Sound of Charlotte Blog
A composer, pianist, organist, and music teacher, Florence Price is recognized as the first African-American woman to have a symphonic work performed by a major national symphony orchestra. Her extraordinary achievements during the racist "Jim Crow" era are a testament to her immense gifts and determination.
Born in Little Rock, AK in 1887, Price grew up in a middle-class household and attended the New England Conservatory, one of the few that admitted African-Americans at the time. Fleeing racial violence in her home state, Price moved with her family to Chicago where her career began to flourish. She won first prize in the Wanamaker Competition with her Symphony in E minor which caught the attention of Chicago Symphony Orchestra Music Director Frederick Stock. The piece was premiered by the Orchestra in 1933 with The Chicago Daily News reporting "It is a faultless work, a work that speaks its own message with restraint and yet with passion ... worthy of a place in the regular symphonic repertory."
Florence Price's musical style was influenced by composers such as Dvořák and Coleridge-Taylor. It is infused with European and African-American musical and cultural elements, including spiritual melodies, gospel church music, and African instruments such as the marimba.
Her piece Adoration, arranged for Brass Quintet, was performed by members of the CSO's brass section on our latest al Fresco concert.
Though recognized in her day, Florence Price's memory and music faded into history - perhaps due in part to the relatively small number of surviving compositions. However, in 2009, nearly 200 of Price's manuscripts were discovered, tucked neatly away in boxes in an old fixer-upper in a suburb of Chicago. The discovery has prompted a happy resurgence in the popularity of her works. We can all hope that this re-examination of her talent and musicality will allow Florence Price to take her rightful place among the great American composers. Read more
Although we weren't able to gather together for our final concert, we still want to honor our graduating seniors by acknowledging their accomplishments, and thanking them for their dedication to the Youth Orchestra.
In the video below Christopher James Lees, Principal Conductor of the Youth Orchestra Program, highlights each graduating student's achievements and gives them the opportunity to talk about what they love about the program, and where they are headed after graduation.
Best of luck to our 2020 graduates, we're so proud of you!
We're thrilled to announce your Charlotte Symphony's next President & CEO: David Fisk, current Executive Director of the Richmond Symphony, begins his new position at the CSO on August 31.
Born in Great Britain, Fisk moved to the United States in 2002 to serve as Executive Director of the Richmond Symphony, where access to music for all and strong financial management were consistent themes under his leadership.
Fisk began his musical life at the age of eight in the choir at St. Paul's Cathedral in London. He went on to receive his degree in music from Manchester University and a postgraduate diploma in piano accompaniment from the Royal Northern College of Music, where he also studied harpsichord, composition, and conducting. Prior to moving into arts management, Fisk worked for a number of years as a freelance composer/arranger, conductor, repetiteur, and orchestral keyboard-player.
Fisk is married to Irish soprano Anne O'Byrne. They have a daughter, Fionnuala or "Finn" (22) and son Oliver (19). Other than music, his hobbies include swimming and scuba diving - often off the coast of North Carolina - horseback riding, and motorcycling.
Our city and our nation are struggling right now - forced, once again, to confront the hard truths of systemic injustice and inequality that People of Color know all too well and face daily. We cannot, in good conscious, continue to stand by and wait for change to happen.
The mission of the Charlotte Symphony is to connect and strengthen our community - our entire community - through exceptional musical experiences. We believe that music is a right, not a privilege; and that music can even be an agent for change. But we know that music alone is not enough. We recognize that we have not done enough to confront racial inequity in our organization or our industry, and we are truly committed to being part of the solution.
So where do we go from here?Last summer, the Charlotte Symphony began work with a consultant who conducted a listening and survey process to get perspectives from internal and external stakeholders and assembled an advisory group - comprised of staff, board, and orchestra members - to help guide us through the difficult work of changing our culture. This advisory group is creating an actionable, long-term plan to examine our racial and other disparities, both onstage and off, so our organization can truly be equitable, diverse, and inclusive. We are honored to have received a grant from the League of American Orchestras' Catalyst Fund to advance these essential efforts.
We must strengthen our commitment to intentionally seeking out composers and performers of color, who are underrepresented in our industry, and commit to learning how to better serve the next generation through Project Harmony, our Youth Orchestras, and other education programs.
We realize that we have a lot of work to do, and we need the help of our staff, orchestra, partners, and especially the Charlotte community to hold us accountable as we move forward.
In recognition of Juneteenth, the Charlotte Symphony will be closed on June 19. Our musicians, staff, and board will be provided with a list of suggested activities and resources so they may use this time to better understand, honor, and reflect on the meaning of this important day.
We serve the Charlotte community, and we want to hear from you. Please share with us your thoughts and suggestions at email@example.com.
Interim President and CEO
You've had a pretty long history with the Charlotte Symphony. What was your path to General Manager?
Yes! My history with the CSO goes back about 20 years. I played bassoon and contrabassoon in the Orchestra - it was my first gig right out of Juilliard. Then I played in Grand Rapids Michigan for many years. It gives me a unique perspective; I've learned so much from being on both sides, and having to represent issues from both points of view. It's really given me an understanding that is unique and it helps me find the common ground.
What made you decide to come back to Charlotte after all those years?
The General Manager position was such a great opportunity for me; and the city itself enticed me to come back - it just felt alive! I remember coming back to see a concert and there were people everywhere - downtown wasn't like this before - the place was jumping, with a lot of young people around. It was a major transformation, and I remember hoping that it was reflecting on the orchestra as well, because this is what you want to see - people excited to be out.
So much of your job is planning for the future, how far ahead are you working now?
Well, we're always planning about 18-24 months ahead. All of the 2020-21 season is finished and 2021-22 is in the draft stage - the calendar is pretty much done, but still in pencil, so I can change it a few more times. And, believe it or not, the 2022-23 calendar is in the initial layout stage.
It sounds like it would be difficult to juggle all of those calendars and priorities at once!
Well, I have a secret weapon - it's a photographic memory. It's really helped me both in my musical career and in my management. I don't have to look at the calendar - if I've seen it, and worked on it, I know where it is.
So, basically you have a superpower. What would you love to see for the future of the CSO?
I think that some of our biggest successes have come when we dare to take something that people are used to seeing and do it differently. Take our Rite of Spring collaboration with the Ballet. Some people loved it and some hated it, but it was impactful. I remember seeing those kids - not too long after Trayvon Martin was killed - and they came out on stage with those hoodies on and people just put their heads down, crying. I'd like to see more collaborations like that. For years I've been trying to bridge the world of hip hop and classical - there are so many similarities that people just don't understand. I have some things in the works, but I'm not ready to divulge just yet!
As we face this global pandemic, the Charlotte Symphony has been tasked with adjusting to a new normal. Our musicians have turned their living rooms into performance spaces, Zoom has become a place for online learning, and our public performances have gone digital on #CSOatHome.
The fear around this public health emergency is certainly overwhelming, but it has also shown us inspiring acts of kindness, both big and small, in our city and around the world. The musicians and staff of the CSO have been humbled by the immense support we've received during this very difficult time, and we've felt inspired to give back to our community. From offering free lessons and performances to healthcare workers and donating blood, to baking for neighbors and sewing masks, the CSO is doing what we can to pay it forward.
Musicians of the Charlotte Symphony are volunteering to perform for healthcare workers at Novant Health Presbyterian Medical Center during their shift changes. Here, violinist Martha Geissler performs near the staff entrance.
"My feeling is if it gives even 5 or 10 seconds of respite from what they have faced and what they will continue to face, I feel honored." ~ Martha Geissler
Musicians from the Charlotte Symphony are offering free virtual lessons to healthcare professionals as a casual and fun respite from their daily work stress. The program consists of weekly, thirty minute lessons for six weeks. Healthcare workers that are interested should write to firstname.lastname@example.org.
Musicians and staff have been making and donating cloth face masks. Interim President and CEO Michelle Hamilton shows off some of the 120 masks she made for Charlotte Symphony staff, musicians, friends, and neighbors to help keep them safe during the pandemic.
Multiple staff members have given blood to help with the critical nation-wide blood shortage due to the COVID-19 pandemic. Here, Grants Manager Caroline Cave smiles through her donation.
Development Coordinator Senta Harvey and her family moved up the delivery of their traditional holiday cookies for friends and neighbors. "We're going to do it during this time to spread smiles!" Read more
During this time of social distancing, our Education & Community Engagement team and Youth Orchestra Programs team have been hard at work creating and adapting content that teachers, students, orchestra members, and families can access from their homes.
As school instruction has moved to online classrooms, so have our musicians. They're providing virtual instrument coaching to students in local schools. In this Zoom meeting students, teachers, and CSO musicians follow along with the music as a violin student from Northwest School of the Arts performs solo.
Musicians and members of the staff have also participated in coaching and career panels, answering student's questions about what it's like to be a professional musician and what their career options are, both onstage and off. These panels are funded by a grant from the North Carolina Arts Council.
Our Youth Orchestra's 2020-21 season auditions are complete! Everyone adapted quickly to conduct virtual auditions for over 200 students over the course of four days.
The rehearsals must go on! Woodwinds, Brass, and Percussion players from the Charlotte Symphony Youth Orchestra get together virtually to check-in, discuss their music, and see familiar faces again.
Youth Philharmonic conductor Jessica Morel recorded lectures on Brahms and Beethoven, covering everything from the composers' childhood, personalities, and most famous pieces.
In lieu of the special shout-outs they would have received at their final concert, Resident Conductor Christopher James Lees recorded special videos for the seniors, thanking them for their commitment to the program and sharing their plans for next year.
For in-home learning, musical coloring pages and word searches are available at #CSOatHome, in addition to a series of virtual Education Concerts that include digital guides paired with audio playlists. Teachers and parents can choose the elements that best meet their needs to introduce young learners to classical repertoire. The program themes cover everything from fairy tales to math concepts and take participants on journeys into outer space and backwards through time.
The Charlotte Symphony's staff and musicians are eager to find even more ways to stay connected with our community and provide educational resources during this time. Keep checking #CSOatHome for more content. Read more
Chris Stonnell, Director of Education and Community Engagement for your Charlotte Symphony, has a long history with, and passion for, the arts in Charlotte. We sat down with Chris to learn more about why he chose this profession, and to find out what's next for education and community engagement at the CSO.
Chris, you've been working for the Charlotte Symphony longer than anyone else on staff. What was your path to the CSO?
I started working as a chorus and drama teacher in Cabarrus County where I grew up. I spent a little over 4 years teaching in public schools but found myself getting a little burned out from the grind. I loved the teaching part of it - the rewards of seeing the finished product - but didn't enjoy the classroom management, the paperwork, the endless meetings. I knew there had to be something else I could do with my knowledge of the arts and education so I took a chance and quit my job - three months before getting married.
Wow. And how did your significant other react to that?
Well, she still married me!
So, what came next?
Either through luck or divine intervention the School Programs Manager position opened up at the CSO! I started in January of 2006 and haven't looked back.
|What changes have you seen in the Charlotte community through your years here?
It just continues growing; and with it so does the diversity of the community! The CSO has really been responding to all of this growth. We're reaching new populations and our community outreach has really taken off in the last few years.
Healing Hands performance
Is that important?
Yes! It shows that we value our community. Music should not be a luxury; it should be accessible for everyone.
That's a beautiful idea. Do you think the CSO's community programs are having that effect?
We're really starting to see the long-term successes of programs that we've been doing for a while. I was around for the very beginning, when Project Harmony started at Winterfield Elementary. We've had some success creating a pipeline for students from there to Northwest School of the Arts through to our Youth Orchestras.
Project Harmony students
|And it's all about providing that pipeline, because down the road, we'd love to see our community reflected onstage. It's difficult because it all comes down to access. If you don't start playing an instrument until middle school you're already at a disadvantage to those that could afford private lessons at an earlier age. The idea is trying to help bridge that gap.|
What's next for education and community engagement at the CSO?
I'd like to see us take the successful programs that we have and expand upon them - deepen their impact. I also want to look at other areas of the community that we haven't reached yet. We're starting to look into sensory friendly concerts. Again, it's about accessibility. Coming uptown at night to sit in an assigned seat for 2 plus hours in a darkened theater can be challenging for patrons with disabilities, but there's no reason why they shouldn't have access to be able to experience the CSO.
|So, what do you do when you're not sharing classical music with the world?
I really like singing and acting in community theatre shows, but when you work in the arts, Friday and Saturday nights are when the magic happens, so it's hard to find time for my own performances! I also enjoy sports; I go to a lot of Panthers games. I'm also a proud Appalachian State University grad, so I've been really happy with their success in football. I also really like movies - especially scary ones!
Then I have to ask, which horror movie score would you like to hear the CSO perform?
Oh, that's tough. I'd have to say Psycho. The score is great - I'd love to hear that played by the CSO!
Well, we'll have to try to make that happen! Thanks so much for allowing us to get to know you a little better.
Any time. Read more
The Cherokee Chamber Singers have a powerful message to share: Si Otsedoha (We're Still Here). Nestled in an all-American Classical Series concert on Jan. 31 and Feb. 1, 2020, below is everything that you need to know about this powerful work and our collaboration.
Si Otsedoha (We're Still Here) sprang from the minds and hearts of students of Cherokee Middle and High Schools under the guidance of the Cherokee Chamber Singers. Composed in 2018 by contemporary American composer (and NC native) William Brittelle, Si Otsedoha (We're Still Here) is sung in the Cherokee language and musically documents the past, present, and future of the Cherokee people who have lived in the mountains of Western North Carolina for several thousand years.
The Cherokee Chamber Singers vocal group was formed in 2016 as the advanced vocal group from the Performing Arts Department at Cherokee High School, the Native American high school in the Qualla Boundary in Cherokee, NC (also known as the Cherokee Indian Reservation). Under the direction of Michael Yannette, the singers' unique and varied repertoire offers audiences both traditional and modern Native American music, as well as choral, classical, musical theater, and pop/rock genres.
"I have been a teacher for 33 years and have never been part of something with the impact of this work," Yannette said. "The audience reaction has been overwhelmingly positive; I thought people might be disturbed by it in Raleigh, but it had universal acceptance. They were open to what these kids had to say: 'We're still here, and we're always going to be.'"
This concert serves as a continuation of the Symphony's commitment to use music to both explore issues of systematic injustice, and to look to a more equitable future for all people. Under the baton of Music Director Christopher Warren-Green, the orchestra will perform this powerful work that celebrates the creativity and cultural heritage of the original citizens of North Carolina, but also amplifies their voices.
"Si Otsedoha (We're Still Here) is not only an artistically excellent work that shines a light on North Carolina music and composers, but it also gives voice to a group of people in our home state who feel forgotten," Michelle Hamilton, Charlotte Symphony Interim President and CEO, said. "The Charlotte Symphony is proud to share the stage with these young singers and provide a platform for their voices."
Hear their message: Join us on Jan. 31 and Feb. 1 at Belk Theater. Also on the program: Copland's Appalachian Spring and Barber's Adagio for Strings.
We asked CSO musicians to "turn back time"... and, boy, did they deliver! With its distinctive fashion, slang, and music, the 1980s was definitely the raddest decade in history. Take a blast to the past with these old-school cool photos!
Violist Ning ZhaoNing immigrated to the U.S. to further his music education at Kent State University in 1986. This photo was taken during his first year. With this white jacket and sneaker combo, Ning shows that he definitely knows as much about fashion as he does about music - like the back of his hand.
Acting Assistant Principal Double Bassist Jason McNeelJason may have been young in the '80s, but he definitely had his finger on the pop culture pulse. On Halloween of 1988, Jason was repping one of the most iconic characters of the decade: Alf. He definitely proved his love for the extraterrestrial by featuring him in his outfit not once, but twice.
Evidently, I loved Alf! ~ Jason McNeel
Violist Nancy Marsh LevineIf there is one thing the '80s is known for, it's volume. This photo from Nancy's wedding in 1989 definitely exemplifies that trend. The amount of sleeve on her dress is beyond impressive. Modern-day bridal fashion really isn't what it used to be!
Violist Ellen FerdonAs hard as it may be to believe, this is not a still from a John Hughes film. This photo was taken in 1982 of Ellen and Jeff Ferdon, just before their wedding. As impressive as the fashion and hair are in this photo, the only thing we can focus on is the adoring look they're sharing.
Double Bassist Jeffrey FerdonThis photo from 1984 shows Jeff graduating from University of North Carolina School of the Arts. Jeff claims he "had zero interest in clothes at the time," but judging by that sleek white button-up shirt and voguish clogs, we don't believe him at all. Finding inspiration from MTV's hottest music videos, Jeff's hair evolution included both the infamous mullet and even a foot-long rat tail. We can only hope to see a revival of one of those looks on stage! Read more
|Older Posts »|
- Trailblazer: Composer Florence B. Price
- Congratulations to our CSYO Grads!
- WATCH NOW: Meet Incoming President & CEO David Fisk
- We're committed to a more equitable future
- A peek behind the curtain with General Manager John Clapp
- How your Charlotte Symphony is giving back
- Educating from a distance
- 14 years of passion for arts education & outreach with Chris Stonnell
- A powerful message from Cherokee Nation youth: Si Otsedoha (We're Still Here)
- CSO Musicians Go Totally '80s!