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Chris Thile plays everything from Bach to bluegrass, has been touring since he was a pre-teen, and in 2012 won a MacArthur “genius” grant—all for playing the mandolin. Thile is Carnegie Hall’s 2018–19 Richard and Barbara Debs Composer’s Chair, and this March Carnegie Hall hosted an episode of his National Public Radio Live from Here show featuring American folk music and music from the British Isles, as part of Carnegie’s “Migrations: The Making of America” festival. He’s a musical omnivore with a deep love of classical music who has hosted chamber ensembles like The Knights and yMusic on the radio show, and has toured and recorded Bach with cellist Yo-Yo Ma and bassist Edgar Meyer. He brought the mandolin to the orchestra world with a 2009 concerto he wrote and performed with eight U.S. orchestras.

With the support of our valued donors, the League continues to have a positive impact on the future of orchestras in America by helping to develop the next generation of leaders, generating and disseminating critical knowledge and information, and advocating for the unique role of the orchestral experience in American life before an ever-widening group of stakeholders.

With orchestras and audiences increasingly open to exploring new combinations of sounds, solo virtuosos are bringing a diverse sonic palette to orchestral stages on instruments ranging from mandolin and harpsichord to accordion, ondes Martenot, and Theremin.

Representation and inclusion of LGBTQ+ composers, musicians, and audiences is on and the rise at U.S. orchestras.

How is the classical music field doing when it comes to women composers? To be sure, there is reason for optimism in the past few years, but what do the composers themselves think? We decided to go straight to the source by asking a small sampling of the many composers active in the field to share their personal perspectives and experiences.

News and updates from orchestras everywhere. In this issue: Nashville, Outdoors Arctic Sounds Both Sides Now Music Alive, Coast to Coast

A recent blossoming of orchestral works is opening conversations about today’s most pressing concerns. Orchestras and music institutions are creating an unprecedented number of programs whose social impact goes well beyond the music itself.

Remember CDs? In the last ten years, the once ubiquitous discs were overtaken by digital downloads. And in the last few years, downloads have given way to streaming. How to keep up? Here’s a look at developments in how consumers listen to recorded music, with insights into the technologies and recent legislation that will affect how orchestras record and disseminate their music.

Everyone agrees that orchestra boards of directors should represent the rich diversity of the communities they serve. But most orchestra boards remain overwhelmingly white. In the last few years, North Carolina’s Charlotte Symphony has aimed for—and achieved—a sharp increase in board diversity. League President and CEO Jesse Rosen interviews the president and a board member of the Charlotte Symphony to learn how they did it.