A Flag Fourth with the Flagstaff Symphony Orchestra

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A Flag Fourth with the Flagstaff Symphony Orchestra
Jon Eder, conducting

Visit our Facebook event page!

Monday, July 4th
Gates open at 2pm
Pepsi Amphitheater at Ft. Tuthill County Park
FREE ADMISSION!

 

Sponsored by:

Blue Cross and Blue Shield of Arizona

APS

Coconino County Parks and Recreation

North Country HealthCare

Arizona Community Foundation of Flagstaff

Flagstaff Convention & Visitors Bureau

Angela Robbins

Flagstaff Arts Council

Better Business Bureau Flagstaff

National Endowment for the Arts

Arizona Commission on the Arts

 

 

 

 

For more information please call us at 928.774.5107

FSO Job Opportunity: Executive Director

The Flagstaff Symphony Orchestra is accepting applications for the position of Executive Director.

DUTIES AND RESPONSIBILITIES:

Reporting to the Board of Directors through the Executive Committee, the Executive Director is responsible for managing the human and financial resources of the Flagstaff Symphony Association (FSA) in order to achieve the organization’s mission “to enrich, engage, and inspire our community through the performance of orchestral music.” The Executive Director implements policy as set by the Board and is responsible and accountable for all aspects of the organization.

  • Planning. Participate in development and implementation of a strategic plan that supports the FSA artistic, financial, and community engagement objectives and current and long-range plan for personnel and structure.
  • Board of Directors. Advise Board on matters within Executive Director’s scope of responsibilities. Attend all Board committee meetings, providing administrative support and facilitating communication and coordination. Help identify, recruit, and orient qualified candidates for Board membership. Regularly meet with President and provide written report for Board of Directors’ meetings.
  • Fundraising and Development. Ensure effective communication with FSA constituencies to achieve the public service objectives of the organization. Assist Board of Directors in all fund-raising activities. Supervise the preparation of grants and cultivate relationships with granting agencies. Ensure all donations are acknowledged and accurate and complete records kept; oversee patron database. Direct advocacy activities, monitor legislative activity that affects orchestra, and advise Board.
  • Artistic Administration. In collaboration with the Music Director/Conductor and Artistic Advisory Committee, develop, implement, and monitor FSA’s artistic objectives, the selection of guest artists and conductors, and programs. Negotiate contracts for guest artists, supervise their travel, hospitality needs, and attend rehearsals and concerts.
  • Concert Production. Develop and implement annual master plan for orchestra operations. Ensure that equipment, instruments, licenses, and permits are obtained and that rehearsals and concerts are properly staffed. With Board and Music Director/Conductor, seek new opportunities for performances.
  • Marketing and Promotion. With Marketing Committee and Staff, develop and implement annual marketing plan to maximize attendance and revenue. Build and maintain good relationships with local media.
  • Finance. With Finance Committee, prepare annual budget, monitor expenditures, and prepare projections on income and expense and cash flow. Monitor monthly preparation of Financial Statements and accounts payable and receivable. Supervise bookkeeper, grant expenditures, and reports and cooperate with auditors. Ensure IRS filings made as required.
  • Administrative. Recruit, select, supervise, evaluate, discipline, and terminate administrative staff. Responsible for correspondence, record retention, insurance, benefits program, payroll records, and office maintenance.
  • Musicians. With Music Director/Conductor, oversee the musician hiring process, ensure implementation of the Orchestra Policy, and maintain a positive working relationship with musicians.
  • Education. With Music Director/Conductor and Education Committee, recommend and oversee planning and implementation of education/engagement programs and maintain positive relationships with schools.
  • Flagstaff Symphony Guild. Maintain a high level of communication, trust, and involvement to enhance and support their programs.

REQUIREMENTS:

  • Proven leadership ability and measurable experience in fund-raising and resource development, marketing, public relations, and audience development.
  • Excellent financial management and budgeting skills, as well as knowledge of particular reporting requirements for nonprofit organizations.
  • Experience working in a management position with a professional orchestra or comparable nonprofit organization.
  • Working knowledge of orchestral music, production, and operations.
  • Superb interpersonal skills and an ability to communicate persuasively the importance of orchestral music in the community.
  • Thorough understanding of issues and challenges facing symphony orchestras, especially in small-to-medium sized communities.
  • A management style that emphasizes consensus-building and the importance of teamwork.

COMPENSATION:

Full-time salary is competitive and commensurate with qualifications and experience.

BENEFITS:

Benefit package includes health insurance and paid holidays and vacation.

ORGANIZATION/ORCHESTRA DESCRIPTION:

In 1950, the Northern Arizona Orchestra played its first concert in the gymnasium at Northern Arizona University. On May 29, 1961, articles of incorporation were filed with the state of Arizona declaring the Flagstaff Symphony Association a nonprofit corporation. About to begin its 67th season, the Flagstaff Symphony Orchestra continues a long and fruitful relationship with NAU and the Flagstaff community. It has also grown dramatically since that first concert in the gym into a fully professional orchestra, comprised of musicians who come together from diverse backgrounds to form an impressive and exciting ensemble capable of performing a variety of musical styles and repertoire.

Music Director/Conductor Elizabeth Schulze begins her ninth and final season in 2016-2017, leading performances with superb musical sense and attention to excellence. The search for a new Music Director/Conductor is in its final phase with four candidates guest conducting during the upcoming season. Behind the scenes, the staff and Board of Directors work to ensure the stability and ongoing development of the Flagstaff Symphony Orchestra and meet its mission to enrich, engage, and inspire our community through the performance of orchestral music. Last year more than 3,900 students in northern Arizona participated with the FSO in Carnegie Hall’s Link Up program, a year-long curriculum culminating in three interactive concerts with 3rd, 4th, and 5th graders.

Flagstaff and the surrounding region offer an inspirational combination of natural wonders, cultural traditions, and rich artistic life. This four-season community of 68,000 residents is situated at 7,000 feet on the Colorado Plateau at the base of the majestic San Francisco Peaks in the largest contiguous Ponderosa pine forest in North America. Nearby attractions include the Grand Canyon, Sedona red rocks, Painted Desert/Petrified Forest, and the Navajo and Hopi reservations.

APPLICATION DEADLINE:

Review of applications will begin on July 1, 2016, and will continue until the position is filled.

APPLICATION PROCEDURE:

Submit a cover letter describing your interest and qualifications for the duties and responsibilities of the position, a résumé including names and contact information for at least five professional references, and a salary history and future requirements. All applications will be treated as confidential. Email submissions to EDsearch@flagstaffsymphony.org are preferred.

CONTACT INFORMATION:

FSO Executive Director Search Committee
Flagstaff Symphony Orchestra
PO Box 122
Flagstaff, AZ 86002
phone: 928-774-5107
fax: 928-774-5109
www.flagstaffsymphony.org

FSO Announces Resignation of Executive Director

The Flagstaff Symphony Orchestra (FSO) has announced the resignation of Executive Director Christopher Barton, effective July 15. Barton will leave the FSO to become the Executive Director of the Orlando Philharmonic Orchestra, Orlando, FL.

“It is with mixed feelings that we say goodbye to Chris,” said Helen Hudgens Ferrell, President-elect of the FSO Board of Directors. “He has provided significant leadership and built strong relationships in our community during his time with the FSO. He will be missed. We see this as a great professional opportunity for him and wish him well.”

During Barton’s tenure with the FSO he worked to improve marketing and fundraising operations, to raise the organization’s profile in the community, and in partnership with Artistic Director and Conductor Elizabeth Schulze, to expand the orchestra’s programming.

“I’ve truly enjoyed my creative collaboration with Chris,” said Schulze. “He is a wonderful colleague with a brilliant future.” The 2016-2017 season will be Schulze’s ninth and final season as Artistic Director and Conductor of the FSO. The season, titled “Symphonic Fan-Fare,” will also feature four guest conductors being considered in the search for her successor.

Barton was named the Executive Director of the FSO in January, 2014. He moved to Flagstaff from his home state of North Carolina where he worked for the College of Arts and Architecture at the University of North Carolina at Charlotte and previously as Operations Manager and Artistic Administrator with the Charlotte Symphony Orchestra.

“I am incredibly proud of the FSO and grateful to this community for the many ways it supports its orchestra,” said Barton. “It has been an honor and privilege to work with Elizabeth Schulze, the FSO musicians, our Board of Directors, volunteers, and staff. Flagstaff has been wonderful to me and my family and we will miss it very much.”

The FSO Board has established an Executive Director Search Committee and will begin the process of filling the position immediately.

Barton will join the Orlando Philharmonic Orchestra as it begins its 24th season and its second with Music Director Eric Jacobsen.

FSO Music Director Candidates Announced

The Flagstaff Symphony Orchestra has announced four finalists in the search for its next Music Director.

The finalists, selected from more than 120 applications, are Darko Butorac of Missoula, Montana; Charles Latshaw of Kent, Ohio; Daniel O’Bryant of Flagstaff; and Lidiya Yankovskaya of New York City. Each finalist will spend a week in Flagstaff to rehearse and conduct a concert with the Flagstaff Symphony Orchestra (FSO) in the 2016-2017 season.

CLICK FOR MORE INFORMATION.

ABOUT THE FINALISTS

Darko ButoracButorac thumbnail is the Music Director of both the Tallahassee and Missoula Symphony Orchestras. He served as the Director of Orchestras at Northern Arizona University from 2004-2008, and has performed extensively at the Aspen Music Festival and Brevard Music Center. Butorac is the Grand Prix laureate of the Fourth International Vakhtang Jordania Conducting Competition.

 

Latshaw, Charles

Charles Latshaw is the director of the Kent/Blossom Music Festival and the Kent State University Orchestra. He previously served as artistic director and conductor of the Bloomington Symphony Orchestra in Indiana. Latshaw has also held conducting positions with the Indianapolis Symphony, Columbus Indiana Philharmonic, Washington Sinfonietta, and Ars Nova Chamber Orchestra. In 2007 he was selected by members of the Vienna Philharmonic as the Herbert von Karajan conducting fellow.

O'Bryant thumbnailDaniel O’Bryant currently serves as the Director of Orchestras at Northern Arizona University. His prior appointments include Music Director of the Heartland Symphony, Associate Conductor of the St. Cloud Symphony, Assistant Conductor of the Salt Lake Opera Company, and Director of Orchestras at St. Cloud State University. O’Bryant was the founding director of both the Utah County Chamber Players and the St. Cloud State University Youth Orchestra.

Yankovskaya thumbnailLidiya Yankovskaya currently serves as Artistic Director with Juventas New Music Ensemble, Music Director with Commonwealth Lyric Theater, and as a conductor with the Boston Youth Symphony Orchestra. She served as a Conducting Fellow under Lorin Maazel, former Music Director of the New York Philharmonic, at his Castleton Festival. Yankovskaya’s performances have been awarded the American Prize and the National Opera Association Award, and she has been named part of Marin Alsop’s Taki Concordia Fellowship program.

FSO MUSIC DIRECTOR SEARCH FACT SHEET

In June 2015, Elizabeth Schulze announced she would conclude her tenure as Artistic Director and Conductor of the Flagstaff Symphony Orchestra in April 2017 at the end of the 2016-17 season.

Maestra Schulze began her tenure in 2008. Upon stepping down in 2017 she will have been the artistic leader of the FSO for nine seasons.

The FSO formed its Music Director search committee in August 2015. The committee consists of 12 members, including FSO musicians, board members, and community leaders.

The FSO received more than 120 applications for the Music Director position. The search committee identified four finalists through a thorough process that included review of application materials, videos of candidates conducting, and interviews.

On February 1, 2016 the FSO announced four finalist candidates who will conduct the orchestra during the 2016-17 season. The guest conductors will each be in Flagstaff for a concert week in October, January, February, and March.

Programs for the 2016-17 season will be discussed, planned, and agreed upon by the candidates and search committee.

The FSO plans to announce the 7th Music Director of the Flagstaff Symphony in spring 2017 at the conclusion of the four candidate concerts.

FSO Annual Gala

April 2nd, 2016 – Save the Date!

Please save the date for the Flagstaff Symphony Orchestra Season 66 Gala! Join us for an evening of fine dining, dancing to live music, auctions and games, all to support the FSO mission: “To enrich, engage, and inspire our community through the performance of orchestral music.”

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If you got our newsletter in your email inbox but the images aren’t showing then look for the “show images” link at the top of the email.

This may be your first time getting email from our new service which means fixing that setting this first time.

See you at the “Season 66” Gala!

Purchase Tickets 

 

Flagstaff Symphony: New Music for America

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We often overlook the hard work that goes into the composition of music and the days consumed by great composers writing and being tormented by their craft. These long hours created the classics we enjoy and you have the opportunity to be a part of that process by donating to our crowdfund campaign.

Most classical music was written in an age when wealthy benefactors would comission a new piece by choosing from great composers, many of whom were alive at the same time. Today, the opportunity of patronage is available to all who enjoy the arts through crowdfunding. By taking part in our Indiegogo campaign you will be a co-commissioner in the creation of new music, in our era, by Christopher Theofanidis called “Dreamtime Ancestors”

On January 29th, 2015 the Flagstaff Symphony Orchestra will perform the Arizona premiere of “Dreamtime Ancestors”, a musical piece funded by people like you and by 48 other orchestras across the United States through a program called “New Music for America.”

Please consider supporting our goal. Visit our campaign and see what perks we have to offer.

Part Four: The Concerto

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A favorite showpiece for virtuoso violinists, the Violin Concerto in D Major, Op. 77 by Johannes Brahms was written in collaboration with a longtime friend, the great Hungarian violinist Joseph Joachim. Both men participated in its premiere, Brahms as conductor, in Leipzig on January 1, 1879.

It is not known when Brahms began work on his only violin concerto, but we do know that he finished the first draft during the summer of 1878 in southern Austria, where he found inspiration in the sunny climate. Brahms, who was not a string player, turned to his friend Joachim for advice, writing, “You should correct it, not sparing the quality of the composition. . . I shall be satisfied if you will mark those parts which are difficult, awkward, or impossible to play.” The violinist complied, starting a lengthy correspondence concerning violin technique and virtuosic touches which continued until the concerto’s premiere.

Some listeners were skeptical of the new piece, believing its virtuosity would be beyond the abilities of most violinists. The symphonic scale of the concerto was difficult for audiences and critics to absorb readily. One observer, conductor and pianist Hans von Bülow, famously asserted that it was a concerto not for but “against the violin.” Decades later, the violinist Bronislaw Huberman would trump that line by saying that the Brahms concerto is not against the violin, but is instead a concerto for violin against orchestra — and the violin wins.

Brahms’s original orchestration was for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, timpani, strings, and solo violin. The concerto has 3 movements and is beloved for its lyrical melodies and rich orchestration.

The first movement is on an epic scale. Brahms seems to emulate Beethoven somewhat, as that composer’s violin concerto also features a first movement lasting more than twenty minutes with a broad tempo. Also like Beethoven, he did not compose a solo cadenza for the first movement, leaving that task to Joachim, after the standard chord and pause in the orchestra. By calling upon the soloist to extemporize, Brahms made it the last great concerto in history requiring the soloist to do so. Since then a number of soloists have written their own cadenzas, among them Rachel Barton Pine, who will perform hers during the FSO concert on September 25.

Surprisingly, in the second movement Adagio, Brahms introduced the main theme in the voice of the oboe, which greatly annoyed some virtuoso violinists, who had to cede the spotlight  for an extended oboe solo.  One 19th-century violinist so objected to this that he refused to play the work. Joachim, however, recognized that the oboe passage provided an appropriate contrast with the violin and did not protest. The pastoral theme begins in a setting of woodwinds led by the oboe. The violin enters later, ornamenting the theme over a string accompaniment. The calm ambiance gives way to a stormy middle section which eventually returns to the pastoral setting.

The concerto ends with a vigorous Andante finale of great lyricism and rhythmic drive.  Its unmistakable “gypsy” flavor is a nod to Joachim’s Hungarian roots. This great concerto is a tribute to Joachim, to whom the concerto is fittingly dedicated.

Familiar photographs of Brahms in grand later life portray his enormous beard, broad waist, piercing gaze and ever-present cigar.  But Brahms first began to grow his famous whiskers in 1878, so we must imagine him as beardless with long swept-back hair while he composed the violin concerto.

Rachel Barton Pine performs the Brahms Violin Concerto with the Flagstaff Symphony Orchestra on September 25th at the NAU Ardrey Auditorium. Tickets can be purchased by telephone at (928) 523-5661 or online at the NAU Central Ticketing Office.

Can’t wait for tomorrow’s concert? Treat yourself to a ‘Best of Brahms‘ video. See you tomorrow night at Ardrey!

Part Three: JOHANNES BRAHMS

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One of the most beloved composers of all time (among the “3 B’s” — Bach, Beethoven and Brahms), Johannes Brahms was born in Hamburg, Germany, in 1833. His father, a humble double bass player, was aware of Johannes’s early musical talent and struggled to provide the child with superior training. By the time he was a teenager he was an accomplished pianist, and was hired by Ede Remenyi, a prominent Hungarian violinist, to accompany him on a concert tour. Louis C. Elson in 1898 wrote about their concert in Gottingen, “When they came to try the piano provided, they found it so low in pitch that Beethoven’s great ‘Kreutzer Sonata,’ which was on the programme, would have lost all its brilliancy had the violin tuned down to it.  Brahms, the youth of nineteen years, thereupon transposed the entire work from A to B flat, playing it from memory!  The herculean task had its immediate reward; the greatest living violinist, Joachim, was present, and at once gave the pianist a letter of introduction to Schumann.”

Robert and Clara Schumann took the young pianist into their home, recognizing in the shy composer a future leader of the camp dedicated to absolute music, the ideal that music be non-representational, with no associations such as story, scene or mood. When Schumann published a lavish tribute about Brahms’s talent, calling him “the young eagle,” Johannes became famous overnight.

At the time, the “Neo-German party” of composers, including Liszt and Wagner, were promoting the “music of the future” — program music, with its use of nationalistic, picturesque events and special effects.  These neo-Germans took it for granted that they spoke for all their contemporaries. Irritated by this, Brahms helped draw up a manifesto against the sort of “new music” that Wagner favored, and  circulated it for signatures. The petition, which was published prematurely, carried only four names,   causing him great embarrassment and provoking a vicious attack from Wagner.  After that Brahms withdrew into his shell, and became an avowed traditionalist, a defender of the structures and compositional techniques of Baroque and Classical music.

Robert Schumann was institutionalized for a severe mental collapse five months after Brahms joined the household.  Although Clara was 14 years older than Brahms and the mother of seven children, he became infatuated with her, and tended her lovingly during Robert’s illness. This created great conflict within Brahms’s heart, for he respected and revered his friend and benefactor.  The one-sided romance ended when Schumann died two years later, and Brahms took his leave.  He and Clara would remain lifelong friends.  Brahms had several other romances, but fearing what he called “the fetters of marriage,” he adopted a mask of gruffness in later years and kept his emotions under tight control, concealing a tender soul.

As a severe self-critic and aided by immense self-discipline, Brahms concentrated on composing.  He wrote and rewrote, destroyed and rewrote. He planned for twenty years before he started the First Symphony. Thirty-seven years after he had composed and discarded a trio, he was able to rewrite it note for note!

In 1878 he made Vienna his permanent home, and there his conducting, concert tours and compositions brought him lavish official and public recognition. He was the first composer to become comfortably well off from the sale of his music alone.  He concentrated fully on his music and let everything else go. Despite his fame, Brahms maintained a rather bohemian lifestyle and exterior, growing a massive white beard to disguise the fact that he refused to wear a necktie. Friends had to apologize for his appearance. He loved long walks in nature and was known for his rough humor.

Brahms’s four great symphonies (1876, 1877, 1883, 1885) are considered unsurpassed in the late Romantic period.  He also composed two concertos for piano and orchestra, and the one for violin (1878). Many chamber works, sonatas, and songs pursue his themes of love, nature and death. His popular choral work, A German Requiem, a rumination on mortality, is better loved today than after its premiere in 1869. Throughout his career, he was known for his keen intellect and imagination, breadth of musical insight, warm heart and noble character.

At age 64, he was still a vigorous walker, but without warning he became ill. His physicians and a few intimate friends knew that he was dying of liver cancer for some time, but they faithfully guarded this secret and Brahms knew nothing of it, working on calmly. “I have not even begun to express myself,” he complained on his deathbed. When Brahms died in 1897, he was buried in Vienna not far from Beethoven and Schubert.

Rachel Barton Pine performs the Brahms Violin Concerto with the Flagstaff Symphony Orchestra on September 25th at the NAU Ardrey Auditorium. Tickets can be purchased by telephone at (928) 523-5661 or online at the NAU Central Ticketing Office.

Can’t wait for the September 25th concert? Pick up  a book on Brahms and be the envy of all your friends!

Read the final part of the series and attend the concert next week!

Part Two: The Soloist, Rachel Barton Pine

RBP

Some people are born prodigies. Rachel Barton Pine says she “nagged for a violin when I was 3, and by age 5 I was signing my kindergarten papers ‘Rachel, violinist.’ That was the core of my being.” As a child, she would set stuffed animals on the couch; step atop the coffee table, perform and bow. This prepared her for real performances, she said, and throughout an acclaimed solo career she has not suffered from stage fright.

Born Rachel Barton, by the age of seven she was performing with the Chicago String Ensemble. She was just ten when she debuted in a televised broadcast with the Chicago Symphony conducted by Erich Leinsdorf.  Eight hours of daily practicing necessitated home schooling. “I did all of my college/conservatory level work, orchestra, chamber music, music history and all of that during my teen years and finished my formal training at the age of 17,” she said.

Her working-class family in Chicago had a hard time making ends meet, so Rachel began playing professionally in her early teens, becoming the family breadwinner. With the tutelage of Roland and Almita Vamos of the Music Institute of Chicago, at 17 she became the first American—and youngest—winner of the Gold Medal in the International Johann Sebastian Bach Competition held in Leipzig, Germany.

When she was 20, and on the brink of a major career, Rachel was severely injured when she was dragged by a commuter train and run over, severing one leg and mangling the other. A benefit concert for her was organized by Daniel Barenboim, the conductor of the Chicago Symphony Orchestra, demonstrating the esteem in which she was held by the classical music community. Eventually winning a jury verdict to compensate for her injuries, her recovery required years of surgeries and physical therapy.

Returned to health, Rachel Barton began an illustrious profession of worldwide performances with major orchestras, solo recitals, festivals, and recordings, dazzling audiences with her virtuosic technique, lustrous tone, and infectious joy in music-making.  Playing a prized 1742 Guarneri violin that is on permanent loan to her, she can express anything on the emotional spectrum, performing many kinds of music. But her primary voice has been described as an “excellent glass of red wine—full-bodied, rich, and complex.”

In 2004, she changed her name by marrying Greg Pine, a computer entrepreneur and former minor league baseball pitcher. They have one daughter and live in Chicago.

Recently Barton Pine completed live performances of Paganini’s ‘24 Caprices for Solo Violin’—a series of virtuosic pieces so technically challenging that very few violinists perform them in sequence. She has recorded 24 albums and travelled with the world’s most prestigious ensembles, earning many awards along the way. As part of its Masters Collection, Carl Fischer Music recently published a book of cadenzas and virtuosic encore pieces composed by Barton Pine, as well as her arrangements of other works for violin and piano, making her the first living composer and first woman to be so honored.

Since 2001 she has run a foundation bearing her maiden name (Rachel Elizabeth Barton) to promote the study and appreciation of classical music. The foundation prepares music curricula on black composers, loans high-quality instruments to deserving young musicians, and provides grants to students and young professional musicians.

In addition to her orchestral work, Barton Pine performs chamber music as part of Trio Settecento, an ensemble that uses period instruments, and with the Jupiter Chamber Players.

But classical music isn’t her only genre. Whenever she can, Barton Pine dons black leather to indulge her other passion:  heavy metal!  AnthraxBlack SabbathMegadethMetallica, and Van Halen are among her favorite bands; she has met and jammed with a number of them. As a member of the thrash/doom metal band Earthen Grave since 2009, she performs on a 6-string  Viper electric violin.  “I discovered that a lot of the heavy metal I’d been listening to was some of the most sophisticated, compositionally, of all rock music, and very inspired by classical music,” she says.

Barton Pine credits her experience playing in a rock band with building her emotional rapport with her audiences.  “Mixing classical into the [rock] performance persuades people to give classical a try,” she says.  She performs often at schools and on rock music radio stations to interest younger audiences in classical music. “It’s not just about making sure the concert halls are well-attended or about succeeding in my profession,” she says. “It’s about uplifting people’s spirits.”

Rachel Barton Pine performs the Brahms Violin Concerto with the Flagstaff Symphony Orchestra on September 25th at the NAU Ardrey Auditorium. Tickets can be purchased by telephone at (928) 523-5661 or online at the NAU Central Ticketing Office.

Can’t wait for the September 25th concert? Get to know Rachel Barton Pine by visiting her website or by following her on Twitter!

Part Three comes next week!

*Image Copyright © 2015 courtesy of Rachel Barton Pine.

News from the Flagstaff Symphony Orchestra

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