Seasons of Change As we tentatively begin to emerge from the pandemic, what will the fall orchestra season look like? One thing is certain: It won’t be business as usual. Orchestras have grappled with the pandemic and sought to confront racial injustice while adopting notably different approaches to the new season. Flexibility is key, given the unpredictable nature of the pandemic.

By Steven Brown

44 symphony SUMMER 2021 n a simpler, long-ago time—Janu- town Symphony’s live-concert plans: Walker, and Florence Price. One example: ary 2020—the Columbus Sym- Audiences took so well to community William Levi Dawson’s Negro Folk Sym- phony’s trustees ratified a new concerts by a string quartet and other phony, premiered by Leopold Stokowski mission statement: “Inspiring small ensembles—some of the group’s first and the Philadelphia Orchestra in 1934, and building a strong community performances as the shutdowns eased— will be performed by the Baltimore Sym- through music is the core of everything that the orchestra is launching a chamber phony, Cincinnati Symphony, and Seattle we do.” series to keep them in the spotlight. Symphony. New attention is also going I“At first blush, it doesn’t sound earth- After long neglecting music by women to women from the past—such as Louise shattering,” Executive Director Denise and composers of color, orchestras are Farrenc, a French contemporary of Hec- Rehg says. “But that is way different from embracing them like never before. The At- tor Berlioz, and Ida Moberg, a Finnish all the mission statements we used to lanta Symphony’s 2021-22 classical series contemporary of Jean Sibelius. have, which were about the excellence of will include artists from underrepresented the music. It clearly placed us in the role groups in every program as compos- of being a servant-leader of the commu- ers, performers, or both, says Executive nity.” Director Jennifer Barlament. The bounty The Ohio orchestra’s commitment includes 23 works by women and compos- faced an immediate test, of course, when ers of color, including the world premieres COVID-19 upended everything. “I don’t of Conrad Tao’s Violin Concerto, Xavier want to use the word fortuitous in the Foley’s Double Bass Concerto, and the midst of a pandemic,” Rehg adds, but violin-concerto version of Missy Mazzoli’s Cincinnati Symphony Orchestra “COVID offered us the perfect situation” Dark With Excessive Bright, plus pieces The Columbus Symphony is expanding its to prove the group could live up to its by a century’s worth of composers from programs for local schools, Executive Director credo. The orchestra reassigned part of Lili Boulanger and Tōru Takemitsu to Denise Rehg says, and will start giving free its slender staff to create two educational Alvin Singleton and Jessie Montgomery. tickets to people ages 6 to 16 to win them over websites and enlisted its musicians The Cincinnati Symphony Orchestra and to the live-music experience. to make instructional videos. Thanks Indianapolis Symphony Orchestra are to everyone’s efforts, the orchestra’s among the many ensembles of every size Boston’s Handel and Haydn Society, in educational reach expanded from 22,000 that will also perform generous helpings keeping with its emphasis on the Baroque students pre-pandemic to 55,000. When of works from once-minimized groups in and Classical periods, has enlisted an gradual reopening made community addition to “standard” repertoire. artistic partner to help it seek out under- concerts possible, the orchestra played 23 represented composers from the past; it of them in nine days. “The good things we Many orchestras are featuring artists also recently livestreamed the premiere of learned and achieved through COVID— from long-underrepresented groups a work by today’s Jonathan Woody that we’re not planning to discontinue them. as composers, performers, or both incorporates themes by Charles Ignatius We’re adding on top of them,” Rehg says. throughout the 2021-22 season. Sancho, a Black composer of the 18th The Columbus Symphony is just one of century who was enslaved. The Cincin- the orchestras forging ahead with initia- By premiering commissioned works nati Symphony, investing in a new staff tives born during the pandemic and the and spotlighting existing ones, orchestras position, has hired a chief diversity officer societal reckoning that came on its heels: nationwide will highlight the rich diver- to orient it toward equity, diversity, and the demonstrations and soul-searching set sity of today’s composers. The creators on inclusion onstage and off. off by the George Floyd killing and the season lineups include Xi Wang, Leanna All this activity does not mean that alarming rise in violence against Asian Primiani, Roberto Sierra, Viet Cuong, orchestras’ social-justice work is finished. Americans. Caroline Shaw, Jerod Impichchaachaahaˈ Tate, Gabriela Lena Frank, Vivian Fung, Orchestras are moving ahead with Joel Thompson, Unsuk Chin, Clarice initiatives born during the pandemic Assad, Kaoru Ishibashi (also known as Ki- and the societal reckoning with racial shi Bashi), and even a young undergradu- injustice. ate at Indiana University, KiMani Bridges. Forced by the pandemic to stream con- The Las Vegas Philharmonic will devote certs online, groups ranging from Boston’s its season to pairing Beethoven sympho- Handel and Haydn Society to the Atlanta nies with modern-day pieces, including Todd Hull Todd Symphony Orchestra to Houston Sym- Anna Clyne’s Beethoven-inspired Stride “The pandemic forced us to fast-forward some phony to San Francisco’s Philharmonia and a new work by Mexico’s Juan Pablo of these future-oriented and equity-oriented Baroque Orchestra and Chorale are now Contreras. endeavors, which might have taken years to giving virtual performances a permanent Meanwhile, orchestras are rediscovering develop,” says Atlanta Symphony Orchestra place on their schedules. In Pennsylvania, works by long-neglected Black compos- Executive Director Jennifer Barlament. “It’s the pandemic has influenced the Johns- ers such as William Grant Still, George really important.” americanorchestras.org 45 Planning Ahead Amid the constantly changing situa- tion of the pandemic, many orchestras have had to plan and re-plan their seasons, postponing public announce- ments months past their usual timing. The Cincinnati Symphony penciled in a fall season for reduced orchestra and audienc- Cincinnati Symphony Orchestra es, President and CEO Jonathan Martin Photography Melissa Taylor The Cincinnati Symphony recently hired Harold says, then went back to the drawing board The Houston Symphony regularly performed Brown as its first chief diversity and inclusion when it learned that everything could full concerts for live audiences during the officer, a senior-management position return to full-size. pandemic—albeit with social distancing and reporting directly to the orchestra’s president The Houston Symphony in mid-June capacity limits. In photo, David Robertson and CEO. leads the Houston Symphony in works of announced much of its classical season, Mozart, Beethoven, Mendelssohn, and Weber but gaps remained here and there, such on May 14, 2021. But the increased presence of women and as weeks that showed the guest con- Black, Indigenous, and other artists of ductor but left the musical works to be to business as usual,” Mangum says. The color in programming is a tangible shift announced. The orchestra may capital- orchestra has gotten copious feedback as part of ongoing efforts to effect real, ize on the experience it gained last year, from its patrons, and “we want to take a lasting change. when it was one of the few ensembles lot of what we learned this year and bake The past year’s storms have had “a that performed full classical and pops it into what we do. Some patrons, espe- silver lining,” the Atlanta Symphony’s series in front of live audiences—albeit cially the weeknight patrons, really like Barlament says. Orchestras had long been with social distancing limiting the sizes when concerts are over before 9:30 p.m. aware of technology’s possibilities and of both audience and orchestra. Because Some people want the traditional concert diversity’s value, she continues. But they of shifting international travel restric- experience, where the bars are open and needed a push, and it finally came. “The tions and unexpected surges in the virus, they can have a drink at intermission. It pandemic forced us to fast-forward some artists sometimes had to drop out at the may be that on Friday night, you get your of these future-oriented and equity-ori- last minute. That forced the Houston 70 minutes of music with no intermission. ented endeavors, which might have taken Symphony to “constantly redo” its plans It may be that on Saturday, there’s an en- years or decades to develop,” Barlament for repertoire and performers, Executive core—or there’s an overture or something points out. “I think it’s a renaissance for Director and CEO John Mangum recalls. that we didn’t announce—and there’s an American orchestras, to come to terms “It was an ongoing process of continuous intermission between the concerto and with what it means to be an American or- reinvention,” and he thinks flexibility will the symphony.” chestra. What does it mean to be the At- remain the byword as the virus charts its After streaming its Saturday concerts lanta Symphony Orchestra, when people own course. last season, treating the virtual perfor- have become so much more aware of how Reinvention is in store for the Hous- mances as an either/or option with the differences and identities—including race ton Symphony’s concert formats, too, live ones, the Houston Symphony will and ethnicity—affect everything in our now that its audiences have experienced experiment in the coming season with world? It’s been a long time coming, and a season of compact programs: roughly subscription and ticket packages that it’s really important." 75 minutes of music without intermis- combine live and virtual events. The sion. “We’re not in a mad rush to go back orchestra will offer “a sort of hybrid, where you have an opportunity to attend in person or watch the livestream, or attend in person and watch the livestream on a different night,” Mangum explains. “We’re looking at how that can become more in- tegrated into the ecosystem of the Hous- ton Symphony, and integrated into how our audience experiences the concerts. If you were blown away by a performance Roger Mastroianni Wilson Parish Photography and want you want to show it to a friend, “Orchestras, like most arts organizations, “We’re not in a mad rush to go back to you have that available.” tended to approach their work from the view business as usual,” says Houston Symphony that ‘We know what’s best.’ There wasn’t Executive Director and CEO John Mangum, Orchestras that relied on virtual perfor- much give or take,” says Cincinnati Symphony shown preparing for the orchestra’s mances last year as their only option are Orchestra President and CEO Jonathan Martin. livestream on August 22, 2020. “We want to now reevaluating their strategies as they “We have discarded that whole, ineffective take a lot of what we learned this year and go back before their audiences. At press way of doing things.” bake it into what we do.” time, the Minnesota Orchestra hadn’t

46 symphony SUMMER 2021 decided how many of its performances it will livestream, Director of Communica- tions Gwen Pappas says. Boston’s Handel and Haydn Society, which last season streamed videotaped performances that it packaged with interviews and other material, will switch to livestreaming the Sunday afternoon performance of each subscription program, President and CEO David Snead says. The Atlanta Symphony, another orches- tra that offered prerecorded and packaged performances last season, will stick with

that, Barlament says. Rather than trying Atlanta Symphony Orchestra to evoke full-length concerts, their online programs will encompass music, inter- views, and other material in one hour. That’s no seat-of-the-pants decision: It sprang from viewers’ behavior. “We can tell exactly how long they watch,” Barla- ment says. “The data shows that after about an hour, the viewership falls off Brantley Gutierrez pretty significantly. So we’re focusing on Caroline-Tompkins that time window to create something In November 2020, Atlanta Symphony Orchestra Concertmaster David Coucheron and bassist that’s engaging throughout the program.” and composer Xavier Foley performed Foley’s For Justice and Peace for Violin, Bass, and String Streaming has served the Atlanta Sym- Orchestra with the Atlanta Symphony (top photo). Premieres in the orchestra’s coming season will be by Foley, Missy Mazzoli (bottom left), Conrad Tao (bottom right), and more. phony well. Not only did the orchestra reach more than 250,000 people online over the past year, Barlament says, the served mainly to “ensure connection with Online Learning streaming platform has brought in single- our wonderful and generous community,” Virtual programming has opened ticket and subscription revenue. It also Executive Director Courtney Beck says. new horizons for orchestras’ educational qualifies the orchestra for State of Georgia The group—which, despite its name’s programs. The Atlanta Symphony’s Talent film-production tax credits, which the focus on Baroque music, also commis- Development Program—which pro- orchestra resells to individuals or busi- sions new works—has injected its online vides instrumental instruction and other nesses who are facing Georgia taxes—thus programming with a flavor of its own. The guidance for Black and Latinx young generating income for the orchestra. PBO/Virtual portal goes well beyond per- people—couldn’t open student recitals to While streaming has brought in ticket formances, making a place for recurring live audiences during the pandemic, Bar- revenue for San Francisco’s Philharmonia features starring Music Director Richard lament says. When concerts that would Baroque Orchestra and Chorale, it has Egarr and others. have been limited to live audiences of 600 In the monthly “Live from Amster- or so moved onto the internet, “thousands dam,” Egarr performs in sites throughout of people logged in. It was wonderful to the Dutch city that’s his home. In “What’s get that exposure for those kids,” Barla- New & H.I.P.,” Egarr and composer Tarik ment says. “And it allowed us to make the O’Regan, PBO’s artistic partner, chat with production values cooler—all these great composers who create new music for old interviews with the kids. You heard where instruments. “Up on the Downbeat” is a they’re going to college, what they’re series of virtual dance classes illustrating excited about, and what they like about

Handel and Haydn Society the original steps that dovetailed with the music. It allowed us to shine the spotlight This spring, the Handel and Haydn Society music of centuries ago. Beck particularly on them and elevate their voices.” livestreamed the premiere of Suite for String admires “Live from Amsterdam,” in which Not only will the ASO continue that, it Orchestra After the Works of Charles Ignatius Egarr “found unique sacred and secular will keep beefing up a statewide educa- Sancho, by composer Jonathan Woody (in spaces to perform” in the historic city. tional program it launched in tandem photo). Sancho (c. 1729–December 14, 1780) was born on a ship carrying enslaved people, The orchestra’s goal in creating the varied with the Georgia Music Educators escaped slavery, and later composed and menu, she adds, is “to be unique and to Association. Based on suggestions from published classical music. The orchestra will offer to the public something they couldn’t teachers and students, “Level-Up with the give Woody’s work an in-person premiere at get elsewhere at a horrible time when ASO” features orchestra members in short its 2021-22 season-opening concert. everyone was trying to connect.” videos that focus on finer points of instru- americanorchestras.org 47 Columbus Symphony The Columbus Symphony created two new websites for young people and expanded its online education offerings during the pandemic, reaching 55,000 students, up from the previous 22,000. The orchestra will continue to expand online and in-person education efforts in the coming season.

mental playing, from scales to spiccato. educational concert for the cameras. The The orchestra aims to build the archive copious floor space allowed Johnstown to 150 videos, which tens of thousands Symphony Youth Orchestra to join the of student musicians across Georgia will adult musicians for a side-by-side perfor- have at their fingertips. mance, Executive Director Jessica Satava The Columbus Symphony, after creat- recalls, and “the response to the livestream “By putting out digital content, we’re reaching ing its online program for the Columbus was phenomenal. We had thousands people who never had access to our work City Schools, now wants to take it to and thousands of kids—many school Johnstown Symphony Orchestra before,” says Johnstown Symphony Orchestra other school districts, Executive Direc- districts—experience that with us. By Executive Director Jessica Satava, shown here tor Rehg says. Hoping to win over young putting out digital content, we’re reach- at the orchestra’s April “Horns in the Hills” performance at the Roxbury Bandshell. “Of people to the live-music experience, the ing new and different audiences—people course, there’s no substitute for the experience orchestra will start giving free tickets to who never had access to our work before.” of live orchestral music.” its subscription concerts to people ages six School districts benefited, too, because to sixteen. And the group is brainstorm- they saved the time and expense of bus ing a program to introduce children from trips. “Of course, we all know that there’s underserved groups to music. no substitute for the experience of live The Johnstown Symphony’s first orchestral music,” Satava says, “but adding pandemic-era performance as a full or- this as an additional component really chestra came this March, when musicians makes a difference for the schools, to have

Johnstown Symphony Orchestra spread out in a basketball arena to play an that option.”

The Johnstown Symphony’s first pandemic- era performance as a full orchestra came this March at the Kovalchick Convention and Athletic Complex on the campus of Indiana University of Pennsylvania, when it gave an educational concert for the cameras. The space was large enough for the Johnstown Symphony Youth Orchestra to join the adult musicians for a side- by-side performance. Johnstown Symphony Music Director James Blachly conducted. Johnstown Symphony Orchestra

Johnstown Symphony Chorus Director Jeffrey L. Webb hosted virtual sessions for young music students that spotlighted people of color who O’Neil Arnold have leadership roles in the region’s classical- The Louisville Orchestra performed “Ravel and the Power of Black Music” on March 27, 2021, music ensembles. Next season, the orchestra which featured musician and Louisville city councilman Jecorey Arthur (at left) and his education plans to bring the students to in-person concerts program on the history of Black music from spirituals through jazz into the 1980s. In the first and for members of the orchestra to work with half of the concert, Louisville Orchestra Music Director Teddy Abrams was piano soloist and them. conducted the orchestra in the Ravel Piano Concerto, which was influenced by jazz.

48 symphony SUMMER 2021 sic-making activity?’ Eighty percent said, killing by police, the city of Louisville, ‘Absolutely yes. Give us the opportunity Kentucky faced an eruption of anger and to experience classical music together.’” protests. The Louisville Orchestra opened The orchestra is now working to bring the the current season with Vigil, a tribute to students to in-person concerts next season Taylor by bass-baritone Davóne Tines and to create a setup for members of the and three collaborators, and the coming orchestra to teach or coach them. season’s opener this October will turn to

Chris Witzke the other upheaval: The orchestra will Next April, the Louisville Orchestra will launch Contemporary Correlatives premiere seven works by local composers a multi-season series pairing Black composers As the site of the Breonna Taylor looking back at the pandemic. with Jewish ones. “Freedom is obviously a historically Jewish theme, and that resonates with Black culture in America from the earliest times,” Music Director Teddy Abrams says. O’Neil Arnold

The Louisville Orchestra opened its virtual season on October 3, 2020 with bass-baritone Davóne Tines singing Samuel Barber’s Dover Beach, excerpts from Caroline Shaw’s By and By, and his own work Vigil, written in honor of Louisville native Breonna Taylor, who was slain by police officers in 2020.

Streaming also let the orchestra tailor a program to Johnstown’s central-area school district, which has the region’s highest proportion of BIPOC (Black, In- digenous, and people of color) students— “those who are least likely to feel like they have access to what we do,” Satava says. Johnstown Symphony Chorus Director Jeffrey L. Webb, who is Black, hosted a se- ries of virtual sessions aimed at the young instrumentalists and singers in the school system’s performing groups. Spotlighting people of color who have leadership roles in the region’s classical-music ensembles, Webb invited them to discuss music and their journey in it. To gauge the impact of the programs on the young viewers, the Johnstown orchestra took before-and-after surveys. “We asked the students at the beginning, ‘What do you know about classical music? Have you heard classical music? Would you consider coming to a concert?’ At the beginning, 3 percent of the students said yes,” Satava recalls. “At the end, we asked, ‘What would your interest be in coming to the concert hall or being part of a mu- americanorchestras.org 49 Frank Wing

Anthony Roth Costanzo (left) as Galatea and Davóne Tines (right) as Polifemo in Handel’s Aci, Galatea e Polifemo, presented by Philharmonia Baroque Orchestra and Chorale in February 2020.

“It’s almost like commissioning a statue April, it will launch a multi-season series can inspire us.” (That Handel himself can or plaza that commemorates an event,” pairing Black composers with Jewish ones. now be viewed as problematic, because he says Teddy Abrams, the Louisville Or- Looking back across centuries of history, reportedly profited from the trans-Atlan- chestra’s music director. “We want to give Abrams notes, Jews and Blacks have both tic slave trade, illustrates the complexities the city a piece of public art that belongs suffered displacement, enslavement, and of where we are today.) to them.” Or seven pieces, in this case. A oppression. “Freedom is obviously a his- single one might not suffice. torically Jewish theme, and that resonates Remaining Relevant “Part of this experience of the last 18 with Black culture in America from the Philharmonia Baroque and the Handel months—as of October—is that it’s not earliest times,” Abrams says. “That’s why I and Haydn Society may anchor them- one thing,” Abrams continues. “It’s not thought this is subject matter we can re- selves in music created long ago, but both a single, discrete emotion. Yes, there has ally explore. As a Jewish American, I find intend to stay relevant today. Philharmo- been tragedy. But there also has been personal resonance here.” The Louisville nia Baroque has tapped baritone Davóne incredible resilience, incredible hope. This series’ opening installment will culminate Tines as creative partner. In that role he’ll is so much broader, and we’re still living it. in the oratorio The Ordering of Moses by not only perform and curate programs, I feel like the language of music might be Black composer R. Nathaniel Dett, whose but work alongside the staff, board, and the ideal platform to help us understand portrait of the Old Testament prophet patrons to help the group define its 21st- what we’ve all gone through.” premiered at the Cincinnati Symphony century role. Many orchestras are embracing Orchestra’s May Festival in 1937. When it comes to social justice, Handel diversity and inclusion by programming The National Symphony Orchestra in and Haydn’s bona fides date back at least works by composers from too-long- Washington, D.C. will also seek musi- ignored groups. The Louisville Orchestra cal kinships, putting works by George is offering a particular perspective: Next Walker and William Grant Still alongside Beethoven symphonies in a three-week festival in January. A program by Boston’s Handel and Haydn Society will build a bridge from choruses by George Frideric Handel to early incarnations of Black spirituals. “The connective tissue is the

Old Testament,” Handel and Haydn Borggreve Marco President and CEO Snead says. Spirituals Philharmonia Baroque Orchestra’s PBOVirtual “came out of the pain of slavery, and en- portal includes performances, seminars, Philharmonia Baroque slaved people in America drew inspiration and masterclasses, as well as programs Philharmonia Baroque Executive Director featuring Music Director Richard Egarr (in Courtney Beck with baritone Davóne Tines, from the Old Testament, turning it into photo), who had been unable to travel to San the organization’s new creative partner. Tines song,” he explains. Handel drew on the Francisco from his home in Amsterdam due will perform and curate programs and work same material “and turned it into beautiful to the pandemic, in conversation with PBO with staff, board, and patrons to explore the music. We will talk about how both drew Composer in Residence Tarik O’Regan and organization’s 21st-century role. inspiration from that source, and how it others.

50 symphony SUMMER 2021 Handel and Haydn Society

The Handel and Hayden Society brought countertenor Reginald Mobley on board as its first-ever programming consultant to help diversify its repertoire. Mobley performed (at right in photo) in a February 16, 2021 Handel and Haydn Society streamed concert, “Glories of the Baroque Vivaldi,” at St. Cecilia Parish, Boston.

to Jan. 1, 1863, when the group took part us have over the decades, to stray from the in a Boston jubilee concert celebrating the core needs of your community, you do so Emancipation Proclamation on the very at your peril. We’ve got an opportunity to day it took effect. A concert every January fundamentally change our approach, and now commemorates the occasion. Since we’ll have a better chance of survival if 2016, a second annual program—dubbed we’re responsive to it.” “Every Voice”—has focused on compos- The Louisville Symphony has its com- ers from underrepresented groups. As the munity in mind with the Latin American

leader of the concerts, Black countertenor Liz Linder festival it will present next season. The Reginald Mobley has uncovered little- Boston’s Handel and Haydn Society will orchestra’s hometown, conductor Abrams known music. Snead says, “I turned to continue to present virtual performances even points out, has the second-largest Cuban him after one of these events and said, after the pandemic, says President and CEO American population in the United David Snead. ‘We should be doing this on a bigger States, behind only Miami. The festival stage. Can you help us find ways to bring will include a commissioned work by these composers to our subscription cer, chief operating officer—and say, ‘This Dafnis Prieto, the Cuban-born com- concerts?’ ” That’s now part of Mobley’s needs to change. This needs to shift.’ ” poser, bandleader, and MacArthur Fellow. mission as Handel and Haydn’s program- “It’s a concerto grosso for orchestra and As communities and their ming consultant. Among other pieces, timba band,” Abrams says. “Everybody demographics evolve, orchestras say Mobley led the group to Chevalier de knows salsa. Timba is related, but it’s the that learning to serve them is a moral Saint-Georges’ Violin Concerto in G Ma- energetic, percussion-driven version of it.” and business imperative. jor, which opened the society’s 2020-21 Abrams, who listened to Prieto’s first draft season finale. As communities and their demograph- via MIDI technology, says he expects Mobley’s contribution shows that the ics evolve, Martin says, learning to serve the piece to bring audiences to their breadth of a group’s programming de- them is a moral and business imperative feet—dancing. “That sounds like I’m be- pends on the vision of the people involved. for orchestras. The past year may have ing cheeky,” he says. “But I mean it quite Taking that idea to the organization-wide delivered the long-needed catalyst. “In literally. It will be hard not to.” level, the Cincinnati Symphony recently the old days, orchestras—like most arts Abrams sees works like Prieto’s feeding hired its first chief diversity and inclu- organizations—tended to approach their into “a new American canon” of bound- sion officer: Harold Brown, a Cincinnati work from the view that ‘We know what’s ary-crossing works—a counterpoint to the native with deep connections to the city’s best, and we’re going to give you this, longstanding European canon. And if the multifaceted community. In a senior- and you’re going to love it.’ There wasn’t new classics occasionally stir up audiences management position reporting directly to much give or take,” Martin says. “We have to dance, maybe that’s everyone’s reward President and CEO Martin, Brown “has discarded that whole, ineffective way of for making it through the past year. not only the responsibility but the author- doing things. Look at it this way. How do ity to push across the entire organization,” we get funded? Ninety-nine percent of the STEVEN BROWN is a Houston-based Martin says. “He has the ability to go funding that keeps us alive comes from writer specializing in classical music and from department to department and have the community—ticket sales, endow- the arts. He previously served as classical conversations with his peer group—chief ments, the annual fund, family founda- music critic of the Orlando Sentinel, Char- marketing officer, chief philanthropy -offi tions. If you allow yourself, as so many of lotte Observer, and Houston Chronicle. americanorchestras.org 51