FALL 2018 n $6.95 symphonyTHE MAGAZINE OF THE LEAGUE OF AMERICAN ORCHESTRAS

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t’s that time of year again. Summer winds to a close, an invigorating chill hits the air, symphony musicians tune up, orchestra seasons kick into gear. New faces, new works, canonic THE MAGAZINE OF THE rep, elaborate galas for a jolt of glamour, concert halls surging back to life—the LEAGUE OF AMERICAN ORCHESTRAS familiar excitement as seasons start anew. I Something else is happening, too. Orchestras are changing, adapting, opening doors as seldom before. More women are stepping up to orchestra podiums, many as guest artists, too few as music directors themselves. (You have to wonder: when will it not be news that the person appointed as an orchestra’s music director is female?) symphony® Increasing numbers of women composers are being heard, too, as initiatives by the , the award-winning quarterly magazine of the League of American Orchestras, League of American Orchestras and others bring women’s voices forward. Composers discusses issues critical to the orchestra community and musicians of color are represented in ways that were virtually unheard of just a and commun­icates to the American public the value few years ago. Progress may feel slow, but diversity, equity, and inclusion—onstage and and importance of orchestras and the music they perform. among audiences, administrators, and boards—are expected mandates, no longer well- EDITOR IN CHIEF Robert Sandla intentioned slogans but central actions. When the Juilliard School recently announced new strategies and programs, the aims of diversity, equity, and inclusion were joined by MANAGING EDITOR Jennifer Melick the word “belonging.” PRODUCTION AND DESIGN Michael Rush At the League Conference in June, a big theme was how orchestras can create ADVERTISING DIRECTOR Stephen Alter the greatest impact in society today. That’s a tall order, and might feel far afield from ADVERTISING ASSOCIATE Alex Major organizations that exist, first, last, and always, to make music. But just as community PUBLISHERS Jesse Rosen Celeste Wroblewski engagement has become an expected component of orchestras’ missions, social justice as PRINTED BY Dartmouth Printing Co. well as sometimes surprising new roles for musicians are increasingly integrated into the Hanover, NH work of orchestras.

® symphony (ISSN 0271-2687) is published quarterly ( January, April, July, October) for $25 per year by the League of American Orchestras, 33 W. 60th Street, 5th Floor, New York, NY 10023-7905. Send address changes to Symphony, 33 W. 60th Street, 5th Floor, New York, NY 10023-7905. Don’t miss a single note! SUBSCRIPTIONS AND PURCHASES Annual subscription $25.00. To subscribe, call subscribe to 646-822-4080 or send an e-mail to member@ americanorchestras.org. Current issue $6.95. Back issues available to members $6.95/non-members $8.45. Directory, 50th Anniversary, and other special symphony issues: members $11.00/non-members $13.00. ADDRESS CHANGES With vibrant photographs and timely Please send your name and your new and old addresses to Member Services at the New York office (address below), or send an e-mail to articles, Symphony is transforming the way [email protected].

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THE MAGAZINE OF THE LEAGUE OF AMERICAN ORCHESTRAS symphony 2 Prelude by Robert Sandla 6 The Score 6 Orchestra news, moves, and events 16 Board Room

Why do community members volunteer to serve as orchestra trustees? Armstrong William T. Members of orchestra boards across the country disclose the motivations and rewards. by Chester Lane 22 Seen and Heard: Conference 2018 42 Highlights from compelling addresses by Vijay Gupta, Jennifer Koh, and Charlie Wade at the League’s 2018 Conference in Chicago.

26 Tuning Up for Diversity Four musician participants in the National Alliance for Audition Support’s inaugural audition intensive in June share their stories. 34 34 Grand Tours Youth orchestras get into touring, with multiple benefits. by Steven Brown 42 Symphonic Storyteller John Williams just keeps composing, and his film scores are being programmed by more and more orchestras every year. by Jack Sullivan 62 Period Crossing Orchestras are embracing early music, Baroque, Classical, and modern sounds. Why? by Donald Rosenberg

50 2018 Guide to Symphony Pops Advertisers 69 Advertiser Index

70 League of American Orchestras Annual Fund Paul Marotta 72 Coda New York Giants rookie linebacker Lorenzo Carter 72 talks about playing the cello—and tuba. about the cover At top: At Tanglewood, Andris Nelsons leads the Boston Symphony Orchestra’s August 25 concert cel- ebrating Bernstein’s 100th birthday; photo by Chris Lee. Center left: Riccardo Muti and Yo-Yo Ma at a Chicago Symphony Orchestra concert during the League’s 2018 Conference; photo by Todd Rosenberg. Center right: Members of the NYO-USA and NYO2 with young musicians from New York City at a July side-by-side rehearsal; photo by Fadi Kheir. Bottom left: Aisslinn Nosky, concertmaster of Boston’s Handel and Haydn Society; photo courtesy of Handel and Haydn Society. Bottom center: At the League’s 2018 Conference, Mei-Ann Chen leads the Chicago Sinfonietta’s Project Inclusion Ensemble; Text marked like this indicates a link photo by Dan Rest. Bottom right: Vijay Gupta, Los Angeles Philharmonic violinist and social-justice to websites and online resources. advocate, at the League’s 2018 Conference; photo by Dan Rest.

THESCORE News, moves, and events in the orchestra industry

Creating the Greatest Impact “The work of orchestras takes place in the ever-changing public sphere, where we enjoy the benefits of public policy that affords us indispensable economic rewards, in exchange for providing public benefit. What is that public benefit, or impact, and how do we describe it? How do we achieve the greatest impact?” asked League of American Orchestras President and CEO Jesse Rosen at the opening session of the League’s 2018 National Conference. Rosen’s probing comments set the tone for Conference while expanding on the event’s overarching theme: “Creating the Greatest Impact.” Held in Chicago from June 13 to 15 and hosted by the Chicago Symphony Or- chestra, the League’s 73rd Conference drew high praise for its timeliness and relevance. Issues of pressing concern were at the forefront, with sessions addressing the urgency of diversity, equity, and inclusion; the evolving roles of orches- tras in shifting societal ecosystems; increasing the representation of women and people of color as composers; orchestras’ groundbreaking approaches to community engagement; confronting sexual misconduct in the #MeToo era; and much more. Musicians offered their perspectives in often deeply personal ways. Vijay Gupta, a violinist with the Los Angeles Philhar- monic and an advocate for artistic voices in social justice, spoke about his work with communities experiencing homelessness, mental illness, and incarceration. Violinist Jennifer Koh movingly evoked her experiences as a young musician and challenged orchestras to work toward true repre- sentation of our diverse country. After performing the world premiere of

Todd Rosenberg Todd a double concerto by Michael Abels with the Chicago Youth Symphony Music Director Riccardo Muti and cellist Yo-Yo Ma acknowl- Orchestras, Anthony McGill (principal clarinet, New York Philharmonic) edge the audience at a concert with the Chicago Symphony and Demarre McGill (principal flute, Seattle Symphony) discussed equity Orchestra during the League’s 2018 Conference. and inclusion at orchestras with Jeri Lynne Johnson, founder and artistic director of the Black Pearl Chamber Orchestra. At the Conference’s clos- ing session, Yo-Yo Ma advocated for the central value of culture during a period of sweeping social upheaval—and urged orchestras to help find new ways ahead. Ma also received the Gold Baton, the League’s highest honor, given annually for distinguished service to America’s orchestras. The League gave the Ford Musician Awards for Excellence in Community Service to Jeffrey Barker, associate principal flute, Seattle Symphony; John R. Beck, principal percussionist, Winston-Salem Symphony; Jody Chaffee, community engagement director, flute, Firelands Symphony Orchestra; Erin Hannigan, principal oboe, Dallas Symphony Orchestra; and Juan R. Ramírez Hernández, violin, Atlanta Symphony Orchestra. Innovative thinking and essential information about highly specific topics were offered at sessions including Crisis Communications for Orchestras, Tactics for Building and Sustaining a Diverse Board, Project Inclusion: Leadership Pipelines on Stage and in Management, Trends in Arts

Grantmaking, and The Post-Tax Reform Philanthropic Landscape. Dan Rest Music occupied pride of place at the Conference. Led by Music Director Riccardo Muti, the League of American Orchestras President Chicago Symphony Orchestra performed works of Shostakovich and Prokofiev, with Yo-Yo and CEO Jesse Rosen at the League’s Ma the soloist in Shostakovich’s Cello Concerto No. 2. A perfect Midwestern summer night 2018 Conference was the backdrop when the Grant Park Orchestra and Chorus, led by Principal Conductor Carlos Kalmar, performed works by Sean Shepherd, Haydn, and Walton in Millennium Park. At the closing session, Music Director Mei-Ann Chen conducted Chicago Sinfonietta’s Project Inclusion Ensemble, a talent development program for musicians, conductors, and administrators of color, in scores by Jennifer Higdon and Vivian Fung. For more on the 2018 Conference, including highlights, videos, and handouts, visit americanorchestras.org/postconference18.

6 symphony FALL 2018 Bernstein Birthday Bash MUSICAL CHAIRS For a single day in August, hundreds of music organizations around the world celebrated what would have been Leonard Bernstein’s 100th birthday, August 25. In Massachusetts, Four new Diversity Fellows have been named at the University of Cincinnati College-Conservatory of where Bernstein was born, Governor Music and Cincinnati Symphony Orchestra. They Charles D. Baker issued a proclamation are double bassist CAMELLIA AFTAHI and violinists YAN IZQUIERDO, ARMAN NASRINPAY, and ALEXIS declaring August 25 Leonard Bernstein SHAMBLEY Day, and the state’s House and Senate . EMILY BARNHILL issued a joint resolution commemorat- is the new senior director of devel- opment at the Virginia Symphony Orchestra. ing the Tanglewood Music Center and ALICIA BENOIST is the new vice president of celebrating Bernstein’s one hundredth development at the Orchestra of St. Luke’s in New birthday. And in perhaps the ultimate York City. modern-day popular tribute, he got his Vermont’s Marlboro Music School and Festival own Google doodle. has named pianist and educator JONATHAN BISS co-artistic director with Mitsuko Uchida, Marlboro’s Tanglewood—where Bernstein was current artistic director. a member of the Tanglewood Mu- DANIEL BLACK is the Florida Orchestra’s new Chris Lee sic Center’s first class in 1940, and assistant conductor. Boston Symphony Orchestra Music Director Andris conducted his final concert, in 1990— The Omaha Symphony in Nebraska has named Nelsons leads the orchestra at Tanglewood, August pulled out all the stops for its Bernstein JENNIFER BOOMGAARDEN president and CEO. 25, 2018. Centennial Celebration. Musicians At the South Dakota Symphony Orchestra, where Boomgaarden was previously executive director, included cellist Yo-Yo Ma, violinist DAVID HYSLOP is serving as interim executive Midori, baritone Thomas Hampson, soprano Nadine Sierra, and many others, hosted director. by Audra McDonald. Conductors included The Northeastern Pennsylvania Boston Symphony Orchestra Music Director Philharmonic, based in Scranton, has named MÉLISSE BRUNET interim Andris Nelsons, Boston Pops Conductor music director and conductor, effective Keith Lockhart, Boston Pops Conductor with the 2018-19 season. Laureate John Williams, and San Francisco DARKO BUTORAC is the new music Brunet Symphony Music Director Michael Tilson director of the Asheville Symphony Thomas. The program’s first half focused on Orchestra in North Carolina. DAVID CHAMBERS Bernstein as composer, while the second has been named the San Fran- cisco Symphony’s chief revenue and advancement half spotlighted Mahler and Copland works Michael Blanchard officer. associated with him, as well as a new piece by Backstage at Tanglewood on August 25, The Johnstown Symphony Orchestra in John Williams written to commemorate the Pennsylvania has appointed MAUREEN 2018 (left to right): Boston Pops Conduc- CONLON-GUTIERREZ concertmaster. occasion. tor Keith Lockhart; Bernstein’s children, All three Bernstein children—Jamie Alexander Bernstein, Jamie Bernstein, and The Buffalo Philharmonic has appoint- TODD CRAVEN Bernstein, Alexander Bernstein, and Nina Nina Bernstein Simmons; Boston Symphony ed assistant conductor. KIMBERLY DIMOND Conlon- Bernstein Simmons—were in attendance. Orchestra Music Director Andris Nelsons; is the new Gutierrez executive director of Indiana’s Carmel Hollywood director Steven Spielberg was composer and Boston Pops Laureate Conductor John Williams; director Steven Symphony Orchestra. there, and so was actor Bradley Cooper, who Spielberg; actor Bradley Cooper; and Boston The New Jersey Symphony Orchestra has named earlier this year was announced as the star of Symphony Orchestra Managing Director JOSÉ LUIS DOMÍNGUEZ artistic director of the one of two upcoming Lenny biopics. Mark Volpe NJSO Youth Orchestras. Michigan’s Interlochen Arts Academy Orchestra has named LESLIE B. DUNNER conductor. High Notes for Kidznotes The Boston Symphony Orchestra has hiredSUE ELLIOTT Who were those people rappelling down the to the new position of director of the Tan- glewood Learning Institute, set to open in 2019. fifteen-story Capital Bank Plaza Building in down- TODD ELLISON will become music director and prin- town Raleigh, North Carolina one sunny Saturday cipal conductor of the Philly Pops in July 2019. in June? They were part of a daylong public block GONZALO FARIAS is the new assistant party that was also a fundraiser for Kidznotes, an conductor of the Virginia Symphony El Sistema-inspired music-education program that Orchestra. provides pre-K through 12th-grade students in The American Composers Orchestra Kidznotes cellist Marcus Gee and his has named AIDEN FELTKAMP to the Durham and Raleigh with instrumental instruction, father rappel down the Capital Bank newly created role of emerging com- Farias choir, music theory, orchestra, and band. For the Plaza Building in Raleigh, North Caroli- posers and diversity director. na to raise funds for the music-educa- AKIKO rappelling event, dubbed #NewHeights, more than The Minnesota Orchestra has named tion program. FUJIMOTO associate conductor. Fujimoto has served 60 people asked friends, colleagues, and corpo- as the orchestra’s assistant conductor since 2017. rate sponsors to support their physical efforts—to raise enough money to add 50 new Oregon’s Rogue Valley Symphony has appointed JOELLE GRAVES executive director. kindergarten students in 2019. Chairs Musical americanorchestras.org 7 Minnesota Orchestra’s South Africa Tour MUSICAL CHAIRS To mark the centenary of anti-apartheid leader Nelson Mandela (1918-2013), the The Charleston Symphony Orchestra Minnesota Orchestra embarked on “Music for Mandela,” a five-city tour of South Africa has appointed KELLEN GRAY assistant this summer. A highlight of the tour—described as the first undertaken by a professional conductor. U.S. symphony orchestra The Boston Philharmonic Orches- to that country—was tra has named STACY BAUERLEIN HANDLER director of development and Gray South African composer marketing. Bongani Ndodana- The Oakland Symphony in California has appointed Breen’s Harmonia Ubuntu, MIEKO HATANO executive director. commissioned in tribute The Santa Barbara Symphony has namedBLAINE to Mandela by Classical INAFUKU director of artistic administration. Movements, the tour North Carolina’s Winston-Salem Symphony has management company. In named MARY BETH JOHNSON chief philanthropy and patron engagement officer. J. TRAVIS CREED has Soweto, where Mandela been promoted from artistic operations director to once lived, Harmonia general manager. Ubuntu was performed at JACOB JOYCE is the new associate conductor of the Regina Mundi, a church Indianapolis Symphony Orchestra. that “was the heart of ANDREA KALYN has been named the the people’s resistance next president of the Boston-based New England Conservatory, effective in against the apartheid Armstrong William T. January 2019. regime,” as Ndodana- Left to right: soprano Goitsemang Lehobye, Minnesota Orchestra California’s Pacific Symphony has Breen explained in the Music Director Osmo Vänskä, and composer Bongani Ndodana- DENNIS KIM appointed concertmaster. Kalyn Minneapolis Star Tribune. Breen after the orchestra’s performance of Harmonia Ubuntu at ANDREW KIPE is the new director of Beyond performances Regina Mundi Church in Soweto, South Africa. concert and ensemble operations for the Peabody Institute of the Johns Hopkins University. in Cape Town, Durban, Pretoria, Johannesburg, and Soweto, the August 8-19 tour included a residency with the The Wisconsin Youth Symphony Orchestra, based in Madison, has named KYLE KNOX music director of South African National Youth Orchestra and educational activities and exchanges with the WYOSO and conductor of the Youth Orchestra. the KwaZulu-Natal Youth Wind Band and the Cape Town Youth Philharmonic, among The Los Angeles Philharmonic has appointed others. The tour was presented in partnership with Classical Movements. PHILIP KOESTER vice president of marketing and The tour was subtitled “Bringing the World Together Through Music,” and League communications. of American Orchestras President and CEO Jesse Rosen commented that, following JULIAN KUERTI is the new music director of Michi- gan’s Kalamazoo Symphony Orchestra. JUN-CHING the orchestra’s groundbreaking Cuba tour in 2015, “It speaks very well of the Minnesota LIN has been named the orchestra’s concertmaster. Orchestra that it is, for the second time now, using touring as a way to put a stake in the Florida’s Charlotte Symphony Orchestra has ap- ground, to say we have a special role to play in the wider world.” pointed BRIAN LACZKO executive director. The Naples Philharmonic in Florida has appointed EMERSON MILLAR Krishna Thiagarajan: Seattle Symphony’s co-concertmaster, with Glenn Basham. NICHOLAS R. MOWRY has been New President and CEO appointed principal viola of the Lake The Seattle Symphony has appointed Krishna Thiagarajan president and CEO. He Forest Symphony in Illinois. Millar succeeds Simon Woods, who became CEO of the Los Angeles Philharmonic in Janu- Virginia’s Richmond Symphony has appointed DANIEL MYSSYK to the new position of ary. Thiagarajan was most recently chief executive of the Royal CHIA-HSUAN LIN assistant conductor. will remain an Scottish National Orchestra, where accomplishments included additional two years as associate conductor. increasing the number of performances, raising average atten- ALASDAIR NEALE has been named music director of the New Haven Sym- dance figures, and growth in earned and contributed income. phony Orchestra, effective May 2019. Previously, Thiagarajan served as executive director of the New The Pioneer Valley Symphony Or- York-based Orpheus Chamber Orchestra, where he was respon- chestra in Massachusetts has named Lucy Gellman TIANHUI NG music director. GREGORY Neale sible for increasing audiences, including sold-out performances W. BROWN is serving as interim chorus at Carnegie Hall; commissioning new work; touring the orchestra director. to Japan, Colombia, and Europe; and overseeing Orpheus’s first GIANANDREA NOSEDA , music director of the self-produced recording. Prior to that, Thiagarajan was presi- National Symphony Orchestra in Washington, D.C., will add the post of general music director at Swit- dent of New Jersey’s Symphony in C and senior director of artistic operations for the zerland’s Zurich Opera beginning in 2021-22. Rochester (NY) Philharmonic Orchestra. Born in Germany, Thiagarajan trained as a Indiana’s Evansville Philharmonic Orchestra has pianist and performed widely. He graduated from Indiana University with bachelor’s and appointed BRIAN ONDERDONK assistant orches- tra conductor and RYAN KNIGHT assistant choral master’s degrees in music, and received a doctorate from the University of Maryland, conductor. Musical Chairs Musical College Park, studying with pianists Santiago Rodriguez and André Watts.

8 symphony FALL 2018 Philly Pops at 40 This year is a special one for the Philly Pops: it’s turning 40. During the orchestra’s annual Fourth of July performances, Philadelphia Mayor Jim Kenney honored the organization’s contributions to the community through its education programs and concert series saluting the military, veterans, and first responders. At each concert in 2018-19, the orchestra is performing music with ties to the Pops’ legacy and showcasing artists and songs with Phil- adelphia roots. In September, Hamilton’s Leslie Odom, Jr., who grew up in Philadelphia, per- Bachrach Photography formed with the Pops at the Kimmel Center, led by Music Director Michael Krajewski. Other The Philly Pops’ July 3 concert in front of Independence Hall showcased music and Philadelphians in the coming season include jazz educator and performer Terell Stafford and artists connected with the Pops’ history or Principal Guest Conductor David Charles Abell, who has Philadelphia roots of his own. with Philadelphia roots.

Dallas Symphony FREE Taps Fabio Luisi as Music Director Fabio Luisi has been appointed music director of the Dallas Symphony Or- chestra. He will serve as music director designate in the 2019-20 season, assuming the title of music director in the 2020-21 season. Luisi succeeds Jaap van Zweden, who ended his Dallas tenure in May 2018 to become music director of the New Fadi Kheir York Philhar- monic. Perhaps best known in the U.S. for his time as principal conductor of the Two Incredible Training Metropolitan Opera and guest Opportunities for Young engagements with leading American Musicians

orchestras, Luisi Barbara Luisi currently holds Fabio Luisi positions as prin- cipal conductor of the Danish National Symphony Orches- AGES 16–19 AGES 14–17 tra, general music director of the Zurich APPLICATION DEADLINE: APPLICATION DEADLINE: Opera, and music director of Maggio Mu- NOVEMBER 15, 2018 DECEMBER 13, 2018 sicale Fiorentino. Previous posts include The National Youth Orchestra NYO2 aims to expand the pool artistic leadership roles at the Vienna of the United States of America of highly trained musicians, Symphony Orchestra, Staatskapelle Dres- brings together the country’s particularly those who will bring den, MDR Symphony Orchestra Leipzig, brightest young musicians greater diversity to classical and Orchestre de la Suisse Romande. In for an intensive summer of orchestral music. The selected 2020-21, Luisi will conduct the DSO for training, coaching, and an instrumentalists play alongside seven weeks, expanding his time in Dallas international tour. In 2019, exceptionally talented peers and the group will perform with learn from world-class faculty during his five-year contract. Under esteemed conductor Sir Antonio before concluding their residency Luisi’s supervision, the DSO will launch Pappano and mezzo-soprano with a performance on the famed a ten-year program to commission 20 Joyce DiDonato. Carnegie Hall stage. new works; the project will yield at least ten new works by female composers. The DSO plans international tours as well as an annual opera-in-concert during Luisi’s carnegiehall.org/NationalYouthEnsembles tenure. americanorchestras.org 9 181015_Symphony Magazine_Nyo/2_Recruitment.indd 1 8/21/18 3:57 PM MUSICAL CHAIRS LA Phil at 100 GARY A. PADMORE is the New York Philharmon- ic’s new director of education and community engagement. ECKART PREU has been named music director of Maine’s Portland Symphony, effective in 2019-20. His final season as music director of Washington’s Spo- kane Symphony will be 2018-19. He Don+Julla-Photography also holds positions as music director of Preu the Long Beach Symphony Orches- tra in California and the Cincinnati Chamber Orchestra. SIMON RIVARD has been named resident conductor of the Toronto Symphony Orchestra and conductor of the Toronto Symphony Youth Orchestra. EMILIE LEBEL has been appointed to a two-year residency as affiliate composer at the Toronto Symphony Orchestra. The Los Angeles Philharmonic opened its centennial year by lighting the exterior of Walt Disney The University of Cincinnati’s Conservatory of Concert Hall with an art installation. Music has named STANLEY ROMANSTEIN dean. LEA SLUSHER is the San Diego Symphony’s new It was pretty hard to miss the start of the Los Angeles Philharmonic’s 100th-anniversa- vice president for artistic administration and audi- ence development. GERARD McBURNEY joins the ry season in September. Projected onto the outside of Walt Disney Concert Hall for a orchestra as creative consultant. week beginning on opening night was Refik Anadol’s “WDCH Dreams” light installation, The Pierre Monteux School and Music Festival in created using data points from images, audio, and video from the orchestra’s archives. Maine has named MARC THAYER executive director, following the retirement this summer of Ron Inside the hall, centenary celebrations will include an impressive 54 world premieres Schwizer. during the 2018-19 season. In September, a daylong eight-mile street party temporarily TROY WEBDELL is the new director of closed streets from Disney Concert Hall to the Hollywood Bowl. More than a thousand the Fort Wayne Philharmonic Youth Orchestras. musicians, artists, and dancers performed at six hubs and along the route itself, and DIANE WITTRY has been named music the day concluded with a free Hollywood Bowl concert featuring the Los Angeles Phil- director of the Garden State Phil- harmonic, Katy Perry, Herbie Hancock, Kali Uchis, and Youth Orchestra Los Angeles Webdell harmonic in Toms River, New Jersey. (YOLA). Throughout the anniversary season, most of the orchestra’s former music She will remain as music director of Pennsylvania’s Allentown Symphony Orchestra. directors will return to lead concerts, and the centennial year will mark a major expan- LISA WONG is the Cleveland Orchestra’s new direc- sion of the Youth Orchestra Los Angeles program, created by Music Director Gustavo tor of choruses. Dudamel. The season concludes with—you guessed it—Mahler’s “Symphony of a RANDY WONG , the Hawaii Youth Symphony’s Thousand.” executive director since 2012, has been promoted to president of the Honolulu-based group. Musical Chairs Musical League Speaks Up in Global Protected- Species Discussions The League of American Orchestras is an official participant as delegates from around the globe gather to reshape policies that control how musical instruments may cross interna- tional borders under the terms of the Convention on International Trade in Endangered Species (CITES). Working with worldwide music organizations and conservation leaders, the League is at the table this year in meetings in Geneva, Switzerland, and Sochi, Russia to ensure that rules related to rosewood, ivory, and other materials in orchestral instruments address urgent conservation concerns while also supporting international cultural activi- ty by travelling musicians. The League provides essential assistance to orchestras as they navigate the permit requirements for international tours, and has been meeting regularly with the U.S. Fish and Wildlife Service to advance recommendations that will streamline the complicated permit process. Partnering with the National Association of Music Mer- League of American Orchestras Vice Presi- chants, U.S. and international musicians’ unions, and woodwind, violin, and bowmakers, dent for Advocacy Heather Noonan speaks up the League is seeking policy improvements as the terms of the treaty are negotiated in Sri on rules concerning international travel with Lanka in May 2019. For more information, visit the Endangered Species Material pages at musical instruments at a CITES meeting in americanorchestras.org/. Geneva in July 2018.

10 symphony FALL 2018 #MeToo and Classical Music CLASSICAL New allegations of sexual harassment in the classical music field generated headlines this summer. In a July Washington Post article, Anne Midgette and Peggy McGlone reported MUSIC on their six-month investigation in which more than 50 musicians described widespread ˜ ˜ harassment and sexual assault. The article detailed descriptions by multiple female MEETS instrumentalists and vocalists of sexual harassment by William Preucil, the Cleveland Orchestra’s longtime concertmaster, as well as other figures in classical music. The Cleve- CLASSIC land Orchestra placed Preucil on paid suspension in July, after opening its own inquiry, and Preucil has resigned from the Cleveland Institute of Music, where he was on faculty. COMEDY In September, the Cleveland Orchestra also suspended Massimo La Rosa, its principal trombone, on unspecified charges. In the wake of the Post article, stage director and artist manager Bernard Uzan resigned as co-director of Florida Grand Opera’s young artist studio, and Daniele Gatti was dismissed as principal conductor of the Concertgebouw Orchestra in Amsterdam. In September, the New York Philharmonic placed Liang Wang, its principal oboe, and Matthew Muckey, associate principal trumpet, on unpaid leave after a five-month internal investigation into sexual harassment. Wang and Muckey both deny the charges. Katherine Needleman, principal oboe of the Baltimore Symphony Orchestra, has filed a complaint against the orchestra with the U.S. Equal Employment Opportunity Com- mission, following the orchestra’s independent review of her allegations of harassment and retaliation beginning in 2005 by concertmaster Jonathan Carney. Carney denies the charges. The investigation, as reported in the Washington Post, concluded that the orchestra did not have a hostile work environment, but recommended sensitivity training for Carney and anti-harassment training for all employees. In the U.K., the Incorporated “A magical evening...unforgettable... Society of Musicians and the Musicians’ Union released a Code of Practice “to tackle THE BEST SHOW!!!!” and prevent bullying, harassment, and discrimination in the music sector.” The League of American Orchestras encourages its members to follow best practices — satisfied West Virginia Symphony patron in preventing sexual harassment and in responding to claims, and has posted resources on how to do so at americanorchestras.org/shprevention. Charlie Chaplin at the Symphony is an unusual pops Fellowship Program Takes Flight evening that begins with a This summer saw the launch of the latest program designed to increase diversity in hilarious parody of a classical American orchestras: the Los Angeles Orchestra Fellowship program. The first musician concert (Dan as The Classical fellows have been chosen for the two-year postgraduate program, which is a partner- Clown) and ends with two ship of Inner City Youth Orchestra of Los Angeles (ICYOLA), Los Angeles Chamber restored Chaplin classics Orchestra (LACO), and USC Thornton School of Music. Beginning their fellowships this from 1917, with brilliant season are violinists Sydney Adedamola and Ayrton Pisco, violist Bradley ­Parrimore, contemporary scores by Grant and cellist Juan-Salvador Carrasco. They will receive performance and rehearsal Cooper. Two full hours of experience; compensation, benefits, and housing; and support to prepare them for comedy and music. auditions in professional American orchestras through intensive mock auditions run by LACO. They will perform and rehearse as Catch the buzz at part of ICYOLA, USC Thornton Symphony, www.dankamin.com and in ­LACO’s string sections. In addition,

the Fellows will perform as a string quar- tet throughout Los Angeles, especially in underserved communities. They will work with mentors who include LACO Concert- Dan Kamin master Margaret Batjer and other LACO principal and section musicians, and receive weekly lessons with USC Thornton faculty, Comedy including Batjer, violinist Bing Wang, violist Ben Gibbs Karen Dreyfus, and cellist Ralph Kirshbaum. Los Angeles Orchestra Fellows (left to right) Concertos Ayrton Pisco, Sydney Adedamola, Bradley In turn, the Fellows will mentor, teach, and (412)563-0468 Parrimore, and Juan-Salvador Carrasco guide young ICYOLA musicians. [email protected] americanorchestras.org Books in Brief When New York City Opera filed for bankruptcy in 2013, the curtain fell on of one of the country’s foremost arts organizations, with a storied 70-year history, its own orchestra, a permanent home at Lincoln Center, and a reputation for emerging talent and unusual reper- toire. In the new Mad Scenes and Exit Arias: The Death of the New York City Opera and the Future of Opera in America (Metropolitan Books/Henry Holt and Company, 304 pp.), author Heidi Waleson charts the rise and fall of City Opera—and examines what that means for the performing arts today. The book draws on extensive research and report-

Abigail R. Collins ing about “The People’s Opera,” from its Participants at the League’s 2018 Essentials of Orchestra Management seminar in Los Angeles. first season in 1944 to the years under directors Julius Rudel, Beverly Sills, Christopher It’s Essential Keene, Paul Kel- Thirty-four orchestra executives, administrators, musicians, students, and career changers logg, and George from across the country participated in the League of American Orchestras’ Essentials Steel. Waleson of Orchestra Management program in Los Angeles, July 16-26. The ten-day immersive provides details seminar, taking place on the campus of the University of Southern California, develops about what led the careers of orchestra managers, providing an in-depth overview of orchestra admin- to the compa- istration and offering participants the opportunity to learn from a faculty of orchestra ny’s financial and executives, musicians, and leadership experts. The seminar was led by Essentials Director managerial crises Simon Woods, chief executive officer of the Los Angeles Philharmonic, and Associate and the role of its contentious board of Director Scott Faulkner, bassist at the Reno Philharmonic and former executive director directors, with commentary from insiders. of the Reno Chamber Orchestra, along with other distinguished faculty. Topics in the newly updated curriculum included diversity, education and community engagement, Waleson also follows City Opera through audience building, finance and sustainability, operations, advocacy, governance, and its reemergence in 2016 as a smaller, itin- negotiations and collective bargaining. Essentials is presented by the League of Ameri- erant company. Throughout the book are can Orchestras in association with the USC Arts Leadership Program. Find out more at incisive discussions of the wider cultural https://americanorchestras.org/essentials. and economic changes that affected this opera company—particularly relevant Urgent Concerns About New U.S. Tax Rules for orchestras and other performing arts Orchestras are joining other nonprofit organizations to speak up in opposition to an organizations. Waleson is the Wall Street unprecedented federal tax on expenses at nonprofits. The tax reform provisions signed Journal’s opera critic and a longtime into law last December include a new requirement for nonprofits to pay Unrelated contributor to Symphony. Business Income Tax (UBIT) equal to 21 percent of the value of commuting and parking Briefly noted: David Schiff’sCarter , a benefits provided to employees. Since many orchestras offer parking and transporta- critical overview of composer Elliott Car- tion benefits for staff and musicians, the costs of this new tax on nonprofits could be ter’s life and work, has been published by considerable. The League of American Orchestras has partnered with the broader non- Oxford University Press. Jack Sullivan—a profit sector in meetings with officials at the U.S. Treasury Department, contributed to a regular contributor to Symphony and au- Politico article on this topic, and has filed comments on behalf of orchestras to Treasury thor of books including Hitchcock’s Music and Internal Revenue Service leaders requesting a delay in implementation and imme- and New World Symphonies—has pub- diate action to clarify the many outstanding questions about the new rules. While no lished New Orleans Remix (University guidance has been issued by the IRS to clarify which benefits are subject to the tax and Press of Mississippi, 193 pp.), chronicling how to value certain benefits, the new requirements took effect on January 1, 2018. For the music scene in New Orleans. more information, visit the Visa, Tax, and Travel pages at americanorchestras.org/.

12 symphony FALL 2018

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Frank Schramm away the frustration, time and money first African American to receive to create and manage your shows George Walker at the piano with music for his Piano a doctor of musical arts from content. From start to finish, we do Sonata No. 2, composed in 1956. the Eastman School of Music. it all. Best of all it’s totally free! In 1996, he won the Pulitzer

Prize for Music for his Lilacs for Voice and Orchestra, set to Walt Whitman’s lament for Get Started Today. Abraham Lincoln and premiered by the Boston Symphony Orchestra. His works include Contact Norm Orlowski, 866-503-1966. sonatas, quartets, and numerous chamber works, one of the best known being his 1946 Lyric for Strings. His works for orchestra include Tangents for Chamber Orchestra, Poème for Violin and Orchestra, and a Mass for Soloists, Chorus, and Orchestra. From 1969 to www.OnstagePublications.com 1992 he was on the faculty of the music department at Rutgers University, and he also taught widely. This fall, the New Jersey Symphony Orchestra performed Walker’s Lyric for Strings on its opening-weekend program in his memory. When Harry and Meghan New Appointments to League’s Board Got Married Four new members have been elected to the League One of the most-watched music events of 2018 took place not on a concert of American Orchestras’ Board of Directors. In stage, but in Windsor Castle. On May 19, Prince Harry of Wales and Amer- addition, five individuals have been elected to ex- ican actress Meghan Markle were married before 600 invited guests—with officio positions on the board. The four new board an estimated 29.2 million people worldwide tuning in. Presiding over the members are: Alan Mason, member of the Santa music was Charlotte (N.C.) Symphony Orchestra Music Director Christopher Rosa Symphony Board and president of the Board Warren-Green, who has previously conducted at the weddings of Prince of the Association of California Symphony Or- chestras; Jennifer Mondie, violist with the National William and Kate Middleton, and Prince Charles and Camilla Parker Bowles. Symphony Orchestra and chair of the National Also making a splash was nineteen-year-old cellist Sheku Kanneh-Mason, Symphony Orchestra Committee; Trine Sorensen, who has begun touring as a member of the San Francisco Symphony Board of soloist and appears with the Governors and other governing and advisory boards Seattle Symphony in October. in the performing arts; and Alan D. Valentine, presi- He had to postpone his debut dent and CEO of the Nashville Symphony. The new with the Los Angeles Cham- board members were elected to three-year terms by ber Orchestra in May after League members at the annual meeting in June. The being invited to perform in the five individuals elected to ex-officio roles are: Gary royal wedding. Nevertheless, Ginstling, National Symphony Orchestra; Sara LACO Executive Director Mummey, Lafayette Symphony Orchestra; Heather Scott Harrison said, “This Clarke, Idaho State-Civic Symphony; Megen Balda, Greater Twin Cities Youth Symphonies; and Tiffany kind of visibility on a global Britain’s Prince Harry and Meghan Markle leave Ammerman, Marshall Symphony League. The stage for classical music is St. George’s Chapel at Windsor Castle after their Board’s current officers were reelected, with Helen great for all of us.” wedding, May 19, 2018. Shaffer now serving as secretary.

americanorchestras.org 15 BOARDROOM

Why We Serve

Orchestral boards of directors draw widely from the community, bringing professionals with varied backgrounds together in the service of volunteer governance. Here, five board members talk about why they serve, what skills and mon Sense Media, and serves as a director talents they bring to their work, how their investment in at numerous educational nonprofits as time or financial resources has advanced the orchestra’s well as the for-profit videogame company needs, and where their orchestra fits in their region’s cultural Activision Blizzard. “I came on the Los Angeles Philhar- ecosystem. monic board at a time when the orchestra was thinking seriously about the place of by Chester Lane music in a large urban center,” she recalls. “After a series of meetings with Board Chair Jay Rasulo and our wonderful new CEO, Simon Woods, I was asked to Reveta Franklin Bowers sixth-grade students. She joined the Los chair a task force on board engagement. On the board of: Angeles Philharmonic’s board of directors How can we continue to engage with Los Angeles Philharmonic in January 2018, having been recruited board members who represent differ- “I’ve been pas- by the chair of its Governance Commit- sionate about tee—her friend Jane Eisner, whom she “Board service is not a passive music my whole had known since their days together on experience, it has to be activist. life,” says Reveta the board of the Walt Disney Company in Each of us brings certain Franklin Bowers. the 1990s. “As a child I Bowers brings to the Philharmonic skills to the board, and we studied piano board not only extensive background in need to capitalize on them and cello, there school administration, but in identifying in the interest of serving the were professional and launching the careers of other lead- organization.” Los Angeles Philharmonic musicians in my ers: for sixteen years she was lead faculty —Reveta Bowers family, I went Reveta Bowers member for a program of the National to Los Angeles Association of Independent Schools ent generations, different backgrounds, Philharmonic called the New Heads Institute. “One of different tastes? How do we engage in concerts at the Shrine Auditorium and the things I taught was governance: the conversations not only about what the the Hollywood Bowl. And as an educa- critically important need for executive music should be, but what it could be in tor, I have always understood the power directors to understand the partnership the future? As generations evolve and cul- of music to connect students and children with the board, and the duality of leader- tures expand, as access becomes in some and parents and families in ways that are ship needed to advance the institution’s instances less affordable, how do we bring sometimes not possible in other medi- mission,” she says. Bowers has wide this music into people’s lives? Music can ums.” Bowers recently stepped down, experience in board governance; in addi- connect cultures, connect races and classes, following a 40-year tenure, as Head of tion to her new duties at the LA Phil she connect age groups. How do we use it to School at the Center for Early Educa- currently chairs the Board of Councilors bring communities together?” tion, an independent school in West at USC’s Rossier School of Education and Bowers, who now chairs the LA Phil’s Hollywood serving preschool through the National Board of Directors at Com- Board Engagement Committee, says that

16 symphony FALL 2018 in El Paso—including service as president of the local YWCA, as a board member of the Center Against Sexual and Family Violence, and as a volunteer at Children’s Hospital and the Center for Children, which assists foster children and teen- age runaways—has taught Hand that it’s “so much easier to make the ‘ask’ when it’s children or the homeless; people will give to that. But the symphony is just as important to our city, because it supports our quality of life, it’s important in our lives and communities. I really feel that music helps a child grow up.” She’s espe- cially proud of El Paso Symphony’s youth orchestra program, its in-school activities, and the El Paso Symphony-sponsored “Downtown Kidspalooza” that happens each spring, reaching thousands of kids

League of American Orchestras “One of the big areas I’m In July, Reveta Bowers co-led a session at the League of American Orchestras’ Essentials of concerned about is having a Orchestra Management seminar titled The Twin Roles of Governance at USC Thornton School of Music. Longtime orchestra executive Bruce Coppock, at left, co-led the session. varied musical program that can appeal to different parts of the community.” the orchestra’s centennial season, being Both she and her husband were avid fans —Debbie Hand celebrated in 2018-19, means that there of the Atlanta Symphony Orchestra, she will be “an unusually high level of activity says, and “when we relocated to El Paso in with symphony concerts, dance perfor- for the board this year. Board service is not 1994 one of the first questions we asked mances, rides, and art exhibits. a passive experience, it has to be activist. of people in the community was, ‘Do you As for the adult audience, Hand says, We need to put on our fiduciary hats, our have a symphony here?’ The answer, of “One of the big areas I’m concerned strategic hats, our generative hats. Each of course, was ‘Well, yes, we do!’ ” about is having a varied musical program us brings certain skills to the board, and Hand’s active involvement in the El that can appeal to different parts of the we need to capitalize on them in the inter- Paso Symphony Orchestra began not community. There’s so much more to the est of serving the organization.” with the governing board but with the symphony than ‘classical’ music, which Symphony Guild, one of the orches- does not fill the seats or pay the bills. Debbie Hand tra’s affiliated support groups. “At that We’ve added pops concerts—usually we On the board of: time the guild was sponsoring a debu- have three a year—and they’ve helped us El Paso Symphony Orchestra tante ball,” she says. “I got involved in to survive financially.” Debbie Hand the guild because my daughter was a Hand’s professional training led to studied piano as debutante and the ball supported the work at the Centers for Disease Control a child growing symphony. Later I became president of and in research labs, and also to jobs up central Texas, the guild, and that gave me a place on in teaching and microbiology sales— but her appre- the symphony’s board of directors. After people-oriented activities that resonate ciation for live two years, the board asked me to stay on with her work at the symphony. “I really orchestral music as a full member.” Before long she was like being around people,” she says. “It

really began in El Paso Symphony Orchestra elected to a two-year term as board chair. throws me into other directions. And in Atlanta, where Debbie Hand Hand has been in and out of that post El Paso it’s super easy to get involved she went to for the past eighteen years, and currently in the community. People welcome you pursue studies in serves as secretary of the board’s Execu- with open arms, for whatever your tal- medical technology following a bachelor’s tive Committee. ents are. And that just makes you want degree in microbiology and chemistry. Her experience with other nonprofits to do more.” americanorchestras.org 17 Maurice Holloman On the board of: Greater Twin Cities Youth Symphonies As executive vice president of IMRIS, a Minnesota- based firm that designs

and installs hybrid surgical Cities Youth Twin Greater Symphonies suites for medical facili- Maurice ties, Maurice Holloman Holloman brings 30 years of business experience to his volunteer role at the Greater Twin Cities Youth Symphonies. How does Holloman’s background in for-profit operations and management relate to his board re- sponsibilities at one of the largest youth orchestra organizations in the U.S, a nonprofit institution with nine orches- tras serving more than 800 students in the Minneapolis-St. Paul area? “It’s about organizing, creating a strate- gic vision, getting people to align to that

vision, and putting the plans in place to El Paso Symphony Orchestra achieve it,” he says. “It’s also about financial El Paso Symphony Orchestra board member Debbie Hand, at far right, with, from left, Kacy Spivack and Arlene Carroll. All three have served as board chair at the orchestra. “It’s about organizing, creating a strategic vision, getting people to align to that vision, serve on the Greater Twin Cities Youth Mary Carr Patton Symphonies board two years ago not On the boards of: and putting the plans in place Jacksonville Symphony Orches- to achieve it. The big challenge because of any experience as a performer, or even as a youth orchestra parent. “I tra (honorary director), League of is always fundraising.” was recruited specifically because my American Orchestras, New York —Maurice Holloman kids did not have that experience, or any Pops affiliation with the organization,” he says. Though she was management. The big challenge is always “It was to bring a different perspective.” raised in Jack- fundraising, and then to have those funds As a member of the African American sonville, Florida, support the mission of the organization.” community, he represents a constitu- Mary Carr Pat- As Holloman sees it, the youth orches- ency that is underrepresented in youth ton first heard tra’s mission is “using classical music as orchestras, and in the orchestra world in her hometown an avenue to teach children life skills. It’s general. “At this youth orchestra, we have Jacksonville Mary Carr Patton about teamwork, collaboration, persever- a very directed and strategic effort to Symphony Or- ance, achievement. While the kids produce recruit people from diverse backgrounds,” chestra only as great music, they also have a lot of fun and he says, “and we’re looking at ways to do a young adult, “at the invitation of friends get to travel. As they grow and develop and that—tuition assistance, scholarships, who thought I would appreciate the practice, they move up in the organization. help with getting instruments, finding concert.” Four years later, she says, “I was In the top ensemble, the Symphony, they practice venues in different areas.” And a passionate member of the Jacksonville actually get to do some touring.” with his specific responsibilities on the Symphony Orchestra’s board.” Though he’s a self-described music Governance Committee at GTCYS, She threw herself into activities serving lover with a special affinity for classical Holloman aims to achieve diversity not two critical institutional needs: securing music, Holloman—also a board member only in the student population, but on a proper concert venue for the orchestra of the Minnesota Orchestra—came to the board as well. and selecting a new music director. “At the

18 symphony FALL 2018 time I came on the board,” she recalls, “the orchestra was performing in three differ- ent venues in downtown Jacksonville, none of them ideal, and it was rehearsing in yet another space. After several other options had not materialized, the board took the lead in raising money for the design, en- gineering, and construction of a dedicated concert hall within the city’s existing Civic Auditorium. I served on the Steering Committee for that capital campaign.” The resulting venue, Robert E. Jacoby Sym- phony Hall in the Times-Union Center for the Performing Arts, opened in 1997 and has been the orchestra’s home ever since. Equally dedicated to the organiza- tion’s musical side, Patton served on the Music Director Search Committee that ultimately led to the appointment of Fabio Mechetti as artistic leader beginning in Greater Twin Cities Youth Symphonies Cities Youth Twin Greater 1999. “I think the committee had twelve Maurice Holloman, board member of Greater Twin Cities Youth Symphonies, with a student in the or fourteen members; four were musicians, organization’s El Sistema-inspired Harmony program. Harmony students gave board members the rest were board members,” she recalls. mini-lessons on the violin during a GTCYS board meeting. “In each of these jobs, I enjoyed meet- ing so many people who were giving their terrific thought partner, and supportive of Lewis.” He began his tenure in 2014. “I understand the importance me in every possible way.” Patton, now an honorary member of of continuing the canon of Six years ago Patton was asked to take the JSO board as she continues to serve at the lead once again, in finding a suc- the New York Pops, has recently taken on classical music, not allowing cessor to Mechetti at the Jacksonville a new role in the cultural life of Jackson- it to become an artifact of the Symphony. “I agreed to chair the Search ville: as sponsor of a new artistic post at past.” Committee with the understanding that the orchestra called the Mary Carr Patton —Mary Carr Patton there would four musicians, three active Composer-in-Residence. “I understand board members, one young member of the the importance of continuing the canon time, talent, and treasure to the organiza- Jacksonville community not involved in of classical music, not allowing it to tion, and the many bright, talented musi- the symphony, and myself. We had many become an artifact of the past,” she says. cians who live in that world. When Skitch energetic discussions, brought various “Courtney Lewis told me he was looking Henderson came to Jacksonville to guest viewpoints to light, and after 28 months for a resident composer, and I felt this conduct, it happened that I was sponsor- we unanimously recommended Courtney was a vital thing for the orchestra. When ing the JSO’s pops series. Skitch asked if he could have lunch with the spon- League Resources for Board Members sor; it was the beginning of a warm and wonderful friendship. And after I bought The League of American Orchestras’ online Noteboom Governance Center offers a an apartment in New York City, he invited comprehensive range of support, strategies, and programs designed to strengthen me to serve on the board of his own or- governance practice in orchestras. Visit www.americanorchestras.org/noteboom for chestra, the New York Pops. When Skitch governance information and resources including the League’s Diversity and Inclusion passed away some five years later, I ended Resource Center, case studies, guidelines, the Music Director Search Handbook, and up chairing the Search Committee that more. Be sure to check out Orchestra Boardroom, the League’s quarterly newsletter resulted in bringing in Steven Reineke as filled with news, insights, best practices, and essays about nonprofit governance— music director of the New York Pops. But essential reading for everyone on an orchestra board. If you’re serving on the board of the key to that search was the tremen- an orchestra that is a member of the League, contact member@americanorchestras. dous leadership of James Johnson: as the org if you didn’t receive the August 2018 issue of Orchestra Boardroom. orchestra’s executive director he was a americanorchestras.org 19 Thank you to everyone who helped make our 2nd Annual League Giving Day a success. We gratefully acknowledge the generosity of the following donors, who made contributions on League Giving Day:

Burton Z. Alter Ms. Vanessa A. Gardner Yvonne Marcuse David & Julie Scott Amaranth Foundation Andrew Giacobone Leslie Marks Pratichi Shah Tiffany Ammerman Gary Ginstling & Marta Lederer Alan Mason Elizabeth Shribman Alberta Arthurs Marian A. Godfrey Ed Matthew Mrs. Priscilla Slaughter Caleb Bailey & Sara Stanley M. & Luella G. Mattlin Foundation Mr. David Snead Baker-Bailey Goldberg Family Foundation Maybell McCann David R. Snyder Megen Balda William A. Goldstein Anthony McGill Peggy Springer Elizabeth Baroody Raul Gomez Robert & Heather McGrath Natalia Staneva, in honor of David Beauchesne Caroline Greenberg Debbie McKinney Jesse Rosen Christopher Bell Daniel B. Grossman D’Ante McNeal Lourdes Starr-Demers Aubrey & Ryan Bergauer Craig Hall Paul Meecham Barrie Steinberg Dr. Susan B. Betzer Debbie Halye Jo Frances Meyer Dr. Amanda Stringer Beth Boleyn Jennifer Harrell Jack Millman J. Annette Szulc Leni Boorstin Byron Harrison Jean H. Moffitt Manley Thaler, Thaler/Howell Steven Brosvik Scott Harrison & Angela Detlor Jennifer Mondie Foundation, Inc. Sylvia J. Brush Iris A. Harvie Bonnie Monhart Marcia H. Thalhimer Sue Buck Betsy Hatton Alfred P. Moore Matt Thueson Benjamin Cadwallader Jennifer Hicks Amos Moore, Jr. Jack C. Tomascak Robert Campbell Yoo-Jin Hong Catherine & Peter Moye Shirley & Carl Topilow Rosina Cannizzaro Mary Kay Howard Sara Mummey Martin Ungar Roberta Carpenter Benjamin Hoyer Anne Catherine Murray Samara Ungar Elaine C. Carroll Inner City Youth Nailah Muttalib Jacqueline Kerrod & Marc Uys Elaine Cederquist-Stolpe Orchestra of Los Angeles Robert Naparstek Alan D. & Jan Valentine David Chambers & Alex Steffler James M. Johnson Joan Katz Napoli Penny & John Van Horn Judy Christl Alan & Karen Jordan Mark Neville Jeffery R. Verney Amy Chung Emma (Murley) Kail Kim C. Noltemy Charlie Wade Melanie Clarke Carol Fuchs Kassoy Heather Noonan Robert Wagner Jeff Collier Alyce Katayama Lowell & Sonja Noteboom Kelly Waltrip Caitlin Daly Sarah E. Kelly Lorcan O’Connor Jason Bennett Ward Gloria dePasquale Carolyn Keurajian Becky & Mark Odland James Weidner Pamella Der Elizabeth M. Koester Mary Palmer Sandra Weingarten Carol Dunevant Eska Koester Steve Parrish Kathleen Weir Vale Daniel & David Els-Piercey Arthur & Annelies Kull Anne Parsons & Donald Dietz Linda & Craig Weisbruch Scott Faulkner & Andrea Lenz Alex Laing Mary Carr Patton Jeffery D. Williams Sandy Feldman Jere Lantz Raymond & Tresa Radermacher Christopher Wingert Leslie Fink Mark Larsen Patricia A. Richards Sonja Winkler David Fisk Joann Leatherby Jesse Rosen Theodore Wiprud Drs. Aaron & Cristina Stanescu Andrew Leeson Peter Rubardt Elizabeth Wise Flagg Tania Leon Phil & Sara Salsbury Bernhard W. Witter Rachel Ford Marylin A. Leprich Rachel Salter Simon Woods & Karin Brookes Bridget Fraser Kelly G. Levenstein Robert S. Sandla Victoria Young Catherine French Dr. Hugh W. Long Mrs. Cynthia Sargent Herman Zwirn Ginny Lundquist Michael & Jeanne Schmitz Anonymous (2) Elisabeth Madeja Susan M. Schwartz

Thank you for supporting the League of American Orchestras’ commitment to advancing diversity, equity, and inclusion within the orchestral field.

A special thanks to our League Giving Day Ambassadors who aided these efforts:

Aubrey Bergauer • Caroline Greenberg • Marian Godfrey • Vijay Gupta • Scott Harrison • Erin Horan • Jennifer Koh Yo-Yo Ma • Leslie Marks • Jonathan Martin • Anthony McGill • Alfred (Fred) P. Moore • Sara Mummey • Heather Noonan Tresa Radermacher • Andrea Reinkemeyer • Jesse Rosen • Daniel Bernard Roumain • Helen Shaffer • Pratichi Shah Samara Ungar • Dina-Marie Weineck • Sonja Winkler

For more information regarding a gift to the League of American Orchestras, please visit us at americanorchestras.org/donate, call 212 262 5161, or write us at League of American Orchestras, 33 West 60th Street, 5th Floor, New York, NY 10023 Milwaukee Symphony Orchestra Jacksonville Symphony

Mary Carr Patton, an honorary director of Milwaukee Symphony Orchestra board member Haruki Toyama, center, with symphony supporter the Jacksonville Symphony’s board, shares a Elizabeth Meyer and, at right, Milwaukee Symphony cellist Peter Szczepanek. moment with Music Director Courtney Lewis (center) and John Shaw. Patton also serves on the boards of the New York Pops and the music and the financial challenges facing The Milwaukee Symphony’s mission, League of American Orchestras. nonprofit organizations. “Symphonies he says, is to “bring great art to the com- and other performing arts groups need a munity, sustain and enrich everyone’s lives, lot of help with things like fundraising, from the youngest to the eldest. It’s really he identified the New Orleans-born changing their business model, attract- a shame what’s happening to arts and mu- composer and pianist Courtney Bryan, ing younger audiences,” he says. “The sic education in this country. I have two and commissioned her to write a piece for Milwaukee Symphony is such a great girls”—his fourteen-year-old plays violin, our 2018-19 season reflecting the many orchestra. So I thought I’d love to do my the ten-year-old has started on trumpet— bridges and divides and connections in part. This was something I could do for “and I can see it in the local schools, our diverse community, I immediately of- the community.” where the amount of time and resources fered to sponsor the position.” devoted to the arts, and certainly music “I have a full-time job, but I education, has been cut and cut over the Haruki Toyama years. But the Milwaukee Symphony On the board of: think my younger daughter has this program called ACE that serves Milwaukee Symphony Orchestra thinks I work for the literally tens of thousands of kids each Haruki Toyama, symphony.” year. Before we bring them to the hall for a resident of —Haruki Toyama a concert, our musicians go into a whole Milwaukee bunch of schools and work with teachers and a portfolio Toyama serves on the board’s Finance throughout the school year, do multiple manager/finan- Committee, and he chairs the Steering classes based on the music the kids are go- cial analyst at Committee overseeing a major project: ing to hear. It’s a really great program.” Madison Invest- the purchase and renovation of downtown Toyama says the amount of time he ment Advisors Milwaukee’s Warner Grand Theatre, an commits to board activities at the MSO in Madison, historic Art Deco movie palace that has “goes up and down quite a bit. Because I Wisconsin, says lain dormant for two decades. The $139 chair the Steering Committee for our hall that when he Haruki Toyama million project will convert the theater project, it could be ten to twenty hours a was invited to into a concert hall for the Milwaukee week. I have a full-time job at Madison join the Mil- Symphony, with rehearsal and gathering Investment Advisors, but I think my waukee Symphony Orchestra board some spaces in an adjoining office building. “We younger daughter thinks I work for the eight years ago, it was “hard to say no.” have a large fundraising campaign to go symphony.” He and his wife, Amy Blair, were both along with that and with the orchestra’s avid symphonygoers, and Toyama—who endowment,” says Toyama. “What we’re CHESTER LANE is a classical music journalist, had studied piano as a child and gone on trying to do is secure the future of the director of communications for Sciolino Artist to Brown University to pursue a double orchestra.” The new facility is scheduled to Management, board president of New York City’s major in music theory and economics— replace Uihlein Hall as the MSO’s prin- Canterbury Choral Society, and the longtime was keenly aware of both the power of cipal venue starting in the 2020-21 season. former senior editor of Symphony. americanorchestras.org 21 Seen and Heard: Conference 2018

The League of American Orchestras’ 2018 Conference color, often find themselves battling some explored how the artistry, art form, and artists of classical form of mental illness or addiction. Many people living in Skid Row also face the music can create a powerful impact. Here, excerpts from revolving door of incarceration. The LA three addresses—by two musicians and one marketing County jails and the Skid Row commu- nity are the heart of the work of Street guru—capture just some of the many voices and Symphony, which serves to place social perspectives at the Conference. For more on the 2018 justice at the center of world-class musical Conference, including highlights, videos, and presentations, engagement. visit americanorchestras.org/postconference18.

THE CONFERENCE BEGAN WITH life, he started to sing “Jesus on the Main a keynote address and brief solo performance Line,” one of the freedom songs from the by Vijay Gupta, a violinist and advocate civil rights movement. for having artistic voices at the center of I’ve had a couple of years to think about social justice. Gupta joined the Los Angeles that experience. What I hear now in that Philharmonic in 2007, and in 2011 founded man’s request and in that man’s song Street Symphony, a group of professional musicians in Los Angeles who work with Every person deserves Dan Rest communities experiencing homelessness, access to a creative and Vijay Gupta at the 2018 League Conference mental illness, and incarceration. A couple of years ago as I was start- expressive voice. And every As artists and arts leaders, we must ing the work that would become Street person deserves access to the reclaim the conversations about why Symphony, I was invited to perform at the condition in which that voice we became artists in the first place. This Patton State Hospital in San Bernardino. is heard. Conference is a call to action, a time for Everyone incarcerated at Patton was there us to reframe our conversations away from because they had committed a serious, wasn’t, “Do you know something that will the double bottom line of fiscal growth often violent crime due to a severe mental entertain me?” but rather, “Do you see me? and artistic excellence, beyond centennial illness. I had never engaged an audience Do you know who I am? Do you know celebrations and endowment campaigns, like this before. Believing in the universal my history? Will you reflect who I am and to what really matters to our country power of music, I picked the most uni- while you stand on that stage?” today. versal and most powerful piece of music I spend most of my mornings and eve- I joined the LA Phil in 2007. Ten years that a violinist could perform, which is the nings with one of the greatest orchestras later, what continues to take my breath Chaconne from the Partita in D minor by in the country. But most afternoons I’m away is that I joined not just a world-class Johann Sebastian Bach. I started perform- in a community known as Skid Row. In orchestra but a world-class community ing, and it was one of those rare times walking distance of Walt Disney Concert of people. I also became part of another where as a performer you begin to believe Hall, Skid Row is the epicenter of the story, of a man named Nathaniel An- that things are going well. crisis of homelessness in America. LA thony Ayers, one of the first black men to Instead, when I finished I got crick- County is home to over 60,000 people study at the Juilliard School in the 1970s. ets—nothing. Then, an inmate who hap- experiencing chronic homelessness, and Nathaniel in his junior year was diagnosed pened to be African-American stood up Skid Row is a community of nearly 2,000 with paranoid schizophrenia. He dropped and said, “Son, after all of that, do you not people living in tents or sleeping on the out of Juilliard and ended up living in the know any songs we know?” In what turns sidewalk, in and out of clinics and shelters. Second Street Tunnel in downtown Los out to be the greatest music lesson of my Folks in Skid Row, usually poor people of Angeles. Many of the musicians in the LA

22 symphony FALL 2018 Philharmonic, plus myself and the LA’s and specifically Asian-Americans. I’m a Phil’s Adam Crane—now vice president part of the first generation of children, of external affairs for the New York Phil- born to the wave of immigrants who ar- harmonic—became part of Nathaniel’s rived after 1965, not of European descent. life. A couple of months later, Nathaniel As a member of this group of Americans, wanted a violin lesson with me. After one I would like to tell you about my experi- of these lessons, I began to realize that ences as an Asian-American in classical this man had a savant-like knowledge of music. music. I was born and raised outside Chicago. How was it that this man ended up Chicago is where I first discovered how living in the Second Street Tunnel? After much I loved music and where I was lucky one of our lessons with Nathaniel, Adam enough to attend concerts of the Chicago and I saw Nathaniel setting up his milk Symphony Orchestra as a child. The ex- crates in the tunnel to begin practicing. Dan Rest perience of hearing a great ensemble like We were asking a homeless, mentally Jennifer Koh at the 2018 League Conference the CSO gave me the tools to imagine ill man to push a shopping cart from an entire world of sonic expression. I had Skid Row to Walt Disney Concert Hall, the honor to make my debut with the because that’s where we felt comfortable nities, and each of us has the power to be Chicago Symphony when I was eleven engaging him. an active and transformative participant years old. I have been fortunate to have a From that time, we started to visit in history. career in music. Nathaniel in the city. We started to ask, I am the daughter of Korean War American historian Grace Wang uses how many more Nathaniels are out here? refugees. My mother is from North Korea the term “innate capacity” to describe I reached out to clinics and shelters in and spent her early childhood walking the belief that different types of music Skid Row. I would take LA Philharmonic originate from, and therefore belong to, musicians along. At Twin Towers Jail, If we believe that classical a certain group of people from a cer- where we would play music of Schumann music can transcend tain place. It means that an asset, or an for men in a mentally ill ward, one of the boundaries of language, inheritance, exists: an essence one is born inmates said, “Schumann died in a place into. The essence of music—its heart, its like this.” Our entire understanding of nationality, and religion, then soul, and its spirit—is felt most palpably how we played Schumann changed. let’s actively advocate for through blood lines. This means that At Street Symphony, we have only one and build a community that when we say that a musician understands organizational best practice, and that’s to transcends the categories of Mozart or Schubert because that person is show up. We show up to be in relationship gender, sexual orientation, and Viennese, we are also saying that a person with our neighbors, wherever and whoever race. who is not Viennese, a person not born they are. We have to show up, because the with European blood, can never truly Skid Row community matters. Their sto- down the entirety of the Korean Peninsula understand or express the essence—the ries matter. Their neighborhoods matter. during the War. She came to the United soul—of this music. Their lives matter. Every person deserves States in 1965 on a student visa, and was What do we imagine when we think of access to a creative and expressive voice. able to apply for citizenship as a result German sound? French style? What do And every person deserves access to the of the Immigration and Naturalization we imagine when we think of a Chinese condition in which that voice is heard. Act of 1965. I am standing here because pianist? Korean violinist? Japanese cellist? despite having begun her life running Chinese-American violinist? Korean- from mortar fire and begging for food, American pianist? Indian-American Following a brief solo performance, she made her way to the United States, cellist? Do we hold onto a racialized violinist Jennifer Koh spoke about her lived worked as a nanny, earned a PhD in belief that Asian-Americans, non-white experience as an Asian-American classical library science, and taught at Dominican Americans, might have technique which musician and invited Conference attendees University in River Forest, Illinois for is practiced, but have no soul and do not to envision a future in which orchestras over 30 years. My mom gave me every op- have the essence to be true artists? represent all members of the communities and portunity that she did not have as a child, When I was coming of age, Asian- cities in which we live. including a consistent education, violin Americans, women, and other people of Each and every one of us in the music lessons, and tickets to concerts. color in classical music were very scarce. I world has the capacity to create great My mother’s history—and by extension, am grateful that I was mentored by many impact on individual lives in our commu- mine—is a familiar one for immigrants members of the classical music commu- americanorchestras.org 23 nity. I am especially grateful to one of my of a society that sought to exterminate his teachers, Felix Galimir, for actively advo- existence, understood that it was neces- As downtown Seattle experienced rapid cating for my inclusion in classical music, sary for an artist who is a minority and demographic change, the Seattle Symphony and for sharing his own stories of being an unwanted presence to exist as a true, sought to connect with the newcomers by the victim of derision and racism when he complicated artistic presence. This kind launching a market-research program with was a young Jewish violinist in the Vienna of presence has the power to transform support from the Wallace Foundation’s Build- Philharmonic. culture. Today, this kind of presence has ing Audiences for Sustainability initiative. As I have become more empowered the power to inspire the imaginations of In the Connecting with New Audiences: within this field, I am more mindful of others: girls, women, and people of color Seattle Symphony Case Study session at our shared collective history of classical represented complexly and truthfully, giv- the 2018 Conference, Charlie Wade, the music, with its racial and gender-biased ing them an opening to a life in classical Seattle Symphony’s senior vice president for constructions. I ask myself what actions I music. marketing and business operations, discussed can take to serve my artistic community, If we believe that classical music can how the orchestra has learned to engage with as well as the larger community. I ask my- transcend all boundaries of language, new and seasoned audiences. For more on the self what actions I take to build a world nationality, and religion, then let’s actively Seattle Symphony’s market-research project, that I believe in and want to be a part of. advocate for and build a community that visit https://americanorchestras.org/mar- My first action has been to be myself: transcends the categories of gender, sexual ketresearchstudy. a dedicated musician who is a true and orientation, and race. What I ask of you, Downtown growth in Seattle has complicated presence. I perform and and what I ask of myself, is that we ques- doubled that of the rest of the Seattle advocate for both music that is considered tion our complacency in our program- market, and is projected to grow even core classical repertoire as well as new ming, our choices of performers, conduc- more. At the Seattle Symphony, we de- music. I find inspiration in Jewish musi- tors, and composers. Will we create a new, cided to investigate what sort of audience cians like Felix Galimir who, in the face inclusive form of classical music? building we could do. We knew there is a

24 symphony FALL 2018 WORD PROS, INC.

musical events at an apartment building, almost half or more of the audience were PROGRAM NOTES retirees or empty-nesters, people who sold their home in the suburbs and moved Informative and entertaining, with downtown. accessible discussion of the music It’s a really neat mix of potential itself, as well as lively historical and audience members. We also realized that cultural background information. we are reaching a lot of people already Program book editing and layout without having done much—something  Special program book articles like 12 percent, and higher for our Mas-  Understandable musical analysis Dan Rest terworks and special concerts. We learned  Text translation Charlie Wade at the 2018 League Conference that they weren’t coming as much to our  24-hour turnaround on rush jobs offbeat, nontraditional series, they were  actually coming to our primary series. Notes for chamber ensembles  growing downtown population, but what When you think you’re creating some- Audio examples for web sites  do they like? How do they respond to the thing for a certain audience—well, no, See samples at: things that we send them? This audience that may not be the case. The wonder of www.wordprosmusic.com is in close proximity to us. We assumed data helps you understand that. Elizabeth A. Kahn, Ph.D. that people moving into downtown were One result of the research is that we Joseph S. Kahn, Ph.D. younger and that they were working in hired [a specialist to connect with down- phone: 919 851-2410 tech. We thought they would like less- town audiences]. He makes huge efforts [email protected] traditional concerts, and that they could to meet all the condominium and apart- ment people, to connect with the hotels Improving customer and corporate world downtown. We also experience became a really big made efforts with brochures and technol- Symphony Ad 12004 9/4/05, 12:21 PM deal for us. ogy to basically say, “Hello, neighbor! and go to other things, great. It’s also We’re right here in the downtown area. about building frequency, which is why afford tickets. The Wallace Foundation Come over and visit us.” In his first full experience is so important. The experience funded research for us, including focus year with us, he sold 3,000 extra tickets that you have, not just in the hall itself but groups. That research gave us a lot of new that we hadn’t sold before, $105,000 in all along the way, is an important aspect of insights. new money. It wasn’t some slick marketing concertgoing. People think that millennials don’t effort; it was basically going and meeting Wallace helped to fund customer- respond to traditional media, but we people, saying hello, introducing ourselves, experience training. An expert has come found that they actually do respond to and having a few events. It was a very ana- twice to train our ushers, box-office staff, postcards, along with email. Those became log approach. parking folks, food-and-beverage people. our main drivers. We sent out something We talk about millennials as a mono- Anybody who is dealing with front of like 12,000 surveys, to people who bought lithic group, but there are lots of different house does these training programs. I single tickets and to those who didn’t. kinds of millennials. One of our focus am a big believer in customer experience. Then we did a lot of data analysis. We groups comprised traditionalists within How do we build customer experience learned that 43 percent of the households millennials; most of them played an into the nature of going to a concert—for have a millennial as primary decision instrument as a child. We had thought new people in particular, which most of maker. We learned that they haven’t lived that our Untuxed series was going to be the downtown folks are? If they come to downtown very long. They have high a great on-ramp for newcomers. It has a a concert for the first time and an usher levels of interest in the arts but are not witty host providing really good com- doesn’t smile, or the parking or a food likely to donate. They are seeking unique mentary, no intermission, and was a little and beverage person gives them a hassle, cultural experiences, another common less expensive. In fact, it drew our most it turns them off. Then it’s almost doesn’t trait of millennials. conservative audience: they come only if matter what happened onstage because We learned that downtown had a great- we are playing really mainstream classi- they are upset about something else. er percentage of households with incomes cal music. That was a big lesson for us, Improving customer experience became of $25,000 or less—there are a number of because it took away the pretense that we a really big deal for us. Often in our buildings for fixed-income people. We also had about this series converting people. orchestra world, we think it’s just about learned that empty-nesters and retirees We’re happy that they’re buying tickets to what is onstage, but you have to see the are moving downtown. When we do little whatever they are buying; if they convert whole arc of the experience. americanorchestras.org 25 Tuning Up for Diversity

Musicians in discussion at the National Alliance for Audition Support audition intensive workshop this June. Siggi Bachmann The National Alliance for Audition Support works to advance diversity, equity, and inclusion at American orchestras by expanding the numbers of emerging Black and Latinx musicians. A partnership of the Sphinx Organization, the New World Symphony, and the League of American Orchestras, the Alliance offers support to Black and Latinx musicians to develop audition skills, increase participation in auditions, and increase their representation in professional orchestras. This June, NAAS presented its inaugural audition intensive, a three- day seminar with training, mock auditions, and performance- psychology sessions for musicians at the New World Symphony’s home in Miami Beach. The eighteen participants were selected from the Sphinx Orchestral Partners Auditions in Detroit in early 2018. Here, four musicians who participated in the audition intensive share first-person narratives of the NAAS workshops, describe their lived experiences as musicians of color, and discuss their visions of how they see the orchestra field moving ahead.

26 symphony FALL 2018 Yan Izquierdo ness on the issue of underrepresenta- About the National Violin tion of Black and Latinx musicians in How did you find American symphony orchestras, which is Alliance for Audition about the National an important first step. The musical and Support Alliance for Audi- mental training that NAAS provides can The National Alliance for Audition tion Support? What help musicians of color perform better in Support (NAAS) is a national attracted you to its auditions and increase their chances of initiative to increase diversity in programs? winning positions. The ultimate goal is American orchestras. It does so by I was fortunate that their increased presence in symphony offering Black and Latinx musicians to be recommend- orchestras will inspire others to follow in a customized combination of ed to the National Alliance for Audition their path. mentoring, audition preparation, Support program by Ahmad Mayes, the What was the most valuable aspect of this financial support, and audition director of education and community en- program for you? previews. NAAS is made up of gagement at the Cincinnati Symphony Receiving detailed, actionable feedback The Sphinx Organization, the lead Orchestra. I was recently selected as one from professionals after a mock audi- program and fiscal administrator of this year’s winners of the CSO/CCM tion was the most valuable aspect of the for the Alliance; the New World Diversity Fellowship, a joint program program for me. Audition panels almost Symphony, America’s Orchestral between the Cincinnati Symphony Or- never give feedback after unsuccessful Academy; and the League of chestra and the Cincinnati College-Con- auditions, so musicians don’t get a clear American Orchestras, representing servatory of Music. The fellowship allows picture of what went wrong. Objective 700 orchestras. A group of Black students from underrepresented groups in self-assessment is critical to improving and Latinx professional musicians American symphony orchestras to perform performance in future auditions. serves as thought leaders, guides, in the Cincinnati Symphony while pursu- Some musicians of color have reported feel- and advisors for the Alliance. NAAS ing graduate studies at CCM. The mission ing isolated or even unwelcome as the only is supported by a four-year grant of NAAS is very much in line with the fel- Black or Latinx musician in an orchestra. Is of $1.8 million from The Andrew lowship, so it was a perfect match. this something that you have encountered? W. Mellon Foundation as well as What do you feel this program can accom- How would you describe the experience of contributions from orchestras plish to bring more Black and Latinx musi- being part of a group of Black and Latinx across the U.S. Learn more at cians into classical music? musicians in the NAAS program, or in other www.auditionalliance.org. This program is already raising aware- ensembles? Siggi Bachmann As part of the National Alliance for Audition Support’s workshop at the New World Symphony in Miami Beach this June, a participant experiences the screened audition that is a regular feature for professional musicians seeking positions at orchestras.

americanorchestras.org 27 Siggi Bachmann

Participants learned to cope with distractions—provided by a video of a noisily crying child—at the National Alliance for Audition Support’s summer 2018 audition intensive.

Honestly, I haven’t. I’ve always felt in- exposure, musical training, and as a profes- chestra (Aspen, CO; 2006); substitute cluded and welcomed by all my colleagues sion—be more welcoming? with Charleston Symphony Orchestra in conservatories and professional or- Affordable access at an early age is criti- (Charleston, SC; 2005–06) chestras. However, some of my Black and cal to expanding the inclusion of young Education: Bachelor of Arts, Music­ Per- Latinx colleagues have told me stories of musicians of color in the classical mu- formance, College of Charleston (Charles- being made to feel unwelcome in orches- sic world. I was fortunate to receive free, ton, SC; 2006); workshop at the Center for tras or in conservatories. Being in the high-quality government-subsidized mu- Computer Research in ­Music and Acous- NAAS program was an inspiring experi- sic training from an early age in Spain. tics at Stanford University (Summer 2016) ♦ ence, both musically and personally. All of There, every child is entitled to enrollment the participants’ shared love of music and in private lessons, solfège, music theory, Carmen Johnson-Pájaro common cultural backgrounds gave us an ear training, choir, piano lessons, orchestra, Violin immediate bond. and chamber music. There are many won- How did you find Following the audition intensive at New about the National World Symphony, do you feel more prepared Affordable access at an early Alliance for Audi- for auditions—technically, psychologically, age is critical to expanding the tion Support? What otherwise? inclusion of young musicians attracted you to its Absolutely. The guest artists imparted programs? extremely useful instruction and gave valu- of color in the classical music I found out about able insight into the process of audition- world. the NAAS pro- ing for professional orchestras, including —Yan Izquierdo grams through my what audition panels look for in success- affiliation with the ful candidates. The mental preparation derful privately funded programs of this Sphinx Organization, specifically through workshop given by Dr. Noa Kageyama was nature in the United States, however their my participation in the Sphinx Orchestral eye-opening and addressed an issue that is scope is much more limited. If the United Partners Audition this past February. often neglected in conservatories. States had federally funded programs like Put simply, I was attracted to this pro- What event or experience was a real stand- in Spain, more students of color would gram because it was an opportunity to out? reach top-tier conservatories, and in turn learn, and a free opportunity at that! It’s Taking lessons from teachers of other join major professional orchestras. rare to come across fully funded programs instruments was interesting and valuable, that offer participants what NAAS pro- because instead of focusing on technical Yan Izquierdo, violin vides: a complete perspective of the or- minutiae specific to the instrument, they Orchestra Experience: Chamber Orches- chestral musician’s audition process, musi- focused on broader musical concepts. tra of New York (NYC; 2014–present); cal and otherwise. This program seems to What do you think would encourage young Symphony in C (Camden, NJ; 2008–13); fill an educational void for many young people of color to pursue a career in orchestras? Philharmonic Orchestra of the Ameri- professionals who no longer have the sup- How could the classical-music field—in early cas (NYC; 2007–08); Aspen Festival Or- port of an institution. As a recent conser-

28 symphony FALL 2018 vatory graduate, the chance to expand my of Black and Latinx musicians provided by matizing and inevitable. I performed many skillset for my craft is never an opportu- opportunities like this. times at the 16th Street Baptist Church, nity I want to pass up. Some musicians of color have reported feel- where four young Black girls were killed What do you feel this program can accom- ing isolated or even unwelcome as the only by a KKK bombing in the ’60s. I regularly plish to bring more Black and Latinx musi- Black or Latinx musician in an orchestra. Is passed Kelly Ingram Park, where police cians into classical music? this something that you have encountered? and firemen infamously released dogs and I imagine that this program, and oth- How would you describe the experience of sprayed firehoses on student protesters ers like it, might have a butterfly effect— being part of a group of Black and Latinx fighting for civil rights. And just down the rigorous training programs for Black and musicians in the NAAS program, or in other street, along the Birmingham Civil Rights Latinx musicians lead to their winning ensembles? Heritage Trail, was my high school. From jobs, transforming our orchestras into an early age, I had a deep understanding more accurate reflections of our communi- This program, and others of the injustices and horrors Black people ties, ultimately inspiring a new generation like it, might have a butterfly endured. I never cease to be amazed by of young Black and Latinx musicians. effect—rigorous training what my people have overcome. It’s hum- What was the most valuable aspect of this bling and inspiring beyond words to be in program for you? programs for Black and a room full of talented, accomplished mu- That’s actually a pretty tough question Latinx musicians lead to their sicians of color, succeeding in a field with for me. I got so much out of the program, winning jobs, transforming an overt history of exclusion. not only musically, but also through per- sonal connections with the other partici- our orchestras into more Carmen Johnson-Pájaro, violin pants. If I have to pick, I’d say the most accurate reflections of our Orchestra Experience: Harvard Baroque valuable aspects of this program were the communities, ultimately Chamber Orchestra (Cambridge, MA; sessions discussing performance anxiety 2017–present); New England Conserva- with Noa Kageyama, and my private les- inspiring a new generation tory Philharmonia (Boston, MA; 2016– son with [Dallas Symphony Orchestra of young Black and Latinx present); substitute with Boston Philhar- Concertmaster] Alex Kerr. Performance musicians. monic Orchestra (Boston, MA; 2017); anxiety is a difficult obstacle for most Chautauqua Festival Orchestra (Chau- musicians to overcome. In fact, I can’t —Carmen Johnson-Pájaro tauqua, NY; 2017); Eastman Philhar- think of a single colleague who hasn’t monia Chamber Orchestra and Eastman struggled with it at some point or anoth- I’ve definitely felt isolated in ensembles Philharmonia (Rochester, NY; 2012–16); er. I can’t overstate the value of learning where I’ve been one of few or the only mi- Eastman School Symphony Orchestra, strategies to manage performance anxiety nority musician. For me, the sense of iso- principal second violin and concertmaster and being able to speak one on one with lation partly comes from feeling like “the (2013) a specialist in that field. And of course, other” or the token Black/Latin musician. Education: Master of Music in Violin I had a fantastic lesson with Alex Kerr, That’s not to say people deliberately make Performance, New England Conservatory who won every audition he ever took! me feel this way, but negative thoughts can (Boston, MA; anticipated 2018); Bachelor This is certainly an aspect of the program easily creep in when you realize you’re in of Music in Violin Performance, Eastman that would’ve been too costly to under- the minority. There was a time when this School of Music (Rochester, NY; 2016) ♦ take myself, so I’m very grateful to have feeling of “otherness” made me wonder, gotten such keen insight into my playing “Am I here because I deserve it, or because Meredith Riley from that opportunity. there is a diversity quota to meet?” and, Violin Following the audition intensive at New “Are my peers thinking the same thing?” How did you find World Symphony, do you feel more prepared For impressionable young musicians, this about the National for auditions—technically, psychologically, type of thinking can be very damaging Alliance for Audi- otherwise? to the psyche! In the end, it’s an exercise tion Support? What I definitely feel that I’m better able to in self-affirmation and I’m happy to say I attracted you to its prepare for auditions, and I think I’m was able to kick those thoughts. It’s diffi- programs? able to approach the audition experience cult to put these experiences and feelings I found out about in a more holistic way after the audition into words, and of course there are many NAAS through my intensive. I had great private lessons that more complexities and reasons for feelings connection with the exposed key areas of work going forward of isolation, but I hope this sheds a bit of Sphinx Organiza- with my playing. The performance anxiety light on what one’s experience might be. tion. I was interested in applying for the sessions with Noa Kageyama were invalu- Being part of a group of Black and program because I believe in their mission able and gave me many ideas for mental Latinx musicians has been one of the most of increasing minority representation in preparation and practice going into an heartwarming experiences of my life. I the classical music industry. Until NAAS, audition. Lastly, I can’t say enough how grew up in Alabama, where confronting Sphinx has been the pioneer organization valuable it is to have the support system our country’s history was, and still is, trau- to focus on acknowledging and immersing americanorchestras.org 29 the talented musicians who either com- The visual presentation professions, there is no “boss” to tell you pete in the Sphinx Competition, or play in of any sort of ensemble, whether you are doing it right or wrong the Sphinx Symphony Orchestra, into the company, or business should once you leave school or private lessons. country’s finest orchestras. I was particu- When you leave many other schools larly interested in applying for this pro- reflect the diversity of the of study, you may go into a field where gram because of the financial bundle it of- population. You tend to someone can help you learn the ropes, fered—this is the first audition preparation attract what you promote. or learn right from wrong: “Do this, not seminar offered that took care of travel that.” Musicians do not get the luxury of and accommodations. From instruments, That being said, to inspire having a coach five days a week to steer auditions, lessons, and concerts, I believe today’s young people of color, them in the right direction or tell them that many people have a very skewed per- it is imperative to have more if this career choice will work out for ception of the actual cost and investment them, or if they are wasting their time. in being a classical musician. minority participation within That is why an opportunity for a seminar What do you feel this program can ac- orchestras. like this is vital for those who may not be complish as far as bringing more Black and –Meredith Riley able to afford to take lessons once their Latinx musicians into classical music? schooling/scholarships run out. The cost Programs like NAAS are unique be- of education is high. The investment in a cause they are generously sponsored by Musicians are never done learning, and musical career and musical education can organizations (or individuals) that believe therefore, it is essential to immerse your- be even higher because it didn’t start in in the cause, and understand the individ- self in a musical community or setting college. It started long before then. The ual investment and/or deficit a musician is with other musicians to work with and time commitment is long. And the pay- willing to risk to potentially win a job. By learn from. The same goes for teachers! out is uncertain. offering more rigorous programs like this, Having completed my graduate degree Following the audition intensive at New it gives a person like me an opportunity to two years ago, I can tell you that the most World Symphony, do you feel more prepared learn (I am not in school anymore) and to exciting thing for me was having the lux- for auditions—technically, psychologically, do so without being out $1,000 or more. ury of going back into lessons with such otherwise? What was the most valuable aspect of this brilliant pedagogues. It was the most I think that this audition intensive is program for you? invigorating feeling. Unlike many other a financial gift to its recipients, among

Bass players at this summer’s audition intensive at the National Alliance for Audition Support. Siggi Bachmann

30 symphony FALL 2018 all of its other benefits. Because of the in order to inspire today’s young people Education: Advanced Music Studies generous support for this program, I am of color, it is imperative to have more mi- Certificate, Carnegie Mellon University able to feel more technically and psycho- nority participation within the orchestras. (Pittsburgh, PA; 2013–16); Bachelor of logically prepared for auditions. I bet at- I believe that this integration should be Music in Violin Performance, University tending this seminar (if finances were not more than just the cover photo of an or- of Texas (Austin, TX; 2013), candidate for covered) would have cost close to $1,500. chestra or a page in the program that dis- Artist Diploma (2012–13) ♦ Some people are blissfully unaware of the plays that there are people of color in the financial burden when pursuing a musi- ensemble. I also believe that this could be Kamyron Williams cal career. I’ve heard people ask or tell me achieved by increasing attention to the ed- Cello to “get my teacher to call” or “you know ucation and outreach departments to make How did you find someone that could help you there, right?” sure that they are reaching the kids and about the National to which I generally smile and politely say, students who don’t normally have access to Alliance for Audi- “Unfortunately, no. It just doesn’t work this specific genre of music. tion Support? What that way.” The classical music industry is attracted you to its anything but phone calls to former col- Meredith Riley, violin programs? leagues and a guaranteed “instant in.” Orchestra Experience: Erie Philhar- I was a partici- Sure, someone can call and advocate for an monic Orchestra (Erie, PA; 2013–pres- pant in the 2018 individual, or recommend someone they ent; acting principal second violin, 2015– Sphinx Orchestral think would be great for a gig, but much present); Canton Symphony Orchestra Partner Auditions like any other business, that is a reference. (Canton, OH; 2014–present); substitute in Detroit. Taking part in that audition Ultimately, the musician still has to show with Cayuga Chamber Orchestra (Ithaca, experience and receiving feedback from up and prove their worth. With as few NY; 2013–present); Sphinx Virtuosi Tour a panel representing eighteen major or- jobs as there are in this industry, I know (2016); substitute with Austin Lyric Op- chestras was a big step forward for me in I wouldn’t want to hire someone based on era (Austin, TX; 2013); substitute with pursuing the career path of a professional word of mouth only. Austin Symphony Orchestra (Austin, TX; orchestral musician. As soon as the NAAS What event or experience was a real stand- 2012–13) program was established in April 2018, I out? The most stand-out experience at this seminar was where we got to work on mental preparedness for an audition. Be- sides self-help books on taming the mind, or sports psychology books, the list of tips and tricks to stay calm before and during an audition is limited. For me, it was really beneficial to be able to have someone work imagine. with us individually, and as a group, to understand how to get grounded before a imagine is a new space ten-minute audition that can change your within Intermusica dedicated life. After all, you invest several hundred to exploring diverse artistry, imagine Artists dollars in each audition, so it is important distinctive performance formats Nora Fischer to recognize that the mental preparation Charles Hazlewood and ever-wider and more Michel van der Aa and control is equally as important as the inclusive audiences. actual preparation for an audition. You ask any professional musician, and I bet they Film with Live Music Multimedia Productions will tell you they felt ready for the audition The Age of Innocence Live Beyond the Score® when they traveled for it, but just couldn’t Aliens Live Symphonic Cinema tame the nerves. Amadeus Live What do you think would encourage young The English Patient Live people of color to pursue a career in orchestras? Titanic Live Peter & the Wolf Live How could the classical-music field—in early We’re Going On A Bear Hunt Live exposure, musical training, and as a profes- Magic Piano & The Chopin Shorts sion—be more welcoming? I strongly believe that visual presenta- tion of any sort of ensemble, company, business, etc., should reflect the diversity intermusica.co.uk/imagine of the population. You tend to attract what you promote. That being said, I feel that americanorchestras.org 31 Introducing the inaugural class of the League of American Orchestras’ Emeritus Board*

William Blair Malcolm McDougal Brown Dick Cisek Bruce Clinton Peter Cummings Henry Fogel Peter Pastreich Cynthia Sargent Connie Steensma Nick Webster

The League’s Emeritus Board was established in 2018 to acknowledge the leadership, dedication, and support of outstanding members of its board of directors.

Over the course of the League’s 75-year history, dozens of men and women have served on the League’s board of directors. Your service to the League’s members and mission has been integral to the success of the past 75 years and allows us to advance the orchestral experience into the future.

Thank you for all of your support!

*This list of emeritus members is as of July 31, 2018 tions. It’s like preparing for a final exam or test: you’ve gone class to class, done your homework and readings, and then the teacher offers a last exam review session so you can address those problems or con- cerns that can make a difference between the final grade of a B or an A. What event or experience was a real stand- out? This collaboration between the Sphinx Organization, League of American Or- chestras, and New World Symphony, plus the Andrew W. Mellon Foundation for creating NAAS! Being at the New World Symphony Center in Miami Beach and for them to host the NAAS for the week, having access to the campus’s state-of-the art performance facilities, practice and ensemble rooms, and the readily available Siggi Bachmann resources and staff. Having individual les- String players get in tune at the audition intensive at the National Alliance for Audition Support sons with multiple faculty from major or- this June. chestras and working with performance psychologist Noa Kageyama. I could really knew I had to immediately take advantage musicians in the NAAS program, or in other envision myself as a future fellow of the of this unique opportunity. ensembles? New World Symphony. What do you feel this program can accom- What do you think would encourage young plish to bring more Black and Latinx musi- Through the NAAS program people of color to pursue a career in orchestras? cians into classical music? I believe we will not only How could the classical-music field—in early Through the NAAS program I believe exposure, musical training, and as a profes- accomplish the ultimate goal we will not only accomplish the ultimate sion—be more welcoming? goal of increasing job placement for mu- of increasing job placement Role models—seeing other musicians of sicians of color in American orchestras, for musicians of color in color in professional orchestras. For early but also create a change in the “white ste- exposure in the classical-music field and American orchestras, but also reotype” of classical music. Art and diver- musical training, I personally believe you sity are undoubtedly interchangeable; they create a change in the “white have to know the community beyond the both exist in all cultures, they challenge us stereotype” of classical music. surface level and be open to new ideas or to see others and ourselves in new ways; methods and adapt to reflect your commu- —Kamyron Williams they provoke, inspire, teach, create some- nity and orchestras’ vision as a whole. thing new, and bring down barriers. What was the most valuable aspect of this Yes, when I began cello in middle school Kamyron Williams, cello program for you? it didn’t take long for me to recognize that Orchestra Experience: University of The most valuable aspect for me was the there were few other people who look like Michigan Philharmonic Orchestra (Ann mock audition, with the critical-comment me playing classical music. When I was Arbor, MI; 2016–17); Indiana University feedback from the audition panel, followed younger I kind of just accepted it as the Orchestra (Bloomington, IN; 2013–16); by our individual private lessons with the “norm.” Since then I’ve really picked up on Indiana University Philharmonic Orches- faculty. Rarely do you ever receive direct it—it is usually the first thing that comes tra (2012–15); substitute with Evansville feedback from the panel about your audi- to mind when walking into a rehearsal or Philharmonic Orchestra, Owensboro tion. Though there is always something to even attending a concert. I try to find ways Symphony Orchestra, Columbus Sym- improve on, those few details or nuances to encourage other people to get involved phony Orchestra, Terre Haute Symphony can make the difference between you ad- and find ways for Black and Latinx musi- Orchestra, Richmond Symphony Orches- vancing or winning an audition. cian to be exposed to the music. tra, Adrian Symphony Some musicians of color have reported feel- Following the audition intensive at New Education: Master of Music, Univer- ing isolated or even unwelcome as the only World Symphony, do you feel more prepared sity of Michigan School of Music, The- Black or Latinx musician in an orchestra. Is for auditions—technically, psychologically, ater and Dance (Ann Arbor, MI; 2018; this something that you have encountered? otherwise? Bachelor of Music, Indiana University, How would you describe the experience of Yes! I feel more confident in the pro- Jacobs School of Music (Bloomington, being part of a group of Black and Latinx cess of preparing for professional audi- IN; 2016) americanorchestras.org 33 Grand More and more youth orchestras are touring, taking their message of youthful music-making to audiences Tours everywhere. Why are they doing it, what do they hope these tours will accomplish for their young musicians, and what might these tours represent as cultural diplomacy? And what’s life like on the road with an orchestra of by Steven Brown young musicians, anyway?

hen the Three Rivers Young Peoples Orchestra flew to Eu- Wrope this June, its ranks includ- ed some veteran travelers. But for a few members of the Pittsburgh-based ensem- ble, the journey to Vienna, Budapest, and Prague marked their first trip outside the United States—or even their first airplane flights. In Vienna, some of the budding musi- cians visited Schönbrunn Palace, onetime home of Empress Maria Theresa. Lind- sey Nova, the youth orchestra’s executive director, shepherded one group as they reached the Mirrors Room—the glittering chamber where the young Mozart once played for the court. The story goes that when the six-year-old prodigy finished, he jumped onto the empress’s lap and gave her a kiss. As the young Pittsburgh mu- sicians listened to this tale on their audio guides, Nova stood near one of the first- time world travelers. “I’m watching her Gabriel Cobas as she hears this story, and her eyes get The smiles say it all: Musicians of the Boston Youth Symphony Orchestras take to the skies for bigger and bigger,” Nova says. “And then their summer 2018 visit to Germany. she looks down at the ground. I asked her

34 symphony FALL 2018 about it later. She said, ‘I couldn’t believe I was standing where Mozart stood. I was there, and he was there!’ She was mak- ing a connection with a composer whose music she has studied for years and years. She was talking about it for the rest of the tour. She’ll never forget that.” The Three Rivers Young Peoples Orchestra expe- rienced a similar revela- tion in Prague. The group played Antonín Dvořák’s Symphony No. 8 in the Rudolfinum’s Dvořák Hall—performing on the same stage where the composer once con- ducted. “That hall is mag- nificent. It’s stunning,” Nova says. “You couldn’t have faked the looks on our musicians’ faces when Colin Talcroft they walked in. It was just The Santa Rosa Symphony Youth Orchestra performed at the Mozarteum in Salzburg this June. awe. And they have never sounded like they did in Dvořák Hall.” time goes on,” says Elisabeth Christensen, centennial of World War I’s end: The pro- While the trip was that orchestra’s first managing director of the Boston Philhar- gram included The Banks of Green Willow overseas tour, some ensembles have been monic Youth Orchestra. Even instruments by Britain’s George Butterworth, one of globe-trotting for decades. This summer, can cause a logistical headache. “When I the millions killed on the battlefield. The a large number of youth orchestras hit the tour also was a “musical pilgrimage” help- road. In addition to hoping to inspire their Motivations for tours ing the young musicians bond with the young musicians with the a-ha moments include cultural enrichment, work and life of composer Gustav Mahler, that touched the Three Rivers group, mo- improvement from playing a Christensen says. Mahler’s Ninth Sym- tivations for tours include artistic enrich- phony capped off all the concerts. The stu- ment, improvement from playing a lot of lot of music in a concentrated dents visited Mahler’s birthplace and the music in a concentrated period, cultivat- period, building a sense of town where he spent his youth; Prague, ing a sense of musical ensemble, cultural musical ensemble—and where he led the city’s opera house; Vi- diplomacy—and sampling food you won’t enna, setting of his greatest successes and find at Safeway. Like their adult counter- sampling food you won’t find heartbreaks; and Amsterdam, one of the parts, tours for today’s youth orchestras go at Safeway. first places his music was esteemed. The beyond the former play-and-move-on for- orchestra performed in Vienna’s Musik­ mat. Young musicians meet their foreign started, we took everything—all the harps, verein and Amsterdam’s Concertgebouw, peers, do side-by-side rehearsals or per- all the timpani, all the basses,” she says. legendary concert halls where Mahler formances with local ensembles, interact “Today, the airlines just won’t take such himself conducted. with residents in community engagement large and heavy items. But the experiences “It was very powerful for the kids to events, and get coached by leading profes- are life-changing for the kids. So we keep actually be there where he had worked,” sional musicians. pressing forward and doing it.” Christensen says. And the young musi- So the leaders of youth orchestras will- cians absorbed one of Mahler’s most elo- ingly take on the challenges of planning Experience and Excitement quent works. “To take a piece like Mahler’s itineraries, preparing the young musicians An offshoot of the Boston Philharmonic, Ninth, which is such a behemoth, and play and raising money. “I started touring with the youth orchestra has traveled nearly ev- it nine times for different audiences in dif- youth orchestras in 1995, and it has gotten ery year since its founding in 2012. June’s ferent halls—that’s an enormous growing more difficult and much more expensive as European tour in part commemorated the experience for the musicians,” Christensen americanorchestras.org 35 Marco Cucciniello Marco

DC Youth Orchestra at Lake Garda in northern Italy near the Musica Riva Festival, where the orchestra was a resident ensemble this summer.

says. “By the final concert, when we were Koncz rehearsed the orchestra in Brahms’s tor. “He made a few comments, and they sitting in the Concertgebouw, it was just Academic Festival Overture and works by understood. They were hungry for it, and a different orchestra. It was partly that Liszt and Johann Strauss. “In the first few they responded. It was pretty dramatic.” they had played the program a lot. But The National Youth Orchestra of the also, they had lived together for two weeks. In Prague, the Three Rivers USA, one of Carnegie Hall’s education They had become more aware of other Young Peoples Orchestra projects through its Weill Music Institute, people in the orchestra—and more aware played Dvorák’s Symphony ups the ante when it comes to podium musically of other people in the orchestra.” guidance. Each summer, the group brings California’s Santa Rosa Symphony No. 8 in the Rudolfinum’s young musicians from across the U.S. to Youth Orchestra not only performed this Dvorák Hall—on the same New York for intensive rehearsals and a June in cities rich with history—Salzburg, stage where the composer subsequent tour headlined by an interna- Vienna, and Budapest—but it tasted Eu- tionally known conductor. Michael Tilson rope’s present-day musical culture. During once conducted. Thomas led this summer’s trip to China its Vienna stop, the members of the youth and Korea. Many of the musicians had orchestra were coached by the Vienna minutes, he put the orchestra on an entire- never played for a conductor of his stature. Philharmonic’s principal second violin, ly different level,” says Wendy Cilman, the “All of us were pretty scared, just to see Christoph Koncz. Taking to the podium, Santa Rosa Symphony’s education direc- what he would think of us,” says Alyssa Tinsley, a flutist from Kingswood, Texas. “But right when he walked onstage, he was like a gentle giant. He would look at you, and you’d feel comfort.” Tinsley came to the group after two years in the Houston Youth Symphony Orchestra. That orga- nization’s main ensemble and woodwind quintet cultivated her intonation, ability to blend with her section, and other skills, she says. Tilson Thomas then added an ex- tra excitement. Sibelius’s Symphony No. 2, in which Tinsley played principal flute, “was like a new piece each time. He liked to change it up,” says Tinsley, now a fresh- man at the University of Texas at Austin. Jim Boston “He would try to get new musical ideas Before their concert in Prague this summer, members of Three Rivers Young Peoples Orchestra out of us—colors or feelings. It was re- took a moment to perform outdoors. freshing. We always had to be on the look-

36 symphony FALL 2018 out for what was going to be new. It kept wanted the kids to have something won- us intrigued and connected with him.” derful in their lives after all this.” When it comes to raising money, each Making It Happen youth orchestra harnesses the motivations The Santa Rosa Symphony Youth Orches- and resources at hand. Like most groups, tra’s leaders met to plan tour fundraising the DC Youth Orchestra Program typical- one night in October 2017. “Sitting out- ly asks members’ families help cover tour side, we were all commenting how hot and costs by paying a fee—typically $2,000- windy it was,” Cilman recalls. A few hours $2,500 per tour, Executive Director Eliza- later, area residents had to flee as wildfires beth Schurgin says—but it also offers fi- swept in. The inferno consumed thousands nancial aid to those who can’t afford that of homes. much. That’s where DCYOP calls on its “Some of the folks who were there lost tens of thousands of alumni. Many of their homes that night,” Cilman says. “I them nurture their own memories of for- couldn’t imagine people figuring out how eign travel, thanks to the orchestra’s long Jim Boston to get back on track when so much hap- history of touring: 23 international trips, Aleana Smiley and Kayla Gilmore, flutists in the Three Rivers Young Peoples Orchestra, share pened. I was concerned that the whole reaching back to 1960. the excitement before their concert this June in Vienna at the MuTh, the concert hall of the Vienna Boys’ Choir.

ing alike, Schurgin says. After hearing the orchestra, Chile’s ambassador to the Unit- ed States—Juan Gabriel Valdés, brother of Puerto Rico Symphony Music Director Maximiano Valdés—invited the group to tour his homeland in 2017. The orchestra partnered with musical and government institutions in Chile, and a performance with young Chilean musicians in the country’s Presidential Palace marked one of the high points. The U.S. Department of State helped with funding. “Each tour is a law unto itself in terms of planning,” Schurgin says. “When opportunity pres- ents itself, you need to jump on it.” The Boston Philharmonic Youth Or- chestra is a rare group that requires no fee from the musicians. “We solicit the fami-

Paul Marotta lies to contribute, but there’s no manda- tory fee. There’s no giving expectation,” At the Musikverein in Vienna, Boston Philharmonic Youth Orchestra Music Director Benjamin Zander works with members of the youth orchestra before a concert on June 24, 2018. Christensen says. “Some of them give gen- erously, and some don’t have the resources to do so. We don’t want that to be a barrier tour would fall apart. I was completely “Tours resonate very strongly with our to participation.” So the orchestra’s lead- astounded when we had the next meeting, alumni community,” Schurgin says, “so we ers have to raise $400,000 to $1 million and the same people showed up—more almost entirely crowdfund our tours. It’s for each tour, Christensen says. That’s on people showed up.” an opportunity for alumni of various giv- top of being tuition-free during the regu- Now the group had to not only raise ing capacities to support a project they feel lar season. “We’re constantly fundraising,” money for the trip, but to replace instru- very strongly about. That’s something we Christensen admits. Some donors to the ments destroyed by the fires. Thanks to a hear about from alumni all the time. ‘I re- professional Boston Philharmonic help fundraising auction, an appeal from the member when we were in Switzerland,’ or with the youth side, too. Other sources stage during one of the professional Santa ‘I remember going to China.’ It’s exciting include Kickstarter, which brought in Rosa Symphony’s concerts, and fees paid for them to give back, and to ensure that $45,000 for the June tour. by parents, money came in. The tour stayed this generation of students has the same “Fortunately, we have a very unusual on track. “Everybody wanted to make it opportunities.” situation,” Christensen says. Benjamin happen,” Cilman says. “I think because Being based in the national’s capital can Zander, music director of both the pro and everyone had been so traumatized, they yield opportunities for touring and fund- youth orchestras, has turned his experience americanorchestras.org 37 it’s going to be.’ They matured over the next couple of days. You have to learn to follow the conductor and anticipate what’s going to happen—and be flexible and in the moment. That can be hard for student musicians. But they did it.” After nearly 30 international tours, the Boston Youth Symphony Orches- tras (BYSO) also wanted a new ingredi- ent. “It’s a constant challenge to make the tours more relevant to the orchestra and to the changing times,” Executive Director Catherine Weiskel says. Music Director Federico Cortese zeroed in on the way to

Paul Marotta aim June’s trip to Germany toward a lon- Members of the Boston Philharmonic Youth Orchestra share their excitement before giving a ger-term goal: The orchestra would make performance at the Rudolfinum in Prague this summer. its first foray into Baroque music. “Young American musicians are extraordinarily on the podium into a sideline as a moti- ta. All that came within eleven days. good, whether music is their professional vational speaker for business groups. That “That’s a big leap for any orchestra, not goal or not,” Cortese says. But he notices introduces him to corporate leaders he to mention a high-school-age orchestra,” a gap: “The string players play Bach’s solo can enlist to support the youth orchestra. Schurgin says. By negotiating repertoire sonatas or partitas for violin or his suites “What we do wouldn’t be possible other- with the festival, the group was able to in- for cellos. But they have no idea about wise,” Christensen says. clude a few pieces it had played in recent seasons. In preparation for the Russian Even when musicians don’t New Approaches night, it changed its regular-season finale speak a common language, After twenty-plus multi-city tours over at home to include Rachmaninoff ’s Piano sharing a music stand with a the years, the DC Youth Orchestra gave Concerto No. 2. Eight full days of rehears- its top ensemble a fresh experience this al came right before the trip. musician in a foreign country July. An invitation from northern Italy’s “Four programs was a lot,” Schurgin can forge a connection. Musica Riva Festival enabled the group to says, “but now we know what our kids can spend its entire trip in one place—and a do.” She notes another challenge: The Ver- spectacular place at that, tucked between di evening marked not only the orchestra’s the St. Matthew Passion. I’m not blam- mountains and the rippling waters of Lake first foray into opera, but its first exposure ing them. They’re wonderful, but they’re Garda. As a resident ensemble, the group to vocalists at all. Singers, Schurgin notes, young. And these are some of the pillars of shared the spotlight with participants in inject their own liberties into the musical Western music.” programs for aspiring opera singers and mix. The players have to focus on a con- So the BYSO partnered with Bachfest for entry-level professional conductors. ductor who’s trying to lead them and meld in the Baroque master’s longtime home of The schedule included four concerts: one with the singers at the same time. “I think Leipzig. Though the organization is sepa- of Russian music; one of Beethoven; one the orchestra members were a little sur- rate from the Boston Symphony Orches- devoted to music of the Americas; and one prised at first,” Schurgin says with a laugh. tra, it drew on the latter’s links to Leipzig: featuring excerpts from Verdi’s La Travia- “There was a moment of, ‘Oh! This is how its Gewandhaus Orchestra is led by Bos- ton Symphony Orchestra Music Director Andris Nelsons. The linchpin of the youth UIA Presents orchestra’s week in Leipzig was a perfor- Featured Programming: mance of Bach’s exuberant Magnificat. “At the first rehearsal, they didn’t sound very My Fair Lady: in Concert good,” Cortese says. “They could play the Porgy and Bess: in Concert notes, but they had no idea how to shape Get Happy! Baroque music. At the beginning, there was even some resistance. Not everyone The Unreachable Stars loved it. That’s why I think it’s important Live From Broadway to do this—to broaden their musical expe- rience.” The orchestra gradually got more Broadway Pops artists to of a grip on Bach’s style. fit your concert needs! “It’s always good for young people to explore something that their teacher or

38 symphony FALL 2018 Jim Boston Three Rivers Young Peoples Orchestra played a mini-concert while flying between the cities of its recent European tour. In foreground: Three Rivers Executive Director Lindsey Nova conducts. Colin Talcroft

On tour with the Santa Rosa Symphony Youth Orchestra this summer, French horn player Nick Hidy tries out the organ Haydn once played in Eisenstadt, just outside Vienna.

and enamel, woodwinds without any flaws, and an almost scary professionalism and sophistication.” The reviewer ended by saying that the “frenetically acclaimed concert … should give reason to broaden the trans-Atlantic musical bridge.”

Back and Forth For the BYSO, that bridge had already been traveled in both directions. The two

Photo by Pistacchio, courtesy of Musica Riva Leipzig choirs that sang the Magnificat— The DC Youth Orchestra was a resident ensemble at Italy’s Musica Riva this summer. In the Gewandhaus Youth Choir and Leipzig foreground from left: Zahra Edwards and Hannah Reiser. Opera Youth Choir—went to Boston in April 2018. They joined the orchestra in a concert that included Bernstein’s Chiches- conductor loves,” says Cortese, who had Leipziger Volkszeitung published a review ter Psalms, in honor of the Boston-area na- previously added opera to the group’s mu- declaring the orchestra “a damn good one.” tive’s centennial. Some orchestra members sical diet. “I’m not saying that doing opera The paper hailed “strings full of shine who got to know choristers during that or Bach is a must. But it’s what I love. I think they sensed that. And they respond- ed to that.” The orchestra tipped its hat to another KNOWLEDGEABLE, Leipzig icon, onetime Gewandhaus Or- chestra leader Felix Mendelssohn, by per- EXPERIENCED, forming his “Scottish” Symphony. Mean- DETAILED. while, spending a week in Leipzig let the students immerse themselves in the his- toric city, Weiskel says. They stayed with local families. They visited the Bach Mu- seum, the St. Thomas Church (where Bach 1-800-300-8841 was Kapellmeister), the Museum of Musi- [email protected] cal Instruments, and Mendelssohn’s home. www.concept-tours.com As the young musicians flew home, the americanorchestras.org 39 visit went on to meet the singers’ families perform within its ranks. The Houston Christensen. “They have a great time, fig- in Leipzig. “It was a really wonderful com- Symphony in 2015 hosted the Colombi- uring out how to communicate,” she says. bination of things,” Weiskel says. an Youth Philharmonic—a pet project of “Having something to do together, even if Other American youth orchestras have Houston Music Director Andrés Orozco- they can’t communicate verbally, is a really invited young musicians from other coun- Estrada, a Colombia native—in a side-by- powerful experience for them.” tries to experience the United States. In side concert and other Texas events. Christensen recalls taking another youth June, the San Diego Youth Symphony Even when musicians don’t speak a orchestra to Venezuela in 2005. “There hosted its fourteenth annual International common language, sharing a music stand were extreme tensions between our coun- Youth Symphony Program, inviting sev- can forge a connection, according to the tries at the time,” she says. “I was watch- enteen musicians from ten countries to Boston Philharmonic Youth Orchestra’s ing a side-by-side between the American kids and the local kids. You realize how much we really have in common, whatever is going on between our countries. To me, that’s one of the most important aspects of touring: being aware of other people and other ways of life, and becoming more at home with them.”

STEVEN BROWN, a Houston-based writer specializing in classical music, is the former classical music critic of the Orlando Sentinel, Charlotte Observer, and Houston Chronicle.

Behind the Scenes Managing an orchestra tour takes experience, know-how, and savvy. That’s where the professionals step in. Companies like Classical Movements, Classix Tours, Concept Tours, and Paul Marotta TravTours Inc. understand what it In Berlin, cellist Eric Zacks of the Boston Philharmonic Youth Orchestra visits the city’s Holocaust takes to move entire orchestras—and Memorial. their instruments—around the world. They provide services ranging from relatively straightforward matters like booking ground and air travel and selecting hotels to arranging for a youth orchestra to perform in an historic hall in a foreign capital. They can leverage their contacts at global partners, governmental agencies, and cultural presenters, and they know the regulations concerning international travel with instruments. Touring youth orchestras need many of the same of the specialized services that touring adult orchestras require concerning instruments, visas, passports, figuring out foreign currency. But with youth orchestras, there’s the additional responsibility of arranging free time and sightseeing for young people who are eager not only to share their

Sarah Spinella own artistry but to learn about other The Boston Youth Symphony Orchestras gave a free outdoor concert at the Leipzig Market Place cultures as well. during its June trip to Germany, led by Music Director Federico Cortese.

40 symphony FALL 2018

Symphonic Storyteller Four decades ago, Hollywood seemed on the verge of eliminating symphonic film scores in favor of pop tunes and synthesizers. In fact, just the opposite happened, and the key may be John Williams. Craig Mathew / Los Angeles Philharmonic

Above and opposite: In 2014, the Los Angeles Philharmonic’s opening-night concert paid tribute by Jack Sullivan to John Williams (on podium, opposite). Music Director Gustavo Dudamel conducted at the gala, which also featured violinist Itzhak Perlman, trumpets from the U.S. Army, the Los Angeles Children’s Chorus, and members of the Los Angeles Chorale. The festivities included characters from Star Wars.

he Mozart of our mindboggling. His career in film and tele- instruments. Williams just keeps writing, day.” That’s what vision music began half a century ago with and his music seems to get programmed conductor Gustavo titles like Wagon Train, The Guns of Nava- more and more often by orchestras every Dudamel calls Hol- rone, The Poseidon Adventure, and The Long year. lywood composer Goodbye. It encompasses franchises such as Orchestras play lots of Williams scores, “TJohn Williams. Dudamel has idolized Indiana Jones, Harry Potter, Home Alone, and of course they also play scores by many Williams since his childhood infatuation Star Wars, and Jurassic Park, and spans 46 other film composers. The big difference: with Star Wars, E.T., and Indiana Jones. years of partnership with Steven Spiel- usually the latter are identified by film “He has a special creativity,” Dudamel re- berg, from Sugarland Express to The Post, name or brand franchise, while concerts cently told me backstage after a concert, the longest director-composer collabora- by orchestras featuring Williams scores “and he works with incredible speed. He tion in history, with iconic scores like Jaws, are typically just billed as “John Williams” created an Adagio based on the score for E.T., and Schindler’s List. Williams’s con- events. In 2006, the League of American the new Star Wars film in one night, and cert pieces, written for everyone from Seiji Orchestras awarded Williams its highest we played it the next day. I love working Ozawa at the Boston Symphony Orches- honor, the Gold Baton, for “inspiring mil- with him.” tra to Barack Obama, for his presidential lions of listeners worldwide” with his or- The extent to which John Williams’s inauguration in 2009, include works for chestral music for film, television, and con- music has entered our bloodstream is orchestra, chamber ensembles, and solo cert hall.” Orchestra galas themed around

42 symphony FALL 2018 Craig Mathew / Los Angeles Philharmonic

Williams’s music tend to be successful Kitsopoulos, who is currently conducting took a tape recorder into the theater, went fundraisers, often with the composer on the scores to four different Star Wars films home, and listened under my pillow at hand to conduct the orchestra. His music with various orchestras, saw the first one in night with tiny speakers, incessantly. Then is notably popular with young listeners 1977, “and I thought, ‘Who wrote this mu- came Close Encounters of the Third Kind and and families. sic?’ I went out and bought the soundtrack Raiders of the Lost Ark. If it hadn’t been for Dudamel can now take his own child and proceeded to buy anything by John John Williams, I wouldn’t have become a to a Star Wars film, part of a remark- Williams I could get my hands on.” Many composer. I would have missed out.” able multigenerational cycle. Constantine John Williams just keeps writing, and his music seems to get programmed more and more often by orchestras every year.

musicians Kitsopoulos now conducts had Star Wars is only a small part of Wil- a similar experience, he says: “Those films liams’s huge career, which includes mul- the players experienced when they were tiple Grammy, Golden Globe, and Acad- kids are becoming new again because they emy Awards for his film scores, but his are playing this music—which is so well work has a special historical importance written.” The multigenerational aspect is in the evolution of movie music. In the also true for composers of scores to se- mid-’70s, Hollywood producers were talk- quels to Star Wars and other films. Com- ing of eliminating expensive symphonic poser Michael Giacchino, who has written music and replacing it with pop tunes and music for the TV series Lost and films in- synthesizers. The death in 1975 of Ber- cluding Up and The Incredibles, scored the nard Herrmann—composer of landmark Eugene Symphony/Amanda L Smith Photography sequel films Rogue One: A Star Wars Story scores for Psycho, Vertigo, and many other Eugene Symphony Music Director Francesco Lecce-Chong, a Star Wars fan himself, and Jurassic World. He saw the original Star films—an important mentor to Williams, conducts John Williams’s “Throne Room” Wars when he was nine: “It made me won- seemed to signify the end of a sonic tra- from Star Wars at an outdoor concert in 2017, der, ‘How do they actually make this stuff?’ dition. Producer Lou Wasserman had where he debuted his popular “lightsaber” There were no DVDs or video, so I had warned director Alfred Hitchcock in 1965 baton. to use the music to re-imagine the film. I that Herrmann was a dinosaur and that americanorchestras.org 43 Constantine Kitsopoulos “Here’s a guy who conducts the New Jersey can write in any Symphony Orchestra in a film-with-concert style, any style at version of John Williams’s score to E.T. The Extra- all,” says conductor Terrestrial, June 2018. Constantine Kitsopoulos. “Just when I think I’ve got him, that I get his shorthand, he throws me a curve.” the symphonic tradition he represented was about to become extinct. Williams’s charming Poulencian score for Family Plot (1976), the Master’s last film, might be the coda for more than just Hitchcock. Then Star Wars blazed into theaters, winning an Oscar in 1975 for best score, and the gloomy talk stopped. “We used for a hit film. We can deplore this state of he worked on the score before he saw the London Symphony playing in a grand, affairs, as many purists do, or we can re- any of Stone’s footage. The issue of how sweeping style,” Williams recalled to me, joice that Williams has kept symphonic much a composer needs to see before he “which seemed to all of us working on the culture alive for a large audience, one that can work on a film stretches back to the film to be the right approach to the film.” listens as well as watches when they see a early days of talkies. Traditionally, music He used the same approach with Close Williams-scored movie. to a film is written to fit existing foot- Encounters of the Third Kind, E.T., Super- Williams wishes they could simply lis- age. When Franz Waxman was compos- man, and Indiana Jones, which erupted ten: “As musicians, we don’t like to think ing his score for Hitchcock’s 1939 Rebecca during the same period, all huge successes, that we need visual aids to proj- Composer Michael all powered by large orchestras. Now it’s a ect music,” he told me wistfully. Giacchino says the given that scale and scope equals orchestra “It should be able to engage us soaring crescendos in film. intellectually and aurally without in his Up and Coco a visual distraction. I’m painfully scores are “no Themes and Variations accident. John aware of that problem.” But he Williams and Steve The magic is still there. When I saw The realized long ago that the means Spielberg were my Last Jedi in the theater with my own kids, of reaching people “more than teachers; they taught I remained in my seat, raptly listening to anything is film, more than re- me how to use the end-credits music, as I always do in cords now, and much more than music and pictures together.” a Williams-scored film. At once delicate one can achieve with concert ap- and densely layered, it is a typical Star Wars pearances.” score, offering new motifs for story lines Ironically, Williams rarely and characters—a sprightly one for the goes to movies. He grew up lis- character Rose Tico (portrayed by Kelly tening to radio, which he pre- Marie Tran), a beatific one for Luke Sky- ferred because he could conjure walker and Princess Leia (Mark Hamill his own images. This may be one reason (the first movie score to be made into a and Carrie Fisher)—along with variations his music has such a strong sense of nar- concert suite), producer David Selznick, on themes fans have had in their heads rative. As Kitsopoulos puts it, Williams who was also making Gone With the Wind through four decades, the closest thing in has the uncanny ability to “musicalize the across the street, was frustrated with Max modern culture to a Ring cycle. Like Ber- human experience. That’s what moves the Steiner’s slow progress on scoring that film nard Herrmann, Franz Waxman, and other story forward.” Steven Spielberg claims and with Waxman’s pace with Rebecca. “I film composers, Williams uses Wagnerian that with Williams’s scores, “You don’t re- have maintained for years,” Selznick stat- methods that incorporate lush chromati- ally need the images to have the story told ed in a grumpy memo, “that the idea that cism and the use of leitmotifs. to you. He is the greatest musical story- music cannot be written until a picture is It’s safe to say that The Last Jedi score teller of all time.” finally cut is so much nonsense. It is my has been heard by more people than any Director Oliver Stone told me that conviction that as time goes on, the score new symphonic work, which is what hap- Williams is “a brilliant conceptualizer,” es- of a picture will be written from the script pens when a popular film composer writes pecially in cases like the 1991 JFK, where so that by the time a picture has finished

44 symphony FALL 2018 shooting, the score is complete. I think this ought to be hammered into Waxman.” When I shared the Selznick memo with Williams, he told me excitedly that with JFK, he actually “did record several se- quences before I saw any film. And Oliver cut some of the film to the music.” Wil- liams calls Selznick’s statement “a marvel- ous idea in theory, but I think it’s hard to imagine it could work for every scene in every film. People photograph—random- ly, if I may use that word—and we don’t have the editorial rhythm of the film until much, much later in the process, way past the photography, and directors mostly find their rhythm in the editing room. In the broad sense of the term, tempo or rhythm in film music is of the essence, and until one has the scenes—not only for inspira- tion but also for the whole sense of the or- Hilary Scott ganic movement of the film—it would be hard to imagine getting all that completely John Williams, the Boston Pops’ conductor laureate, conducts the Pops’ “John Williams Film Night,” May 2018. This and other Williams-led performances at orchestras typically sell out. until the editing has been done.” Williams solved the JFK problem by writing music that doesn’t speed up, slow temped the footage—creating a temporary way the production was going so much down, or stop for specific moments of placeholder score used while the full score that he contemplated cutting the movie action, as music so often does in a film. is being written that has the right mood up for television, decided to trust Ber- Whether chorales with long lines or sin- and ambiance—with Williams’s score nard Herrmann and go with the shower ister slitherings and glissandos, the music for Robert Altman’s psychological hor- cue, though he had forbidden Herrmann is often continuous through the scene and ror film Images, which he thought had the to write any music for what he insisted sustains the same stasis or momentum ac- right sound. To Williams, it was all wrong: should be a silent scene. In both cases, the cording to its own internal logic. JFK is “Oh, darling boy, no no no no,” Williams composers were right, the directors wrong: not the only instance in which Williams remembers saying to Spielberg. “Images is the films were spectacular hits, in no small composed a score before he had seen all not the right sound. Let me work some- part because of the music, and the direc- of the film. “You know, a lot of the five- thing up, and I’ll present it to you.” Wil- tors later gave their composers the credit note exchange between the orchestra and liams came back with the terrifying shark they deserved. synthesizer in Close Encounters was pre-re- ostinato, which he wrote by “envisioning The word Williams uses to describe corded,” Williams told me. And War of the the shark in the water,” but Worlds, a symphony of dread, was written when he played it for Spiel- after Williams saw only six reels. Accord- berg with two fingers on the ing to Spielberg, Williams “had enough of piano, like “Chopsticks,” the an experience in those sixty minutes that director thought it was a joke: he knew exactly how to write it.” That’s all “This was a horrible produc- he could stand to watch. tion, making Jaws, to begin with,” Spielberg recalls. “You Spielberg, Jaws, and Beyond don’t know what it was like to Williams’s partnership with Spielberg be- make that movie, and now I’m gan with the director’s obsession with The hearing a sound that is noth- Reivers (1969, starring Steve McQueen). ing like the film in my mind Spielberg says he had “worn out the LP” that I’ve made. I said ‘really?’ of Williams’s score and fantasized about And John said, ‘Oh no, trust hiring Williams if he ever made a movie, me, that is Jaws.’ ” which turned out to be Sugarland Express This incident bears an un-

(1974). Jaws was the first hit for both of canny resemblance to another Craig Mathew / Los Angeles Philharmonic them, though it began disastrously, illus- risky movie with another fa- Gustavo Dudamel and John Williams at the Los Angeles trating the perils of the process. Before mous motif: Psycho, where Philharmonic’s 2014 opening-night concert, which was a Williams composed the music, Spielberg Hitch­­­cock, who hated the tribute to John Williams. americanorchestras.org 45 Ryan and Lincoln. “Here’s a guy who can write in any style, any style at all,” says Kitsopoulos. “Just when I think I’ve got him, that I get his shorthand, he throws me a curve. It makes learning a new score very satisfying. Right now I’m learning the third Harry Potter movie. There’s Re- naissance music, big band music, big ro- mantic themes, and with each film in the series he’s developed new themes to go along.”

“Emotion Without Shame” Despite the dizzying variety, there is an identifiable sound, a certain lift that cata- pults the narratives upward, over the forest Eugene Symphony/Amanda L Smith Photography in E.T., over floating money inCatch Me The audience gets into the action at a Eugene Symphony park concert in 2018, which featured If You Can, over apocalypse and Holocaust Music Director Francesco-Lecce Chong leading a program including Williams’s Suite from Star in Empire of the Sun and Schindler’s List. “I Wars Episode VII: The Force Awakens. think that’s who he is,” says Kitsopoulos. “When there’s a moment that requires a himself is “eclecticism.” Indeed, there Fourth of July, the icy modernism of A.I. lift, often what happens right before it is seems to be a new style for each film: the (Williams’s most underrated score), the a harmonic tension that leads to a resolu- Korngoldian swagger of Indiana Jones, the moody asperity of Minority Report (an tion. It’s not a dominant-tonic resolution hip syncopation of Munich and Amistad, homage to Hitchcock-Herrmann), the that says ‘here’s the cadence.’ It lands on a the melancholy grandeur of Born on the attenuated Americana of Saving Private harmony, and you wonder where it could

46 symphony FALL 2018 after recording War Horse, “Steven and all 90 musicians, get everybody flying.” Wil- liams says he initially took up conducting “out of self-defense. It was assumed that the music director who hired the com- poser would conduct the score. Almost always I felt I could represent the music better. I wanted to bring what I had writ- ten to the fore in the most representative way that I thought it could be given. And that was my sole motivation. It had noth- ing to do with interpreting other people’s work. That came to me later.” In addition to serving as conductor of the Boston Pops

Craig Mathew / Los Angeles Philharmonic from 1980 to 1993, he has conducted or- John Williams (left), Music Director Gustavo Dudamel (center), and violinist Itzhak Perlman (right) chestras from the New York Philharmonic at the Los Angeles Philharmonic’s 2014 opening-night concert, paying tribute to Williams. and Cleveland Orchestra to the Chicago Symphony Orchestra and the Los Angeles Philharmonic. go, and then there’s a resolution.” With pseudo-Carmina Burana bombast in su- Even flops like Always and Hook soar resolution comes euphoria, something perhero movies, the boilerplate pizzicato as long as the music is playing. In mas- rare in modern cinema. Kitsopoulos com- in comedies—all sound the same. As a terpieces like Close Encounters of the Third pares the technique to Beethoven: “I get conductor, Williams strives for “emo- Kind, which Williams told me is his fa- my students to look at the opening of the tion without shame” in his performances vorite score, the music defines the film, Beethoven Seventh; we’re used to it, but as well: “We try to get everybody to lose becoming, in Spielberg’s conception, “the you always have to look at it in the context gravity, get everybody off the floor,” he said central character.” The three-note motif “The orchestra is a fabulous tool,” says Williams, “and always has been. There is nothing yet invented that is a better instrument to deliver emotional impact.” of surprise at the premiere. The first time you see those bicycles take off in E.T., it’s mind-blowing.” Michael Giacchino’s music has a simi- lar lift, from “The Constant” and “Exodus” in Lost (television’s most epic score) to the soaring crescendos in Up and Coco: “It’s no accident,” says Giacchino. “John and Steve were my teachers; they taught me how to use music and pictures together. They are the gold standard. My favorite lift-off scenes are the boat chase in Jaws and the taking off of the plane and opening of the Ark in Raiders. It’s a massive melodic ex- perience—emotion without shame. Mov- ies today are afraid of that emotional con- nection. Composers are told to listen to the temp score and write music ‘just like that.’ ” This lack of emotional connection is why the scores of so many films—the americanorchestras.org 47 Brandon Patoc

In September 2017, John Williams conducted the Seattle Symphony in music from Star Wars, E.T., Indiana Jones, and Schindler’s List, among other of his film scores. Director Steven Spielberg was on hand to narrate the performance. The famous two-note shark theme from Jaws was once hotly debated by director Steven Spielberg and composer John Williams. After climbing over trembling strings as Roy trying to write something that suited the more than 40 years, the music to Jaws is and Jillian approach the fateful mountain film as I was trying to create a particu- widely popular on orchestra concert programs and gaze upward is a moment of transcen- lar idiom in the Eastern European Jew- like the ones in 2018 by (top) the Chamber dence Williams would reinvent in E.T., ish style for Itzhak to play—a wonderful Orchestra of Philadelphia and (above) the Los Angeles Philharmonic. Jurassic Park, Empire of the Sun, and others, combination of opportunities.” a skyward gaze that became Spielberg’s fundamental gesture, impossible without Williams’s music. As for the extra-terrestrials’ famous five-note greeting, Williams told me that he wrote some 350 versions: “I still have them. Steven and I kept coming back to that one [that ended up in the finished film]. We had a couple of other contend- ers, but for whatever reason that seemed to be the thing that grabbed us both. But I wrote them out on pieces of paper—just five notes without any rhythmic variations, just five pitches in random order.” This is a method Williams has per- fected: the painstaking construction of something large from small, seemingly insignificant motifs, written with pencil and paper. He can also write spontane- ously, a gift cultivated during his stint as a jazz pianist in the 1950s. The most famous instance is the sublime violin melody for Schindler’s List, which emerged as Wil- Amanda L. Smith liams was improvising with Itzhak Perl- Lightsabers were popular at “Eugene Symphony in the Park” in July 2018, where the program man: “I’m sitting at the piano and just featured Williams’s Suite from Star Wars Episode VII: The Force Awakens. Above, Eugene Symphony creating those themes, and I was as much Principal Trombone Henry Henninger (right) battles with Maddie Diaz as a bystander looks on.

48 symphony FALL 2018 Haydn, we probably wouldn’t have Mozart or Beethoven.” One wonders if there is a more personal resonance, perhaps uncon- scious: like Haydn, Williams is a house- hold name straddling two centuries, a populist and a meticulous artist, astonish- ingly prolific even in his later years. Now 86, he is completing new concertos for Anne-Sophie Mutter and Yo-Yo Ma and planning another Star Wars score. Accord- ing to Giacchino, Williams lives for com- position: “He has to write every day.” To questions about when he plans to retire, Williams expresses happy bewilderment: “Retire from music? You might as well re- tire from breathing.” John Williams’s music to the Harry Potter films is just as familiar as its plot and characters. Above: a scene from Harry Potter and the Prisoner of Azkaban. JACK SULLIVAN has written about music, film, and culture for the Washington Post, Wall Street Journal, and Opera, among other publications. Like the Schindler theme, the melodies Williams told me that the composer He is chair of the English Department at Rider that stick in our heads are often solos: the he admires most is Haydn, whose C Ma- University, where he teaches literature and music. bluesy flute in Sugarland Express, the be- jor String Quartet, Op. 64, No. 1, plays He is author of Hitchcock’s Music; New World bop saxophone in Catch Me If You Can, serenely through the sinister greenhouse Symphonies: How American Culture Changed the lonely trumpet in Born on the Fourth scene in Minority Report. Haydn is “one of European Music (1999); and New Orleans Remix of July, the playful clarinet in The Terminal. the all-time great musical talents. Without (2017). Many of the film scores resemble con- certos, a form Williams has emphasized in his career as a concert composer. He values “the association with the soloists, the wonderful inspiration from players… Marilyn Rosen Presents an antidote to the monastic life style of a In the SpotlIght composer.” Among others, he has written a spiky concerto for Judith LeClair, princi- pal bassoon of the New York Philharmon- ic; two cello concertos for Yo-Yo Ma, who also spins the intricate textures in Memoirs of a Geisha; a concerto for Michael Sachs, wiLL & antHony ann Pink Dave Liz principal trumpet of the Cleveland Or- nunziata HaMPton Martini Bennett CaLLaway chestra; a concerto for Dale Clevenger, the CaLLaway Chicago Symphony Orchestra’s former principal horn; and a concerto for former Boston Symphony Orchestra tubist Ches- ter Schmitz, as a 100th-anniversary com- mission from the Boston Pops. Symphonic film music continues to be CLaSSiCaL Quartango BraSS tranSit new york DukeS of nigHt fever MuSiC of CHiCago voiCeS DixieLanD threatened by the lure of samples and syn- BeSt of 70S DiSCo thesizers, a siren call that never quite stops. Nonetheless, the success of the newest Star Wars scores demonstrates that the force is strong with this one. “The orchestra is a fabulous tool,” says Williams, “and always has been, and still is very much with us. JuLie Count BaSie Patti Duke eLLington BLooD, Sweat It isn’t applicable to every film that comes BuDD orCHeStra auStin orCHeStra & tearS featuring Bo BiCe along, but when it’s needed there is noth- MariLyn roSen PreSentS teL: 617-901-9580 [email protected] ing yet invented that is a better instrument to deliver emotional impact.” americanorchestras.org 49 SymphonySymphony Pops Listings 2018 Pops Listings 2018

The following paid listings have been supplied to Symphony by League of American Orchestras business partners who represent pops attractions and conductors in the areas of pops performance. What follows does not imply endorsement by the League of American Orchestras or Symphony. It is not intended to be fully comprehensive, but to be a reference point for orchestras charged with pops programming.

Americana/Country Big Band/Swing

The Blind Boys of Alabama Columbia Artists Dancing With The Dukes [email protected] Marilyn Rosen Presents columbia-artists.com [email protected] dukesofdixieland.com Kathy Mattea International Music Network Performing New Orleans [email protected] Swinging Jazz, for mattea.com over 45 years, with orchestras around the world, including Boston, Music City Hit-Makers Cleveland, Dallas, [email protected] Guatemala, San Diego musiccityhitmakers.com and Seattle.

A Nashville-style “songwriters-in-the-round” with a symphonic twist! Steve Lippia – The Life and Times of Sinatra; Simply Hear the stories behind Swingin’ – Great American Crooners; and Simply Sinatra Nashville’s biggest hits plus Andersen Arts Group symphonically re-imagined [email protected] acoustic performances by the andersenreps.com songwriters who penned them for today’s biggest stars! Byron Stripling Greenberg Artists [email protected] greenbergartists.com

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Cirque de la Symphonie [email protected] cirquedelasymphonie.com

Disney Broadway Hits Columbia Artists [email protected] columbia-artists.com

Fascinating Gershwin Broadway Broadway Pops International [email protected] broadwaypops.com Behind the Mask: The Music of Webber, Hamlisch, Schwartz & More! Get Happy! Hollywood Hits of Harold Arlen Broadway Pops International UIA Presents [email protected] [email protected] broadwaypops.com uiapresents.com

Bohème to Broadway! Richard Glazier – Gershwin – Remembrance and Broadway Pops International Discovery; He’s Playing Our Song – Great Music from [email protected] Stage and Screen; Broadway to Hollywood; and A Salute broadwaypops.com to Judy Garland and Friends Andersen Arts Group Broadway A–Z: ABBA to Les Miz! [email protected] Broadway Pops International andersenreps.com [email protected] broadwaypops.com The Golden Age of Broadway! Broadway Pops International Broadway by Request: Your Audience Picks the Show! [email protected] Broadway Pops International broadwaypops.com [email protected] broadwaypops.com Kern Tribute Featuring Show Boat in Concert! Broadway Pops International Broadway Gentlemen [email protected] Broadway Pops International broadwaypops.com [email protected] broadwaypops.com Doug LaBrecque Greenberg Artists [email protected] greenbergartists.com Ann Hampton Callaway & Liz Callaway – Broadway with The Callaways Live from Broadway Marilyn Rosen Presents UIA Presents [email protected] [email protected] marilynrosenpresents.com uiapresents.com

The Tony-nominated Rebecca Luker Callaways sing Columbia Artists showstoppers from West [email protected] Side Story, Chicago, columbia-artists.com Funny Girl, Cats, Carousel, Wicked, more. Ann and Liz My Fair Broadway! The Hits of Lerner and Loewe, provide an evening of wit, featuring My Fair Lady, Brigadoon, and Camelot! humor, and the soaring Broadway Pops International sounds of Broadway’s greatest songs. [email protected] broadwaypops.com

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Broadway (continued)

My Fair Lady: In Concert UIA Presents [email protected] uiapresents.com

Penning and Langford – My Favorite Things – A Salute to Julie Andrews; Off the Charts; and Lights! Camera! Conductors, Pops Action! Andersen Arts Group [email protected] andersenreps.com Tim Berens [email protected] Porgy and Bess: In Concert timberens.com UIA Presents [email protected] Looking for a unique pops conductor uiapresents.com to engage, uplift, and expand your audience? Tim, the Cincinnati Pops Shalom Broadway! Celebrating the Heritage of Broadway Orchestra’s arranger/guitarist, will work Broadway Pops International with you to create programming ideal [email protected] for your audience. broadwaypops.com

Something Wonderful: The Songs of Rodgers & Rob Fisher Hammerstein, with Oscar Andy Hammerstein III as Your Columbia Artists Host! [email protected] Broadway Pops International columbia-artists.com [email protected] broadwaypops.com Sarah Hicks Columbia Artists Ted Sperling’s “A Broadway Romance” [email protected] Columbia Artists columbia-artists.com [email protected] columbia-artists.com Michael Kosarin Columbia Artists The Unreachable Stars [email protected] UIA Presents columbia-artists.com [email protected] uiapresents.com Keith Lockhart Columbia Artists Tony Vincent [email protected] Columbia Artists columbia-artists.com [email protected] columbia-artists.com John Mauceri Columbia Artists Lisa Vroman [email protected] Greenberg Artists columbia-artists.com [email protected] greenbergartists.com Ted Sperling Columbia Artists [email protected] columbia-artists.com

Thiago Tiberio Columbia Artists [email protected] columbia-artists.com

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Victor Vanacore [email protected] [email protected] victorvanacore.com

Celebrating 35 years in the music buisness, Grammy Award winner Victor Vanacore is redefining symphony pops with his arrangements, personality, and pre-packaged concerts enjoyed by audiences and orchestras alike! Family Concerts

Ludwig Wicki Charlie Chaplin at the Columbia Artists [email protected] Symphony columbia-artists.com [email protected] dankamin.com

Dan Kamin’s entertaining introductions and Grant Cooper’s witty and tuneful symphonic scores make Chaplin classics Easy Street and The Immigrant funnier, more exciting, more poignant—more relevant—than ever before.

Cirque de la Symphonie Dance/Movement [email protected] cirquedelasymphonie.com

Cirque de la Symphonie Classical Kids LIVE! [email protected] Classical Kids Music Education cirquedelasymphonie.com [email protected] classicalkidslive.com

Classical Kids are far and away the best for introducing children to classical music! Beethoven Lives Upstairs, Gershwin’s Magic Key, Mozart’s Magnificent Voyage, Vivaldi’s Ring of Mystery, Tchaikovsky Discovers America.

Equus: Story of the Horse: In Concert The Arts Firm Inc. [email protected] theartsfirm.com/projects

Equus: Story of the Horse is an intelligent celebration of the deep evolutionary fellowship between horses and humans. Film for performance with orchestra and choir. Narrator: Dr. Niobe Thompson, filmmaker. Conductor: Darren Fung, film composer.

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Amadeus Live Intermusica Family Concerts [email protected] (continued) intermusica.co.uk/imagine/Amadeus-Live

Cirque de la Symphonie The Great Human Odyssey: In Concert [email protected] The Arts Firm Inc. cirquedelasymphonie.com [email protected] theartsfirm.com/projects Danny Elfman’s Music from the Films of Tim Burton Columbia Artists The award-winning [email protected] “story of us” is now an columbia-artists.com unforgettable concert film for orchestra and choir. Disney Fantasia – Live in Concert Take your audience on a journey of discovery and unlock Columbia Artists the mystery of our unlikely emergence as the world’s only [email protected] global species. From the mini-series broadcast on PBS, columbia-artists.com CBC, and internationally. Narrator: Dr. Niobe Thompson, filmmaker. Conductor: Darren Fung, film composer. Disney in Concert: A Silly Symphony Celebration Columbia Artists [email protected] Frank Oden: Poetry in Concert columbia-artists.com SAGE Artists [email protected] Disney in Concert: Alice in Wonderland sageartists.com Columbia Artists [email protected] Peter & the Wolf Live columbia-artists.com Intermusica [email protected] Disney in Concert: Beauty and the Beast (1991) intermusica.co.uk/imagine/PWLive Columbia Artists [email protected] columbia-artists.com

Disney in Concert: Beauty and the Beast (2017) Columbia Artists [email protected] columbia-artists.com

Disney in Concert: Mary Poppins Columbia Artists [email protected] Film with Orchestra columbia-artists.com Disney in Concert: Pirates of the Caribbean, Films 1-4 Columbia Artists [email protected] The Age of Innocence Live columbia-artists.com Intermusica [email protected] Disney in Concert: The Jungle Book intermusica.co.uk/imagine/Age-of-Innocence Columbia Artists [email protected] Aliens Live columbia-artists.com Intermusica [email protected] Disney in Concert: The Little Mermaid intermusica.co.uk/imagine/Aliens-Live Columbia Artists [email protected] columbia-artists.com

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Disney in Concert: Tim Burton’s The Nightmare Before James Horner: A Life in Music Christmas Intermusica Columbia Artists [email protected] [email protected] intermusica.co.uk/imagine/James-Horner-A-Life-In-Music columbia-artists.com Joe Hisaishi Symphonic Concert: Music from the Studio Disney Pixar Ratatouille in Concert Ghibli Films of Hayao Miyazaki Columbia Artists Columbia Artists [email protected] [email protected] columbia-artists.com columbia-artists.com

Distant Worlds: Music from Final Fantasy Martial Arts Trilogy Columbia Artists Columbia Artists [email protected] [email protected] columbia-artists.com columbia-artists.com

The English Patient Live Jason Moran: Selma Intermusica International Music Network [email protected] [email protected] intermusica.co.uk/imagine/English-Patient-Live jasonmoran.com

New Score: Charlie Chaplin’s The Kid Equus: In Concert Chaplin’s The Kid The Arts Firm Inc. [email protected] [email protected] craigsafan.com theartsfirm.com/projects The Pink Panther in Concert Equus: Story of the Horse Columbia Artists is an intelligent celebration [email protected] of the deep evolutionary columbia-artists.com fellowship between horses and humans. Film for performance with orchestra Pixar in Concert and choir. Narrator: Dr. Niobe Thompson, filmmaker. Columbia Artists Conductor: Darren Fung, film composer. [email protected] columbia-artists.com

Sinfonia Antarctica Columbia Artists The Great Human Odyssey: In Concert [email protected] The Arts Firm Inc. columbia-artists.com [email protected] theartsfirm.com/projects Star Wars Live in Concert, Episodes IV-VII Columbia Artists The award-winning [email protected] “story of us” is now an columbia-artists.com unforgettable concert film for orchestra and choir. Symphonic Cinema – Live Synchonization of New Films Take your audience on to Orchestra a journey of discovery and unlock the mystery of our Intermusica unlikely emergence as the world’s only global species. [email protected] From the mini-series broadcast on PBS, CBC, and intermusica.co.uk/imagine/symphonic-cinema internationally. Narrator: Dr. Niobe Thompson, filmmaker. Conductor: Darren Fung, film composer. Titanic Live Intermusica [email protected] intermusica.co.uk/imagine/Titanic-Live Ghostbusters Greenberg Artists Visitors (Philip Glass) [email protected] Columbia Artists greenbergartists.com [email protected] columbia-artists.com americanorchestras.org SPECIAL ADVERTISING SECTION 55 Symphony Pops Listings 2018

Craig A Meyer Film with Orchestra Harmony Artists Inc. (continued) [email protected] almosteltonjohn.com Walt Disney Animation Studios: A Decade in Concert Columbia Artists Craig A Meyer brings the electricity [email protected] of Sir Elton John’s amazing catalog columbia-artists.com to life with his spectacular concert Remember When Rock Was Young – Warner Bros. Pictures Presents: Batman (1989) Live in The Elton John Tribute. Concert Columbia Artists [email protected] Play It Again, Marvin! columbia-artists.com Columbia Artists [email protected] columbia-artists.com

Will & Anthony: The Great New American Songbook Marilyn Rosen Presents [email protected] marilynrosenpresents.com

Great American Songbook

Ann Hampton Callaway – The Streisand Songbook Marilyn Rosen Presents [email protected] marilynrosenpresents.com Holiday Pops Hilary Kole Columbia Artists [email protected] Julie Budd’s Christmas with Sinatra columbia-artists.com Marilyn Rosen Presents [email protected] Steve Lippia – 100 Years and Beyond – The Life and marilynrosenpresents.com Times of Sinatra; Simply Sinatra; Simply Swingin’ – Great American Crooners Cherish The Ladies Andersen Arts Group International Music Network [email protected] [email protected] andersenreps.com cherishtheladies.com/symphony Monica Mancini: Mancini at the Movies Cirque de la Symphonie Columbia Artists [email protected] [email protected] cirquedelasymphonie.com columbia-artists.com Steve Lippia – A Swingin’ Holiday Affair Andersen Arts Group [email protected] andersenreps.com

New York Voices “Swingin’ Christmas” Marilyn Rosen Presents [email protected] marilynrosenpresents.com

56 SPECIAL ADVERTISING SECTION symphony FALL 2018 Symphony Pops Listings 2018

Penning & Langford – A Penning & Langford Holiday Dee Daniels Andersen Arts Group Greenberg Artists [email protected] [email protected] andersenreps.com greenbergartists.com

Dianne Reeves Dizzy Gillespie: The Symphony Sessions International Music Network Columbia Artists [email protected] [email protected] diannereeves.com columbia-artists.com

Will & Anthony: A Broadway Holiday Pops! Joe Lovano Marilyn Rosen Presents International Music Network [email protected] [email protected] marilynrosenpresents.com joelovano.com

Brad Mehldau International Music Network [email protected] bradmehldau.com

Danilo Pérez International Music Network [email protected] daniloperez.com

Dianne Reeves Jazz/Blues International Music Network [email protected] diannereeves.com

Terence Blanchard Denzal Sinclaire International Music Network Greenberg Artists [email protected] [email protected] terenceblanchard.com greenbergartists.com

Regina Carter Chucho Valdés International Music Network International Music Network [email protected] [email protected] reginacarter.com valdeschucho.com

Anat Cohen International Music Network [email protected] anatcohen.com

Dancing With The Dukes Marilyn Rosen Presents [email protected] dukesofdixieland.com

Performing New Orleans Light Classics Swinging Jazz, for over 45 years, with orchestras around the world, including Boston, Cirque de la Symphonie Cleveland, Dallas, [email protected] Guatemala, San Diego cirquedelasymphonie.com and Seattle.

americanorchestras.org SPECIAL ADVERTISING SECTION 57 Symphony Pops Listings 2018

Light Classics (continued)

Richard Glazier – Gershwin – Remembrance and Discovery; He’s Playing Our Song – Great Music from Stage and Screen; Broadway to Hollywood; and A Salute to Judy Garland and Friends Andersen Arts Group [email protected] andersenreps.com Other

Thomas Pandolfi Cirque de la Symphonie [email protected] Classics Alive Artists cirquedelasymphonie.com [email protected] classicsaliveartists.org

“Thomas Pandolfi: Passionately Rainer Hersch (Comedy) charismatic, stylishly engaging—the Rainer Hersch Comedy & Classical Music warm lyricism of his piano will deeply [email protected] touch you, and leave you with a rainerhersch.com song in your heart.” 2018/19 Season Repertoire: thomaspandolfi.com/popsconcertos. Rainer Hersch will make your orchestra funny. A brilliant stand- up comedian who conducts his own hilarious arrangements of the classics—30 million views on YouTube. Ideal for holiday, pops, and fundraisers.

Music City Hit-Makers [email protected] musiccityhitmakers.com Opera/Operetta A Nashville-style “songwriters-in-the-round” with a symphonic twist! Hear the stories behind The Merry Widow in Concert Nashville’s biggest hits plus Broadway Pops International symphonically re-imagined [email protected] acoustic performances by the broadwaypops.com songwriters who penned them for today’s biggest stars! Camille Zamora Greenberg Artists [email protected] greenbergartists.com The Second City Guide to the Symphony (Comedy) Columbia Artists [email protected] columbia-artists.com

58 SPECIAL ADVERTISING SECTION symphony FALL 2018 Symphony Pops Listings 2018

Symphonic Arrangement: Suite for Flute & Jazz Brass Transit ... The Musical Legacy of Chicago Piano (Score Rental) Marilyn Rosen Presents Steve Barta (Arranger) [email protected] [email protected] marilynrosenpresents.com stevebartamusic.com/index.php/rent-a-score Brass Transit “nails” the Music Now available for rental: Claude of Chicago with Grand Rapids Bolling’s chart-busting classic, Symphony. “A high energy, Symphonic Arrangement:Suite hit-filled, crowd-pleasing, for Flute & Jazz Piano. “A studio-tight powerhouse with thousand Bravos! A true and incredible orchestrations.” “Fantastic!” “Spellbinding!” modern arrangement!” —Claude Bolling

Ann Hampton Callaway – The Linda Ronstadt Songbook Marilyn Rosen Presents [email protected] marilynrosenpresents.com

This show celebrates Ronstadt’s songs from her pop/rock period as well as classics from her Nelson Riddle CDs.

Rock/Pop Classical Night Fever – The Ultimate Symphonic Best of ’70s Disco Marilyn Rosen Presents [email protected] Patti Austin – “The Music of Glory, Raising the Spirit” marilynrosenpresents.com Marilyn Rosen Presents [email protected] The performers take the marilynrosenpresents.com stage in stylin’ afros, head- turning costumes, and groovy choreography. It’s a Dave Bennett’s “Whole Lotta Shakin’: Swing to ’70s disco tribute, feel-good Rock” musical extravaganza you won’t soon forget! Marilyn Rosen Presents [email protected] marilynrosenpresents.com Dancing in the Street: Music of Motown and More Greenberg Artists Hold onto your seats as multi- [email protected] instrumentalist Dave Bennett greenbergartists.com rocks the stage, saluting music from swing to rock-’n Indigo Girls ’roll to country, Elvis, Jerry Lee Columbia Artists Lewis and his Billboard-charting release Blood Moon. [email protected] columbia-artists.com

Blood Sweat & Tears featuring Bo Bice Michael Lynche Marilyn Rosen Presents Greenberg Artists [email protected] [email protected] marilynrosenpresents.com greenbergartists.com

americanorchestras.org SPECIAL ADVERTISING SECTION 59 Symphony Pops Listings 2018

Lila Downs International Music Network Rock/Pop [email protected] (continued) liladowns.com Natalie Merchant Eileen Ivers Columbia Artists Greenberg Artists [email protected] [email protected] columbia-artists.com greenbergartists.com

Nishat Khan Craig A Meyer International Music Network Harmony Artists Inc. [email protected] [email protected] nishatkhan.com almosteltonjohn.com Mambo Kings Craig A Meyer brings the electricity of Greenberg Artists Sir Elton John’s amazing catalog to life [email protected] with his spectacular concert Remember greenbergartists.com When Rock Was Young – The Elton John Tribute. Nikolai Massenkoff Sandra Calvin Randy Newman [email protected] Columbia Artists nikolaimassenkoff.us [email protected] columbia-artists.com Massenkoff Russian Folk Festival, featuring Queens of Soul Russian Folk Ballet and the Greenberg Artists Massenkoff Russian Folk [email protected] Festival Balalaika Soloists, starring “world-celebrated greenbergartists.com singer” Nikolai Massenkoff. Olympic Stadium, Seoul, Korea. Featured with symphony orchestras in San Revolution: The Beatles Symphonic Experience Francisco, Baltimore, Miami, Edmonton, Ontario, and Greenberg Artists Hawaii, with Nikolai as balalaika soloist [email protected] greenbergartists.com Pink Martini Musics by Frank Zappa: Orchestra En Regalia Marilyn Rosen Presents Columbia Artists [email protected] [email protected] marilynrosenpresents.com columbia-artists.com Robert Michaels – Cubamenco: Via Italia and Flamenco Fire Andersen Arts Group [email protected] andersenreps.com

Quartango Presents “Tango Tonight” Marilyn Rosen Presents [email protected] World Music marilynrosenpresents.com

Cherish The Ladies International Music Network [email protected] cherishtheladies.com/symphony

60 SPECIAL ADVERTISING SECTION symphony FALL 2018 Cherish the Ladies IRISH MUSIC, SONG & DANCE Celtic Pops Celebration

“A wonderful group of entertainers who are a joy to work with!” Keith Lockhart, Boston Pops “An astonishing array of virtuosity!” The Washington Post “The music is passionate, tender and rambunctious!” The New York Times

THEY HAVE PERFORMED 275 POPS CONCERTS WITH OVER 80 ORCHESTRAS!

THE BOSTON POPS • ATLANTA SYMPHONY • HOUSTON SYMPHONY • UTAH SYMPHONY • COLORADO SYMPHONY MILWAUKEE SYMPHONY • NORTH CAROLINA SYMPHONY • CINCINNATI POPS • RHODE ISLAND PHILHARMONIC NASHVILLE SYMPHONY • WEST VIRGINIA SYMPHONY • SAVANNAH SYMPHONY • SAN ANTONIO SYMPHONY DETROIT SYMPHONY • AUSTIN SYMPHONY • SPOKANE SYMPHONY • PASADENA POPS • VIRGINIA SYMPHONY SPRINGFIELD ORCHESTRA • KANSAS CITY SYMPHONY • OMAHA SYMPHONY • NEW MEXICO SYMPHONY BALTIMORE PHILHARMONIC • ROCHESTER SYMPHONY • BUFFALO PHILHARMONIC AND MANY, MANY MORE!

WWW.CHERISHTHELADIES.COM WE OWN ALL OUR CHARTS Bernard Labadie (seated) conducts a performance by the period string ensemble Les Violons du Roy, which he founded in 1984. He begins as principal conductor of New York’s modern-instrument Orchestra of St. Luke’s this season. Periodby Donald Rosenberg Marc Giguere Marc Crossing Musicians and orchestras are bridging formerly exclusive worlds, as they increasingly embrace early music, Baroque, Classical, and modern sounds.

ntil recent decades, modern play- ers tended to view period instru- Uments with suspicion: the equip- ment was widely considered unreliable. And specialized period players weren’t too sure about the stylistic accuracy of modern orchestras. But the borders between these camps have opened to healthy effect. More and more professional musicians juggle dissimilar instruments as they perform with both types of ensembles. Conductors who previously devoted themselves to pe- riod orchestras are now welcome presences with modern symphony and opera orches- tras, which in turn have become increas- ingly amenable to the stylistic wisdom of playing Baroque and Classical repertoire differently from music of later eras. These changes reflect, more broadly, the fact that an entire generation of mu- Steve J. Sherman sicians has grown up with technically su- Bernard Labadie conducts the Orchestra of St. Luke’s, where he begins as principal perb and musically exciting early-music conductor this season. For many years, performances. Acceptance of historically Labadie was music director of the informed performance (HIP) at orches- Canadian period ensemble Les Violons tras and conservatories around the coun- du Roy. try is a triumph for the movement, which

62 symphony FALL 2018 began in the late nineteenth century and, Miho Hashizume has played violin in the especially since the 1950s, has championed Cleveland Orchestra since 1995 and performs from time to time on Baroque violin with performance practices of the periods when Apollo’s Fire, the Cleveland Baroque Orchestra. the music was written. Opposition to HIP ideas has ebbed as musicians have made more journeys be- tween the period and modern worlds. ized. Medieval music is very specialized— British conductor Jonathan Cohen, found- I don’t understand it, and so I don’t do it.” er and artistic director of the early-music In the best hands and embouchures, his- ensemble Arcangelo and music director of torically informed artistry once perceived Canada’s Les Violons du Roy period string as out of tune or thin or even ungainly to- ensemble, is an artistic partner at the St. day stands on par with the most sophisti- cated modern-orchestra virtuosity. “When An entire generation of I was playing flute in modern orchestras in musicians has grown up the 1970s,” McGegan recalls, “we played with technically superb and more or less everything in the same way. Roger Mastroiann Obviously, things like string vibrato didn’t musically exciting early-music change very much whether it was the B play on so that it comes with all the dy- performances, with musicians minor Mass or modern music. It was like namics, articulations, and bowings,” he today making more journeys buying gloves: one size fits all. As a result, says. “Particularly for a modern orchestra, Crossing the period-instrument people, when they say I come in on a Tuesday. On the pre- between the period and came along, were fixated on style, because ceding Saturday night they might have modern worlds. modern orchestras didn’t really care about just played a Mahler symphony or Tchai- period style to the same degree.” kovsky or Shostakovich. They’ve got a sty- Paul Chamber Orchestra in Minnesota. listic gear change which is pretty big, so it’s Québécois conductor Bernard Labadie, Period Jamming good if I’ve got camera-ready music. They who founded Les Violons du Roy and was McGegan has conducted many of Amer- don’t have to wonder if a note is long or its music director for three decades, begins ica’s major symphony orchestras, and he short or a downbow. For period-instru- this fall as principal conductor of New doesn’t find rehearsing them too different ment orchestras, I’m less organized, partly York’s Orchestra of St. Luke’s. Even the from working with his own band, Phil- because the musicians don’t always want Juilliard School, whose orchestral program harmonia Baroque—for a specific reason. it. They want some help, but a period- traditionally focused on the meat-and- “If I’m with, say, the Cleveland Orchestra, instrument orchestra is sort of like a jazz potatoes Classical and Romantic periods, a modern orchestra, as far as possible I’m orchestra. They pride themselves on their established a graduate-level historical per- bringing my own materials for them to ability to jam.” formance program in 2008. British conductor Nicholas McGegan, music director of San Francisco’s Phil- harmonia Baroque Orchestra and Cho- rale, has been playing with or conducting period and modern orchestras for nearly half a century, and he believes things have changed enormously. “Modern and pe- riod-instrument musicians have learned from each other,” he observes. “Modern orchestras now have a good way of playing Classical music—they’ve moderated their vibrato. Period orchestras have stopped be- ing fixated about style and become more interested in making music. “People no longer talk about the ‘haz- ardous instruments’ in period-instrument orchestras. That sort of ‘we’re playing it on period instruments, so we can’t do it very

well,’ doesn’t go anymore. Both sets of mu- Frank Wing sicians play to very high levels, and they In 2017, San Francisco’s Philharmonia Baroque Orchestra and Chorale staged Rameau’s opera are influenced by each other. That’s not to La Temple de la Gloire. Pictured with the cast are Music Director Nicholas McGegan (center) and say there isn’t early music that isn’t special- Catherine Turocy (next to McGegan) of New York Baroque Dance, who directed the production. americanorchestras.org 63 British conductor Nicholas McGegan, music director of San Francisco’s Philharmonia Baroque Orchestra and Chorale, has

been playing Randi Beach with or conducting period and modern orchestras for nearly half a century.

Toronto Symphony Orchestra. While in Toronto, Hashizume discussed playing in Tafelmusik Baroque Orchestra with then-music director Jeanne Lamon but opted to join the Cleveland Orchestra. Although Hashizume doesn’t play baroque Suzanne Karp violin much these days, she still has “to Members of San Francisco’s Philharmonia Baroque Orchestra with Music Director Nicholas make the adjustment to that modern idea, McGegan which is very much sound-oriented as op-

McGegan’s point about period mu- soloist—with Apollo’s Fire, the Cleveland “Modern and period- sicians not always wanting everything Baroque Orchestra, whose music director, instrument musicians have spelled out defines how much players and Jeannette Sorrell, is admired for her abil- conductors must contribute when facing ity to lead modern orchestras with HIP learned from each other,” says music from distant eras that might contain panache. Hashizume started on modern Nicholas McGegan, music little more information than instrumenta- violin in her native Japan and discovered director of San Francisco’s tion, key signatures, time signatures, and its predecessor in college, when she be- notes—with few tempo markings, articu- came enamored of French Baroque com- Philharmonia Baroque lations, or expressive guidance. In many re- posers Jean-Philippe Rameau and Marin Orchestra and Chorale. spects, these works require a kind of inter- Marais—“precious music that you could pretive imagination that period musicians only be able to express by baroque instru- find liberating. ments. I thought that was my thing,” she posed to harmony-oriented,” she points Miho Hashizume, a violinist in the recalls. Her journey took her to Wyoming out. “In Baroque, you don’t have to force Cleveland Orchestra since 1995, has sa- and then to Cleveland, where she studied your sound, and you play with delicate nu- vored the chance to return occasionally to modern violin at the Cleveland Institute ances rather than projection. Modern is the baroque violin and play—sometimes as of Music before winning a position in the more about sound and projection. I feel modern to be more physical, almost like a sporting event. Baroque is more about the emotion of the music.”

Crossing Over British horn player Andrew Clark spent more than two decades taking the train back and forth between Sussex and Lon- don, where his professional life was a sprint of performances with the city’s lead- ing period-instrument and modern or- chestras. He played with a great variety of prominent period and modern ensembles: from the Orchestra of the Age of Enlight- enment, Amsterdam Baroque Orchestra, Academy of Ancient Music, English Con- cert, and English Baroque Soloists to the Miho Hashizume (pictured center in the violin section of the Cleveland Orchestra), also performs occasionally on Baroque violin with Apollo’s Fire, the Cleveland Baroque Orchestra. Royal Philharmonic, Philharmonia Or- Roger Mastroiann chestra, London Philharmonic, and Eng-

64 symphony FALL 2018 spend significant time on the road. Indi- chestra, but he’s gratified when conductors ana-born, Austrian- and German-raised experienced in period performance team cellist Paul Dwyer, who holds degrees up with the ensemble’s modern players. from the Oberlin Conservatory, Univer- “People are very much open to it, and they sity of Michigan, and Juilliard Historical really like it when [Baroque and Clas- Performance, makes most of his living as sical specialist] Harry Bicket comes in. assistant principal cello of Chicago’s Lyric He’s amazing at addressing stylistic ideas Opera Orchestra. But since the company’s without making it be about historical per- season runs essentially September through formance or some kind of dogma. He gets March, he has the rest of the year to per- people to want to play with him musically. form, on baroque cello, with the Diderot People are on board with him.” String Quartet, the string ensemble AC- RONYM, and at music festivals. His New Music for Old Instruments mailing address is Brooklyn, New York, Players and conductors aren’t the only where he lives with his wife, baroque vio- ones crossing over from period to modern linist Adriane Post, when they have the orchestras, or vice versa; so are adminis- rare privilege of being at home. trators. David Snead was vice president British horn player Andrew Clark is currently Like all musicians who alternate between of marketing for based in the Pacific Northwest, where he crosses from historical to modern horns and historical and modern instruments, Dwyer the New York Phil- back again with multiple ensembles. says switching gears can be a challenge, harmonic until he both physically and artistically: “Often it became president lish Chamber Orchestra. Today, based in depends on the repertoire. Just from a tech- and chief executive the Pacific Northwest, he crosses from his- nical standpoint, I’m lucky that my two cel- Cellist Paul Dwyer torical to modern horns and back again to los have quite similar spacing so it doesn’t alternates between play with such ensembles as the Vancou- take a large adjustment time. You have to historical and modern ver Island Symphony Orchestra, Victoria be quick on your feet and flexible, not only instruments. Baroque Players, Oregon Bach Festival, Portland Baroque Orchestra, and Seattle’s Pacific MusicWorks. He sees significant differences in the way they operate. “Your typical modern instrument in a symphony orchestra is rather like offering the con- ductor the blank slate for him to shape according to his inspiration,” says Clark, who lives about 60 miles north of Victo- ria, British Columbia, where he makes and repairs horns and trumpets when he’s not leading his double musical life. “With period ensembles, there tends to be a more recognized way of playing you start with, which is making an interpreta- tion and then the director will modify to their will. This is only a question of degree. Jan Gates Many modern-instrument performers are Above: Paul Dwyer (second from left) performs with fellow members of the period-instrument imaginative in their interpretations. But Diderot String Quartet (left to right) Johanna Novom, Kyle Miller, and Adriane Post, January 2018. you wait for the conductor to tell you how to do it, where that’s not the way with pe- riod-instrument performers. They play the in playing different instruments but also of Boston’s Handel and Haydn Society in music the way they’ve been trained to do the style. It certainly takes compromise.” 2015, joining forces with Baroque expert it and researched through historically in- In other words, musicians versed in per- and artistic director Harry Christophers. formed practice.” formance practice often find themselves One of the oldest music ensembles in the For musicians rooted in the HIP move- collaborating with colleagues familiar country—founded in 1815—the Handel ment, crossing over to mainstream per- mostly with the nineteenth- and twen- and Haydn Society embraces historically formance often is a matter of practical- tieth-century proclivities of most music informed performance; after all, it was or- ity: North America possesses fewer than schools. Dwyer says he has ideas about ganized when the ink wasn’t dry on what two dozen full-time professional period Mozart style he wouldn’t think of impos- are now canonic works. Snead had been orchestras, requiring many musicians to ing as a member of the Lyric Opera Or- introduced to HIP insights when the New americanorchestras.org 65 Straddling both worlds: David Snead, president and chief executive of Boston’s Handel and Haydn Society since 2015, was previously vice president of marketing for the New York Philharmonic. Gretjen Helene Gretjen

to put the modern instrument away for a couple of years.” He took up modern bas- soon again while in Toronto and has spent

Chris Lee summers performing on both modern and

Artistic Director Harry Christophers conducts Boston’s Handel and Haydn Society orchestra and period instruments—including dulcian, a chorus. The Handel and Haydn Society is one of the oldest ensembles in the country, established predecessor of the bassoon—at the Car- in 1815. mel Bach Festival in California. The festival’s 2018 season contained York Philharmonic performed Handel’s ence,” says Teresi. “But I really loved the such varied fare as the opening program’s Messiah led by period conductors McGe- things he was telling me to do. I was natu- pairing of Bach’s First Orchestral Suite gan, Labadie, and Andrew Manz. “Those rally attracted to earlier music. It made a and Orff ’s Carmina Burana, prompting guys were really showing me something lot of sense to me, and I enjoyed the rheto- Teresi to switch stylistic gears while only in the music I hadn’t heard before,” Snead ric and the approach to music he was ad- playing modern bassoon. “That was chal- says, noting how “light and effervescent” vocating.” lenging,” he says, “because when I play Ba- he found these interpretations. The experience inspired Teresi to pur- roque music using the modern bassoon, I Now that he is overseeing the Handel sue a doctorate in early music at Indiana come to it with a different approach that and Haydn Society in a city that is also University. During those studies, he aban- suits the music. I’m blowing in a different home to the Boston Symphony Orchestra, doned his modern bassoon for two years way, not vibrating, and those things are Snead is more convinced than ever that and won the principal post with Tafel- very linked on the baroque bassoon. When there’s ample room for both approaches. musik—and realized something he tells switching over to the Orff, it requires al- “Obviously, we have another band in town his baroque bassoon students: “It’s very most a complete rejig of the way you play. here,” he says. “They are world-famous and difficult to not only learn the instrument, Your air is more focused, and there’s more formidable. We have to create our own but to unlearn things that are so habitual intensity in the support.” niche in this marketplace. What we’re all to you on a modern instrument. I needed There are crossing-over pluses, too. Mc- trying to promote is the ex- perience of hearing the music performed the way we do it, not better or worse, just a dif- ferent take from a symphony orchestra. Otherwise, we wouldn’t survive.” Dominic Teresi, principal bassoon of Tafelmusik and a faculty member in the Juil- liard Historical Performance Program and at the Univer- sity of Toronto, was a modern bassoonist at Yale Univer- sity when he met the eminent Dutch baroque violinist and Richard Termine Richard conductor Jaap Schröder, a Sian Richards visiting professor. “I didn’t Bassoonist Dominic Teresi performs at the Juilliard School of Music’s Paul Hall with violinist Robert Mealy, director know who he was, and I had of the Juilliard Historical Performance Program. Teresi is principal bassoon of Tafelmusik and a faculty member at no Baroque-music experi- the Juilliard Historical Performance Program and the University of Toronto.

66 symphony FALL 2018 Sian Richards

Dominic Teresi (back row, third from right) is principal bassoon of Tafelmusik Baroque Orchestra, pictured above.

Gegan, in addition to animating Baroque decades ago, La Chapelle de Québec. The ways played modern instruments, but with and Classical repertoire, relishes mixing concert will pair Haydn’s Nelson Mass with period bows since 1989. “At that time, us- old and the new with his Philharmonia Mozart’s Requiem, in the completion by ing period bows was still seen as a bridge Baroque: He commissions such compos- musicologist and composer Robert Levin. to switching to period instruments,” he ers as Jake Heggie, Caroline Shaw, and A self-described “very ordinary recorder says. “However, that combination of peri- Matthew Aucoin to write works featuring player turned horrible singer,” Labadie od bows and modern instruments created period instruments. “If you must play Te- a distinctive sound. Les Violons stands out lemann concertos all day, you’re not chal- Dominic Teresi, principal as an example really of building bridges lenging the musicians to get any better bassoon of Tafelmusik and a between the modern orchestra and the or the audience to hear things that have period orchestra. Because of that experi- never been played before,” says McGegan. faculty member in the Juilliard ence of the 30-some years I spent working “So for us here particularly—we’re leaders Historical Performance with these people, I kind of turned into a on this, doing new music for old instru- Program and at the University specialist helping modern orchestras speak ments—I find it tremendously exciting.” the language of performance practice. I’ve of Toronto, says he was been walking that thin line between those Period Bows, Modern Instruments “naturally attracted to earlier two for my whole career. I’m still a fan of Bernard Labadie is another conductor who music. It made a lot of sense period instruments. But they’re not the has developed a thriving musical life with only ones.” both period and modern orchestras. The to me.” Labadie flexed his artistic muscles by ap- founder and former music director of Les pearing as a guest with symphony orches- Violons du Roy makes his debut as prin- realized early in his career that, as he re- tras and serving as artistic director of Opéra cipal conductor of New York’s modern- calls with a laugh, he “was better making de Québec and Opéra de Montréal. Not instrument Orchestra of St. Luke’s during other people play and sing than doing it that the road was easy at first. “I remem- the 2018-19 season, starting with an Octo- myself.” In college, he created La Chapelle ber a few gigs with an orchestra that will ber program at Carnegie Hall “mixing my de Québec and then, in 1984, Les Violons remain nameless where there was actually two families,” he says, referring to St. Luke’s du Roy. But he didn’t go whole-hog HIP a lot of resistance to my interpretive ideas,” and the choir he created more than three with the latter, whose musicians have al- he recalls. “The first years were pretty rocky. americanorchestras.org 67 The League of American Orchestras would like to thank the following sponsors and program funders for their support of the 73rd National Conference.

Akustiks LiveNote®, A collaboration of the American Express Philadelphia Orchestra and The Amphion Foundation InstantEncore An Evening with Jorge Calandrelli, Kamron Coleman Art Legendary Arranger to the Stars The Andrew W. Mellon Foundation Arts Consulting Group The Elizabeth Morse Charitable Trust The Arts Firm, Inc. National Endowment for the Arts Bennett Direct Newzik Boomerang Carnets | CIB Onstage Publications Broadcast Music, Inc. (BMI) Opus 3 Artists Chicago Symphony Orchestra JGC, Pata Negra Cava Association Trustees Partners in Performance Colbert Artists Management Patron Manager Columbia Artists Management, LLC RATstands Ltd The Aaron Copland Fund for Music Robert Swaney Consulting Fisher Dachs Associates Sciolino Artist Management Ford Motor Company SD&A Teleservices, Inc. Ford Motor Company Fund ShopTheSymphony.com The Francis Goelet Charitable Lead SOS Global Express Trusts TALASKE | Sound Thinking Irving Harris Foundation Threshold Acoustics IDAGIO GmbH Virginia B. Toulmin Foundation IMG Artists TRG Arts The Joyce Foundation Video Ideas Productions The Wallace Foundation WFMT Radio Network

We look forward to seeing you in Nashville for the 74th National Conference, June 3-5, 2019. To inquire about sponsorship opportunities for the 2019 Conference, please contact Steve Alter at 646 822 4051 or [email protected]. ADVERTISERINDEX

Carnegie Hall...... 9

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Michael DiVito Jaume Serra Cristalino Winery...... 13 In recent years, the New York Philharmonic has performed League of American Orchestras...... 20, 32, Handel’s Messiah using a smaller-than-usual orchestra 68, C3 playing modern instruments and incorporating historically informed performance Marilyn Rosen Presents...... 49 practices. Left: a 2007 Messiah performance led by Onstage Publications...... 15 Nicholas McGegan; above: a 2010 performance led by Bernard Labadie; top: a 2013 TRIO: A Novel Biography of the performance led by Andrew Manze. Schumanns and Brahms...... 24 Michael DiVito

Of course, I did not have the experience I cause the conductors—even those who UIA Presents...... 38 have now. I often say in conducting, it’s 25 don’t have a background in HIP—are in- percent competence and 75 percent psy- terested in this and want these orchestras Under The Baton, LLC...... 14 chology. When you’re in your 20s and 30s, to do it. People are still perfectly capable the psychology side is not very developed. of hearing Bach in a completely modern So I had to learn.” style. But I think musicians are coming Video Ideas Productions...... 41 Bassoonist Teresi observes that an- around.” tagonism toward period instruments Wallace Foundation...... 1 and style has diminished greatly as new DONALD ROSENBERG is editor of EMAg, generations of performers have emerged. the magazine of Early Music America, and Young musicians “are kind of growing author of The Cleveland Orchestra Story: “Second Word Pros, Inc...... 25 up with it and not even questioning it,” to None” and a novel, Maestro Murders. He holds he says. “Students in music schools now degrees from the Mannes College of Music Yamaha Corporation of America...... 3 understand that historical performance is in New York and the Yale School of Music in something you need to know about be- French Horn performance—modern style. americanorchestras.org 69 LEAGUE OF AMERICAN ORCHESTRAS

With the support of our valued donors, the League continues to have a positive impact on the future of orchestras in America by helping to develop the next generation of leaders, generating and disseminating critical knowledge and information, and advocating for the unique role of the orchestral experience in American life before an ever-widening group of stakeholders. We gratefully acknowledge the generosity of the following donors who contributed gifts of $600 and above in the last year, as of August 28, 2018. For more information regarding a gift to the League, please visit us at americanorchestras.org/donate, call 212.262.5161, or write us at Annual Fund, League of American Orchestras, 33 West 60th Street, 5th Floor, New York, NY 10023.

$150,000 and above Trine Sorensen & Michael Jacobson LEAGUE OF AMERICAN Bruce and Martha Clinton Penny and John Van Horn ✧ on behalf of The Clinton Family Fund Geraldine Warner ORCHESTRA’S NOTEBOOM Ann & Gordon Getty Foundation Leslie Miller and Richard Worley Foundation GOVERNANCE CENTER The Andrew W. Mellon Foundation The League of American Orchestras’ Sargent Family Foundation $5,000–$9,999 ✧ Noteboom Governance Center was created Cynthia Sargent Alsdorf Foundation in recognition of former League Board Chair Virginia B. Toulmin Foundation Burton Alter Lowell Noteboom, honoring his longstanding Ford Motor Company commitment to improving governance $50,000–$149,999 John and Paula Gambs practice in American orchestras. We gratefully American Express Marian A. Godfrey acknowledge the generosity of the following donors who have made commitments to The Edgemer Foundation Francis Goelet Charitable Lead Trust support the Center. Ford Motor Company Fund Irving Harris Foundation Mrs. Martha R. Ingram Jim Hasler Alberta Arthurs ✧ The Joyce Foundation The Hyde and Watson Foundation Dr. and Mrs. Malcolm Brown National Endowment for the Arts Paul R. Judy John and Janet Canning † ✧ The Negaunee Foundation Dr. Hugh W. Long Richard and Kay Fredericks Cisek The Wallace Foundation Kjristine Lund Melanie Clarke Bruce and Martha Clinton, on behalf of Mattlin Foundation ✧ $25,000–$49,999 The Clinton Family Fund ✧ Anthony McGill Dr. and Mrs. Malcolm McDougal Brown Catherine and Peter Moyé Gloria dePasquale Melanie Clarke Princeton Symphony Orchestra Board of Trustees Phillip Wm. Fisher Fund The Aaron Copland Fund for Music Helen P. Shaffer Marian A. Godfrey ✧ ✧ Peter D. and Julie Fisher Cummings Connie Steensma and Rick Prins Marcia and John Goldman Phillip Wm. Fisher Support Foundation Laura Street Margot and Paul Grangaard, in honor of Howard Gilman Foundation Phoebe and Bobby Tudor Lowell and Sonja Noteboom The Hagerman Family Charitable Fund Steve Turner Douglas and Jane Hagerman Douglas and Jane Hagerman Lisa & Paul Wiggin Charitable Fund Daniel R. Lewis † New York City Department of Cultural Affairs Susan & Robert Wislow Charitable Foundation Dr. Hugh W. Long Steve and Diane Parrish Foundation Steve and Diane Parrish Foundation Sakana Foundation $2,500–$4,999 Mary Carr Patton Richard K. Smucker Lester Abberger & Dr. Amanda Stringer Daniel Petersen † Helen Zell The Amphion Foundation Barry A. Sanders † Alberta Arthurs Sakana Foundation $10,000–$24,999 Sargent Family Foundation Jennifer Barlament and Kenneth Potsic • ✧ Mr. & Mrs. William G. Brown Richard J. Bogomolny and Patricia M. Kozerefski Cynthia Sargent Trish Bryan † Sewell Charitable Fund ✧ The Brown Foundation, Inc. of Houston Richard Cisek and Kay Fredericks Cisek NancyBell Coe Penelope and John Van Horn John and Marcia Goldman Foundation Martha and Herman Copen Fund Tina Ward •† Lori Julian, on behalf of the Julian Family of The Community Foundation for Greater The Leslie Miller and Richard Worley Foundation New Haven Foundation Mark Jung Charitable Fund Gloria dePasquale Anonymous (1) Jim and Kay Mabie † Chris and Stephanie Doerr Alan and Maria McIntyre D.M. Edwards Alfred P. Moore in honor of Jesse Rosen, Tiffany Ammerman, Robert Kohl & Clark Pellett The Elizabeth Morse Charitable Trust and Vanessa Gardner John A. and Catherine M. Koten Foundation † Michael F. Neidorff and Noémi K. Neidorff Drs. Aaron & Cristina Stanescu Flagg Mr. and Mrs. Dennis W. LaBarre † Marilyn Carlson Nelson Catherine French † Robert and Emily Levine New York State Council on the Arts Gary Ginstling and Marta Lederer Alan Mason Lowell and Sonja Noteboom Joseph B. Glossberg Steven Monder † Mary Carr Patton Margot and Paul Grangaard Pacific Symphony Board of Directors Brian J. Ratner Philanthropic Fund Dietrich M. Gross Howard D. Palefsky of the Jewish Federation of Cleveland Mark and Christina Hanson • The Palefsky Family Fund of the Community Patricia A. Richards and William K. Nichols IMN Solutions Foundation for Greater Atlanta Drs. Helen S. and John P. Schaefer † Jacksonville Symphony Board of Directors Anne Parsons and Donald Dietz •

70 symphony FALL 2018 The Alfred and Jane Ross Foundation John and Regina Mangum Deborah F. Rutter † Yvonne Marcuse HELEN M. THOMPSON Michael and Jeanne Schmitz Jonathan Martin HERITAGE SOCIETY Enea and David Tierno Steve & Lou Mason † The League of American Orchestras graciously Melia and Mike Tourangeau Shirley D. McCrary † recognizes those who have remembered the Alan D. and Jan Valentine Judy and Scott McCue Fund League in their estate plans as members of the Kathleen van Bergen at the Chicago Community Foundation Helen M. Thompson Heritage Society. Frederick H. Waddell Debbie McKinney † Janet F. and Dr. Richard E. Barb Family Doris and Clark Warden † Paul Meecham † Foundation Simon Woods and Karin Brookes † Zarin Mehta † Wayne S. Brown and Brenda E. Kee † Julie Meredith John and Janet Canning † ✧ $1,000–$2,499 David Alan Miller Richard and Kay Fredericks Cisek Jeff and Keiko Alexander Evans Mirageas and Thomas Dreeze Martha and Herman Copen Fund of the Tiffany and Jim Ammerman Jennifer Mondie Community Foundation for Greater Eugene & Mary Arner Michael Morgan † New Haven Beracha Family Charitable Gift Fund Becky and Mark Odland † Myra Janco Daniels Aubrey & Ryan Bergauer Michael Pastreich Samuel C. Dixon • ✧ Marie-Helene Bernard • Mark D. Peacock, M.D. Henry and Frances Fogel ✧ William P. Blair III Peter M. Perez Susan Harris, Ph.D. Barbara Bozzuto Ms. Cindy Pritzker Louise W. Kahn Endowment Fund of Elaine Amacker Bridges Raymond and Tresa Radermacher The Dallas Foundation Susan K. Bright Barbara S. Robinson The Curtis and Pamela Livingston 2000 Wayne S. Brown and Brenda Kee † Susan L. Robinson Charitable Remainder Unitrust Charles W. Cagle † Jesse Rosen Steve and Lou Mason † Janet and John Canning † Pratichi Shah Lowell and Sonja Noteboom Leslie and Dale Chihuly Dee & Tom Stegman Charles and Barbara Olton † Judy Christl Linda S. Stevens Peter Pastreich † Robert Conrad David Strickland Walter P. Pettipas Revocable Trust The Dirk Family Elizabeth & Joseph Taft Revocable Trust Rodger E. Pitcairn Timothy A. Duffy Joseph Tashjian Robert and Barbara Rosoff † Daniel & David Els-Piercey Manley Thaler Robert J. Wagner President, Thaler/Howell Foundation, Inc. Tina Ward •† Dawn M. Fazli ✧ Feder Gordon Family Fund Marylou and John D.* Turner Mr. and Mrs. Albert K. Webster Courtney and David Filner • Matthew VanBesien & Rosie Jowitt • Robert Wood Revocable Trust ✧ Henry & Frances Fogel Gus M. Vratsinas Anonymous (1) John and Michele Forsyte • Robert Wagner James M. Franklin † Linda and Craig Weisbruch † Terry Ann White Lawrence and Karen Fridkis Russell Jones and Aaron Gillies Camille Williams William Gettys Jill Kidwell Donna M. Williams Martha A. Gilmer Anna Kuwabara & Craig Edwards • Paul Winberg and Bruce Czuchna Gordon Family Donor Advised Philanthropic Joann Leatherby Fund James H. Winston Revocable Trust David Loebel Andre Gremillet Ginny Lundquist Jamei Haswell $600–999 Anne W. Miller † Sharon D. Hatchett Janet F. and Dr. Richard E. Barb Phyllis Mills † Howard Herring David R. Bornemann Donald F. Roth † Dr. & Mrs. Claire Fox Hillard Vice Chair, Phoenix Symphony Mr. David Snead Patricia G. Howard + Drs. Misook Yun and James William Boyd • Joan Squires • Benjamin Hoyer Doris & Michael Bronson Gabriel van Aalst Inner City Youth Orchestra of Los Angeles Elaine Buxbaum Cousins Kathleen Weir Vale James M. Johnson Scott Faulkner and Andrea Lenz † Melinda Whiting Burrows and John Burrows Emma (Murley) Kail • Jack and Marsha Firestone Cindy Kidwell Ryan Fleur and Laura Banchero † • Douglas W. Kinzey GE Foundation † Directors Council (former League Board) Peter Kjome Gehret Charitable Fund ✧ Emeritus Board Hess and Helyn Kline Foundation Edward Gill † Richard and Mary L. Gray • Orchestra Management Fellowship Program Joseph Kluger and Susan Lewis Fund Alumni Scott Harrison and Angela Detlor Donald Krause and JoAnne Krause † + Includes Corporate Matching Gift Daniel & Barbara Hart • Wilfred and Joan Larson Fund * Deceased at the Community Foundation for Greater Betsy Hatton Buffalo † H.T. and Laura Hyde Charitable Fund Sandi M.A. Macdonald & Henry J. Grzes at East Texas Communities Foundation † americanorchestras.org 71 CODA

Tackling Music—and Football

At age 22, pro football player Lorenzo Carter is having a dream year: it’s his rookie season as a linebacker for the New York Giants. The Norcross, Georgia native also studied cello—and plays the tuba. Here, he talks about his love of classical music, his wish to bring his cello to New York, and why you should always listen to your mother.

y parents always told me and my sisters that we have to be well-rounded. My mom was in a marching Mband, so she made sure that we knew how to read music. She they make it look easy. It’s the same with knew that you start with recorder—and music. Great musicians make it look ef- she taught us how to play it. We could play fortless. Once you sit down and start play- sports, but we had to pick up something ing, or you’re on the field and start moving besides sports. We all ended up picking around, you realize that it isn’t easy. But it up instruments—string instruments. My comes with time, and as long as you keep older sisters played the violin and viola. I practicing, you can get there. picked up the cello. I really didn’t have a If I had a son or a daughter I would choice. I was the youngest, so I just kind of encourage them to take up an instrument. got strong-armed into doing the orchestra. It’s just a great skill to have. You get a But I loved it. I just liked the sound of the Off the football field, New York Giants rookie lot out of yourself by joining the band or cello. In sixth grade, I think we spent a day Lorenzo Carter plays the cello. orchestra. Like being on a sports team, trying out each instrument, and the cello you have to sacrifice, you can’t just go off sounded the best to me. chart, off the script. You have to realize Around the same time I started playing to cello—at the University of Georgia everything is lined up for a reason. Music cello, I started playing football. When I I played four seasons of football, while is something that everybody can do. Ev- got really busy with sports in eleventh majoring in psychology. But I always liked erybody can make a beautiful sound—sad grade, I had to stop cello. I transferred listening to classical music. I download music, upbeat music. Music makes the high schools my sophomore year, to classical music onto my phone. I listen world go round. a school that had a better basketball to Yo-Yo Ma. I also listen to some of I’ve heard the Atlanta Symphony program and academics. The school I everything. In college, I used to go out to Orchestra. It was amazing. When I came transferred to didn’t have an orchestra, so I hear bands all the time, whenever I could. to my first New York Giants pre-season ended up joining the band. Before then, I I loved it. Athens, Georgia has a great live- training camp this summer, I didn’t bring was never really a brass instrument kind of music scene. I like pop and country music. my cello. But I am trying to find a way to guy. I was like, ‘Since I can’t do orchestra, Rap and hip-hop are the latest style in get my cello up here. And I hope to hear I might as well not do music.’ But one of my life! But I always liked classical music, some great music in New York City. This the teachers at the school convinced me anything from church organ to clarinet summer I didn’t have much free time, but to join the band, and I started playing the music and violin music. this fall, I’m going to be looking forward tuba. I was so happy I did, because when Some of the skills you learn studying to everything that I can get in New York you’re together with other people in music, music and playing football are the same. I City. So much art—so many possibilities! as one, in a band, it’s a great experience. didn’t expect that. In football, you see the And the New York Philharmonic and College was tough to stay connected players running around, and you think that Carnegie Hall…. Everything!

72 symphony FALL 2018 Mid-Winter Managers Meeting Save the Dates January 26-27 – Pre-meeting Seminar Marriott East Side Hotel January 27-28 – Meeting New York City

The League of American Orchestras invites executive directors and administrators of youth orchestras to attend the 2019 Mid-Winter Managers Meeting. It’s your opportunity to meet with fellow executives to hear and be heard about what is happening in the field today.

Go to www.americanorchestras.org/conferences-meetings/ for more information and to learn about our Pre-Meeting Seminar.

The League has established a group rate of $159/night + tax for the period of January 24-28, 2019 at the Marriott East Side Hotel, 525 Lexington Avenue, New York, NY 10017, www.marriott.com/nycea.

Room reservations can be made by calling 800 228 9290 and referencing the “League of American Orchestras” room block.

NOTE: Rooms must be booked by Friday, January 11, to secure the League discount. 33 West 60th Street, 5th floor, New York, NY 10023-7905