Indian Hill Music
1997 - Current: Music Director, Orchestra of Indian Hill
Indian Hill Music Center is a non-profit regional center for music education and performance headquartered in Littleton, Massachusetts. Founded in 1985, our mission is to share the transformative power of music through teaching and performing, and giving music generously when there is need. Indian Hill Music Center features a broad range of concerts and music education programs serving over 50 communities throughout eastern central Massachusetts and southern New Hampshire. The Indian Hill Symphony is a 70-member professional orchestra composed of Boston area free-lance musicians, and is this region's only professional orchestral ensemble. Every week, over 1300 students participate in the ongoing music classes, lessons and ensembles at the Indian Hill School of Music and more than 7000 people attend our concerts each year.
as Music Director.........
• create all Indian Hill Symphony Orchestra (subscription, family, pops and educational) programs
• advise Executive Director on content, artist recommendations and concepts for:
• Kalliroscope Gallery Concerts (chamber music guest artists)
• Sundays at Blackman Hall Chamber series (faculty recitals and ensembles)
• Jazz at Indian Hill Arts (faculty recitals and guest artists)
• hire and supervise all performance artistic staff
• advise in developing marketing strategy for all concerts
• revised personnel contract for integration between symphony musicians and school faculty
• public spokesperson at concerts and business functions
• as Music Director, serve as one of five ‘senior staff’
• conduct all symphony concerts when available
• audition, hire and otherwise determine all orchestral personnel
• provide input in all artistic matters (programming, personnel, community outreach, long-range planning)
• initiated Family Concerts in surrounding communities
• currently planning opportunities for teaching adult seminars and workshops on various aspects of music
The Boston Conservatory
2003 – Current: Director of Orchestral Activities and Conductor of the Conservatory Orchestra
The Boston Conservatory trains exceptional young performing artists for careers that enrich and transform the human experience. Known for its multi-disciplinary environment, the Conservatory offers fully accredited graduate and undergraduate programs in Music, Dance, Theater, and Music Education, and presents over 200 performances each year by students, faculty, and guest artists.
As Director of Orchestral Activities....
• determine all programs, personnel, and conduct all four Orchestra concerts per year
• conduct one other large ensemble production (e.g., opera, ballet, dance, music theater) per season when available
• devise syllabus and oversee Orchestra Repertoire class, a required course for all undergraduates
• teach one section of Beginning Conducting class required of various majors
• serve as Chair of Conducting Department
• author and teach Masters of Music degree in Conducting, established 2005
o teach private conducting lessons
o teach conducting seminar
o advise and support conducting students with other area organizations
The Boston Symphony
2004 – 2006: Conductor, Boston Symphony Youth Concerts
(“The Germeshausen Family Youth Concert Conductor’s Chair, fully funded in perpetuity”)
• devised programs and conduct 2 weeks (one Fall, one Spring) of Youth Concerts for audiences grades 3 – 12
• work in collaboration with the BSO Education Department in developing program concepts and community outreach
• conduct stand-alone mid-winter Family Concert when available
2002 – 2006: Principal Pops Guest Conductor
1979 – 2002: Non-titled, frequent guest conducting
• conduct approximately 40 performances each year of the Spring and Holiday seasons
• conduct special private and miscellaneous run-out performances as requested
• cover for Keith Lockhart and John Williams for opening nights, television performances and other special concerts
Portland Opera Repertory Theatre (P.O.R.T.)
1995 – 2004 – Artistic and General Director (including responsibilities as Development Director ’02-‘04)
The Portland Opera Repertory Theatre is dedicated to equally high standards of artistic excellence and personal effectiveness. Its mission is to present to the people of Maine great operatic masterpieces in productions that are lively, creative, beautiful and important. Its objective is to do so within a principled and empowered environment.
as Artistic Director.........
• provided ongoing artistic vision and guidance, creating and developing new opportunities, and overseeing overall operation of the Company
• founded the company in summer 1995
• promoted to Artistic and General Director in 1996 by Board of Directors, assuming all artistic and administrative leadership roles (PORT performs fully-staged and costumed productions with completely original designs, full orchestra, and in original language with supertitles.)
• conducted all performances and oversaw all artistic aspects of the Company
• planned and organized all auditions (New York City, Boston, Chicago, Baltimore and Maine) for the Company (leading singers were those with major international credentials, including the Metropolitan Opera and major European houses; comprimario roles were given to exceptional younger singers from the Emerging Artists Program and from New England; Orchestra and Chorus were regional Northern New England)
• Initiated an Apprentice (later Emerging Artists) Program in 1996, whose participants came from opera studies at Boston University, New England Conservatory of Music, Manhattan School of Music, Mannes School, Cincinnati College-Conservatory of Music and others. Young Artists covered main-stage comprimario roles, were given extensive advanced training in voice, diction and stage movement, and performed many outreach concerts throughout Southern Maine.
• initiated in 1997 a Conducting Apprentice/Assistantship, which position was occupied by a current student of the Hartt School of Music.
as General Director.........
• provided ongoing vision and guidance, creating and developing new opportunities, and overseeing overall operation of the Company
• founded the organization in 1994, named it, organized and publicized from the ground up the Company’s first production in 1995
• collaborated with President in formation and development of a Board of Directors
• advised President and Board committees in all fund-raising (including corporate, foundation and events) efforts
• developed leadership for new volunteer council
• researched foundations and write grant proposals
• oversaw major donors campaign and strategies
• monitored and facilitated Board activity in the fundraising program
• devised all budgets and budget reporting; supervised all production schedules; hired all artistic, production and office personnel and organized volunteer committees
• conceived Aria Auction fund-raiser; supervised and advised publicity efforts, including logo, poster and program design; negotiated all contracts with artists, artist agents and facilities’ managements
• managed significant expansion of the annual budget from its initial $70,000 in 1995 to $500,000 at the time of my departure
• oversaw creation of P.O.R.T.’s newsletter (“re:P.O.R.T.”) and website
• oversaw all aspects of company development, from auditions and stage set design to personnel contracts, box office relations, marketing and budget analysis and planning
• initiated and managed all aspects of original concept TQITA (Total Quality In The Arts), which includes:
• building teams and “teamsmanship”,
• establishing flexible performance agreements,
• breaking down typical barriers usually existent in occasional, free-lance work,
• establishing integrity, accountability and responsibility in the workplace
• established and developed avenues for expanding all participants’ experiences with leadership, understanding empowerment and responsibility, and motivating all individuals as ambassadors for the Company throughout the greater community
• organized procedures for P.O.R.T.’s first-ever strategic plan
• instituted an administrative assistant internship
• conceived and developed collaborations with other arts institutions, including Portland Arts & Technology High School (PATHS), University of Southern Maine’s School of Music Vocal Studies (Maine’s Emerging Artists program), Thornton Academy (Apprentice Program), Maine Humanities Council (literary workshops), Portland Public Library (pre-performance lectures), The Movies on Exchange, Portland Stage Company, Medomak Conductors Retreat
Guest Conducting Activity
(1979 - present)
• Guest conducting engagements with the following symphony orchestras: Edmonton Symphony, Florida Philharmonic, Jacksonville Orchestra, Mesa Symphony, Music in the Mountains (Colorado), Oberlin Conservatory Orchestra, Santa Barbara Symphony, Shizuoka (Japan) Philharmonic, Taiwan Symphony, and earlier performances with New York Philharmonic, Birmingham Symphony, New Orleans Philharmonic, Rochester Philharmonic, Buffalo Philharmonic and Tulsa Philharmonic.
• Guest conducting engagements with the following chamber orchestras: Camerata (Bloomington, IN), Lexington Sinfonietta (Lexington, MA), and Oberlin Conservatory Chamber Orchestra
• Guest conducting with the following opera companies: Chicago Opera Theater, Fargo-Moorhead Opera and Tacoma Opera.
• In addition to orchestras mentioned above, many pops guest engagements have included the orchestras of Dallas, Edmonton, Houston, Jacksonville, Louisville, Naples, New Jersey, New Mexico, Oregon, Ottawa, Saint Louis, Santa Barbara in recent years. Other orchestra engagements in the past include Rochester, Buffalo, Tulsa, Hartford, Atlanta and Spokane.
• developed a “Paul Whiteman Lives!” re-creation of the late ‘20s – early ‘30s ‘orchestra’ as developed by Paul Whiteman immediately after his success in premiering the Rhapsody in Blue concert at Aeolian Hall, 1924.
• conduct more than 300 performances with Boston Pops and Boston Pops Esplanade since 1979, including season and off-season and privately contracted, in-house and run-out performances of all pops types (traditional, Swing Night, Family, etc.)
• developed and conducted new Earth-Day program with the Paul Winter Consort and the New Jersey Symphony
• developed and conducted a new “crossover” program with Richard Stoltzman and the Pittsburgh Symphony
• conducted “Magic of Christmas” (concept developed in Portland, ME) with Utah, New Jersey, Dallas, Kansas City, Jacksonville, Hartford and Orchestra of Indian Hill Symphonies
• in recent past, several-year conducting relationship with both Minnesota and Baltimore Symphonies, including wide variety of programming
(See C.V. - past page for Academic Guest Conducting and Other)