatner

A note from Eli:eli-epstein-79691

I’m so grateful to the Entrepreneur the Arts Contest for creating a forum that encourages, promotes and gives wide exposure to innovation and invention in the Arts. It means so much to me that ETA has selected my essay about Inside Out Concerts as the winner. Your vision will allow my vision to flourish.

During the last eight years I’ve spent countless hours contemplating, formulating, organizing and performing in concerts that I’ve presented for free to anyone who wanted to have a deeper, more personalized experience with classical music. Each Inside Out Concert was a huge experiment. Through extensive audience surveying and collaboration with various mental health professionals and musicians, Inside Out has grown and evolved.

Classical music in America is searching for ways to bring in new audiences. A week ago after my Inside Out Concert, people stayed for almost an hour discussing their experiences with each other. Many expressed the desire to hear the world premiere a second time. Others simply said, “Thank you so much! You’re really onto something. When’s your next one?”

Winning the Entrepreneur the Arts Contest is a huge affirmation of the work I’ve done largely without compensation. I’m exhilarated and excited to be able to take my dream to a higher level. Now more than ever America needs experiences that help us more deeply understand ourselves, our stories and each other. The exposure I receive from the Entrepreneur the Arts Contest will allow Inside Out Concerts to reach and impact a much wider audience.

Many, many thanks,

Eli Epstein

Eli Epstein’s Winning Entry:

Contestant #4 Eli Epstein
In Entrepreneurial Artist Contest Contestants, Music on December 7, 2008 at 7:00 am
Written by Eli Epstein

Inside Out audiences realize that classical music can be a tremendous resource for understanding oneself and others. It’s food for our minds, hearts and souls. And yet classical music is intangible, mysterious, and undiscovered by most of the American population. It’s generally thought of as elitist and inaccessible except to the knowledgeable few.

Inside Out builds bridges to audiences by showing that a connection with music is not so much about knowing (although it’s useful to know the historical and cultural context of a piece), it’s more about tapping into the emotional essence and universal human experience that’s inherent in every work of art, be it music, dance, theatre, film, or visual art. This innovative interdisciplinary approach helps concertgoers access their memories and activate their imaginations so that they can have more moving, meaningful, and personal experiences.

I’ve been passionate about classical music my whole life. As a child, I performed as soloist with the Philadelphia Orchestra several times; as an adult I was a member of the prestigious Cleveland Orchestra for 18 years. In those formal settings, the artificial wall that separated musicians and audiences troubled me.

I began thinking about how I might improve the connection with an audience by creating a more informal atmosphere and presenting novel ways to help people relate better to the music. When I started conducting ensembles at the Cleveland Institute of Music in 2000, I noticed how much the students craved to be emotionally connected to what they were doing. I was rehearsing Brahms’s Serenade No. 2, and came to a difficult cello passage. Instead of saying, “Cellos, you really need to practice that,” I took a different tact. I said, “When I think about this melancholy passage, it reminds me of the gypsies in Vienna, who were probably looked down upon and didn’t have enough to eat.” An oboe player raised his hand and half-jokingly said, “That’s how I feel as a music student, looked down upon and hungry!” Everyone laughed. I said, “Okay, so you’ve felt how those gypsies might have felt. Hold onto that.” We played the passage again and the sound of the cello section changed completely. It was dark and emotional, and most of the technical problems had disappeared. The students and I were amazed. I started thinking about how I could give listening audiences a similar “right brain” experience.

I presented my first Inside Out Concert in Shaker Heights in 2002; I rented a church and asked colleagues from The Cleveland Orchestra to perform with me. I advertised this way: “Do you feel uncomfortable at classical music concerts? Are you scared about not knowing the rules of concert etiquette? Please wear comfortable clothes and bring your imaginations!”

I welcomed the audience of about 100 adults. I encouraged them to get physically comfortable by letting them stretch and breathe deeply, since people become more imaginative when they’re relaxed. I told them bits of information about each piece, and gave them creative ways to project their lives onto the music. For example, before we performed a Bach Fugue I told the audience that a fugue is about building something. I asked each of them to choose something they felt most earnest about building in their lives. I explained that every project takes many steps to complete. Every time the fugue melody was presented, they could think of it as a building block. Things always come up that we don’t expect so we have to improvise, like Bach, who improvised between the fugue statements. We demonstrated several excerpts, since familiarity helps people relax, then played it through. Afterwards people seemed excited. “I was totally engaged.” “I’m a rock ‘n’ roll guy, but I really liked this concert!” “When’s your next one?” I was juiced!

Through my collaboration with three different psychotherapists, Ceci MacDonnell LISW, Alan Bachers PhD, and Cynthia Anne Hale PhD, Inside Out has evolved to include guided visualizations to connect concertgoers with universal emotional themes such as joy, loss, strength, struggle, gratitude and grace.

For example, I presented Brahms’s Horn Trio, which, I told the audience, was written during the year after his mother died. I related that loss is a universal human experience, and led a guided meditation to help the audience get in touch with their sorrows. After the concert, the pianist of the trio said, “Eli, do you realize that half the people in the audience were crying during the third movement?”

In 2005, I left The Cleveland Orchestra and moved to Boston to have more time and energy to develop Inside Out and other creative endeavors. The Arlington Street Church in Boston has been hosting my Inside Out Concert Series for three years. Listeners have reported having amazing and moving experiences. In fact, 62% of survey respondents disclosed that this approach changed the way they thought about classical music. 
The Boston Globe, Cleveland Plain Dealer and the Santa Barbara News-Press have published feature articles about Inside Out.

Programs have varied in terms of method, repertoire and ensemble size (from solo to chamber and orchestral). I’ve presented diverse music of composers such as Beethoven, Ravel, Messiaen, and Paquito D’Rivera. I even presented a solo piano recital where Eve Kodiak, after performing Schumann’s Scenes from Childhood, asked the audience to share titles of episodes from their own childhoods. Then Eve improvised a whole new suite, a sort of “playback” of their personal childhood scenes.

Our society is hungry for meaningful experiences. People will come back to classical music concerts if they think there’s a good chance they’ll have another moving experience. I would use the Entrepreneur the Arts funding to reach a wider audience through orchestral concerts, CD’s, and radio.

It’s been challenging to persuade established musical organizations that incorporating the Inside Out format could help them bring in and build a new audience base for classical music in America. Alan Brown, director of Audience Insight said, “What you have here, Eli, is a lever to get people into the concert hall again and again.”

Eli Epstein
www.eliepstein.com

About Eli Epstein
ee2
Eli Epstein, horn, has much experience as an orchestral player, soloist, chamber musician, educator and conductor. Mr. Epstein joined the Cleveland Orchestra in 1987, and became Horn Instructor at the Cleveland Institute of Music in 1989. He has appeared several times as soloist with the Philadelphia Orchestra and The Cleveland Orchestra. An active chamber musician, he has performed at Severance Hall, Tanglewood, Philadelphia’s Academy of Music, Aspen Music Festival, the Kennedy Center, and Music Academy of the West. He can be heard on Telarc, Teldec, London/Decca, and Deutsche Grammaphon recordings. Mr. Epstein is on the faculties of The Boston Conservatory, Music Academy of the West, and the Aspen Music Festival and School, where he has served as Principal Horn of the Aspen Chamber Symphony since 2000. Many of his former students hold positions in major orchestras throughout the United States and Canada. Mr. Epstein left The Cleveland Orchestra in 2005, and moved to Boston to devote more time and energy toward educational and creative endeavors. He performs with the Boston Symphony Orchestra and works with the BSO Educational Department on special projects. Mr. Epstein has presented workshops, master classes and recitals at conservatories throughout the United States, Canada, and Europe. Mr. Epstein has conducted ensembles at the Cleveland Institute of Music, Music Academy of the West, Longy School of Music, and The Boston Conservatory (on his Inside Out Series at the Arlington Street Church in Boston). Advocating the idea that music can be a meaningful and uplifting force in society, Mr. Epstein has created and presented many Inside Out programs designed to help people actualize their own potential to enjoy music by accessing their memories and activating their imaginations.

  1. Congratulations to you, Eli! I am so happy that you won the contest and that by it your “entrepreneuring” of classical music will spread more broadly, and gain new recognition too!
    I hope to hear more of you!

  2. Eli, Congratulations! You can tell that you are very passionate about your mission and have worked hard in pursuit of your goals. I wish you all the best spreading your inspiring musical vision.

  3. Eli, this is very exciting stuff. Wow, what a wonderful vision! I hope to have the chance to experience Inside Out in person some day. Congratulations.

  4. What great news! We’re so proud of you!

  5. […] Read Eli Epstein’s winning entry from Round I […]

  6. […] In Author: Lisa Canning, ENTREPRENEUR THE ARTS on September 21, 2009 at 8:56 pm This morning the winner of the first round of The ETA competition, Eli Epstein, jetted off to LA to the Heartbeat of America Studio to film his 30 minute segment about his […]

  7. […] was celebrated with the launch of The ETA competition with our first entry, Brian Owens. Although Eli Epstein was our first contest winner, this marked the beginning of a number of fine entries to the […]

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