Dr. Andrew M. Kurtz
For thirteen years DR. ANDREW M. KURTZ has been leading the Gulf Coast Symphony as its Musical Director and Conductor. In 2007, he was the winner of the "Performing Artist of the Year" Angel of the Arts Award. His conducting has been called “passionate, expansive, expert, and musical.” His repertoire encompasses a wide range of music styles from baroque to contemporary, and multiple genres including opera, symphonic, ballet, musical theater, jazz, cantorial and symphonic pops.In doing the resarch for my interview with him, three things kept making themselves present in everything I read and heard about him. His passion for music is of course evident, and makes up who he is. Secondly, his love of academics, education and teaching manfests itself in his organizations and time spent seeking out opportunities for kids and their parents to become involved and to learn, not just about music, but 'The Arts' as a whole. Lastly, his absolute devotion to his community and those whom he calls 'His musicians.'
Whether here in Southwest Florida, with the Gulf Coast Symphony and Florida Jewish Philharmonic, or his opera company in Philadelphia, his caring for these organizations, and the people who make them up, is clear and unbending. As you will read in this interview, this is a man driven by an inner engine that seems to have an endless supply of energy and ideas, and who seems to be always seeking excellence in himself and for the people around him.
I caught up with him recently after he returned from Brazil, where he toured with the Cantors, to much acclaim and success. His passion for music permeates his entire being, and his hectic and varied schedule is proof of that. I was fortunate that he was able to sit with me for a very informal and relaxed chat. It is with great pleasure that I bring to you....
Andrew Kurtz.......The Man Behind the Baton
The Early Years
GG: Tell us about where you grew up?
AK: I’m a northeast Philadelphia boy, the son of two educators. I had the advantage of growng up in, at the time, the 4th largest city in the United States. I went to Central High School in one of the roughest neighborhoods.
GG: Why there?
AK: Great academic program. It was the oldest all male public high school in the United States. It went co-ed during the time I was there.
GG: Is that where you decided to pursue music?
AK: No, the truth is, here I am, the music director for a major community orchestra with so many other conducting posts. At that point in my life, I didn’t see music as anything more than an avocation, although I still played violin, took lessons and played in four orchestras.
GG: What was the pivotal moment when that changed?
AK: In college. When I first got to the University of Virginia, I told the conducting teacher I wanted to take his class. He made a deal with me. "Enroll in music theory, music history and start a music major, I’ll let you audit my conducting class." In my second semester he was asked to conduct a musical and he didn't want to do it, so he offered it to me. The following year I started a chamber orchestra at the university, Camarada Rotunda.
In my final year, the day that I took the LSATS, I was also conducting one of my final concerts of the orchestra. I realized that Beethoven was more on my mind than any of the questions. I had finished my undergraduate music degree in 2 ½ years and learned a lot about the mechanics of conducting.
AK: I’m a northeast Philadelphia boy, the son of two educators. I had the advantage of growng up in, at the time, the 4th largest city in the United States. I went to Central High School in one of the roughest neighborhoods.
GG: Why there?
AK: Great academic program. It was the oldest all male public high school in the United States. It went co-ed during the time I was there.
GG: Is that where you decided to pursue music?
AK: No, the truth is, here I am, the music director for a major community orchestra with so many other conducting posts. At that point in my life, I didn’t see music as anything more than an avocation, although I still played violin, took lessons and played in four orchestras.
GG: What was the pivotal moment when that changed?
AK: In college. When I first got to the University of Virginia, I told the conducting teacher I wanted to take his class. He made a deal with me. "Enroll in music theory, music history and start a music major, I’ll let you audit my conducting class." In my second semester he was asked to conduct a musical and he didn't want to do it, so he offered it to me. The following year I started a chamber orchestra at the university, Camarada Rotunda.
In my final year, the day that I took the LSATS, I was also conducting one of my final concerts of the orchestra. I realized that Beethoven was more on my mind than any of the questions. I had finished my undergraduate music degree in 2 ½ years and learned a lot about the mechanics of conducting.
GG: What was going on in your life, support wise?
AK: My parents have been tremendously supportive always, at least after they got over the shock (laughs). My mother’s side of the family are all in the arts. Retired conductor Philadelphia Orchestra-cousin; retired member of the Boston symphony-cousin. There are painters and poets, you name the gambit of artistic media and mom's side of the family is involved in it.
GG: Were they there for you? Did they call and say "Hey what’s going on?"
AK: Not all of them. The art artists were the most supportive. The musicians were very negative about my career choice, advising, "Maybe you don’t want to do this." Now that I’m a colleague I understand. I would definitely be the person to not recommend anyone go into the music industry. The sacrifices are enormous, you can’t be just partially in.
GG: How did you end up here in Florida?
AK: I auditioned for Paul Nadler, former conductor of the Southwest Florida Symphony, whom I had met in the early 90s at the Met Guild in Philly. He had me conduct the entire opera 'Don Pasquale.' and I was hired as his assistant. When the Guild went bankrupt in '92, Paul invited me to be his assistant at the Southwest Florida Symphony.
I played in the orchestra and didn’t do any real conducting. I had a conversation with Paul and he explained there was no community orchestra here and he suggested I start one. That’s how the 'Gulf Coast Symphony came about.
AK: My parents have been tremendously supportive always, at least after they got over the shock (laughs). My mother’s side of the family are all in the arts. Retired conductor Philadelphia Orchestra-cousin; retired member of the Boston symphony-cousin. There are painters and poets, you name the gambit of artistic media and mom's side of the family is involved in it.
GG: Were they there for you? Did they call and say "Hey what’s going on?"
AK: Not all of them. The art artists were the most supportive. The musicians were very negative about my career choice, advising, "Maybe you don’t want to do this." Now that I’m a colleague I understand. I would definitely be the person to not recommend anyone go into the music industry. The sacrifices are enormous, you can’t be just partially in.
GG: How did you end up here in Florida?
AK: I auditioned for Paul Nadler, former conductor of the Southwest Florida Symphony, whom I had met in the early 90s at the Met Guild in Philly. He had me conduct the entire opera 'Don Pasquale.' and I was hired as his assistant. When the Guild went bankrupt in '92, Paul invited me to be his assistant at the Southwest Florida Symphony.
I played in the orchestra and didn’t do any real conducting. I had a conversation with Paul and he explained there was no community orchestra here and he suggested I start one. That’s how the 'Gulf Coast Symphony came about.
At the end of that day, after the concert, I called my dad and said, "I’m not going to apply to law school. I want
to see what happens with this music stuff. Let’s see how
far I can take it." It took him about a month to get over it.
GG: How did you start that pursuit?
AK: I applied to the Peadody conservatory and got wait listed so I decided to take the summer off. It was a good decision at that point.
I needed it. I was pretty wiped.
I started my doctoral dissertation at age 22 because it's very rare to conduct so young. Generally you're encouraged to continue your studies. The end of my first year I got hired for my first professional job as the assistant conductor of the Pennsylvania Opera Theater in Philadelphia. I have been working full time as a conductor since then.
GG: Would you say the amount of conducting you did in school and your academic achievements allowed that to happen?
AK: No. It was pure luck. They needed someone to
help the conductor. The production manager knew
my mother, gave me a call
and asked if I was available.
It was at the end of school, there were only two weeks
left and I was able to get out and go to Philly immediately.
I showed up there, always loving opera, but never
having worked it. I walked
in, and this woman said,
"I want to hear what the orchestra sounds like in a
new arrangement, can you
conduct this morning, the overture?" It was the first
time I’d ever been in front
of a professional orchestra, a little intimidating, but it didn’t go badly. About a month later, the assistant conductor quit
and they offered me the job.
to see what happens with this music stuff. Let’s see how
far I can take it." It took him about a month to get over it.
GG: How did you start that pursuit?
AK: I applied to the Peadody conservatory and got wait listed so I decided to take the summer off. It was a good decision at that point.
I needed it. I was pretty wiped.
I started my doctoral dissertation at age 22 because it's very rare to conduct so young. Generally you're encouraged to continue your studies. The end of my first year I got hired for my first professional job as the assistant conductor of the Pennsylvania Opera Theater in Philadelphia. I have been working full time as a conductor since then.
GG: Would you say the amount of conducting you did in school and your academic achievements allowed that to happen?
AK: No. It was pure luck. They needed someone to
help the conductor. The production manager knew
my mother, gave me a call
and asked if I was available.
It was at the end of school, there were only two weeks
left and I was able to get out and go to Philly immediately.
I showed up there, always loving opera, but never
having worked it. I walked
in, and this woman said,
"I want to hear what the orchestra sounds like in a
new arrangement, can you
conduct this morning, the overture?" It was the first
time I’d ever been in front
of a professional orchestra, a little intimidating, but it didn’t go badly. About a month later, the assistant conductor quit
and they offered me the job.
Florida
GG: Tell us about the Gulf Coast Symphony.
AK: I started the Gulf Coast Symphony 13 years ago, in part because there was a need for it. The Southwest Florida Symphony was the Fort Myers Symphony. It began transitioning from a community orchestra to a professional orchestra 20 years ago.
The people who had played in the orchestra were members of the community. Doctors and lawyers, who could no longer participate because a professional orchestra’s rehearsal schedule is very different from an orchestra like ours.
With a community orchestra, you don’t do as many concerts, you don’t have as many pressures. Although if you ask people in my orchestra, I keep a pretty demanding schedule (laughs). We do a lot of concerts per year.
At first, the GCS afforded me the chance to freshen up on my rep. For the first couple of years, every week we went through a different symphony. Twice a year we would take 3 or 4 weeks to prepare a concert. Lots of people came back, it was good, they had fun. It grew and morphed and became what it is today.
When it started out I didn’t expect to still be here. I though I'd give the community an orchestra it really needed, then I'd go get a real job.
GG: Really? What changed that?
AK: Now we are one of the more dynamic community orchestra programs in the country. We are constantly offering new material and major works. We’re doing 11 concerts a year. We are very involved in education. It is now an October through May orchestra, with a very demanding schedule. This became my job.
The reason this orchestra is so much fun to work with is there is a real passion and love of what they are doing. As long as we make music, that's the only the bar I hold the orchestra to.
Fort Myers is at a crossroads right now, culturally. There are a lot of artistic and creative opportunities and things happening. It’s time for the community to come together and celebrate what we do have. We need to promote what we have and focus on finding out what we need to grow, rather than always looking to our neighbors. Your Gourmet Girl is definitely a welcomed step in that direction.
GG: Tell us about the educational arm of the Gulf Coast Symphony?
AK: At its core, the thing that makes the Gulf Coast Symphony different from most community orchestras in the area and most of the country is education. The goal of the orchestra is the education of the public, the education of the members of the orchestra and to be an active partner with the schools in the area.
In Fort Myers we offer the education opportunity to any schools that wish to participate, as long as all parties agree to the parameters of the program. We also offer free tickets to the students and their parents to any of our concerts if they are in the program. It promotes an artistic community and a cultural environment that is important.
The Cantors
GG: What prompted you to found the Florida Jewish Philhamonic and specialize in Jewish Orchestral Music?
AK: A friend of mine wanted to start a Chamber Music series and do orchestral concerts of Cantorial and Jewish music. I agreed to start the Florida Jewish Philharmonic to enable these concerts. After two years of doing it specifically for them, I became independent of the synagogue and began perform elsewhere.
That led to the ‘Cantors: Faith in Song’ which was originally recorded for PBS as special in 2003. It was then decided to start a concert tour version.
They were opening in Philly and were looking for somebody local and he suggested me. It clicked and now we’ve been touring all over the world. I just got back from Brazil. We did 3 sold out concerts, 2 in Sao Paulo and 1 in Rio. They were so successful that they want to bring us back in 2009 for an entire South American tour.
2008 is the 60th anniversary of the founding of Israel and we are going to be doing a world tour in celebration of that. Nothing has been finalized but there are dates floating around for everywhere from the west coast of the United States to Spain, London and Israel.
GG: In an interview, you spoke about having to go over sections of the music to show the musicians how to sound Jewish. How did you achieve that?
AK: My grandfather was in the Yiddish theater. I grew up hearing it. It’s sort of natural. That style is in my genes. (Laughter) I know what it's supposed to sound like, I have in my head my grandfather singing these Yiddish songs.
If someone is not familiar with the medium and the style they need instruction. In Brazil, it was probably one of the greatest orchestras I’ve ever worked with. They did a pretty good job but they still needed to understand how to sound Jewish.
Cantorial works are something that I’ve been learning too. I didn’t know as much five years ago as I do now. For me this has been something very special in my life.
I've worked with lots of great artists, Broadway stars and some great classical artists. When I’ve done these Jewish Cantorial concerts and Jewish concerts, I'm working with the elite of the elite. I’m learning from the best.
Few conductors can do this in the world. You have this specialization. Here I have these guys who say, "I need this, listen for this." I‘m at the point now with the show that I know them well and I know the music well.
Cantorial music can be very improvisational. You need to know their style of improv, know when they are going to resolve out of a chord and bring the orchestra there. It is very jazz oriented.
I am very comfortable working with singers and have had these amazing people to work with. Naftali, for instance, is the chief cantor of the Great Synagogue in Jerusalem.
GG: Of course you have the Jewish 'Pavorotti' and then you add in Brooklyn. I have seen their performance on PBS.
AK: I didn’t conduct the special, but they webcast the Brazil show.
GG: Your audience's tremendous response to these shows. Do you think it's because of the emotion and the feeling that comes out of it and where the music comes from?
AK: Yes. A large percent of the audience tends to be Jewish but not always. There’s a real emotional connection.
Music, no matter the genre, is a way that we communicate as human beings in a non-verbal art form. It can be very specific in terms of emotion and feeling. You can have someone understand a similar feeling or sensibility with any piece of music regardless of the genre, form, or language.
GG: Do you consider working with the Cantors the brightest star in your career to date?
AK: Everything is it's own shining moment. That’s what keeps things fresh for me I think. There is always something new, something different.
On Conducting
GG: Tell us about the Gulf Coast Symphony.
AK: I started the Gulf Coast Symphony 13 years ago, in part because there was a need for it. The Southwest Florida Symphony was the Fort Myers Symphony. It began transitioning from a community orchestra to a professional orchestra 20 years ago.
The people who had played in the orchestra were members of the community. Doctors and lawyers, who could no longer participate because a professional orchestra’s rehearsal schedule is very different from an orchestra like ours.
With a community orchestra, you don’t do as many concerts, you don’t have as many pressures. Although if you ask people in my orchestra, I keep a pretty demanding schedule (laughs). We do a lot of concerts per year.
At first, the GCS afforded me the chance to freshen up on my rep. For the first couple of years, every week we went through a different symphony. Twice a year we would take 3 or 4 weeks to prepare a concert. Lots of people came back, it was good, they had fun. It grew and morphed and became what it is today.
When it started out I didn’t expect to still be here. I though I'd give the community an orchestra it really needed, then I'd go get a real job.
GG: Really? What changed that?
AK: Now we are one of the more dynamic community orchestra programs in the country. We are constantly offering new material and major works. We’re doing 11 concerts a year. We are very involved in education. It is now an October through May orchestra, with a very demanding schedule. This became my job.
The reason this orchestra is so much fun to work with is there is a real passion and love of what they are doing. As long as we make music, that's the only the bar I hold the orchestra to.
Fort Myers is at a crossroads right now, culturally. There are a lot of artistic and creative opportunities and things happening. It’s time for the community to come together and celebrate what we do have. We need to promote what we have and focus on finding out what we need to grow, rather than always looking to our neighbors. Your Gourmet Girl is definitely a welcomed step in that direction.
GG: Tell us about the educational arm of the Gulf Coast Symphony?
AK: At its core, the thing that makes the Gulf Coast Symphony different from most community orchestras in the area and most of the country is education. The goal of the orchestra is the education of the public, the education of the members of the orchestra and to be an active partner with the schools in the area.
In Fort Myers we offer the education opportunity to any schools that wish to participate, as long as all parties agree to the parameters of the program. We also offer free tickets to the students and their parents to any of our concerts if they are in the program. It promotes an artistic community and a cultural environment that is important.
The Cantors
GG: What prompted you to found the Florida Jewish Philhamonic and specialize in Jewish Orchestral Music?
AK: A friend of mine wanted to start a Chamber Music series and do orchestral concerts of Cantorial and Jewish music. I agreed to start the Florida Jewish Philharmonic to enable these concerts. After two years of doing it specifically for them, I became independent of the synagogue and began perform elsewhere.
That led to the ‘Cantors: Faith in Song’ which was originally recorded for PBS as special in 2003. It was then decided to start a concert tour version. They were opening in Philly and were looking for somebody local and he suggested me. It clicked and now we’ve been touring all over the world. I just got back from Brazil. We did 3 sold out concerts, 2 in Sao Paulo and 1 in Rio. They were so successful that they want to bring us back in 2009 for an entire South American tour.
2008 is the 60th anniversary of the founding of Israel and we are going to be doing a world tour in celebration of that. Nothing has been finalized but there are dates floating around for everywhere from the west coast of the United States to Spain, London and Israel.
GG: In an interview, you spoke about having to go over sections of the music to show the musicians how to sound Jewish. How did you achieve that?
AK: My grandfather was in the Yiddish theater. I grew up hearing it. It’s sort of natural. That style is in my genes. (Laughter) I know what it's supposed to sound like, I have in my head my grandfather singing these Yiddish songs.
If someone is not familiar with the medium and the style they need instruction. In Brazil, it was probably one of the greatest orchestras I’ve ever worked with. They did a pretty good job but they still needed to understand how to sound Jewish.
Cantorial works are something that I’ve been learning too. I didn’t know as much five years ago as I do now. For me this has been something very special in my life.
I've worked with lots of great artists, Broadway stars and some great classical artists. When I’ve done these Jewish Cantorial concerts and Jewish concerts, I'm working with the elite of the elite. I’m learning from the best. Few conductors can do this in the world. You have this specialization. Here I have these guys who say, "I need this, listen for this." I‘m at the point now with the show that I know them well and I know the music well.
Cantorial music can be very improvisational. You need to know their style of improv, know when they are going to resolve out of a chord and bring the orchestra there. It is very jazz oriented.
I am very comfortable working with singers and have had these amazing people to work with. Naftali, for instance, is the chief cantor of the Great Synagogue in Jerusalem.
GG: Of course you have the Jewish 'Pavorotti' and then you add in Brooklyn. I have seen their performance on PBS.
AK: I didn’t conduct the special, but they webcast the Brazil show.
GG: Your audience's tremendous response to these shows. Do you think it's because of the emotion and the feeling that comes out of it and where the music comes from?
AK: Yes. A large percent of the audience tends to be Jewish but not always. There’s a real emotional connection.
Music, no matter the genre, is a way that we communicate as human beings in a non-verbal art form. It can be very specific in terms of emotion and feeling. You can have someone understand a similar feeling or sensibility with any piece of music regardless of the genre, form, or language.
GG: Do you consider working with the Cantors the brightest star in your career to date?
AK: Everything is it's own shining moment. That’s what keeps things fresh for me I think. There is always something new, something different.
Center City Opera Theater - Philadelphia
GG: Tell me about the opera company.
AK: We did a world premier of "The Picture of Dorian Gray" by L. Lieberman which was hugely successfully. Opening night of Dorian was, without a doubt, one of my proudest moments. We achieved what we had set out to accomplish after 8 years. It’s a great opera and the only reason it wasn’t being performed was it required a 105 piece orchestra. Most opera companies in the United States can’t afford it or don’t have space for it. Now there is a 36-40 piece version and it just needs to be picked up by people who believe in it. I think it’s a great piece of music and I would do it again. Anywhere.
GG: Did you achieve the goal you had for the performance and the CCOT?
AK: Yes and no. Yes, it was a huge artistic success. It was reviewed internationally. We’ve now got a reputation, "Oh they’re the Company in Philadelphia that is interested in new opera." It is exactly what we are and what we want to be. Financially it was a disaster.
GG: In retrospect what would you do differently?
AK: I would raise money differently and entice audiences differently. People are afraid of hearing something new. It’s something we are working on right now. We’re doing plenty of new opera, I have a Chamber Opera that we commissioned for our 10th anniversary. It premieres in two weeks in Philadelphia on the 13th of April. We’re launching a new reading series of all new contemporary operas. It’s something I believe in. I think it’s important for the vibrancy and the long term health of the art, to be doing new.
GG: You have a concept and a direction.
AK: Opera is a money pit (laughs). If you want to lose money, I recommend going into opera. The only thing that is probably worse is starting a restaurant. Most restaurants fail in the first year. Operas are really expensive. You have unions and all sorts of issues.
GG: Tell me about the opera company.
AK: We did a world premier of "The Picture of Dorian Gray" by L. Lieberman which was hugely successfully. Opening night of Dorian was, without a doubt, one of my proudest moments. We achieved what we had set out to accomplish after 8 years. It’s a great opera and the only reason it wasn’t being performed was it required a 105 piece orchestra. Most opera companies in the United States can’t afford it or don’t have space for it. Now there is a 36-40 piece version and it just needs to be picked up by people who believe in it. I think it’s a great piece of music and I would do it again. Anywhere.
GG: Did you achieve the goal you had for the performance and the CCOT?
AK: Yes and no. Yes, it was a huge artistic success. It was reviewed internationally. We’ve now got a reputation, "Oh they’re the Company in Philadelphia that is interested in new opera." It is exactly what we are and what we want to be. Financially it was a disaster.
GG: In retrospect what would you do differently?
AK: I would raise money differently and entice audiences differently. People are afraid of hearing something new. It’s something we are working on right now. We’re doing plenty of new opera, I have a Chamber Opera that we commissioned for our 10th anniversary. It premieres in two weeks in Philadelphia on the 13th of April. We’re launching a new reading series of all new contemporary operas. It’s something I believe in. I think it’s important for the vibrancy and the long term health of the art, to be doing new.GG: You have a concept and a direction.
AK: Opera is a money pit (laughs). If you want to lose money, I recommend going into opera. The only thing that is probably worse is starting a restaurant. Most restaurants fail in the first year. Operas are really expensive. You have unions and all sorts of issues.
On Conducting
GG: Reporters talk about you and your style. How do you see yourself?
AK: I try to embody the music that I’m conducting. When I am at the top of my game and everything is clicking, I’m not at all conscious of anything that I’m physically doing. My mind is all involved with what is actually going on. Conducting is an interesting art. Ahead of time, as you’re learning it, it’s 90% intellectual and 10% here (points to heart). Once you get on the podium, it reverses and it's 90% here (points to heart) and 10% intellectual.
I like the description, 'Being a conductor is like driving a train, while at the same time running alongside and watching where it is going." You always need to know where you are, where you’re coming from and where you’re going to, otherwise there is no musical connection. Where to be, when to be there (pointing, as if at sheet music), got this, let that go.... knowing where your battles are going to be. I am the conduit from the orchestra and the music to the audience.
GG: How do you achieve that?
AK: When I talk to the audience, I do not turn around and say " Okay, we are about to hear the Beethoven 5th Symphony, and it was written in 1801, and it was hated on the first performance, and everybody knows the three note fade in." That's in the program notes and if its not, it’s basic information.
When I turn around I say, " Listen to the 3 note theme now", and then I make the orchestra play it. "Now in the second movement, let’s listen how it’s turned upside-down." Then, " In the fourth movement, let’s see how he varies the tempo."
I try to demonstrate and give the audience a degree of access into what I’m thinking about as a conductor, how the music is actually put together. It makes them better listeners and lets them access the piece of music that they’re hearing more quickly. Every composer puts music into his or her own voice.
GG: You give them an access into the conposers head. They get a better understanding of what the composer did.
AK: Yes. I’m trying to show them the same thing the composer has shown me. Finding and presenting pieces of music that as I, as a conductor, can fully stand behind and say, "This is a great piece of music. It speaks to me as a person and I think that it has relevance to you." Hopefully it will have some life beyond just these presentations.
GG: What is the biggest misconception about conductors?
AK: People think we just wave our hands. Usually, if you are working with proficient musicians, they are going to be able to play. You let that orchestra play and push them with the subtlest of gestures to the next level. That’s your job.
When Gulf Coast Symphony is clicking and everything is good, you may see me up there and I’m basically doing this (minimally moves his hand) and letting the orchestra play.
I like to think I have an enormous and unlimited amount of physical gestures, but the most powerful communication tool I have are my eyes. Clear and small forces people to watch you.
AK: I try to embody the music that I’m conducting. When I am at the top of my game and everything is clicking, I’m not at all conscious of anything that I’m physically doing. My mind is all involved with what is actually going on. Conducting is an interesting art. Ahead of time, as you’re learning it, it’s 90% intellectual and 10% here (points to heart). Once you get on the podium, it reverses and it's 90% here (points to heart) and 10% intellectual.
I like the description, 'Being a conductor is like driving a train, while at the same time running alongside and watching where it is going." You always need to know where you are, where you’re coming from and where you’re going to, otherwise there is no musical connection. Where to be, when to be there (pointing, as if at sheet music), got this, let that go.... knowing where your battles are going to be. I am the conduit from the orchestra and the music to the audience.
GG: How do you achieve that?
AK: When I talk to the audience, I do not turn around and say " Okay, we are about to hear the Beethoven 5th Symphony, and it was written in 1801, and it was hated on the first performance, and everybody knows the three note fade in." That's in the program notes and if its not, it’s basic information.
When I turn around I say, " Listen to the 3 note theme now", and then I make the orchestra play it. "Now in the second movement, let’s listen how it’s turned upside-down." Then, " In the fourth movement, let’s see how he varies the tempo."
I try to demonstrate and give the audience a degree of access into what I’m thinking about as a conductor, how the music is actually put together. It makes them better listeners and lets them access the piece of music that they’re hearing more quickly. Every composer puts music into his or her own voice.
GG: You give them an access into the conposers head. They get a better understanding of what the composer did.
AK: Yes. I’m trying to show them the same thing the composer has shown me. Finding and presenting pieces of music that as I, as a conductor, can fully stand behind and say, "This is a great piece of music. It speaks to me as a person and I think that it has relevance to you." Hopefully it will have some life beyond just these presentations.
GG: What is the biggest misconception about conductors?
AK: People think we just wave our hands. Usually, if you are working with proficient musicians, they are going to be able to play. You let that orchestra play and push them with the subtlest of gestures to the next level. That’s your job.
When Gulf Coast Symphony is clicking and everything is good, you may see me up there and I’m basically doing this (minimally moves his hand) and letting the orchestra play.
I like to think I have an enormous and unlimited amount of physical gestures, but the most powerful communication tool I have are my eyes. Clear and small forces people to watch you.
GG: What is the funniest thing that ever happened to you on the podium?
AK: (Laughs) I've almost fallen off the podium and I once tossed my baton several rows back into the house while conducting an opera dress rehearsal and had to have an audience member bring it back to the pit.
GG: How did you meet your wife?
AK: I hired her to sing the role of the mother in 'Amahl & the Night Visitors' which we did with the Gulf Coast Symphony in December 2003. We began dating about six months later. The rest is history. We are still figuring out how to handle our schedules. It is very complicated.
GG: Speaking of your hectic schedules, how do you manage your private life?
AK: Music isn’t a job, it is my entire lifestyle. (24/7/365) If I didn’t love what I was doing and be this involved, it wouldn’t work. We've been married now almost two years. It’s trying to find the negotiations on how to make that work. The traveling is exhaustive.
GG: Does Janelle, go with you?
AK: Last year she did all the time. This year not so much. All that flying is brutal on her voice. I take planes like most people jump in a car. It’s the lifestyle I've chosen. It’s all a question of finding the right balance.
GG: Do you think because your wife is who she is, Artistic Director for the Chamber Society and a professional musician in her own right, that it’s easier for her to deal with because she understands?
AK: Yes, she certainly understands. I don't know about easier. It’s a partnership, so you have to make it work for both.
GG: Do you have any hobbies?
AK: The beach, travel, reading, skiing.
GG: What do you listen to on the radio.
AK: Talk radio. I’m a huge fan of sports talk radio. I am a dedicated Philadelphia sports fan. Eagles, Phillies, and to a smaller degree Flyers and Sixers. You can pretty much guarantee that if I don't have a rehearsal, I am in front of a TV set watching the Eagles games on Sunday. When I am out of the country, it doesn't matter where in the world , if I am not able to get to a sports bar, I pay to have the games audio broadcast on my computer so I can listen.
GG: Where do you see yourself in 5 years?
AK: I will always be making music
GG: One thing about yourself you’d like to leave with our readers?
AK: Keep an open mind, keep studying and keep enjoying your life.
AK: (Laughs) I've almost fallen off the podium and I once tossed my baton several rows back into the house while conducting an opera dress rehearsal and had to have an audience member bring it back to the pit.
GG: How did you meet your wife?
AK: I hired her to sing the role of the mother in 'Amahl & the Night Visitors' which we did with the Gulf Coast Symphony in December 2003. We began dating about six months later. The rest is history. We are still figuring out how to handle our schedules. It is very complicated.
GG: Speaking of your hectic schedules, how do you manage your private life?
AK: Music isn’t a job, it is my entire lifestyle. (24/7/365) If I didn’t love what I was doing and be this involved, it wouldn’t work. We've been married now almost two years. It’s trying to find the negotiations on how to make that work. The traveling is exhaustive.
GG: Does Janelle, go with you?
AK: Last year she did all the time. This year not so much. All that flying is brutal on her voice. I take planes like most people jump in a car. It’s the lifestyle I've chosen. It’s all a question of finding the right balance.GG: Do you think because your wife is who she is, Artistic Director for the Chamber Society and a professional musician in her own right, that it’s easier for her to deal with because she understands?
AK: Yes, she certainly understands. I don't know about easier. It’s a partnership, so you have to make it work for both.
GG: Do you have any hobbies?
AK: The beach, travel, reading, skiing.
GG: What do you listen to on the radio.
AK: Talk radio. I’m a huge fan of sports talk radio. I am a dedicated Philadelphia sports fan. Eagles, Phillies, and to a smaller degree Flyers and Sixers. You can pretty much guarantee that if I don't have a rehearsal, I am in front of a TV set watching the Eagles games on Sunday. When I am out of the country, it doesn't matter where in the world , if I am not able to get to a sports bar, I pay to have the games audio broadcast on my computer so I can listen.
GG: Where do you see yourself in 5 years?
AK: I will always be making music
GG: One thing about yourself you’d like to leave with our readers?
AK: Keep an open mind, keep studying and keep enjoying your life.