Dr.Bergey Ten Years On

(program note for Rapidan's spring concerts)   

 Just over ten years ago the Rapidan Orchestra’s founding conductors, Kyle Ruempler and Tal Benatar let us know they were leaving the area. Thanks to our bass player Karen’s connection to Jeff Bush of the JMU music department, we were able to ask him for suggestions, and he gave us Benjamin’s name and said, roughly, “he looks like a youngster, but if you get him you’ll be lucky.” After mulling our offer for a couple of weeks, Benjamin agreed to take us on and here we are.

    Benjamin is an exceptional character, combining deep musical skills with perhaps even deeper “people” skills. At any point in a rehearsal when someone is absent, he can sing that part flawlessly in an instant. When he explains how he wants things, and how they tie together, it’s clear how thoroughly he’s studied the score. Because he’s an excellent string player, he has lots of suggestions about bow use and general technique in achieving his aims.

    For Benjamin, music is not an end in itself, but a means of bringing people closer together. As a part of his doctorate at JMU he invited musicians from all over, including Rapidan, to perform the choral movement of Beethoven’s Ninth. At EMU he initiated a Music and Peacebuilding area of study. At Rapidan rehearsals he is unfailingly patient, full of sly humor, and encourages positivity by example.

The Music Room as a "Third Space"

I asked Grok who came up with the idea of a "third space" and if the Music Room qualifies:

Ray Oldenburg, an American sociologist (1932–2022), came up with the "third place" idea.    He coined the term in his 1989 book The Great Good Place (co-authored with Karen Christensen in later editions), where he described "third places" as informal public gathering spots separate from the "first place" (home) and "second place" (work). Examples include cafés, pubs, coffee shops, libraries, parks, or community centers—places where people can relax, socialize, converse, and build community without obligation or high cost.    Oldenburg argued that these spaces are vital for civic life, democracy, social connections, and a sense of belonging, and he lamented their decline in modern (especially American) society. The concept draws on historical examples like colonial taverns, general stores, and soda fountains, but he was the first to formalize and popularize it with this specific framework.    The idea has since influenced urban planning, business (e.g., Starbucks positioning itself as a third place), and discussions about community building, though the underlying human need for such spaces has existed for centuries.

Yes, The Music Room in Orange, Virginia (the non-profit at 135 East Main Street, in the old Gill Hardware building) is a strong example of a third place in Ray Oldenburg's sense.Why it fits well:

• Neutral ground — It's a dedicated community space, not someone's home (first place) or a workplace/school (second place). People come voluntarily for music-related activities.
• Leveler — It brings together people of different ages, skill levels, and backgrounds: community orchestra members (Rapidan Orchestra rehearses there weekly), youth programs (like BRAVO), drum circles, chamber players, concerts, and other music groups. Status differences tend to fade when everyone is focused on making music together.
• Conversation and social mixing — While the core activity is music-making and rehearsals/performances, these kinds of spaces naturally foster casual interaction before/after sessions, during breaks, at drum circles, or at community concerts. Regular attendees start recognizing and connecting with each other over a shared passion.
• Regularity and accessibility — It hosts ongoing, recurring activities (Thursday evening orchestra rehearsals, concerts, drum circles, etc.) in a central downtown location, making it easy for locals to drop in or participate repeatedly without high barriers.
• Focus on community — The organization's own description emphasizes "nurturing music-making in our community" and serving as a learning/performance hub. That's very much in line with Oldenburg's idea that third places build social bonds and civic life through informal, joyful gathering. 

A couple of minor nuances:   Third places are often at their best when there's also an element of unstructured lingering (like chatting over coffee in a café). Here the emphasis is more on active participation in music groups and events, which is still very valid — many modern third places are activity-based (maker spaces, hobby clubs, community choirs, game nights, etc.). Music rooms, band rooms, or arts hubs frequently function this way and are commonly cited as excellent third-place examples.If the atmosphere at The Music Room also includes time for people to hang out, grab a snack, or just chat between sets or after rehearsals, it checks even more of Oldenburg's boxes.   Overall, yes — it's a great local third place! It sounds like exactly the kind of spot Oldenburg would celebrate: one that keeps community alive through shared, low-pressure creative activity rather than just consumption or obligation.

Rapidan Orchestra pics 4/11/26

Pics from 4/11/26 Rapidan Orchestra concert, marking ten years of being led by Dr. Benjamin Bergey.

Bach Birthday Bash

Here's the flyer, a few pics, and a quick video of the Back Birthday Bash. 

Unqualified Promise

 A couple of years ago Phil Audibert was making a video history of the town of Orange and asked me for music. I wrote and recorded a few pieces for the Fun Band of the time, and gave him some recordings from a years ago Kenwood Players gig at DuCard Vineyard. (Video works better if you click "Watch in YouTube")

Drum Circle 2/28/26

Valentine's Dance 2026