What would most surprise people about you?
I've been fishing multiple times and never caught a fish - something I mean to change out here in NC!

If you could meet one composer, who would it be and what would you ask him/her?
I would like to meet Anton Bruckner. He had an incredible work ethic, but I would like to ask: what is the deal with only one cymbal crash in his 7th Symphony? (It's debated whether he really wanted it or not.)

As soon as the Charlotte Symphony's Summer Pops series ends on July 3, many of the CSO's musicians head out of Charlotte for exciting and highly sought-after gigs elsewhere in the U.S. Keep tabs on where these talented musicians are headed! 

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Benjamin Geller, principal viola

For the first time, Benjamin Geller will be performing at Greensboro's Eastern Music Festival for six weeks, from June 27 through August 1. For more information on the Triad's annual festival, visit easternmusicfestival.org.

Aubrey Foard, principal tuba

From mid-July through early August, Aubrey Foard will serve for the second year as an artist faculty member at Brevard Music Center in Brevard, NC. He then heads out west to perform as principal tubist at Britt Festival in Jacksonville, Oregon. 

Jon Lewis, cello

Jon Lewis will be performing principal cello for Central City Opera for 6 weeks from July 1 to August 9. Central City Opera is the fifth oldest opera company in the country, located in Central City, Colorado.

Calin Lupanu, concertmaster & Monica Boboc, violin

Husband-and-wife Calin Lupanu and Monica Boboc will again join the Colorado Music Festival as violinists in the orchestra in Boulder, Colorado. Lupanu serves as concertmaster and Chamber Music Coordinator. 

Tim Hudson, acting second trumpet

Tim Hudson will spend part of his summer as artist/faculty for the Grand Valley International Trumpet Seminar in Michigan. 

Cynthia Frank, viola

For the last 25 years, Cynthia Frank has spent her summers at the Chautauqua Institution in western New York, playing with the Chautauqua Symphony Orchestra, which she refers to as her "second family." The nearly 200-year-old institution is a learning center with courses in art, music, dance, theatre, writing, and more.

Learn more about Charlotte Symphony musicians and conductors.

When Castellini retired to Jacksonville, Florida, Kavadlo was principal clarinetist for that orchestra and the two became close. "I actually got to know him as an adult, rather than the formal student/teacher relationship," Kavadlo says, "and I discovered that he was charming, witty, and had a great sense of humor."

Kavadlo and his wife, Ali, took a road trip to New York to attend the Choral Society performance on Saturday, May 16, where he was recognized. He closed his acceptance remarks that evening by telling the audience that he was sure Castellini was looking down on the event, thinking the school had made a terrible mistake!

When he's not busy performing with the Charlotte Symphony, Kavadlo enjoys spending time with his family, seeing movies, and performing klezmer music with his band, Viva Klezmer! Kavadlo and his klezmer music were recently featured in an issue of Charlotte magazine.

What exactly goes into the role of concertmaster? Here, we pick Concertmaster Calin Lupanu's brain about the job.

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What exactly is the job? The Concertmaster is the first violinist seated to the conductor's left. He or she is the leader of the first violin section, the string section, and the entire ensemble. In some instances the concertmaster serves as the conductor's assistant. The concertmaster must be an excellent violinist and musician, but also a very good diplomat, able to help with the conductor's interpretation of the musical score.  What else is different about what you do versus the other violinists? By setting the standards, through a professional attitude, and very thorough preparation, a concertmaster is also a spokesman of the orchestra.

Are your hands insured, like a basketball player or a surgeon?
No, but judging by the amount of times that I get this question, maybe I should think about it!

What's your favorite part of the job?
Just really loving what I am doing. I love being part of an orchestra. 

What's the hardest part of the job?
Sometimes I'm so busy that I can't spend enough time with my family or friends.

Well, I'm sure a lot of people can relate to that, but you have to learn a lot of music quickly and work with touring Pops groups and guest conductors, etc. How do you adapt?
I am able to adapt to any conductor pretty quickly. I think that one never stops learning, and that is what guides me in my career.

What if you disagree with their interpretations of a piece? 
It's not my job to agree or disagree with any interpretation or with any conductor. I am more of an enabler I help the conductor submit his or her vision of a work. Having said that, I do have strong feelings about how a piece of music should be played ... but I save those feelings for when I play a solo or to some extent in chamber music performances.

What does a typical non-rehearsal/non-performance day entail for you?
There are very few of those! But I do teach a lot. I am currently on the faculty at both Gardner-Webb University and University of North Carolina at Greensboro. I also love chamber music, and I try to perform a lot of quartets, quintets, piano trios ... I have also been appointed as Chamber Music Director of the Colorado Music Festival, so I have to do programming and choose the personnel for those concerts. When I do have the occasional day off, I tend to stay with my family and maybe watch a soccer game with my 7 year old.

Hollis Ulaky has been principal oboist with the Charlotte Symphony since 1974. Originally from Pittsburgh, she grew up in a musical family. Following her graduation from Carnegie Mellon University, she joined the CSO. She is currently a faculty member of Winthrop University and a Yamaha Performing Artist. In her free time, she enjoys Zumba and Pilates, visiting her children, and playing with her trio, RHODORA, along with CSO colleagues Amy Orsinger Whitehead (flute) and Drucilla DeVan (clarinet). How were you introduced to classical music?

My family introduced me. Growing up, I was the youngest of six siblings, all of whom played instruments. This led me to believe that everyone played an instrument! Today, five of us are professional musicians, and one of my siblings used to play the flute and piano. My father was also a jazz musician.

Why did you chose the oboe?
It was unusual, and I loved the sound.

If you weren't a professional musician, what would you be?
I might have been a nurse. I'm interested in people and their care.

What music do you listen to when you are not practicing or performing?
Some classical, some jazz

Where can we find you when you're not rehearsing or performing?
I spend lots of time making reeds. It's a necessary part of being an oboist and an important part of my preparation for the orchestra. I also enjoy teaching. Besides my students at Winthrop, I have 10 private students, three of whom are in the Charlotte Symphony Youth Orchestra program.

What's one thing you can't live without?
My family. My husband, Jim, is in the CSO's percussion section. We have two sons together, Joe, 27, who's an architect in Philadelphia, and Mike, 25, who is a Broadcast Engineer for Turtle Entertainment in Los Angeles.

What have your favorite pieces been thus far this season and what are you most looking forward to?
I really enjoyed Beethoven's Symphony No. 3. The slow movement solos suit the mournful sound of the oboe. And, of course, the Brahms German Requiem, since it was my mother's favorite piece. I'm looking forward to Barber's Violin Concerto, which includes another beautiful oboe solo. Barber writes such touching melodies.

Which composer or composition most inspires you?
Bach inspires me the most. His music contains so much emotion and intensity. 

What is your earliest musical memory?
Watching my sister play the flute when I was 2 years old and trying to play the piano with her. 

In January's performance of Don Quixote, Principal Violist Ben Geller will bow alongside guest cellist Julian Schwarz, representing his loyal, bumbling sidekick in the Strauss work. Here, Geller, who joined the Charlotte Symphony in January 2014, shares stories (along with a sense of humor) about studying Suzuki as a child, his custom-made viola, and love of naps...and chicken.

Does your instrument have an interesting story?
My viola was custom made for me in 2007 by Theodore Skreko of Indianapolis Violins, modeled after the Breacian master Gaspar da Salo. My bow is also fantastic and made by the incomparable Matthew Wehling from St. Paul, Minnesota.

How did you get introduced to the viola?
I'd flirted with viola a few times in different ensembles in high school, but I fully committed from the violin the summer after my undergraduate sophomore year at Butler University when I studied with Michael Isaac Strauss. I really haven't looked back since.

If you weren't a professional musician, what would you be?
I've never had a real plan B. Maybe acting? Or something in ceramics...I loved throwing pottery in high school. I'd probably just farm somewhere in Canada.

How do you mentally prepare for a performance?
Naps. Also, long baths. Seriously though, the only way to prepare mentally for a performance is by learning the music inside and out. Once I've made technical decisions about every note from informed knowledge of the score with a few recordings for reference, the performance takes care of itself. Also, deep breaths and I try not to slouch. 

What kinds of music do you listen to when you are not practicing or performing?
Jazz, Prog Rock, Classic R&B and Hip Hop, and whatever is on NPR or WDAV.

Where can we find you when you're not rehearsing or performing?
Swimming at MAC, biking around on my '89 Schwinn, playing Frisbee somewhere, but I'm probably just practicing at home.

What's one thing you can't live without?
Oxygen. Also, food. Specifically chicken.

Which composer or composition most inspires you?
Bela Bartok. He combined mathematic formulas found in nature, folk music he researched from all over Hungary and Eastern Europe, and modern art music techniques to bring the listener and the player a wild and interesting experience. He's one of my very favorites. 

Are there any other musicians in your family?
I come from a very musical family. Everyone played something at some point, however my cousin Noah Geller (Concertmaster of the Kansas City Symphony) and I are the only professional orchestral musicians.

What is your earliest musical memory?
Suzuki class sometime in the late 80s. I had a cardboard pizza circle that I was supposed to stand on properly in designated foot outlines that was much more fun to throw like a Frisbee.

Originally from Timisoara, Romania, Concertmaster Calin Lupanu moved to Charlotte in the fall of 2003, when he won the Charlotte Symphony job. Here, he talks about his hometown, his 10-city search for the perfect violin, and how he gets in the zone before a performance.

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How were you introduced to the violin?
I didn't have much of a choice. My mom was Principal Harp at the Bucharest Philharmonic and my grandfather was the Music Director of the Opera House in Cluj.

Is there an interesting story behind your instrument?
My violin is a Silvestre, 1857. I purchased it about 6 years ago. I did travel to about 10 major cities in the U.S. to see violins, and I saw 79 violins before I got to see this one.

Tell us a little bit about your hometown of Timisoara, Romania.
Timisoara is a beautiful city, architecture inspired by the Austro-Hungarian and the House of Habsburg. German and Hungarian communities are very prominent. Its nickname is "the Garden City" because of the numerous parks and gardens. River Bega runs through its downtown.

What goes through your head just before each performance?
Before the performance begins I am trying to focus and get into a musical "zone," if that makes any sense. I am trying to visualize the stage, the audience, and get in the right mood. We performers have one chance to get it right. We don't have a "delete" or "backspace" button that can redo any passages. A live performance is nothing like a recording. A recording usually has lots of takes, even the Live recordings. That creates a lot of mental pressure and you need to be able to stay focused for long periods of time. I have been dealing with this kind of pressure my entire musical life, from international competitions, to performances and tours, and playing for some of the greatest musicians, especially in the chamber music world.  

What would surprise audiences about your role as Concertmaster?
Everyone knows that a Concertmaster has to be a strong player and a good musician, but what would surprise people is the endurance required to play a major solo one day, a violin concerto the next day and a chamber music concert after all that. That is something that comes with experience, and they don't teach you in school how tough it is. Pacing yourself is paramount so you can always sound fresh. 

What would you do if you weren't a professional musician?
I only know music, and I can't imagine myself doing something else. 

What music do you listen to when you're not performing or rehearsing?
I listen to a lot of music, different genres, from Classical to Rock, Jazz, etc. The music on my iPod is a melting pot. 

What is something you can't live without?
I can't live without my family: my wife and my almost-7-year-old boy. At some point, I will have to learn to live without my violin, but I don't think that I could learn to live without my family. 

This fall we welcome three new musicians to the Charlotte Symphony family! Meet cellists Sarah Markle and Marlene Ballena, and principal bass trombonist Scott Hartman.

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Sarah Markle, cello

Principal Flutist, Elizabeth Landon and Principal Harpist, Andrea Mumm perform the Rondo from Mozart's Concerto for Flute and Harp during the performances of "A Little Knight Music" on March 28. The piece is one of only two true double concertos that the composer wrote. The full concerto contains three movements: Allegro, Andantino and Rondo Allegro.

 
Your Charlotte Symphony has only played the full concerto once, back in March of 1965. Since this a somewhat rare piece for the orchestra to perform, we asked Elizabeth and Andrea their thoughts.

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Andrea "I'm excited to play this Mozart concerto since it is the only piece of music he ever composed for harp! This piece was a commission by a Parisian duke for himself (a flutist) and his eldest daughter who was a harpist. At the time, the combination of flute and harp was not common, and even considered an odd pairing since the harp wasn't an orchestral instrument and wasn't highly regarded by Mozart. Thanks to this concerto and many other pieces since, the combination of flute and harp is now standard in literature (good for me and Liz!)."

Elizabeth "The sound and color combination of the flute and harp is very special. What a treat to perform this work in the intimate Knight Theater which has been fashioned to resemble a palatial living room. Our patrons will feel like royalty!"

Apparently, after hearing the Mozart 'Concerto for Flute and Harp,' Viennese composer Carl Ditters von Dittersdorf remarked, "I have never yet met a composer who had such an amazing wealth of ideas: I could almost wish he were not so lavish in using them. He leaves his hearer out of breath; for hardly has he grasped one beautiful thought when one of greater fascination dispels the first, and this goes on throughout." [1]  We look forward to grasping many beautiful thoughts with Andrea, Elizabeth and your Charlotte Symphony when they perform this piece Friday evening.