“Programming has a big impact on our audience, and also on musicians and how they view us,” says Summermusik Executive Director Evan Gidley, speaking of resident ensemble Cincinnati Chamber Orchestra (CCO). He believes that experiencing different music, and adjusting performance style, is both challenging and rewarding to musicians.
In 2005, the Georgetown Symphony Orchestra’s Music Director Victoria Gau powerfully demonstrated her community orchestra’s devotion to creating inclusive space both onstage and in the community. At the same time, the orchestra was renamed Capital City Symphony to reflect its citywide mission to serve neighborhoods with less access to the performing arts.
“It sounds like a cliche,” Bobby Scharmann admits, “but it’s true. We’re all a family. I have my orchestra mother, my orchestra sister.”
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In 1970, the League of American Orchestras began to track member orchestras’ programming through its Orchestra Repertoire Report (ORR), in order to answer queries from grantmakers, journalists, musicologists, historians, and member orchestras.
In 1970, the League of American Orchestras began to track member orchestras’ programming through its Orchestra Repertoire Report (ORR), in order to answer queries from grantmakers, journalists, musicologists, historians, and member orchestras.
In 1970, the League of American Orchestras began to track member orchestras’ programming through its Orchestra Repertoire Report (ORR), in order to answer queries from grantmakers, journalists, musicologists, historians, and member orchestras.
In 1970, the League of American Orchestras began to track member orchestras’ programming through its Orchestra Repertoire Report (ORR), in order to answer queries from grantmakers, journalists, musicologists, historians, and member orchestras.
In 1970, the League of American Orchestras began to track member orchestras’ programming through its Orchestra Repertoire Report (ORR), in order to answer queries from grantmakers, journalists, musicologists, historians, and member orchestras.