691 10 9865 https://caspercollege.cvlcollections.org/files/original/da2601db5b6203eae402c8c47b14cc6c.m4a b519fa9397aaa672b0590e1da168c427 https://caspercollege.cvlcollections.org/files/original/557e7dff08b2401cf74dce682a86e7b5.pdf 1946a4e1e4d015ef219971983019a965 PDF Text Text Wyoming Symphony Oral History Project Rebecca Hein interviewing John Kirk, May 14, 2022 Date transcribed: June 28, 2022 Rebecca: Let’s start with your name and your instrument, how you came to play the instrument, your training, and so on. John: Okay. John Kirk, cello, started in fourth grade, went through public school, played in junior high orchestra, high school orchestra, then I went to MSU [Montana State University in Bozeman, Mont.]. ... Played in the orchestra there, but I was in mechanical engineering for three and a half years, then I decided to be a cellist and I went to Missoula [University of Montana, Missoula, Mont.]. I got a degree in a year. Then I went to Boston University. Well actually when I went to Boston I took private cello for a year, from George Neikrug [Prominent American cello teacher]. Then I entered [graduate] school the next year and I was there for seven years because I wanted to stay with my teacher, and I did a year of studying in Paris with Nadia Boulanger the composition teacher. Then I did a year in ah, Munich [Germany] . Then I came back to the U.S. Is that good for that? I got the Master’s Degree at Boston University. The B.A. in Missoula. Rebecca: That was University of Montana? John: Yeah. It was with Dr. Florence Reynolds. Rebecca: Yeah. John: She was amazing. She had a Bachelor’s, Master’s, and Ph.D. in Theory, Pedagogy, Performance and [Music] History from Eastman. [Eastman School of Music, Rochester, New York] Rebecca: Wow. John: And she could play. �Rebecca: Okay. So let’s move on to how you became affiliated with the Wyoming Symphony Orchestra. Well, I guess it was the Casper Symphony at the time, but, go ahead with that. John: Sure. I was living in Bozeman at the time and my sister, Barbara Kirk, was going to Casper to play, as an import to play, and Curtis Peacock mentioned ...[they were] looking for a cellist, for a new position called artists in residence. [Peacock was then the conductor of the Casper Symphony] So, my sister mentioned it to me and I, sent a a tape to Curtis, of the Debussy Sonata for cello and piano [A sonata is a composition usually for a solo instrument plus piano but can also be a composition for a small group] and then I, went to Casper for the next concert, and played in the section and met everybody there. [Claude Debussy, 19th and 20th century French composer] And then after that, I guess the board decided that they wanted me, and I came down that fall and started in with the program being artist in residence. The job was for me to play in the orchestra, teach at the Casper Community College, cello playing the Casper Community College Student Orchestra and also teach students there, as well as, teach privately in the area, and to do what they called “grow your own” because Casper was using, Casper Symphony Orchestra then was, as it was called, was hiring a lot of cello imports every concert. And so ... my job was to regain the cellists that were capable of playing in the symphony, and get them to play in the orchestra again, that was it, so I did. Rebecca: Yeah, it seems like, you told me when I interviewed you for the article I did on the Wyoming Symphony Orchestra that you offered private lessons to anybody in the section that wanted them, is that right? John: That’s right. Right. Rebecca: Yeah, sounds likeJohn: I required it. If they were going to play in the orchestra I required it. They were free. �Rebecca: Ah. Sounds like you worked pretty hard for your money. John: That’s alright. (chuckles) I needed to, fulfill the goal, which was, reduce the amount of money that they had to spend on imports, which then, for me, was a method of negotiation because if I saved them that much money, at least I’d be worth half again that in a raise. Rebecca: Yeah, I hope you got the raise. John: Yeah I did, They really raised me every year. Rebecca: Well good. John: I mean, it was a negotiation-of course in general, you know, nobody wants to spend more, but they wanted, they wanted more, and each year I did more. I started a piano trio with Curtis and Betsy Taggart, [The instrumentation for a piano trio is violin, cello and piano] and we performed in the Casper schools, [and] in and around the state, and I also started a string program down in Rock Springs [Wyoming] and traveled there weekly during the academic year. Rebecca: I didn’t know that. That’s cool. John: It was. It didn’t last much longer than I was there. When I left the orchestra after three years they hired a couple of guys from Salt Lake and they were there for a year I think, and then they threw in the towel. Rebecca: Hmm. I remember you telling me when I was interviewing you for the article I did, how you found Betsy. I thought that was really cool, the very tactful way you went about finding the best pianist that you could. Will you tell us about that? John: Sure. Knowing full well that the orchestra and the community needed to learn about me and my position, the best thing to do was to give a recital, if not, or more recitals, so we did. I found somebody who was interested in helping with money and she ended up getting financial support from businesses and ... Hill Music back then was in Casper. I don’t know if it still is, �and, so, I did brown bag, noon recitals of about, 30, 35 minutes, and I went to all of the pianists in the city that I knew that could play decently, and I asked if they would play, and paid them, and they accompanied me. And so, after we had the rehearsals and everything, the whole week was ready, set, go. They came and played and it was successful. People had- there were recurring, free clients (chuckles) Rebecca: (chuckles) John: And then, in that period I had a chance to meet with all of them and find who actually had the capability of playing, well, as an accompanist. I was looking for somebody who could read through and play a Brahms Sonata, [Brahms was a 19th century German composer] that’s if somebody can read through that then, and they can follow you and you can give and take. Pianists are good if they can just play their own part, but many of them don’t have the chamber music sense, and I found that with all of these people. Some had more or less of it, but Betsy Taggart had the most, and she was the most willing and the most available and had the highest level of skill. So it was easy, it was an easy choice. But at least by then, I asked everybody and nobody begrudged the fact that I had chosen her because among the pianists just like cellists, I mean, you can kind of mention a group of cellists and if they’re all standing together we all know who plays the best whether we like to admit it or not, and the pianists know that too so, they didn’t begrudge her getting the- being asked to play recitals with me, later, or even the piano trio recitals. Rebecca: That’s great. John: And of course it had a lot of publicity and that was all good. I always gave credit to the orchestra and tried to make it about the community effort and that’s always good- that’s part of your job as a musician in an orchestra. All roads lead to Rome. �Rebecca: (chuckles) If I’m not interrupting you I have another question. John: Mhmm. No, go ahead. Rebecca: What sort of material did you have to work with, local cellists, that were qualified to actually play in the orchestra? John: Well, there were a group of people who had played in high school and had done fairly well in terms of cello technique and orchestral capability. And some of them could play up into fourth position a little bit, and some not, and some higher. [Positions, on a stringed instrument, are numbered according to which note the index finger is placed on. The higher the position a player can play at, the more advanced he or she is, in general] And, so, what I did was, well, what really happened at first was the, I finally talked them all into coming to the first rehearsal, and they did and I think they had, I got six of them, so, all of a sudden there was and there was one person left from the previous group so, all of a sudden there were eight cellos, and that was good- that was good show for me in terms of completing the first [part] of my job, but then, after the first rehearsal, it was obvious that I had to do more and so, the bowing was, I had bowed [marked which way the bow should be drawn (to the right or to the left) on which notes] my own part and everything, but, as standard through most community orchestras nobody ever does the bowing soRebecca: (chuckles) John: So, I embarked on a lesson, and I marked every piece of music and every part for everybody, and everybody had not only a performance part but also a practice part, and for the peopleRebecca: Hold it- �John: And for the people who, when they had lessons with me, if they couldn’t play a fingering [a marking in the music indicating which finger should play which note] that I was looking at I wrote in some, don’t mean to be disrespectful, Rebecca: (chuckles) John: But I wrote in some fingering that I know they could play no matter what. Rebecca: Right. John: And that was successful and the second rehearsal everybody was playing on the same bow. And I can tell you, that makes a big difference. Rebecca: (chuckles) mhmm. John: (chuckles) And we all look like we’re all starting at the same part of the bow and we’re bowing and it helps, it helps ensemble [group] immediately, it was an immediate effect, it was so immediate that I thought “Wow! Maybe that’s why they do it!” Rebecca: (chuckles) John: The big orchestras, you know. There have been some orchestras where, like, Stokowski [Leopold Stokowski, best known for his affiliation with the Philadelphia Symphony Orchestra, and the Walt Disney Film, Fantasia] where they preferred free bowing but he was dealing with a different level of player. Rebecca: Was there no music librarian whose job it was to copy in the bowings? John: No. Rebecca: Ah. John: The music librarian’s job was to keep track of the music and issue it. Rebecca: Uh-huh. Okay. So you built up the section with local people? John: Mhmm. �Rebecca: Okay, Does that mean there were not any imports, or did you- did the orchestra still have to import some cellists? John: Well, sometimes the local people had a life, other than the orchestra (chuckles) and so they wouldRebecca: Right. John: And so for a certain concert be out of town and then it’d be required to hire somebody, but by the end of the year there were no imports. Rebecca: That’s really impressive. Okay, can you think of other things you’d like to tell us about your experience with the symphony? John: Sure. There was a cohesive, [unclear], in the camaraderie in the orchestra, especially after the runouts or tours, that I hadn’t experienced with any other orchestra. People were happy to be with each other and we all knew each other as people, rather than principal trumpet or the French Horn guy that always burbles the note, or the oboist that never plays the correct A at the first blow, and we had to wait for the third one [it’s the job of the principal oboe to give the tuning note for the orchestra], and we were a group, we were more of a family, of course you know when you talk about orchestra families it’s usually a dysfunctional family and it’s spelled with two Ys. Rebecca: (laughs) John: But, yeah, it was fun. I enjoyed that. Casper wasn’t my favorite place to be. I arrived there on a day where it said “mild to gusty winds, 35 to 55 miles an hour” and I always joke with people saying that the Highway Patrol stopped me at the border and said he needed to remove all hair combing implements because the residents had never seen them before, it would frighten them. �Rebecca: (laughs heartily) John: (chuckles) But, even so, I got used to the wind. You know, you just stay inside. You don’t go outside. (chuckles) And uh, but the place wasn’t really attractive but I really liked the people. All of them. Rebecca: Yeah, you said that on the interview I did with you for the article I did. I’m wondering about the scenery and things like that with Casper Mountain right there. did that not influence your feeling about living in Casper? John: We had a summer home in the Beartooth Mountains so it wasn’t all that impressive to me. Rebecca: Uh-huh. I can understand that. John: And in between the concerts I got in my car and I went to Red Lodge and spent my offtime there. Rebecca: Yeah, I‘ve been to Red Lodge, it’s a wonderful place. Well, that’s rather interesting. Okay, do you have anything else to add about your time with the symphony? John: well, I mean you’re talking about specific hours [rehearsals] leading up to a concert. You know it was, back then it was a Tuesday and a Monday and a Thursday, I think, something like that, and then the following week it was like, Tuesday, Thursday, Friday, and Saturday. So, it was intense as it usually is, as [performance] time gets closer and then when all the rest of the brass and woodwinds would come in for imports and back then violinists were still coming in as imports and finally we would have everybody that would play the concert, they would be there and so progressively more enjoyable situation because the sound was more full, obviously. But also the, all the parts were being covered. In an orchestra, even in a community orchestra, you’ve gotta have at least one person in the string section who can play the part, and then the rest of it they fill in on the backside and that works for almost any group. But, professional groups, of �course, pretty much play all of the notes, but in a community orchestra it’s a-a collaboration. (laughs) Rebecca: Yeah. John: I enjoyed the chamber music that we did. I gave I gave at least one or two recitals a year, either at Casper Community College or, back then we tried to, engender more support from the public and the business community. I gave a couple recitals at, then, was the American Bank. It was pretty prominent then. It was on the corner of Wolcott and Center? I can’t remember the streets. At any rateRebecca: It would’ve been a numbered street, yeah. John: Yeah, and, so people came, paid their money, and it was partially supported by the bank who got their name on the concert and there were programs, and whatever. That worked out pretty well. I enjoyed that, and local, [music store] Hill Music brought a piano over, which was great. Rebecca: So I was just about to ask how the bank lobby would happen to have a piano in it. (chuckles) John: It didn’t. Part of my job was getting there early and pushing all of the desks and chairs to the side to make room for the (chuckles) for the concert, so I was stage hand as well. Rebecca: Yeah, well that doesn’t surprise me. John: We, during the three years I was there we performed all-either, piano or cello, or, piano trio, all over Wyoming, and and in smaller towns, and, once we played down in Rock Springs we the C major, Schubert quintet. That was fun. [Schubert was an Austrian composer of the late 18th early 19th centuries] �Rebecca: Yeah, I think the musicians in our audience would like to know what sonatas and things you performed. John: Okay. Rebecca: And your various recitals? John: Okay, sure, well during the brown bag thing I did mostly early Italian, sonatas, you know, nothing really difficult, but, would’ve been [a] Marcello [sonata], [Benedetto Marcello, 17th and 18th century Italian composer] I don’t think I played [the] Eccles. [Sonata by Henry Eccles, 17th and 18th century English composer] It’s been a while since I’ve thought about these pieces. I played [the] Locatelli [sonata] with Betsy. [Pietro Locatelli, 18th century composer and violinist] Let’s see, and then in recital I played the Brahms E minor [sonata], one time, and then I played the Brahms F minor-F major, [sonata] another time, as well as, we-we did, well, with the piano trio we had fairly extensive, literature. We played, the [Beethoven] B flat and the clarinet trio, and another one I can’t remember. Oh, the [Beethoven] Kakadu variations. And then, we [did] the [Brahms] B major piano trio and the C major. We didn’t really like the C minor, or there’s an A major too I think. We didn’t really care for that. And then we filled in with the, Baroque stuff on the early part. [The Baroque period of music was from about 1600 to 1750, and included Marcello, Eccles and Locatelli] There was a Handel sonata [George Friedrich Handel, GermanBritish composer of the late 17th and early 18th centuries] for two flutes it’s been transcribed [adapted for an instrument other than the one it was originally composed for] And then, it was a Handel sonata, it was originally written for transverse flute [side-blown; the player holds the flute parallel to the ground and blows across the hole nearest to his/her mouth.] It’s been transcribed for two cellos, two violins, violin and cello, and that has, it’s a sonata in G minor. Played that, let’s see, I guess, you know, there was some Telemann and Vivaldi, [Georg Philipp �Telemann, 17th and 18th century German composer; Antonio Vivaldi, 17th and 18th century Italian composer and virtuoso violinist] actually trio sonatas that we played so that we would have a smattering of Baroque moving on to more serious stuff where we would enjoy [a trio sonata is written in three parts: two top parts played by violins or other high melody instruments, and a bass part played by a cello] - you know we played a number of Mozart piano trios. Of course there was not an awful lot to do for the cello except for a couple of them, and then all of a sudden, I mean, you’re only playing in first position and then all of a sudden you have an extensive lick or a solo line that’s written purposely by Mozart, right across more uncomfortable areas of the instrument’s- [“Positions,” on a stringed instrument, are numbered according to what pitch the left index finger is placed on, on the fingerboard. First position is considered the easiest] Rebecca: (chuckles) John: -capability and so you have to- Oh- we played the uh, Beethoven Archduke trio. That was good. That was fun. Oh, and Mendelssohn piano trio. [Felix Mendelssohn, 19th century German composer] Rebecca: Oh yeah. There’s like, that starts with the cello, with the openingJohn: Yeah. Rebecca: -theme, yeah. John: Yep. So, that’s- that’s what we played in the chamber music side of it. Rebecca: So, you were in Casper for? John: Three Years. Rebecca: Three years? Yeah? John: Yeah. Right. �Rebecca: Okay, and, of course, I can’t resist asking you about performances of the Verdi Requiem. I can’t remember the movement, I guess it was the Offertorio? [Giuseppe Verdi, 19th century Italian composer. A Requiem is the Latin text of the Catholic Mass for the Dead ] John: Yeah, with the solo? Cello? Yeah. Rebecca: With the very exposed part. Could the section handle it or did you have to play it, alone, when the orchestra performed it-or-How did that go? John: It was a section solo. Rebecca: Right. John: I did play, the last year of the last concert, I played, the played the William Tell Overture. I played the solo on that. [Overture to the opera, William Tell, by Gioachino Rossini, 19th century Italian composer] Rebecca: Ahh. Yeah, that’s fun. All those, principal cello solos. John: Mhmm. Rebecca: Did you have a chance to play the Brahms- oh I forget which piano concerto, but it’s got a couple ofJohn: It’s a C minor. Oh- excuse me, the B. The Brahms concerto and- Is it B?- I think so. Rebecca: I can’t remember the key, I just remember it’s got a couple of extended cello solos. One of them has got reasonable territory and the other one is up a little higher. John: Yeah. No. We never played that one. Rebecca: Ah. John: Dee-Da-Da-Da-Dee-Da-Dee-DaRebecca: Yeah. That One. �John: Yeah. The big question right there is, you can start it down bow or up bow. [Terms borrowed from violin playing, where the bow actually goes down or up. On cello, the bow more often goes side to side] Rebecca: (chuckles) John: And I- even before YouTube, I was asking people, but, I saw it eventually- played at ... [the] Teton Music Festival [A summer music festival in Jackson, Wyoming]. The guys started it up bow. It really made sense so, I kinda just reversed my mind to that. Rebecca: Hm. ‘Kay, well, Can you think of anything else you’d like to tell us about your time with the symphony? John: Maybe if you can tell me a little bit more about what you would like to make the article about? The focus. I can help you fill in? Rebecca: Well, this isn’t really an article, it’s just an oral history that’s going to be transcribed and go on file, at the American Heritage Center in Laramie as an Archive. John: Oh, alright. Rebecca: Maybe the transcript will be published on WyoHistory.org. Probably at some point it will be. John: The transcript. Okay. (laughs) Rebecca: I think I can- I think I can edit the transcripts. I think I have to go over it anyway because it’s a specialized subject, so. John: yeah. So, the orchestra itself was going through some growing pains. None of them horrible, it’s just that, the orchestra had always had a manager that was the volunteer person. And then, the first year I was there we had a - maybe it wasn’t the first year, it was the second year- we had a paid volunteer, and then, and he was there the second and the third year. And then �so, that was a good thing for the orchestra, as long as- The first guy was Ken Steiger and he was good. He knew how to do his job and to get lots of public support and I never had any complaints about anything. He got all of the logistics he handled. He was the operations manager at the same time. Arranged for all of these buses and tour- when we did tours and “run-outs” as they called them. And, and that was a big change, from the previous person who wasn’t doing a bad job at all, it’s just that, now, this guy was really on the spot doing, all, everything within a timely manner. So that was good. The second year I was there, the, concertmaster came in, Randy Tracy, and, he was a big, big contributing factor to making the violin section sound much better. He’d been playing first violin in the, Denver Symphony and then left to do a Master’s degree at Fort Collins [Colorado State University], but then moved up to Casper and his wife played bassoon really well. In fact she had- I-I played her- in her, recital at Boston Universityshe was studying with Sherman Walt of the Boston Symphony and then later she- after that she played in South America and then she played in the National Symphony [National Symphony Orchestra, Washington, D.C.]. And then, was back living in Fort Collins and she and Randy came up to, Casper and, so, it was nice having them. That was a- that was a great, collaboration. Curtis was really good. back then I had a girlfriend who played the cello really quite well. Actually played better than I did. And, so, he was all about getting what he called “twofers.” (laughs) Rebecca: Right. John: One being paid and the other just getting local pay. but, it was, it was a chance to play, and, anyway. That-that was good. I don’t think they ever got a- got another- I don’t know if they ever got another principal player or- in the, violin, or I mean, in the brass or woodwind area. Rebecca: With the core musician idea? �John: Yeah. Right. Rebecca: I don’t-I don’t think so. I don’t think it ever went further than concertmaster, cello, and briefly bassoon. John: Yeah. Well, that worked for the community orchestra and, you know, for all of the reasons that there might’ve been for- with Curtis eventually leaving, he was really quite good at, keeping the orchestra together and, performing at a fairly decent level. I never- I never had any complaints about his conducting. I knew what he wanted. I didn’t always agree with what he wanted, but I-I knew what he wanted, and it was communicated easily. Of course you know, who- what musician agrees with any conductor? But it’s your job to follow him, so that was my job and I did it, and it was- he was really good at communicating that. Rebecca: Yeah, I agree. I remember, I always knew where I was. John: Mhmm. Rebecca: -and I didn’t realize how important that very clear beat was until we had a guest conductor. I don’t know how he came to be there but, he couldn’t give a clear down beat, and I was absolutely at sea. So, um,John: Yeah. It’s the old rule when- when the– when the baton reaches the third button on the front of the shirt that’s when it starts. Rebecca: (laughs) John: (laughs) Rebecca: Yep. I have always appreciated that about Curtis’ conducting. John: And he never got riled on the, on the podium. He never took tempos to-to-to an extreme just because he was excited. He knew the limits of the orchestra. He pushed you up to the point �where- the orchestra up to a point where- he knew he could still be in control. The orchestra could still be in control. Rebecca: That’s true. John: So. So as far as, you know, conductors doing the whole community orchestra gig, he-he was kind of tailor-made for- cast in that way. At least during the orchestra rehearsals, and the concerts. Rebecca: Yeah I agree. I’ve had conductors that, they had all sorts of bad habits, like stomping their feet. Um,John: (laughs) Rebecca: -during, while conducting, and one- one conductor, he- he couldn’t refrain from bellowing the entire time he was conducting. John: Oh. Rebecca: Trying to sing our parts to us so that, the result was, the very first time we heard each other was at the concert because he managed to restrain himself then, but, oooh, that was- that was dicey. So, yeah. Curtis didn’t have any of those faults. He was, quite reliable. John: I was, had a student who was performing a solo with the Anaconda Montana orchestra, and I was just there to hear that, and, they were doing some excerpts from showtunes. Among them was Fiddler on the Roof and the trumpet player didn’t come in on- and “If I Were a Rich Man”and the conductor started singing the part, in the- (chuckles)- in the concert. Rebecca: Ahaa. (laughs) John: Which is, probably the most definitive example of what you’re talking about. Rebecca: (laughs) �John: Well I don’t know. I think- I think you bled me dry here. I’m not sure I know anything else. Rebecca: Yeah well that’s fine. I really appreciate your giving us all this time. John: Sure. I mean, in the- in the back room and the- and the, and during the reception, one could say lots more about all the undercurrents. (laughs) But, what I’ve told you is the most positive, and- and really that’s what helps make orchestras continue. Rebecca: I agree. Okay, well, if you have told us everything that you have to say that’s great. John: Well if you have any other questions along the way you can, you can ask me and I’ll put it in an email form and it’ll still be under the jurisdiction of this, of the, nondisclosure, agreement that I had to sign. I don’t care. Rebecca: Oh. Right. Yeah. John: Then you can insert it in as part of the transcript and that’s fine. I won’t write anything I don’t want you to know. (chuckles) Rebecca: Sure. Sounds good. Okay, well thanks a lot for giving us your time. John: Sure. No problem. And I hope everything’s going well there. Rebecca: Yeah. And with you guys? John: Yeah. So who’s conducting the orchestra now? Rebecca: Oohhhh, let me think. Christopher Dragon. John: Oh. Rebecca: He is, I think, assistant conductor in Denver? John: Oh. Rebecca: Maybe he’s, the conductor of the Denver Symphony. I don’t- not clear on that. ButJohn: Oh. �Rebecca: -he’s imported for every concert. The orchestra now is pretty much all imports. It’s very few community people. Things have changed a lot. They changed when Curtis left and they started importing their conductor. They had to have- have a very compressed rehearsal schedule because the conductor wasn’t local anymore. John: Mhmm. Rebecca: This started in the early 2000s. So, they, people had to be ready for that and they had to practice for it and prepare for it, and I think, probably, some people got weeded out. John: Yeah, it takes moreRebecca: SoJohn: It takes more time to have your part ready rather than just going in and fitting which, you know, you couldn’t play already. I think it’s a big mistake to not have a resident conductor, and that’s the demise of the community orchestra people. We have, an import conductor in Billings and the only reason that has worked, frankly, is because the manager, the executive director has been so instrumental and he’s been the face of the orchestra and not the conductor. It doesn’t make people feel like they really have a- have somebody who’s there, vying for the musical soul of the city. Rebecca: Yeah. Yeah. And my- I don’t know if this is happening in Billings, or has happened but, in Casper, because the conductor is from Colorado, a lot of- he’s attracting a lot of grad students and other people that want to- want him to notice them so they come up here and audition, and end up excluding local qualified people. John: Sure. Rebecca: -Because they- they’re playing a little better ‘cause they’re practicing more andJohn: Right. �Rebecca: -And you know, and in the old days, the- the qualified locals would’ve been able to do a perfectly adequate job. John: Uh-huh. Rebecca: So. That’s been happening ever sinceJohn: Yeah. Rebecca: -ever since they had started importing the conductor. John: Right. Well, it also could- it also is, has to do with money, and or, a board that wants to say “okay, the conductor’s shift is there. Hey, here you are, you’re the conductor there, you fix it all.” And so they become a conceptual board rather than a working board. It’s not a new concept. Rebecca: Yeah, I recall, when my father was on the board years and years and years ago, one of the things he said was, “If somebody doesn’t- if somebody on the board doesn’t do their job and get out there and raise money, we get rid of them.” John: Yeah. Rebecca: So. John: Well people are having a hard time hurting people’s feelings these days. Also- also back then the board members were required to, support the symphony in a certain financial manner. Rebecca: Right. They were expected to. Yep. John: (indistinguishable) Rebecca: I don’t know if that’s really true. I haven’t kept in touch with that. John: It’s probably all over the map. Rebecca: Could be. John: Alright. Rebecca: Okay John. Well thank you very much. �John: Okay. Email me if you need different questions answered. Rebecca: I’ll do that. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource WyoHistory.org Wyoming Symphony Orchestra Oral History Project Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/InC-NC/1.0/">http://rightsstatements.org/vocab/InC-NC/1.0/</a> Date Created Date of creation of the resource. 2022-2023 Creator An entity primarily responsible for making the resource WyoHistory.org; Rebecca Hein Language A language of the resource ENG Identifier An unambiguous reference to the resource within a given context NCA 01.i.2022.02 Type The nature or genre of the resource Sound; Text Description An account of the resource Audio files and transcripts created and edited by Rebecca Hein and students at Casper College during an oral history project with players of the Wyoming Symphony Orchestra. The oral histories were conducted by Hein between 2022 and 2023 and are a part of Wyohistory.org publishing project. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource John Kirk Wyoming Symphony Orchestra Oral History Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/InC-NC/1.0/">http://rightsstatements.org/vocab/InC-NC/1.0/</a> Date Created Date of creation of the resource. 2022-05-14 Description An account of the resource Audio file and transcript for oral interview with Wyoming Symphony Orchestra player John Kirk. This is interview was conducted by Rebecca Hein for Wyohistory.org on May 14, 2022. Type The nature or genre of the resource Sound; Text Creator An entity primarily responsible for making the resource Rebecca Hein; John Kirk Language A language of the resource ENG Is Part Of A related resource in which the described resource is physically or logically included. WyoHistory.org Wyoming Symphony Orchestra Oral History Project Files, NCA 01.i.2022.02 WyCaC US. Casper College Archives and Special Collections. Identifier An unambiguous reference to the resource within a given context NCA 01.i.2022.02_JohnKirk Format The file format, physical medium, or dimensions of the resource M4A; PDF https://caspercollege.cvlcollections.org/files/original/d1767926c8dcd9fd50c5f96e4f479684.jpg e3e839de0f039a5abcf16b29dd572c98 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Photographic print Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource John Morrison Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/InC/1.0/" target="_blank" rel="noreferrer noopener">http://rightsstatements.org/vocab/InC/1.0/</a> Access Rights Information about who can access the resource or an indication of its security status. Access Rights may include information regarding access or restrictions based on privacy, security, or other policies. Archivists are happy to assist anyone with accessing the physical or electronic copies of photographs. The Casper College Goodstein Foundation Library is glad to grant uses of this material that it actively manages and cares for and will provide its publication policy upon request. Date Created Date of creation of the resource. 1988 Description An account of the resource Black and white photograph of John Morrison, coach of the Casper College men's basketball team from 1989 to 1993. According to an Athletics Staff description from a 1990 Casper College athletics program for Thunderbird basketball, "Morrison is no stranger to Region IX basketball. A native of Scobey, Montana, Morrison attended Dawson college and Northern Montana College, where he was honorable mention All-America in 1971. He went on to play professional basketball in Holland and Austria. In 1974, Morrison was Most Valuable Player against the national Hungarian and Romanian teams. Prior to accepting the Casper College post, Morrison was an assistant coach at Northern Montana and Billings West High School. He then spent eight years at Dawson college as head coach. His teams at Dawson were Mon-Dak conference champions six times, and qualified for the Region IX tournament all but two of those years. Morrison coached one year at Dakota Wesleyan before coming to Casper. During his career, his teams are 155-127 (not including this season). John has a wife, Wanda, and three children, Brandie, Sara and Adam." Type The nature or genre of the resource Image Creator An entity primarily responsible for making the resource Casper Star-Tribune Is Part Of A related resource in which the described resource is physically or logically included. Casper Star-Tribune Photographs, NCA 01.ii.2000.01. Casper College Archives and Special Collections. Identifier An unambiguous reference to the resource within a given context NCA 01.ii.2000.01_PeP_JohnMorrison_1988_01 Format The file format, physical medium, or dimensions of the resource JPG Publisher An entity responsible for making the resource available Casper College Archives and Special Collections (Western History Center) Relation A related resource <a href="https://caspercollege.cvlcollections.org/collections/show/26" target="_blank" rel="noreferrer noopener">https://caspercollege.cvlcollections.org/collections/show/26</a> Provenance A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource. The Casper Star-Tribune gifted 20 years of photographic negatives and prints to Casper College early in the year 2000. These photographs and negatives have been managed by the Casper College Archives and Special Collections housed in its Western History Center. https://caspercollege.cvlcollections.org/files/original/ff2aa3cae19233232d26224fa3a338c4.jpg c02ba631945dec3d45fa6fa54934ed4c Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Casper College Alumni and other Distinguished Honoree Photographs Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/InC/1.0/">http://rightsstatements.org/vocab/InC/1.0/</a> Description An account of the resource This is a collection of digitized photographic prints of Casper College alumni and other individuals. Some of the individual photographs have been identified on their prints and some have not. It is thought that these photographs , negatives were transferred to the archives from either the Foundation Office or Public Relations. Some of the alumni photographed have been named Distinguished Alumni. The repository does not currently have a date range, but these photographs may extend from the 1960s to the 1990s. Some of these photographs appear to be part of a series of photographs that included Marialyce Barrett Tobin. Is Part Of A related resource in which the described resource is physically or logically included. Casper College People &amp; Personages Photographs, CCA 04.xiv.2023.01_People WyCaC US. Casper College Archives and Special Collections. Identifier An unambiguous reference to the resource within a given context CCA 03.d.2024.01 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Photographic print Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource John SchillerWold Description An account of the resource This photograph of John Schiller Wold was found with the photographs labeled Alumni. John Schiller Wold was a business leader who served in the United States House of Representatives from 1969 – 1971. He holds the distinction of being the first professional geologist to serve in Congress. Wold founded or directed several business ventures based on extraction of oil, gas, coal, uranium and soda ash. He also purchased the historically famous Hold-in-the-Wall Ranch in Johnson County and maintained the well known black Angus cow/calf operation. Wold served in the Wyoming House of Representatives from 1957 to 1959 and was the state’s Republican chairman from 1960 to 1964. During World War II, he served as a consulting physicist and gunnery officer for the U.S. Navy. He and wife, Jane established the Help Yourself Foundation, an after-school program to teach science to elementary school students in partnership with Casper College and NCSD #1. They also funded an endowed John and Jane Wold Chair of Energy in the College of Engineering and Applied Science at the University of Wyoming. The Wolds made an additional $2 million donation to Cornell University to fund the Wold Chair of Environmental Balance, which they hoped would advance John’s philosophy of utilizing natural resources while protecting the natural environment. John and Jane Wold donated money to build the Wold Science Building at Casper College. The American Heritage Center at the University of Wyoming named Wold ‘Wyoming Citizen of the Century’ in the minerals, gas and oil category in 1999. https://caspercollege.cvlcollections.org/files/original/e921ad95eaf719a6581ed61fd62adbce.m4a aecbb17012547bbf1eb69467d6e5a03d https://caspercollege.cvlcollections.org/files/original/8f5c5dc9752f551558cfd9f609d20b3e.pdf a23697ad43ed520c1bb11f73c1478c68 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource John Stovall Wyoming Symphony Orchestra Oral History Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/InC-NC/1.0/">http://rightsstatements.org/vocab/InC-NC/1.0/</a> Date Created Date of creation of the resource. 2023-04-06 Description An account of the resource Audio file and transcript for oral interview with Wyoming Symphony Orchestra player John Stovall. This is interview was conducted by Rebecca Hein for Wyohistory.org on April 6, 2023. Type The nature or genre of the resource Sound; Text Creator An entity primarily responsible for making the resource Rebecca Hein; John Stovall Language A language of the resource ENG Is Part Of A related resource in which the described resource is physically or logically included. WyoHistory.org Wyoming Symphony Orchestra Oral History Project Files, NCA 01.i.2022.02 WyCaC US. Casper College Archives and Special Collections. Identifier An unambiguous reference to the resource within a given context NCA 01.i.2022.02_JohnStovall Format The file format, physical medium, or dimensions of the resource M4A; PDF https://caspercollege.cvlcollections.org/files/original/51fed0e006770376d2ef43600afd05df.m4a aecbb17012547bbf1eb69467d6e5a03d https://caspercollege.cvlcollections.org/files/original/a281046467fab130405b6a85679684a1.pdf a23697ad43ed520c1bb11f73c1478c68 PDF Text Text Wyoming Symphony Oral History Project Rebecca Hein interviewing John Stovall, April 6, 2023 Date transcribed: July 12, 2023 John: A sister too. Rebecca: Go ahead. John: Do you have a sister also? Rebecca: A year older than me, Barbara, she plays violin. John: Yeah. Yeah. Rebecca: Okay Well, it's not often that I have the luxury of having been able to read somebody's bio before doing these, these interviews. John: Uh huh. Rebecca: So I have some questions related to that. Anyway, let's start with your name. Well, first of all, thank you for making yourself available for this interview. John: Oh, certainly. Yeah. My pleasure. Rebecca: Okay, great. Let's start with your name, your instrument, and how you came to play that instrument. John: I'm John Stovall, and I play the double bass and I studied piano early on, started piano when I was five years old and was steered to the cello when I was in fifth grade. But it didn't take with me and I played sports instead. And then in ninth grade, I started playing the bass. And I initially started studying with Rex Eggleston. Rebecca: Okay. I didn't know he taught bass. John: Yeah, he was. He was the general, do you remember Rex? Rebecca: Oh, very well. Yeah. John: Yeah, Because he, I think he started the the string orchestra programs in the public schools in Casper. And he was, you know, he was a general music educator, and he did, he he got me started on the bass. Rebecca: I see. Okay. And, and sorry, what grade were you in when you switched? John: I was in ninth grade. I think it was, it was right before I went into ninth grade. I, it was during the summer. Rebecca: Okay. And were you then and are you now a French bow bass player or a German bow? John: Yes, I am a French bow player. �Rebecca: Okay. Could you go into the, just a little bit for the non-musicians who might be listening to this recording? John: Yeah, there are two different styles of of bows for the bass and one is called the French bow, and that's normally referred to. That's what cellists play with, with the French. bow. It's the French bow grip, which is the, the hand is over the top of the, the stick of the bow and the other bow that bass players use is called the German bow. And it's also referred to as an underhand grip because you, you are holding the bow from underneath the stick instead of on top of the stick and that is used, German bow is definitely more prevalent in European orchestras, but in America, in the American orchestras and American bass players there, there's been quite a barrage of German bow players and a lot of the new players coming up are German bow players. Rebecca: Okay, thanks. Now let's, let's go on to whatever you whatever you remember about before college, being in Casper, playing in the Youth Symphony and the Civic Symphony. John: Yeah, well, you know, I studied with with Rex for probably a year, and then I was steered toward Dale Bohren. And I don't know if you remember Dale. Rebecca: Sure. John: But he, he taught me during high school. And Dale, he was very gifted. And Dale went to the Congress of Strings. I remember he was. And that was a national string program where he played in an orchestra. And he, it was sponsored by the Music Union. [Casper chapter] And his experience out there kind of inspired me because he had a chance to, you know, play with with a lot of different players from around the country because it's a national program and so he you know, he was hip to what was going on in the the bass world and music world, you know, sort of nationally. So he taught me through high school. And then he was studying with Curtis [Curtis Peacock, then the strings instructor at Casper College and also conductor of the Casper Civic Symphony and Casper Youth Symphony] at the time and my senior year of high school, I actually enrolled in Casper College because I had enough credits from high school. So my senior year was spent at Casper College and I switched to Curtis Peacock and Curtis was, was also a very inspirational teacher and amazing, he was a very good violinist, but his bass playing technique was also very good. And he really, you know, showed me a lot of good stuff on the bass and also just musically, because he was a very good musician. So my last year of college or my last year of high school spent at Casper College was with Curtis. And that, he was very helpful in actually steering me to some really, you know, top notch teachers around the country. He, he basically guided me when I finished, to my teacher, who was Stuart Sankey and in college. I don't know what you want me to say about that at this point. Rebecca: Well, I'll make a note here. We can come back to that. John: Yeah. Rebecca: You, there was still a youth symphony when you were in high school, is that right? John: Yes, The Casper Youth Symphony. Rebecca: And did you play in the Youth Symphony? �John: I did play in the Youth Symphony. And I also played in, Rebecca: Do you have memories? John: That now I also played, I have more memories from the, from the Casper Symphony. Rebecca: Okay. John: Playing in the section there. Just trying to think because, you know, Curtis was conducting at the time. So it was a good opportunity that, being in the Casper Symphony because I remember playing the Brahms Symphony Number One with Curtis. [Johannes Brahms, 19th century German composer] And that just really got me very excited about, you know, pursuing a career in music. And I think having that opportunity, you know, was definitely a launching pad. The my memories are vague about playing in the in the Youth Symphony, though, because I had more experience playing with, with the Casper Symphony and the Casper College ensembles also also because there was a string orchestra associated with Casper College that I got to play in when I was there for the year. Rebecca: Yeah, I played in it when I was in high school. I don't think it could have quite functioned without local people one way or another. John: Yeah. Rebecca: Now you've mentioned Congress of Strings. John: Yeah. Rebecca: Your bio on the Boston Symphony site says you went to Congress of Strings. John: I did. My when I was 16. I, you know, set up through the union and I won a position there. I think, I don't remember if I had to audition or how it actually worked, because it was a scholarship that that, that you had to get through the union and it entailed, it was a two month course and it was out at the University of Washington in Seattle. And so I was out there for two months and the bass teacher was actually a, was the principal bass player from the Detroit Symphony. And he you know, so he really knew his stuff. And there were, I think, six other bass players in that section, and they were all, some guys from California and I remember Texas and a couple of guys from Idaho, but they all had, you know, good teachers and there was a lot of good playing and we had good conductors and we got to do a lot of different repertoire through the summer. And so it was a great learning experience and I know even a lot of people in the Boston Symphony have actually gone through the Congress of Strings, a lot of string players. So it's sort of one of the first, you know, training grounds for for musicians hoping to to, you know, further their education. Rebecca: Right, yeah, well, I was always under the impression, although I must be wrong because you're saying there were a couple of people from different states. I always thought it was one student per state. John: But yeah, I don't remember the exact details, but it's, I remember there was a wide range of people and also there was a wide range of talent too, because I was I was low man on the totem �pole because I had just, I hadn't been playing the bass that long. I think I was 16 when I went there. And I remember there was a kid from L.A. and he was like a prodigy. That's what he seemed like to me. He, he actually I know him now. He plays in the Los Angeles Philharmonic, but he used to, instead of bass lessons, he would go and play tennis with the bass teacher. That's, that's what they would do for their lessons. (both laugh) Rebecca: Yeah, they are Congress of Strings. I remember too. I went when I was, I think, 19. I do remember being at the very back of the cello section and feeling just [that it was] the absolute best musical experience I'd ever had. John: Yeah. Rebecca: Do you remember what pieces you guys played that summer? John: Oh, I know we did a lot of string pieces like, you know, Barber, Adagio for Strings [Samuel Barber, 20th century American composer] and so I think it was mainly a string camp, if I recall. Rebecca: Yup. John: Now I have all the programs, but I don't remember what other stuff we did. But, you know, there, there's there's a quite a bit of string music that, you know, for string orchestra that we did do. Rebecca: Yeah. Okay, great, thanks. So let’s see...there had to have been a young artist competition associated with the symphony when you were in high school. John: Yes. John: I competed in it and I did not win. Trying to think who, who won, but I don't remember. I remember playing the Dittersdorf [bass] Concerto [Carl Ditters von Dittersdorf, 18th century Austrian composer; a concerto is a composition for one or more solo instruments with orchestral accompaniment] Rebecca: Okay, now let's see. Now I can go back, from Casper College you went to study with Stuart Sankey? John: Yes, at the University of Texas. Rebecca: Okay. What do you remember about that period? John: Well, that really, I mean, propelled me because Stuart used to be on the, the faculty of Juilliard, [the Julliard School of Music in New York City, one of the most prestigious music schools in the country] and he, he was in the … [NBC Symphony] Orchestra with Toscanini. [Arturo Toscanini, late 19th and early 20th century Italian conductor] So and when … [Sankey] left Juilliard, he went down to Texas. And he was a great pedagogue. And I know in his studio he had 20 bass players and he was really committed to teaching. And he really also, he did a lot of editing of music for International Music Company. And he he really was the one that that built a solid foundation for me, just as far as, you know, upping the ante on, on, on my technique and �just learning how to play the bass in general. So and I studied with him for two and a half years, or I guess it was two years at the University of Texas. And then he was actually leaving to go to Indiana University and asked me if I wanted to go there. And I decided not to. And I auditioned for the New England Conservatory in Boston and got in. So when he left Indiana, I came to Boston and finished my undergrad degree at New England Conservatory. Rebecca: Yeah, and I think your bio said that your teacher was the assistant principal of the Boston Symphony. John: Yeah, right. Yeah. Larry Wolfe was my teacher and he still is in the orchestra and he's still the assistant principal. So we, you know, we go way back together. Rebecca: Yeah, well, I noticed that in your bio, after you finished your bachelor’s, you successfully auditioned for the Houston Symphony, the New Orleans Symphony and the Indianapolis Symphony. John: Yes. Yeah, I had three, three different jobs, with the first job that I actually won was in Houston, and that was a year's position down there. And from Houston, I was, after I finished the job there, I was kind of idle just figuring out what I was going to do next. And a friend of mine was the principal bass of the New Orleans Philharmonic at the time, and they had an opening for six months. So he, I didn't actually audition, but he knew me and he said, Why don't you come down to New Orleans and play for six months, which I did, and that was a blast. And from there I was taking, actively taking auditions. But from there I auditioned for the Indianapolis Symphony and won a position there, a permanent position. But I was only there for a year and a half, and that's when I auditioned for Boston and got into the Boston Symphony. Rebecca: Okay. So looks like you were 30 years old when you got into the Boston Symphony. John: Yeah, that is correct. Rebecca: Okay. So it only took you, what, maybe 15 years to get your skills from beginning bass player to Boston Symphony. John: Yeah, that's, that's about the correct time frame. Rebecca: Yeah. And jumping from piano to a stringed instrument, that's a big jump, so I know you played piano for a long time before you took bass, but it's still, John: Yeah. Rebecca: very impressive. Yeah. So for the, for the classical music people who will be listening to this oral history later, can you tell us what pieces in general are on the audition lists for bass. John: Like, yeah, yeah I will. Most of the lists for the auditions are pretty standard and across the board for all orchestras, but with, with few variations. Well, what's interesting to me is that, you know, I was auditioning, you know, almost 40 years ago, and, you know, I'm teaching, you know, these students today and they bring in these lists and they are basically a lot of the same things that that I had to audition with. So those would be like Beethoven symphonies, like Beethoven Symphony Number Five and Beethoven Symphony Number Nine. There are a lot of excerpts for �the bass out of those two symphonies, the Mozart symphonies, Number 35, the “Haffner” Symphony, and the Symphony Number 40 also of Mozart is also a very popular audition piece. Schubert, “The Great” C Major Symphony Number Nine is also a big audition piece [Franz Schubert, 19th century Austrian composer] Richard Strauss “Ein Heldenleben” is a very popular audition piece for bass players, as is “Also Sprach Zarathustra” or 2001 The Space Odyssey as everyone—[Richard Strauss, 19th and 20th century German composer and conductor (son of Johann Strauss of “Blue Danube” fame.)] Rebecca: Yeah John: Berlioz “Symphonie Fantastique” is a very popular piece also. [Hector Berlioz, 19th century French composer and conductor] Oh, Brahms symphonies. Even any of the Brahms symphonies are usually asked on an audition as well as, you know, a solo piece of your choice. And also it's very popular on auditions for bass players, usually a movement from a Bach cello suite [Johann Sebastian Bach composed six suites for solo cello. On the bass, they are much harder to play than on the cello. The suites each have six movements, which are mostly stylized dances, except for the Prelude] And that's that's pretty much standard rep that you'll see on a, on an audition list for any of the major orchestras in America. Rebecca: Yeah, you know, it's not so very different from some cello auditions. John: Yeah. Rebecca: [That] obviously are less familiar with way back in the day. John: Yeah No, that's true. Rebecca: Yeah. Okay. Well, let's see, before we move (pauses) oh, wait a minute. Maybe backing up a little bit. I'm not sure at what point … your bio mentioned Aspen, the Aspen Festival, The Grand Teton Festival and Tanglewood. John: Yes. Rebecca: I want to cover all those. Maybe in chronological order. John: Yeah, sure. Let's see. The Aspen Festival. When I was in Texas, my first year in Texas that summer, I auditioned for the Aspen Festival, and that was under the encouragement of my teacher, Stuart Sankey, because he taught at the Aspen Festival [Summer music festival in Aspen, Colorado]. So I auditioned and I got a scholarship there my first year, and I studied with him in the summer, and then I went again the following summer and I studied with a, with the principal bass player of the New York Philharmonic. I, of course, asked Mr. Sankey if I could have permission to study with him, and he encouraged it. And this, the principal bass of the New York Philharmonic at the time was this Russian, and his name was Eugene Levinson. And he made quite a splash because he immigrated to America. And when he first came, his English was quite poor. And I remember we, where I lived in Aspen, we lived with, in a condo with three other bass players, and we all studied with him and he would come over and we would always tease him about his English because he would say, “Now use the bow like spoon.” And we could never understand what what the hell he was talking about. (both laugh) But he would, he would spend �all afternoon at our condo and, you know, we would make cookies or brownies with him. And we he was a really great teacher. And I learned a lot from him that summer at Aspen. But, but and also we, we’re friends to this day, too. Whenever we play Carnegie Hall in New York, I usually will see him. And he always asks me about Wyoming because he knew I was the kid from Wyoming. So he was very friendly. But after the Aspen experience, when I came to the New England Conservatory, the summer after my first year at New England, I auditioned for the Tanglewood Music Festival and I got into that festival. And that's, that's a highly competitive festival to get into. And they take seven bass players every year. And I went for two years and my teacher, Larry Wolfe, is also, because it's part of, the Boston Symphony summer home. A lot of the players from Boston will teach there also, so Larry was teaching at the time. And that, that really, the level of playing in the Tanglewood Music Center, the student orchestra, is just extremely high. And a lot of people that have played there play in major orchestras, like in Boston Symphony, I would say at least more than half of the people went to Tanglewood, and I know eight out of the nine bass players in this section all were at Tanglewood. So, you know, it's a springboard, you know, into national orchestras for sure. Rebecca: Yeah, Well, with the high standard it’s not surprising. John: Yeah, Yeah. The standard was really high. But then after Tanglewood that was in, I think my last year at Tanglewood was 1983 and I graduated from college at that point, and from 1983 through 1985, 88, I should say, I went to the Grand Teton Music Festival [Summer music festival in Jackson, Wyoming] and played in that festival for five summers, and that was with the the Chinese conductor Ling Tung, that was his festival, he started the festival. And that was, that was a conglomeration of musicians from around the country in major orchestras would go there because a lot of orchestras are off in the summer. So I know there were a lot of people from Houston Symphony, San Francisco Symphony, Minnesota Orchestra, Indianapolis. So there were just, you know, a lot of different people coming together from across the country playing in that orchestra. Also, the New York Philharmonic had a few people also. Rebecca: Yeah, let's back up briefly, unless you have more to say about the Teton Festival. John: Yeah, Teton Festival was really great. I mean, it was for me because it was like, you know, being home again. And it was good also because I got to play a lot of chamber music up there, which was nice, with smaller ensembles and also you get to kind of mingle with different guys from different orchestras and, you know, find out what's what's going on there. And not to mention, you know, the you know, being in Jackson for the summer is always a lot of fun. Rebecca: Mhmm. John: And so that that, that aspect of it was really great. But the music making was also very good. You know, they had, you know, really topnotch soloists . And, and the programming was always very good. And the audiences, you know, because it's such a small hall, I think it's 900 seats, you know, they would always have a full audience for the concerts, which is always, you know, inspiring for for the players. �Rebecca: Yeah. Okay. Briefly back to Aspen and maybe at Tanglewood also. But I auditioned for the Aspen, for a fellowship to the Aspen Festival a couple of times. Never did make it, I wasn't quite up to it, technically, apparently. John: Yeah. Rebecca: So can you say a little bit about the fellowship, what it covers, and what you got to do as a student there, as well as just having the private lessons and what the opportunities were for listening and so on. John: Yeah. You know, once again, that was an eight week festival and I know the scholarship cost, you know, was room and board basically. And, and your lessons and your place, you have to audition because there are several different student orchestras in Aspen. There's like a chamber orchestra, which is the, the top notch one where you get to play with, with most of the teachers playing in the orchestra also. And then there's the big festival orchestra, which is a larger orchestra and not as many teachers playing it. But I know a lot of the teachers do play in that one also. That's the one I played in. And you're you're given an op—you're given an opportunity to play a lot of different repertoire. So we would give, you know, I think at least two concerts a week in the, in the tent up there in Aspen, which was a nice setting also. But there was also a lot of chamber music that you could attend. So, you know, all of that stuff was free to students. Once again, there were master classes that you could go to and a lot, lot of different opportunities to perform for, like for us, for fellow bass players in master classes, we would play for each other, which is always helpful and, you know, lots of constructive criticism and also lots of different levels of playing. So you could see, you know, guys that were really accomplished and sort of strive for that, see what those guys are doing and, and pick their brains and yeah, that's about it. It was, you know, lots of opportunities to to play and be heard. That's what I remember. Those are my biggest memories from Aspen. Rebecca Okay. And how about Tanglewood? More about what went on there and, [Tanglewood is the famed summer home of the Boston Symphony Orchestra and its training academy, the Tanglewood Music Center, as well as the Boston Pops. Located between Lenox and Stockbridge, Massachusetts] John: Yeah, Tanglewood. That, everyone that goes out, comes out of Tanglewood, the experience is very unique because the scheduling at Tanglewood, it's eight weeks, and you are scheduled, basically your hours during the day are spent playing, whether it's with a chamber group or with orchestra or with lessons or with master classes, they really don't get, hardly give you any time to practice. You know, when you do practice, you have to do it, I mean, we would practice at night so that we would have, you know, 10, 12 hour days of, you know, rehearsals and then your own personal practice. But the, everyone that comes out of that, it's funny because you don't realize the benefits of the, of Tanglewood until September or October because you have to get away from it. And that's when you realize how much you've absorbed. And I think that's, it's funny because you talk to people about their experience there and, you know, basically everyone will say that was saying I don't remember what happened, you know, it was such a blitz. But then when you settle down and start working on your own again, you realize what you've learned, You �know, what kind of experience you've gotten out of it. And I mean, because you're working with some really, you know, top notch people and just I mean, it was, definitely expanded my my playing to a level, you know, that that got me to where I am. I mean, I really think it was, you know, totally responsible for, for getting me a job, basically. Rebecca: Okay, great. I'd like to back up just briefly. John: Sure. Rebecca: For people who might not know what a master class is in addition to, in addition to your fellow students being present, can you say a little more John: What was the last part, Becky? Rebecca: Can you say a little more about master classes in addition to the fact that there are a lot of students present? John: Yeah. Rebecca: What actually goes on? John: Yeah, in a master class. Okay. Usually master classes are held for all instruments, but usually there will be a specific instrument focus for a master class. So for us at Tanglewood, I remember one of the master classes was with Eugene Levinson, who was the principal bass of the New York Philharmonic. So he was the guest speaker. So he, a master class, he will he'll run the class. And basically what it is, maybe two or three students are asked to prepare, like either a solo piece or specific orchestral excerpts, and they will come in and with an audience they will play what they prepared for the person for the master class who was Mr. Levinson. And then he does a critique of what you're playing. He will do some playing for you, so you'll get to hear how he interprets what you just played and and provide constructive criticism. And and he will take questions about, you know, what he's done or his choice. You know, he'll use a certain fingering that you, you know, kind of helps, you know, make certain passages easier or he will suggest, you know, different bowings so that you know, to make things more musical or make it easier and you know the master classes and then you know he'll open up the floor after everyone's played. And so you really get a taste of what, you know, a different perspective, I should say, during master classes. [A fingering is a marking in the music specifiying which finger should play which note. A bowing is a marking specifying which way the bow should be drawn (to the right or to the left) on which notes] Rebecca: Well, that's very interesting because in all the master classes I've ever observed or participated in, I do not remember feedback being solicited from the attenders; it was more like a public, public one-on-one lesson. John: Yeah, that that's, that's how it starts. And it can open up. It depends who's running the class I guess. Rebecca: Yeah. �John: Because I've been doing master classes with Yo-Yo Ma before and it, he really runs them like, you know, one-on-one lessons which are, you know, very interesting to watch. You see the, you know, the transformation of a student. You know, it gives them like a magical fingering, you know, that that really changes things up. [Yo-Yo Ma, a contemporary American cello soloist and teacher; a child prodigy, performing from the age of four and a half.] Rebecca: Yeah. Okay. Briefly, I want to jump back to Casper. John: Yeah. Rebecca: Does any one performance or rehearsal or musical experience from your time in Casper jump out at you as being a high point or something you still remember? John: It's funny because I do. I do think of the Brahms symphony that I played with with the Casper Symphony. It's one of the things that really got me excited, and that was that was kind of like a high point for me. Rebecca: Yeah. Okay. And a related question for the entire scope of your career, can you identify a musical high point? John: I've had quite a few, but I think, you know, having the opportunity to play with, you know, some really great conductors like, you know, Seiji Ozawa was our was our principal conductor in Boston. A big part of my career. I mean, we played some great concerts with him. [Seiji Ozawa, Japanese conductor and music director of the Boston Symphony Orchestra for 29 years] But in particular, we had a guest conductor whose name was Bernard Haitink, and he was from the Netherlands, and we did an opera, a Wagner opera called the Götterdammerung from the Ring Cycle. [A four-opera series by late 19th century German composer Richard Wagner, based on Norse legends] And his interpretation was just like, it was out of this world. And it's a performance that I will never forget in my life. He has since died, but his interpretations, Wagner interpretations, were just unbelievable. [Bernard Haitink, Dutch conductor and violinist, and the principal conductor of several international orchestras, beginning with the Royal Concertgebouw Orchestra in 1961] Rebecca: Okay, Wagner then. Very interesting. That was, Götterdammerung is one of the longer of the four, isn't it? John: Yes, it is. Yes. Rebecca: Hours or something. John: Those operas can be very long. Rebecca: (laughs) John: I know Wagner, Parsifal, and also Parsifal is like five and a half hours. I've never played any of those that were that long. Yeah, they can be. [Parsifal is a stand-alone opera, not part of the Ring Cycle] �Rebecca: Okay. All right, let's see. I have one more question before I will ask you if there's anything else you want to tell us. And that question is coming out of my own experience with the few bass players I know. They typically do not stick with classical music only, John: Yeah. Rebecca: but they go across the board into jazz and other genres. What's your experience on this question? John: (laughs) Yes, it's funny you ask because I, in high school I was, I played a lot of electric bass and I used to play with Jim Cox and the Outlaws. I don't know if you remember that name, but we would play at the Elks Club or, you know, VFW on the weekends. And I remember, my friends in high school, they would be pumping gas all week and I would play these gigs on the weekend, and that's what I was doing to make money. So I did a lot of that. And I also played with the Salt Creek Jazz Band with and if you remember, Bob Bovie, the pianist, and he was, he conducted the Natrona County High School Orchestra, [in Casper]. And I played with that band a lot on the electric bass. As an aside, I have to say that Bob Bovie was also another big influence on what good musicianship is because he was really a fine pianist and a really fine jazz pianist too. So he he taught me a lot about timing and rhythm. Then after that, I'm trying to think, Oh, I used [to] I did a lot of jamming with jazz bands in Casper, a lot of jam sessions that I think Dale Bohren actually [indistinguishable] a lot of these people like Tracy Pfau that we used to play with. So that was a lot of fun. [In a jam session, musicians typically play informally together, improvising, and planning the session as they go] And I kept the electric bass through college. And when I when I showed up in Boston and started going to school, I, I wanted to play a little bit, but there was a jazz department at New England Conservatory, and I heard so many good bass players—and jazz bass players—that I sort of figured out that unless you dedicate yourself to either jazz or classical, you know, it's really hard to do both of them well. So I dropped the electric bass at that point. Rebecca: Okay, that reminds me, somewhere along the way, did you also drop piano? John: Yeah, I played piano through my year. One year at Casper College. I studied with Paula Hitt, I think was her name, at Casper. And I played a couple of recitals up there, and then I stopped taking lessons at that point. But it was good for testing out of all the piano labs at college. [Many music majors, no matter what their major instrument is, are required to achieve a basic level of piano proficiency for their bachelor’s degree] Rebecca: Yeah. John: Which was nice. And I still, I still play a little bit of piano. My mother was also a very good pianist. She was a good influence. Rebecca: Okay. Is there anything else you would like to tell us about your life as a bass player? John: I mean, just looking back at it, it's been, you know, an incredible way to, I don't know, to get through life. I mean, making money and doing something that you really love, you know, at this level has been, you know, it's like a dream come true for me and, you know, to be a hard one �to replicate. But, you know, I feel like I've been very lucky and blessed to be able to do this at this level. And, you know, couldn't think of anything better, you know, that that would happen. I mean, there's, you think of the, you know how things work out and there's there's a lot of work involved with with being successful, a lot of work involved. And also there's there's a, bit of luck involved, too. And, you know, being the audition process is really hyper-competitive. And, you know, you’ve just got to go in the day of the audition and hope that it's your day, you know, hope that all that all the cylinders are firing. But when you do get that job, I mean, it is, there's nothing like it. And it's given me opportunities. You know, I've traveled around the world and I've played in so many different countries and seen a lot of different things, you know, played a lot of excellent music, you know, played with some of the world's best soloists and conductors. And musicians in general are a pretty particular group. And they can be very difficult and they can be a lot of fun. And just being able to experience that and, you know, have a have artistic view of how the world works has just been, you know, enriching for me, it's been a lot of just happy memories. That's that's how I view how things have worked out and just, you know, I'm grateful for everything. I never take anything for granted. Rebecca: Yeah. Now, you jogged my memory. There was a question I almost forgot to ask, which is, traveling with a double bass. I mean, I have flown with my cello enough times to know what that's like, but the bass is so much bigger and I'll just hand over to you at this point. Can you tell us about that? John: Yeah. Well, during the, you know, auditioning process, when I was out of school, you know, in college, you take an audition, you would have to buy a seat on the airplane when when you would fly with the bass to an audition. Of course, after 9/11, all of that went down the tubes. Now you have to, as a student, students have to put their bass in a trunk and, you know, check the trunk into the plane and go to the audition. It's much more difficult. But once you get into an orchestra, you're, it's, it becomes so much easier because they they have these big travel trunks that we stick our instruments in. Basically, you just have to show up at the the hall where we're playing and everything is set up for you. And they have a big stage crew. So we just, you know, they, they transport all of our belongings and concert wear and our instruments to the venue. So your job is to show up being, you know, fed and refreshed, you know, ready to play a concert on tour. And they make it very easy for you and you really get spoiled when you go on tour with the orchestra. Rebecca: Yeah. Okay. Well, I guess I'm going to stop the recording. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource WyoHistory.org Wyoming Symphony Orchestra Oral History Project Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/InC-NC/1.0/">http://rightsstatements.org/vocab/InC-NC/1.0/</a> Date Created Date of creation of the resource. 2022-2023 Creator An entity primarily responsible for making the resource WyoHistory.org; Rebecca Hein Language A language of the resource ENG Identifier An unambiguous reference to the resource within a given context NCA 01.i.2022.02 Type The nature or genre of the resource Sound; Text Description An account of the resource Audio files and transcripts created and edited by Rebecca Hein and students at Casper College during an oral history project with players of the Wyoming Symphony Orchestra. The oral histories were conducted by Hein between 2022 and 2023 and are a part of Wyohistory.org publishing project. Sound A resource primarily intended to be heard. Examples include a music playback file format, an audio compact disc, and recorded speech or sounds. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data M4A Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource John Stovall Wyoming Symphony Orchestra Oral History Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/InC-NC/1.0/">http://rightsstatements.org/vocab/InC-NC/1.0/</a> Date Created Date of creation of the resource. 2023-04-06 Description An account of the resource Audio file and transcript for oral history interview with Wyoming Symphony Orchestra player John Stovall. This interview was conducted by Rebecca Hein for Wyohistory.org on April 6, 2023. Type The nature or genre of the resource Sound; Text Creator An entity primarily responsible for making the resource Becky Hein; John Stovall Language A language of the resource ENG Is Part Of A related resource in which the described resource is physically or logically included. WyoHistory.org Wyoming Symphony Orchestra Oral History Project, NCA 01.i.2022.02 WyCaC US. Casper College Archives and Special Collections. Identifier An unambiguous reference to the resource within a given context NCA 01.i.2022.02_John_Stovall_4-6-23 Format The file format, physical medium, or dimensions of the resource M4A https://caspercollege.cvlcollections.org/files/original/cd09284b18eca8197cd111055c28f25c.jpg 9983097070af7c7d8a24d29db45b3595 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Post Route Map of the State of Wyoming Description An account of the resource Digital data set of the Post Route Map of the State of Wyoming showing post offices with intermediate distances on mail routes in operation on the 1st of November 1926 under the direction and leadership of Post Master General Harry S. New. Identifier An unambiguous reference to the resource within a given context Spec Coll 01.2024.01 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Physical map Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Johnson County Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/NoC-US/1.0/">http://rightsstatements.org/vocab/NoC-US/1.0/</a> Date Created Date of creation of the resource. 1926 Description An account of the resource Digital data set of the Post Route Map of the State of Wyoming showing post offices with intermediate distances on mail routes in operation on the 1st of November 1926 under the direction and leadership of Post Master General Harry S. New. Type The nature or genre of the resource Image Creator An entity primarily responsible for making the resource Post Office Department of the United States of America Language A language of the resource ENG Identifier An unambiguous reference to the resource within a given context SC 01.2024.01_JohnsonCounty Format The file format, physical medium, or dimensions of the resource JPG https://caspercollege.cvlcollections.org/files/original/0e555079442cb8fe5db71ca4e03e5bcb.jpg 1f0c82576f3d2e558e25d6a85262396c Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Collected Images of Frontier Cattle Industry Networks and the Johnson County War Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/NKC/1.0/">http://rightsstatements.org/vocab/NKC/1.0/</a> Type The nature or genre of the resource Image/text Is Part Of A related resource in which the described resource is physically or logically included. Charles "Chuck" Morrison Photographs and Papers, NCA 01.v.1998.01 WyCaC US. Casper College Archives and Special Collections. Identifier An unambiguous reference to the resource within a given context NCA_01.v.1998.01_JohnonCountyWar Format The file format, physical medium, or dimensions of the resource JPG Description An account of the resource These digitized reproductions are found in the Charles "Chuck" Morrison Photographs and Papers. These reproductions show frontier networks associated with the cattle industry, ranches, roundups, and Fort Benton. The originals may date from 1830 to 1897 . Some of the depicted individuals and places are associated with the Johnson County War. The list that was found with these copies contains more subjects than were found in Morrison's file. It was decided not to include duplicates of some of the physical copies held by the Casper College Goodstein Foundation Library Western History Center. Subject The topic of the resource Johnson County War, 1892 Date Created Date of creation of the resource. 1830-1897; 1917 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Photographic print Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Johnson County War Photograph Rights Information about rights held in and over the resource http://rightsstatements.org/vocab/NKC/1.0/ Description An account of the resource Reproduction of a photographic print related to the Johnson County War as found in the Charles "Chuck" Morrison Collection. This photograph appears to be of the beef herd documented in the associated list that was found with these photographs. Type The nature or genre of the resource Image Is Part Of A related resource in which the described resource is physically or logically included. Charles "Chuck" Morrison Photographs and Papers, NCA 01.v.1998.01 WyCaC US. Casper College Archives and Special Collections. Identifier An unambiguous reference to the resource within a given context NCA_01.v.1998.01_JohnsonCountyWar_02 Format The file format, physical medium, or dimensions of the resource JPG https://caspercollege.cvlcollections.org/files/original/95f7a38c7b9e364e8562fabae183c066.jpg d22fc83e745f483ac9d6bca26fa6248f Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Collected Images of Frontier Cattle Industry Networks and the Johnson County War Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/NKC/1.0/">http://rightsstatements.org/vocab/NKC/1.0/</a> Type The nature or genre of the resource Image/text Is Part Of A related resource in which the described resource is physically or logically included. Charles "Chuck" Morrison Photographs and Papers, NCA 01.v.1998.01 WyCaC US. Casper College Archives and Special Collections. Identifier An unambiguous reference to the resource within a given context NCA_01.v.1998.01_JohnonCountyWar Format The file format, physical medium, or dimensions of the resource JPG Description An account of the resource These digitized reproductions are found in the Charles "Chuck" Morrison Photographs and Papers. These reproductions show frontier networks associated with the cattle industry, ranches, roundups, and Fort Benton. The originals may date from 1830 to 1897 . Some of the depicted individuals and places are associated with the Johnson County War. The list that was found with these copies contains more subjects than were found in Morrison's file. It was decided not to include duplicates of some of the physical copies held by the Casper College Goodstein Foundation Library Western History Center. Subject The topic of the resource Johnson County War, 1892 Date Created Date of creation of the resource. 1830-1897; 1917 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Photographic Print Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Johnson County War Photograph Rights Information about rights held in and over the resource http://rightsstatements.org/vocab/NKC/1.0/ Description An account of the resource Reproduction of a photographic print related to the Johnson County War as found in the Charles "Chuck" Morrison Collection. This could be the photograph of Dick Wilson and Mark as noted in the associated list. The date is 1917. It is not known if Dick Wilson is related to the range war. Type The nature or genre of the resource Image Is Part Of A related resource in which the described resource is physically or logically included. Charles "Chuck" Morrison Photographs and Papers, NCA 01.v.1998.01 WyCaC US. Casper College Archives and Special Collections. Identifier An unambiguous reference to the resource within a given context NCA_01.v.1998.01_JohnsonCountyWar_03 Format The file format, physical medium, or dimensions of the resource JPG https://caspercollege.cvlcollections.org/files/original/6e511c866d47e7801102fb6a9669e974.jpg f318de17eead817b557f06be53b63541 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Collected Images of Frontier Cattle Industry Networks and the Johnson County War Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/NKC/1.0/">http://rightsstatements.org/vocab/NKC/1.0/</a> Type The nature or genre of the resource Image/text Is Part Of A related resource in which the described resource is physically or logically included. Charles "Chuck" Morrison Photographs and Papers, NCA 01.v.1998.01 WyCaC US. Casper College Archives and Special Collections. Identifier An unambiguous reference to the resource within a given context NCA_01.v.1998.01_JohnonCountyWar Format The file format, physical medium, or dimensions of the resource JPG Description An account of the resource These digitized reproductions are found in the Charles "Chuck" Morrison Photographs and Papers. These reproductions show frontier networks associated with the cattle industry, ranches, roundups, and Fort Benton. The originals may date from 1830 to 1897 . Some of the depicted individuals and places are associated with the Johnson County War. The list that was found with these copies contains more subjects than were found in Morrison's file. It was decided not to include duplicates of some of the physical copies held by the Casper College Goodstein Foundation Library Western History Center. Subject The topic of the resource Johnson County War, 1892 Date Created Date of creation of the resource. 1830-1897; 1917 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Photographic print Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Johnson County War Photograph Rights Information about rights held in and over the resource http://rightsstatements.org/vocab/NKC/1.0/ Description An account of the resource Reproduction of a photographic print related to the Johnson County War as found in the Charles "Chuck" Morrison Collection. This is another photograph of the roundup crew taken at another angle but more clearly showing the tent and crew both on and off their horses. Type The nature or genre of the resource Image Is Part Of A related resource in which the described resource is physically or logically included. Charles "Chuck" Morrison Photographs and Papers, NCA 01.v.1998.01 WyCaC US. Casper College Archives and Special Collections. Identifier An unambiguous reference to the resource within a given context NCA_01.v.1998.01_JohnsonCountyWar_05 Format The file format, physical medium, or dimensions of the resource JPG https://caspercollege.cvlcollections.org/files/original/9cd504ecdd71e84889d397ee454a1efb.jpg 8b2aabefb6251a2aee05a566dfe3b9ec Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Collected Images of Frontier Cattle Industry Networks and the Johnson County War Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/NKC/1.0/">http://rightsstatements.org/vocab/NKC/1.0/</a> Type The nature or genre of the resource Image/text Is Part Of A related resource in which the described resource is physically or logically included. Charles "Chuck" Morrison Photographs and Papers, NCA 01.v.1998.01 WyCaC US. Casper College Archives and Special Collections. Identifier An unambiguous reference to the resource within a given context NCA_01.v.1998.01_JohnonCountyWar Format The file format, physical medium, or dimensions of the resource JPG Description An account of the resource These digitized reproductions are found in the Charles "Chuck" Morrison Photographs and Papers. These reproductions show frontier networks associated with the cattle industry, ranches, roundups, and Fort Benton. The originals may date from 1830 to 1897 . Some of the depicted individuals and places are associated with the Johnson County War. The list that was found with these copies contains more subjects than were found in Morrison's file. It was decided not to include duplicates of some of the physical copies held by the Casper College Goodstein Foundation Library Western History Center. Subject The topic of the resource Johnson County War, 1892 Date Created Date of creation of the resource. 1830-1897; 1917 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Photographic print Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Johnson County War Photograph Rights Information about rights held in and over the resource http://rightsstatements.org/vocab/NKC/1.0/ Description An account of the resource Reproduction of a photographic print related to the Johnson County War as found in the Charles "Chuck" Morrison Collection. This appears to be another photograph of the roundup crew with vest in group, but it doesn't show the tent in one of the other photographs. Type The nature or genre of the resource Image Is Part Of A related resource in which the described resource is physically or logically included. Charles "Chuck" Morrison Photographs and Papers, NCA 01.v.1998.01 WyCaC US. Casper College Archives and Special Collections. Identifier An unambiguous reference to the resource within a given context NCA_01.v.1998.01_JohnsonCountyWar_06 Format The file format, physical medium, or dimensions of the resource JPG