A community masterpiece
In 1979, Robert Singletary had a vision to create a symphony orchestra for the city of Coeur d’Alene. Singletary, author of “Kootenai Chronicles,” a history of Kootenai County, and at that time a music teacher at North Idaho College, knew the importance of creating a complete music package. North Idaho music culture was as diverse as the settlers who came here, and popular music ensembles grew in the 1920s and 1930s, making this part of the state well known for its music. Building on that momentum, Singletary came up with a plan to expand the small-college “pit” band into a full instrumental orchestra. The time was right for dreaming big.
The easiest way was to recruit through the college, so NIC’s 1979 fall catalog featured classes that would attract not only college musicians but others in the community. Singletary succeeded, and it was the beginning of what is now known as the Coeur d’Alene Symphony.
Symphony orchestra can be traced to the 17th century, although groups of musicians probably played together since instruments were invented. It was the introduction of opera in Italy that set a standard for a body of accompanying instruments. Early composers wrote simple pieces and, as is today, the formidable task of balancing an orchestra lies with the conductor alone.
The group, the NIC Chamber Orchestra, as it was called then, started with 35 members and produced its first concert on May 8, 1980. It was Beethoven’s No. 1 Symphony in C.
After a year of success, Singletary turned his attention to obtaining a doctoral degree and passing the baton to another NIC teacher, Todd Snyder. Snyder as many would agree, was the driving force in the orchestra’s evolution from humble beginnings to a full chamber orchestra in the 10 years that he served as conductor.
French horn player Larry Strobel was among the first musicians recruited in 1980 and still plays with the symphony. His experience in the 560th Air Force Band of the Washington National Guard made him a welcome addition to the orchestra. The group became a family affair when his wife, Sharon, joined the percussion section shortly after.
Larry Strobel says the orchestra was the “best kept secret of Coeur d’Alene” and emphasized the importance of teamwork when playing a symphonic piece.
He explained it in baseball terms. “If a baseball player hits one out of two or one out of three, he has an average that is acceptable. But when you are a musician in an orchestra, you have to hit the note and beat 99.99 percent of the time or it’s a no go.”
“As a musician you don’t just go to a school or college for four years to get a degree to play,” he said. “It’s a lifelong study to be continually better, and your training starts usually as a young child and continues every day.”
Team-playing is what the orchestra is about, said Yvonne Deitz, a violinlist who joined the orchestra in 1984. “Most people don’t realize that being a team is critical” when playing in an orchestra, she said. “You don’t want to let everyone else down, so it’s important to do your part and do it well.”
Who better to know that than David Demand, the symphony’s current conductor and artistic director, who brought his rich musical background and experience to the group. Demand had played lead keyboard for the Joffrey Ballet in New York City and also was a member of the Cedar Rapids Orchestra.
“Orchestras are about hard work,” he said.
The Coeur d’Alene Symphony has musicians who are college students as well as members who are well into their 70s. The symphony is made up of 70 to 72 musicians, each a volunteer, and some travel from as far as 50 miles to play with the group. Demand requires auditions, a practice that has paid off in attracting musicians of a wide variety of backgrounds and experience, including Diana Clemens who trained at the Juilliard School of Music in New York.
Although the orchestra may seem to be a random group of musicians playing different instruments, it has in it’s long history evolved to the masterpiece it is today.