On a sultry June evening, Western’s campus is quiet. The convocation crowds have departed. The ever-present geese have gone to wherever it is they sleep. The only activity comes from Mother Nature, as she unleashes a thunderstorm.
Inside the Don Wright Faculty of Music buildings, it’s a different story.
In three spaces, music is being made. No surprise there. The difference tonight is that the musicians are not there to earn a degree.
In room 227, about 50—brass, woodwinds, percussion—are warming up. Conductor Mark Enns holds up his baton and asks them to play scales. It’s a big night for this group—they’re going to run through the entire set list for their upcoming European tour.
Downstairs in the Paul Davenport Theatre, conductor Eric Heidenheim is with another group, working on an instrumental version of the Sinatra classic, “Come Fly With Me.” Heidenheim asks them to stop and repeat a few bars, one of a number of such requests as they take the song apart.
Across the hall, about 20 jazz and blues players are playing the Glenn Miller Band chestnut, “Chattanooga Choo-Choo.” Conductor Andy Chelchowski wants them to end the song with a real resolve. He and the band engage in a lively back-and-forth the musicians all seem to enjoy.
This is the Western University chapter of the New Horizons music program in action. The musicians are all amateurs, meaning none of them gets paid for playing as a profession. Some came to the program knowing how to play their instruments. Some came as absolute beginners, not even knowing how to read music.
But the conductors—all professional musicians and teachers—work the bands through the music as if they’re rehearsing for Broadway.
New Horizons was founded in 1991 by Roy Ernst, a music professor at the University of Rochester’s Eastman School of Music. His initial goal was to give retired adults an opportunity “to play music at a level that will bring a sense of accomplishment and the ability to perform in a group,” as he wrote on the program website. He wanted it to be for pure enjoyment—no marks, no competitive festivals, no jockeying for lead parts in a band.
Ernst’s idea caught fire. Today, about 200 New Horizons chapters serve more than 10,000 musicians in Canada, the United States, Ireland and Australia.
The Western chapter—the first in Canada and thought to be the largest in the country—got started in 1998, when Don Stephenson, a Faculty of Music staff member, heard about New Horizons at a music convention in Los Angeles.
He talked about it with colleagues at Western and they decided to give the program a try. The first rehearsal was held on Jan. 9, 1999.
“We thought we’d get about 20 people,” says Dean Emeritus Betty Anne Younker. “But 54 showed up. It was really heartwarming. Today, there are about 250 musicians. The impact has been phenomenal.”
The musicians play in a variety of ensembles, such as concert bands and jazz and blues combos. Bands are also offered for different levels of expertise. A number of associated groups have spun off the core bands. New Horizons bands play in and around London, Ont., from shows at long-term care homes to the Covent Garden Market holiday concert.
The European tour band got started in 2005 and is open to anyone participating in the New Horizons program. The tours happen every two years and focus on different regions of Europe. This year’s shows were all in France and Belgium.
Talk with the musicians and the reasons for New Horizons’ popularity quickly become clear—it’s about friendship and creative challenge.
Judy Hamilton, 71, played alto sax in high school and missed playing as an adult. She likes the social aspect of New Horizons and how players support each other. And she’s become a better musician.
“I’ve learned about my instrument in a way I didn’t in high school. I’ve become more educated about the quality of the sound and I have this opportunity to play with musicians who’ve been playing for years.”
Jim Wells, 67, grew up playing trumpet in Salvation Army bands. He fell away from playing during his career years but when his wife, Nancy, joined New Horizons to play flute, he dusted off the trumpet and gave the band a try. He’s been a member for 10 years.
“I got to the first rehearsal and saw them playing and taking it so seriously, and I thought, ‘I’m going to have to start practicing.’ It gives me a challenge and that motivates me to do my best and not let the others down. It feels good.”
Sean Feica is, at 38, one of the younger members of the program. A drummer and percussionist, he works professionally as an audio engineer.
“I love what music does for people in bringing them together. I’m busy with my day job and I do most of that from home. So, I don’t get out a lot. New Horizons is great for making friends. I even met my girlfriend through the program.”
But what’s in it for the Faculty of Music, whose job it is to graduate people who can become professionals? Dean Michael Kim says hosting the program makes perfect sense.
“We’re one of the most outward-facing faculties at Western and connecting with the community is important to us. So New Horizons is a logical part of that mission. The popularity of the program shows how important music is to the community and for lifelong learning. And it’s a win-win, because we get our students involved in New Horizons and that gives them a chance to hone their skills as teachers and mentors.”
New Horizons is also a big draw for the conductors, who go to great lengths to strike a balance between the joy of playing and also producing bands that perform well.
“It’s a fun activity and as a conductor you want them to feel safe,” says Mary Gillard, a retired London, Ont. high school music teacher who has been conducting since 2001. “You want it to be challenging for them, but also fun and safe. Being in a band creates community. Many of our musicians are older adults. At the breaks, they’ll get together and talk about their lives. They’re looking for a connection.”
Conductor Mark Enns agrees that being in the band is, yes, about the music—and something even deeper.
“A real bond develops,” says Enns, also a retired teacher. “That community gets people through things. They have life stories they’re working through and some of it is hard stuff. The music and playing together gives them an up. And they wouldn’t have this outlet without the program and the group nature of it.”
But Enns emphasizes these amateurs aren’t kidding around when it comes to playing.
“I’m so proud of the progress they make. It’s remarkable. I’ve seen beginners, say the sax players, get together separate from the band to practice. And I remember a student who was working on a difficult passage. I asked, ‘Is there anything I can help you with?’ And she said, ‘No, thanks. I’m going to make this happen.’ I love that. They all have so much fortitude.”