Canton Symphony Orchestra knows the need for change within the orchestral community. The tradition of classical music has ignored many communities that have contributed to the development and canon of repertoire played in the concert hall. With “Orchestrating Change”, the Canton Symphony Orchestra hopes to facilitate conversations that will make the concert hall a more welcoming place for previously ignored communities as well as create more acceptance and diversity on the stage.
To open season four, we are thrilled to be joined by Anwar Nasir, Executive Director of the Louisiana Philharmonic Orchestra. Prior to his arrival in the Big Easy in the summer of 2021, he served as Chief Revenue and Advancement Officer at the Omaha Symphony, in addition to previous positions with the Los Angeles Philharmonic, Hollywood Bowl, and Atlanta Ballet. He is a Philadelphia native and a graduate of Syracuse University, who had a career as a professional dancer before pursuing arts management. He is also passionate about Diversity, Equity, and Inclusion in the Arts, serving on DEI committees with the League of American Orchestras and Tessitura Network and co-founding the Black Arts Leadership Alliance. Orchestrating Change is available wherever you get your podcasts. We also have a new website! Go to www.orchestratingchange.com to sign-up for email reminders, view past episodes, and see the various channels where you can view our content. For more information about everything else we are offering at this time, please visit www.cantonsymphony.org.
Today, we are joined by three members of the Minnesota Orchestra's Diversity, Equity and Inclusion Committee. Beth Kellar-Long is the Vice President of the Orchestra Administration, Sam Bergman is a violist in the orchestra, and Yvonne Cheek is a board member. Their committee was formed in 2015 after the orchestra went on a transformative tour to Cuba, and their work has led to impactful change in the organization. We are overjoyed to have them join us today for this conversation. Orchestrating Change is available wherever you get your podcasts. We also have a new website! Go to www.orchestratingchange.com to sign-up for email reminders, view past episodes, and see the various channels where you can view our content. For more information about everything else we are offering at this time, please visit www.cantonsymphony.org.
Our guest today is composer Angélica Negrón. Her works range from traditional orchestral and chamber pieces to compositions for accordion, toys, and electronics, and have been performed by such prestigious ensembles as the Dallas Symphony, the National Symphony, and the Kronos Quartet, among many others. She was an artist in residence at National Sawdust in Brooklyn and is currently a teaching artist for the New York Philharmonic's Very Young Composers program. Originally from Puerto Rico, she grew up playing piano and violin before coming to New York City for studies at New York University and the CUNY Graduate Center. Orchestrating Change is available wherever you get your podcasts. We also have a new website! Go to www.orchestratingchange.com to sign-up for email reminders, view past episodes, and see the various channels where you can view our content. For more information about everything else we are offering at this time, please visit www.cantonsymphony.org.
Our guest today is Tiffany Kinnard-Payton, Dean of Students at Walsh University here in Canton. She is an alumna of Walsh and has spent nearly fifteen years working serving her alma mater in the offices of residential life, student conduct, and multicultural affairs in addition to her current position. She is also a graduate of Project Blueprint, the United Way program started by Season 2 guest Flo Ginanni, which seeks to train people of color for membership on non-profit boards and is one of our newest board members here at the Canton Symphony Orchestra. Orchestrating Change is available wherever you get your podcasts. We also have a new website! Go to www.orchestratingchange.com to sign-up for email reminders, view past episodes, and see the various channels where you can view our content. For more information about everything else we are offering at this time, please visit www.cantonsymphony.org.
We are joined today by Quinn Mason, a conductor and composer based in Dallas, Texas. Writing for orchestra, wind ensemble, chamber ensembles, and more, Quinn has had his compositions played all over the world by ensembles such as the Dallas Symphony Orchestra, Memphis Symphony Orchestra, and San Francisco Symphony. As a conductor, Quinn has worked with Orchestra Seattle, MusicaNova Orchestra and the Greater Dallas Youth Orchestra. At only 25 years of age, he is already making a huge impact on the industry. Orchestrating Change is available wherever you get your podcasts. We also have a new website! Go to www.orchestratingchange.com to sign-up for email reminders, view past episodes, and see the various channels where you can view our content. For more information about everything else we are offering at this time, please visit www.cantonsymphony.org.
Today we welcome conductor Tiffany Chang to our podcast. Originally trained in the world of music education, Chang holds positions at both Oberlin Conservatory and Berklee College of Music, and previously served as interim director of orchestras at Baldwin Wallace Conservatory and Boston University. Lately, her focus has been geared more toward the professional realm, particularly the world of opera, where she serves as director of the North End Music and Performing Arts Center's Opera Project in Boston and has major engagements this season with Opera Columbus here in Ohio, as well as the Portland Opera in Oregon. She also runs the blog Conductor as CEO, which examines job satisfaction issues in the orchestral industry, and the role of the conductor in creating a healthy workplace culture. Orchestrating Change is available wherever you get your podcasts. We also have a new website! Go to www.orchestratingchange.com to sign-up for email reminders, view past episodes, and see the various channels where you can view our content. For more information about everything else we are offering at this time, please visit www.cantonsymphony.org.
We are joined today by Joshua Thomas, Vice President of External Affairs at the Philly POPS. He joined the Philly POPS in 2019 as their Senior Manager of Development, having previously worked in administrative roles at the Chamber Orchestra of Philadelphia and the Cathedral of Saints Peter and Paul. He is also active with The League of American Orchestras and served as a consultant and mentor for The Tessitura Network's Early Career Development Program. He is a graduate of Temple University, where he studied voice with a concentration in opera. Joshua Thomas, welcome to Orchestrating Change! Orchestrating Change is available wherever you get your podcasts. We also have a new website! Go to www.orchestratingchange.com to sign-up for email reminders, view past episodes, and see the various channels where you can view our content. For more information about everything else we are offering at this time, please visit www.cantonsymphony.org.
Today is the first time in our podcast's history that we welcome two guests: Jules Biber and Kallie Sugatski from ChamberQUEER, an LGBTQ+ chamber music organization in New York City dedicated to presenting and performing queer composers and musicians and highlighting historical queer figures in Classical music. Orchestrating Change is available wherever you get your podcasts. We also have a new website! Go to www.orchestratingchange.com to sign-up for email reminders, view past episodes, and see the various channels where you can view our content. For more information about everything else we are offering at this time, please visit www.cantonsymphony.org. https://orchestratingchange.com/3-4-chamberqueer/
Today, we are joined by Jazmin Morales, Assistant Director of the Center for Innovation and Community Impact at the Colburn School, a prestigious conservatory in Los Angeles. She is the founder of Fortissima, an artistic leadership development program for women of color in classical music. She is also an adjunct faculty member in the Arts Leadership Program at the University of Southern California, a consultant for NPR's From the Top and the Smithsonian Latino Center and serves on the board of both the City Youth Orchestra of Los Angeles and the Little Village Foundation. Orchestrating Change is available wherever you get your podcasts. We also have a new website! Go to www.orchestratingchange.com to sign-up for email reminders, view past episodes, and see the various channels where you can view our content. For more information about everything else we are offering at this time, please visit www.cantonsymphony.org.
We are joined today by Jeri Lynne Johnson, founder and artistic director of the Black Pearl Chamber Orchestra in Philadelphia. For over a decade, Black Pearl has been a model for diversity, equity, and inclusion in the orchestral industry as a racially diverse ensemble performing for a racially diverse audience - something that the rest of the industry has only recently begun to talk about. Jeri's career has taken her all over the world, where she has become the first Black woman to ever conduct some of the world's leading orchestras. She is also the founder of DEI Arts Consulting, which helps arts organizations to better serve the diverse communities in which we exist. Orchestrating Change is available wherever you get your podcasts. We also have a new website! Go to www.orchestratingchange.com to sign-up for email reminders, view past episodes, and see the various channels where you can view our content. For more information about everything else we are offering at this time, please visit www.cantonsymphony.org.
Orchestrating Change is back! We are so excited to present the first episode of Season 3! Our guest today is MJ Albacete, a native Cantonian who spent his entire professional career with the Canton Museum of Art, including serving as executive director for over 25 years. An arts educator equally versed in the visual and performing arts, he teaches classes on the history of art and architecture at Kent State Stark, has given pre-concert lectures both here at the Canton Symphony and at the Cleveland Orchestra, and hosts our online “Music History with MJ” series. He is a lifelong patron of the Canton Symphony and has been a loyal subscriber for 45 years. This podcast focuses on the voices of underrepresented professionals in the classical music industry, but this episode is a little different. To start off Season 3, we brought in long-time subscriber and music lover MJ Albacete to discuss why he thinks working towards a more equitable and diverse future is important for classical music. MJ is not a minority but represents a majority of the Canton Symphony Orchestra audience. We hope that his perspective will provide insight into the importance of this podcast and other initiatives like it. We hope you enjoy. Orchestrating Change is available wherever you get your podcasts. We also have a new website! Go to www.orchestratingchange.com to sign-up for email reminders, view past episodes, and see the various channels where you can view our content. For more information about everything else we are offering at this time, please visit www.cantonsymphony.org.
This episode marks the end of the first Orchestrating Change Leadership Program and Season 2 of the Orchestrating Change podcast. All summer, 9 college students met via Zoom on Tuesdays and Thursdays to discuss issues of diversity, equity, and inclusion; network with over 30 industry professionals; and develop skills to become to next leaders in the field of music. Along with this learning, the OCLP students worked together to create an educational program that would seek to actively combat issues of accessibility and inequality in our Canton community. Their final presentation left the staff and board of the CSO, along with community members, excited for what the future will hold here at the symphony. We cannot wait for 2022 and the next Orchestrating Change Leadership Program! We would like to thank OCLP participants Samaria Hill, Valerie Mathis, and Irene Guggenheim-Triana for lending their voices for this episode. "...it definitely lived up to its name, "Orchestrating Change". We as a collective group actually put something together, networked, and made something happen, which pleasantly surprises me. I feel like I contributed to something very important in the world of music and I'm very proud and blessed to have been a part of this!" - 2021 OCLP Participant Orchestrating Change is available wherever you get your podcasts. Go to www.cantonsymphony.org/orchestrating-change/ to sign-up for email reminders, view past episodes, and see the various channels where you can view our content. For more information about everything else we are offering at this time, please visit www.cantonsymphony.org.
We are joined today by internationally renowned pianist Shuai Wang. She performs extensively as both a soloist and chamber musician, including an appearance with the Canton Symphony Orchestra. She is currently on faculty at the Cleveland Institute of Music, and spends her summers teaching at Interlochen in Michigan. She is an alumna of both institutions, having received her high school diploma at the Interlochen Arts Academy and all of her post-secondary training up to and including her Doctor of Musical Arts degree at CIM. Chinese-American pianist Shuai Wang is recognized internationally as an accomplished soloist, recitalist and chamber musician. She has performed extensively in major venues such as Lincoln Center, Merkin Hall, and Symphony Space in New York, the Kennedy Center and Phillips Collection in Washington D.C., the Dame Myra Hess Concert Series in Chicago, the Gardner Museum in Boston and the Buffalo Chamber Music Series. Wang has appeared as soloist with the Cleveland Philharmonic Orchestra, Canton Symphony Orchestra, Tianjin Symphony Orchestra, Cleveland Institute of Music Orchestra, Heights Chamber Symphony, Suburban Symphony Orchestra, and the Cleveland State University Symphony Orchestra. She performed under the batons of Ton Koopman, JoAnn Falletta, Gerhardt Zimmermann, Robert Moody, Renchang Fu and Muhai Tang. Orchestrating Change is available wherever you get your podcasts. Go to www.cantonsymphony.org/orchestrating-change/ to sign-up for email reminders, view past episodes, and see the various channels where you can view our content. For more information about everything else we are offering at this time, please visit www.cantonsymphony.org.
Our guest today is Ryan Walks, Manager of the Talent Development Program at the Atlanta Symphony Orchestra, which has provided training and career development to young Classical musicians in the Black and Latino communities for over twenty-five years. Prior to entering the world of arts administration, he was trained as a trumpet player and music educator, receiving all of his degrees from historically Black universities. Ryan first joined the Atlanta Symphony Orchestra in 2017 in the Development Department and accepted the position as the Talent Development Program (TDP) 25th Anniversary Coordinator in June of 2018. Soon after, Ryan stepped in as Interim TDP Manager and was later named permanent TDP Manager in June of 2019. In his roles with the TDP, Ryan has worked diligently to deliver the highest results possible and has demonstrated his strong commitment to the program. A team player and diplomat, Ryan has done a great job of supporting the musicians, staff, volunteers and most importantly the TDP Fellows and their families. During the 2018/19 season, Ryan helped coordinate all aspects of the successful TDP Recital Series in the Fall of 2018, the TDP 25th Anniversary Celebration and Building Bridges Symposium. Orchestrating Change is available wherever you get your podcasts. Go to www.cantonsymphony.org/orchestrating-change/ to sign-up for email reminders, view past episodes, and see the various channels where you can view our content. For more information about everything else we are offering at this time, please visit www.cantonsymphony.org.
Today on Orchestrating Change, we welcome LaFlovia “Flo” Ginanni. She has been at United Way of Greater Stark County since 2013. She is currently the Director of United Way's Project Blueprint for Diversity, Equity, and Inclusion-a board and committee preparedness program designed to recruit, train, and place ethnically diverse leaders into policy making roles to enhance the effectiveness of nonprofit agencies. She is a Licensed Professional Counselor, as well as a certified Chemical Dependency Counselor Assistant. She holds dual bachelor's degrees in Psychology and Sociology, in addition to master's degrees in both Leadership Studies and Clinical Mental Health Counseling. She has worked in the social service, mental health, and criminal justice fields. Flo is a member of the Stark County NAACP, Strengthening Stark's Minority Action Committee, and Coming Together Stark County. She has served on the Board of Directors of Community One Credit Union since 2014 and is an active and involved member of L.I.F.E. Ministries International Church. In addition to being committed to living out her Christian values, she is very family oriented and sees that as her primary life's work! Orchestrating Change is available wherever you get your podcasts. Go to www.cantonsymphony.org/orchestrating-change/ to sign-up for email reminders, view past episodes, and see the various channels where you can view our content. For more information about everything else we are offering at this time, please visit www.cantonsymphony.org.
Today, we welcome Geetha Somayajula, a dedicated arts administrator, singer, conductor, and teacher currently based in Portland, Oregon. She is a graduate of the University of Southern California, where she earned degrees in choral music (BA) and business administration (BS). She has sung in prestigious ensembles and festival choruses including the youth chorus of the Oregon Bach Festival, the 2017 ACDA National Collegiate Honor Choir, and the USC Concert Choir and Chamber Singers. As the highlight of her academic work, Somayajula was awarded the U.S. Fulbright Scholarship for the 2018-19 academic year to study the practice, performance, and pedagogy of Indian classical music. Currently, Somayajula serves on the board of directors of Synchromy Music, a new music collective in Los Angeles, and Pacific Youth Choir, a children's choir in Portland. Additionally, she actively recruits students and creatives for the Fulbright program around the country as a Fulbright Alumni Ambassador. Professionally, she is a strategist at PricewaterhouseCoopers and provides guidance to Fortune 500 clients to help solve their toughest digital challenges. Orchestrating Change is available wherever you get your podcasts. Go to www.cantonsymphony.org/orchestrating-change/ to sign-up for email reminders, view past episodes, and see the various channels where you can view our content. For more information about everything else we are offering at this time, please visit www.cantonsymphony.org.
Today on Orchestrating Change, our guest is Rick Robinson: a composer and double bassist who was a member of the Detroit Symphony Orchestra for 22 years. Prior to joining the DSO, he played here in the Canton Symphony, as well as up the road with the Akron Symphony. He is the founder of Cut Time Productions, a publishing company dedicated to producing chamber arrangements of orchestral masterworks in an effort to make this music more accessible and available to wider audiences. An accomplished composer of original works as well, his Essay After Sibelius will be performed here in Canton next season. Watch on YouTube: https://youtu.be/FltAVoHFyBU During 22 years playing double bass in the Detroit Symphony Orchestra (DSO), Rick Robinson began attempting the difficult task of resetting the context of classical music in broader communities. Robinson began, however, in a fourth-generation musical family of Highland Park (MI). Then he began to lead as a bass student at Interlochen Arts Academy, Cleveland Institute of Music, New England Conservatory and summer festivals at Aspen and Spoleto. He held principal positions with both Akron and Canton symphony orchestras 1982-85, the Portland (ME) orchestra, as well as the Boston Pops Esplanade Orchestra directed then by composer John Williams. Orchestrating Change is available wherever you get your podcasts. Go to www.cantonsymphony.org/orchestrating-change/ to sign-up for email reminders, view past episodes, and see the various channels where you can view our content. For more information about everything else we are offering at this time, please visit www.cantonsymphony.org.
This week we are joined by Jeff Talbert, Superintendent of Canton City Schools. He has previously served as Superintendent of Alliance City Schools, also here in Stark County, in addition to positions with the Cleveland Heights-University Heights and Osnaburg Local School Districts. Before that, he was the principal at McKinley High School, right next door to us here at the Zimmermann Symphony Center. He has also been a classroom teacher and football coach, having played the sport during his four years at Muskingum College. Jeff is a Canton native, and proud alumnus of the district he now leads. Jeff Talbert is a 1989 graduate of Timken Senior High School. He earned his bachelor's degree from Muskingum College (New Concord, Ohio) where he played football for four seasons. He earned a masters' degree from Ashland University (Ashland, Ohio). During his career in education, he has been a classroom teacher, coach, assistant principal, principal, assistant superintendent, and superintendent. Orchestrating Change is available wherever you get your podcasts. Go to www.cantonsymphony.org/orchestrating-change/ to sign-up for email reminders, view past episodes, and see the various channels where you can view our content. For more information about everything else we are offering at this time, please visit www.cantonsymphony.org.
Our guest today is Ron Ponder, a man of many talents who has dedicated his life and career to civic and community engagement here in Canton. He has served as Deputy Mayor of Canton, President of the Stark County NAACP, and a Board Member of the Salvation Army. He was the host of “Points to Ponder”, which aired both on WHBC Radio for 10 years. He is currently the CEO of PonderSystems Media, which produces television programs for PBS affiliates, and is a Consultant to the Pro Football Hall of Fame and Village construction project. Orchestrating Change is available wherever you get your podcasts. Go to www.cantonsymphony.org/orchestrating-change/ to sign-up for email reminders, view past episodes, and see the various channels where you can view our content. For more information about everything else we are offering at this time, please visit www.cantonsymphony.org.
Our guest today is Dr. Ana Abrantes, Director of Education at the Sphinx Organization, one of our nation's leading organizations that is working to develop and support diversity and inclusion in Classical music. She holds a Doctorate in Cello Performance from the University of Georgia, and held several regional orchestra positions in that state, including Principal Cello of the Athens Symphony Orchestra. Before joining the Sphinx Organization, she held several positions with the Heifetz Institute, and is a certified instructor in the Suzuki Method. A native of Campos do Jordão, Brazil, Dr. Ana Abrantes serves as Director of Education for the Sphinx Organization overseeing the Overture Program, which serves elementary school students throughout Detroit and Flint, and the Sphinx Performance Academy, in partnership with the Curtis and Cleveland Institutes of Music and the Juilliard School. Orchestrating Change is available wherever you get your podcasts. Go to www.cantonsymphony.org/orchestrating-change/ to sign-up for email reminders, view past episodes, and see the various channels where you can view our content. For more information about everything else we are offering at this time, please visit www.cantonsymphony.org. Watch on YouTube: https://youtu.be/hYvegTX8kFI
We are joined today by two-time GRAMMY Award winning operatic bass-baritone Dashon Burton. Dashon’s repertoire runs the gamut from the Baroque period to the present, and he has performed with many of the world’s leading orchestras and opera companies. He is a member of the contemporary vocal ensemble Roomful of Teeth, and has devoted his career to breaking down the arbitrary walls of what it means to be a Classical singer and artist. As an internationally touring vocalist, he enjoys a particularly robust presence in early music, concert and orchestral music, and art song and recital. Although singing solo music from throughout the ages and traditions of classical music is the foundation of his work, his extensive experience in singing with ensembles has included work with Cantus, Conspirare, and the Grammy Award winning ensemble Roomful of Teeth. Orchestrating Change is available wherever you get your podcasts. Go to www.cantonsymphony.org/orchestrating-change/ to sign-up for email reminders, view past episodes, and see the various channels where you can view our content. For more information about everything else we are offering at this time, please visit www.cantonsymphony.org.
This episode will conclude our first season of Orchestrating Change. Our hosts, Rachel Hagemeier and Matthew Jenkins Jaroszewicz, reflect with Michelle Charles and Nathan Maslyk about how the podcast has affected them since it was first conceptualized last year. They discuss important lessons they have learned along the way, what they hope to accomplish in the future, and their favorite moments from Season 1. Thank you to everyone who has watched and listened this first season. We are incredibly grateful for your support and open ears as we navigate Canton Symphony Orchestra towards a brighter future of inclusiveness, equity, and diverseness in a field that has not always been. We are excited for the future and how we can better serve the Stark County community and beyond. Orchestrating Change is available wherever you get your podcasts. Go to www.cantonsymphony.org/orchestrating-change/ to sign-up for email reminders, view past episodes, and see the various channels where you can view our content. For more information about everything else we are offering at this time, please visit www.cantonsymphony.org.
This week’s discussion is with pianist, composer and educator Eric Gould. We discuss the history of non-white composers and he shares his own story as an African-American composer. As a person from a family of composers, Gould is able to give unique perspective to what it means to be a part of orchestral music as a non-white person and educates us on the rich history of composers of color. Eric Gould has enjoyed a multifaceted career as a pianist, composer, arranger, and educator. He has performed and recorded in collaboration with world-renowned instrumentalists such as Jimmy Heath, Ron Carter, James Newton, Bobby Watson, Antonio Hart, Winard Harper, Cindy Blackman, Terri Lynne Carrington, Cecil Bridgewater, Robin Eubanks, and Leon Lee Dorsey in addition to leading his own trio in performances from the Midwest to the East Coast. His debut CD, “On the Real”, rose to number 11 on the national jazz radio charts in the first quarter of 1999. His second CD, “Miles Away… Wayne in Heavy” rose to number 10 on the national charts and to number 45 (out of over 2500 releases) for the year 2000 His third CD, “Who Sez?” sold well from coast to coast, and appeared on radio playlists nationally. Patrons who wish to sign-up for email reminders may do so at www.cantonsymphony.org/orchestrating-change. More information, including additional episodes, will be released in our weekly newsletter and social media accounts. https://www.cantonsymphony.org/episode-10-eric-gould/ https://youtu.be/IJ0kXMH0GgM
Trigger Warning: This episode contains content discussing sexual assault and domestic abuse. Viewer discretion is advised. In this episode of Orchestrating Change we step outside the world of orchestral music to look at the music industry at large. Frequent guest artist with the Canton Symphony, Angie Haze, discusses the difficulties for independent musicians and the shift to online performance. What does it take for someone to become successful in this industry and why is cross genre support important to the survival of all genres of music? Award Winning Singer Songwriter, Angie Haze is a multi-instrumentalist, composer and producer. Her latest sound is evocative and experimental with a new, creep-pop appeal. Riveting and poignant, it features haunting vocal arrangements and diverse instrumentation. Haze fearlessly uncovers her viability as a way to enlighten and connect people. Her story of survival never fails to influence change. Angie Haze’s gritty performance features five-part vocal arrangements and a wide variety of musicians. Her band represents commonality that reflects the voices of distinct cultures. They clearly demonstrate compassion and a bond necessary to continue. Patrons who wish to sign-up for email reminders may do so at www.cantonsymphony.org/orchestrating-change. More information, including additional episodes, will be released in our weekly newsletter and social media accounts. https://www.cantonsymphony.org/episode-9-angie-haze/ https://youtu.be/iWyOa7W98bw
In today’s episode, Julian Maddox shares his own experience as a young musician of color in the orchestral world. We discuss what it really takes to bring about truly diverse programming on and off the stage and unpack “the canon” of orchestral music. This discussion gives us a glimpse into what work really needs to be done to bring inclusion and equity to our stages and musical institutions. Canton Symphony Orchestra knows the need for change within the orchestral community. The tradition of classical music has ignored many communities that have contributed to the development and canon of repertoire played in the concert hall. While Canton Symphony is a regional orchestral, change starts at the smallest level. With “Orchestrating Change”, the Canton Symphony Orchestra hopes to facilitate conversations that will make the concert hall a more welcoming place for previously ignored communities as well as create more acceptance and diversity on the stage. In addition to Orchestrating Change internally, educating audiences to issues surrounding diversity and inclusion will be a priority. Music by Black, Latinx, female, Asian, and LGBTQAI+ musicians and composers has been noticeably absent in the programming produced by established institutions in comparison to those who are white and male. Canton Symphony Orchestra hopes to be a more welcoming community that is reflective of the demographics in Canton, Ohio and the surrounding major metropolitan areas. Patrons who wish to sign-up for email reminders may do so at www.cantonsymphony.org/orchestrating-change. More information, including additional episodes, will be released in our weekly newsletter and social media accounts. https://youtu.be/eIVEtcB50ZA https://www.cantonsymphony.org/episode-8-julian-maddox/
Today on Orchestrating Change, we are joined by Music Director of the Canton Symphony Orchestra, Gerhardt Zimmermann. He shares his story as a physically disabled conductor through his long and prosperous career. We also discuss his views on the orchestral industry and what issues he has seen from the perspective of the music director. How has the industry changed and what can long standing professionals do to push the industry forward? Canton Symphony Orchestra knows the need for change within the orchestral community. The tradition of classical music has ignored many communities that have contributed to the development and canon of repertoire played in the concert hall. While Canton Symphony is a regional orchestral, change starts at the smallest level. With “Orchestrating Change”, the Canton Symphony Orchestra hopes to facilitate conversations that will make the concert hall a more welcoming place for previously ignored communities as well as create more acceptance and diversity on the stage. In addition to Orchestrating Change internally, educating audiences to issues surrounding diversity and inclusion will be a priority. Music by Black, Latinx, female, Asian, and LGBTQAI+ musicians and composers has been noticeably absent in the programming produced by established institutions in comparison to those who are white and male. Canton Symphony Orchestra hopes to be a more welcoming community that is reflective of the demographics in Canton, Ohio and the surrounding major metropolitan areas. Patrons who wish to sign-up for email reminders may do so at www.cantonsymphony.org/orchestrating-change. More information, including additional episodes, will be released in our weekly newsletter and social media accounts. https://youtu.be/HqyhuBCTWLk https://www.cantonsymphony.org/episode-7-gerhardt-zimmermann/
Today on Orchestrating Change, GRAMMY award-winning conductor, JoAnn Falletta, spoke with us about her journey to become one of the first female music directors of a major American orchestra and where she sees the future of orchestral music going. Her passion for the orchestra flowed through this conversation and made it very clear to us why she was able to shatter the glass ceiling of conducting. JoAnn Falletta serves as Music Director of the Buffalo Philharmonic Orchestra, Music Director Laureate of the Virginia Symphony Orchestra, Principal Guest Conductor of the Brevard Music Center and Artistic Adviser of the Hawaii Symphony Orchestra and the Cleveland Institute of Music Orchestra. Hailed for having ‘Toscanini’s tight control over ensemble, Walter’s affectionate balancing of inner voices, Stokowski’s gutsy showmanship, and a controlled frenzy worthy of Bernstein’, she is a leading force for the music of our time. Canton Symphony Orchestra knows the need for change within the orchestral community. The tradition of classical music has ignored many communities that have contributed to the development and canon of repertoire played in the concert hall. While Canton Symphony is a regional orchestral, change starts at the smallest level. With “Orchestrating Change”, the Canton Symphony Orchestra hopes to facilitate conversations that will make the concert hall a more welcoming place for previously ignored communities as well as create more acceptance and diversity on the stage. In addition to orchestrating change internally, educating audiences to issues surrounding diversity and inclusion will be a priority. Music by Black, Latinx, female, Asian, and LGBTQAI+ musicians and composers has been noticeably absent in the programming produced by established institutions in comparison to those who are white and male. Canton Symphony Orchestra hopes to be a more welcoming community that is reflective of the demographics in Canton, Ohio and the surrounding major metropolitan areas. Patrons who wish to sign-up for email reminders may do so at www.cantonsymphony.org/orchestrating-change. More information, including additional episodes, will be released in our weekly newsletter and social media accounts. https://www.cantonsymphony.org/episode-6-joann-falletta/
Today on Orchestrating Change, Marie-Helene Bernard guides us through a conversation about what it means to be a leader in the field of orchestral music. She speaks on her experience as both a female and an immigrant and how that has affected her leadership style and her view on the future of this field. She is dedicated to equity, diversity and inclusion in her organizations and strives to create an inclusive environment in her organizations so the future of orchestral music is more diverse and representative of the communities we serve. Canton Symphony Orchestra knows the need for change within the orchestral community. The tradition of classical music has ignored many communities that have contributed to the development and canon of repertoire played in the concert hall. While Canton Symphony is a regional orchestral, change starts at the smallest level. With “Orchestrating Change”, the Canton Symphony Orchestra hopes to facilitate conversations that will make the concert hall a more welcoming place for previously ignored communities as well as create more acceptance and diversity on the stage. In addition to Orchestrating Change internally, educating audiences to issues surrounding diversity and inclusion will be a priority. Music by Black, Latinx, female, Asian, and LGBTQAI+ musicians and composers has been noticeably absent in the programming produced by established institutions in comparison to those who are white and male. Canton Symphony Orchestra hopes to be a more welcoming community that is reflective of the demographics in Canton, Ohio and the surrounding major metropolitan areas. Patrons who wish to sign-up for email reminders may do so at www.cantonsymphony.org/orchestrating-change. More information, including additional episodes, will be released in our weekly newsletter and social media accounts. https://www.cantonsymphony.org/episode-5-marie-helene-bernard/
On today’s episode we discuss Michelle Charles’ career path and how she has navigated unexpected developments as the Executive Director of the Canton Symphony. What does an orchestral organization do when faced with events like COVID-19, racial injustice and the me too movement? What is the responsibility of the orchestra and how can the orchestra push to orchestrate change to create a more diverse and inclusive future? Michelle has been President & CEO since 2011. Previously serving in all capacities of the organization as chorus member and volunteer, board trustee and staff, she continues to be a driving force behind the increasing notoriety of the Canton Symphony. Michelle holds a Bachelor of Arts degree in Music History and Theory from Hiram College, where she graduated summa cum laude. Michelle is currently the Past President of the Rotary Club of Canton and District Governor Nominee Designate for Rotary District 6650 and is a Paul Harris Fellow. She is currently serving on the boards of The Friends of the Summit (91.3 FM) where she serves as Treasurer, and the Leadership Stark County Alumni Board. She was a member of the 27th Class of Leadership Stark County, and is currently a member of Woman’s Impact, Inc. In 2016, she was chosen to be a part of the Sisters of Charity Leadership Forum and is a member of Malone University’s President’s Advisory Council. In 2012, she was honored to be named one of the Twenty Under 40 and in 2018 was inducted to the YWCA of Stark County’s Women’s Hall of Fame. Canton Symphony Orchestra knows the need for change within the orchestral community. The tradition of classical music has ignored many communities that have contributed to the development and canon of repertoire played in the concert hall. While Canton Symphony is a regional orchestral, change starts at the smallest level. With “Orchestrating Change”, the Canton Symphony Orchestra hopes to facilitate conversations that will make the concert hall a more welcoming place for previously ignored communities as well as create more acceptance and diversity on the stage. In addition to orchestrating change internally, educating audiences to issues surrounding diversity and inclusion will be a priority. Music by Black, Latinx, female, Asian, and LGBTQAI+ musicians and composers has been noticeably absent in the programming produced by established institutions in comparison to those who are white and male. Canton Symphony Orchestra hopes to be a more welcoming community that is reflective of the demographics in Canton, Ohio and the surrounding major metropolitan areas. Orchestrating Change is available on all platforms, including Spotify, Apple Podcasts, Amazon Music, and PodBean. Patrons who wish to sign-up for email reminders may do so at www.cantonsymphony.org/orchestrating-change. More information, including additional episodes, will be released in our weekly newsletter and social media accounts.
In this episode of Orchestrating Change, we discussed issues of gender, sexuality, and representation through the lens of musicology. Destinee Siebe shared their own journey of self-discovery and how that has impacted their research and view of the history of classical music. How does diverse representation affect a listener? Where has diverse representation been present in music history and ignored and how do we commit to authentic representation in the future of classical music? All that and more, this week on Orchestrating Change. Destinee N. Siebe (she/her/hers or they/them/theirs) is a student musicologist, set to complete the Historical Musicology M.A. program at the University of Wisconsin-Madison in spring 2021. She is a graduate of Baldwin Wallace Conservatory, where she majored in Music History & Literature and studied bassoon with Mr. Jonathan Sherwin. In addition to her work with the Canton Symphony Orchestra this season, she has also been an invited speaker at graduate student conferences in the U.S. and Canada, as well as for events sponsored by the Baldwin Wallace Friends of the Conservatory organization. Her research interests are best described as “all things 20th and 21st century United States,” ranging from feminist archive strategies and understudied women composers, to the 21st century wind ensemble’s responses to tragedies and violence. Orchestrating Change is available on all platforms, including Spotify, Apple Podcasts, Amazon Music, and PodBean. Patrons who wish to sign-up for email reminders may do so at www.cantonsymphony.org/orchestrating-change. More information, including additional episodes, will be released in our weekly newsletter and social media accounts.
In today’s episode, Sara Beuchner takes us through her journey as a transgender woman and shares how her relationship with the orchestral community changed when she decided to transition. She educated us on the intolerance that still exists towards the transgender community and shared how she has navigated that bias and still managed to be an extremely successful concert pianist. Sara Davis Buechner is one of the leading concert pianists of our time. She has been praised worldwide as a musician of “intelligence, integrity and all-encompassing technical prowess” (New York Times). Japan’s InTune magazine says: “When it comes to clarity, flawless tempo selection, phrasing and precise control of timbre, Buechner has no superior.” Canton Symphony Orchestra knows the need for change within the orchestral community. The tradition of classical music has ignored many communities that have contributed to the development and canon of repertoire played in the concert hall. While Canton Symphony is a regional orchestral, change starts at the smallest level. With “Orchestrating Change”, the Canton Symphony Orchestra hopes to facilitate conversations that will make the concert hall a more welcoming place for previously ignored communities as well as create more acceptance and diversity on the stage. In addition to orchestrating change internally, educating audiences to issues surrounding diversity and inclusion will be a priority. Music by Black, Latinx, female, Asian, and LGBTQAI+ musicians and composers has been noticeably absent in the programming produced by established institutions in comparison to those who are white and male. Canton Symphony Orchestra hopes to be a more welcoming community that is reflective of the demographics in Canton, Ohio and the surrounding major metropolitan areas. Orchestrating Change is available on all platforms, including Spotify, Apple Podcasts, Amazon Music, and PodBean. Patrons who wish to sign-up for email reminders may do so at www.cantonsymphony.org/orchestrating-change. More information, including additional episodes, will be released in our weekly newsletter and social media accounts.
Today on Orchestrating Change, Kelly Corcoran leads us in a conversation about the perspectives of audiences and musicians in the field of classical music. She pushes us to see a possible future where tradition is honored and the future is embraced by diverse audiences and musicians. How can the field of orchestral music keep relevance in today’s times and how do we engage in music in our everyday lives in a way that will allow us to embrace the future of orchestral music? Canton Symphony Orchestra knows the need for change within the orchestral community. The tradition of classical music has ignored many communities that have contributed to the development and canon of repertoire played in the concert hall. With “Orchestrating Change”, the Canton Symphony Orchestra hopes to facilitate conversations that will make the concert hall a more welcoming place for previously ignored communities as well as create more acceptance and diversity on the stage. Named “Best Classical Conductor” in 2015 by the Nashville Scene, Kelly Corcoran is a passionate advocate for the robust place of classical music in our lives and the lives of future generations. Corcoran is Artistic Director of Intersection, a contemporary music ensemble dedicated to redefining the traditional concert experience with concerts for all ages. Corcoran conducted the Nashville Symphony for nine seasons both as Associate Conductor and Director of the Symphony Chorus where she conducted the orchestra in hundreds of performances. Corcoran has appeared as a guest conductor with many major orchestras including The Cleveland Orchestra, the Atlanta, Detroit, Houston, Milwaukee, and National Symphonies, often with return engagements. Abroad, Corcoran has appeared with orchestras in Argentina, Czech Republic, England, Germany, Spain, Mexico and Chile. Corcoran has worked with a range of artists such as Bela Fleck, Leslie Odom Jr., Chris Botti and Amy Grant, film scores in concert, and as a regular conductor with The Legend of Zelda and National Geographic’s Symphony for our World tours. Corcoran graduated from the Boston Conservatory (BM) and Indiana University (MM). Her primary mentors are Leonard Slatkin and Marin Alsop. She also focused on contemporary literature with Pierre Boulez at the Lucerne Festival. She’s a proud alum of the Taki Alsop Conducting Fellowship. Corcoran serves on the music faculty of Middle Tennessee State University and Lipscomb University and is also pursuing a Master’s in Public Health from the University of Alabama Birmingham. Subsequent episodes will be aired every Friday at 9:00am for 10 weeks. For more information and to sign-up for email reminders, please visit www.cantonsymphony.org/orchestrating-change
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