January 2022 eNotes
Dear Friend,

Happy New Year! This month’s eNotes sends you a virtual toast to health and happiness, as we continue our Auburn Symphony journey into 2022. We have made it past the shortest day of the year and are now on nature’s inevitable path to more daylight. If you have a tradition of making New Year’s resolutions, let me share that we only have ONE this year…to enjoy our live concerts and choose a new Music Director who will lead the 2022-2023 season! 
To that end, our next finalist, Maestro Ryan Murray, will be with us on Sunday, January 23rd, at a 3:00 p.m. matinee, with the pre-concert talk starting at 2:15 p.m. Guest artist Amaryn Olmeda has been known to us since she first won our 2017 Young Artists Competition at the age of 8. It’s always a treat for our audience when Amaryn returns to our stage--we marvel at her skill and take pride in watching her and her talent grow. Concert tickets are still available!
As we get ready for this second of three concerts in our Finalist Showcase Series, a fitting spotlight for our January behind-the-scenes look is focused on one of the most critical members of the orchestra—the concertmaster. You may recall that we have been without a permanent concertmaster since last summer when our longtime friend and 10-year veteran, Richard Altenbach, moved out of state with his family. Across the miles, we asked Richard to give us a bit of education about this role that is so key to the success of the orchestra.

He shares his experience and humor, "What people usually see of a concertmaster is that they come onto the stage late! They then proceed to 'tune' the orchestra, shake the conductor's hand, and the orchestra begins playing. Occasionally, you will hear the concertmaster play a solo line of music within the orchestra as required by the piece. But the real work of a concertmaster comes during the rehearsal process and before--bowings for the section, and sometimes all strings are prepared in advance, although they will doubtless be changed during the course of rehearsals to meet the particular tempo or musical demands of the conductor. Perhaps more importantly, the concertmaster conveys the musical requests of the conductor into concrete technical terms to the string sections. For example, if the conductor wants a 'glassy' sound, the concertmaster may suggest the strings play 'ponticello' ('at the bridge') to produce such a timbre. Conversely, the concertmaster may suggest the players bow over their fingerboards for a beautiful, muted sound when needed."
Richard was originally hired by Maestro Michael Goodwin and found that he loved the challenge, after having lived in Hollywood playing and recording for movies. He had been performing with the LA Chamber Orchestra, a small instrumental ensemble and felt a real desire to be “swept up into the lush, huge symphonic sound of the Romantic classical orchestra!” During his time as concertmaster with the Auburn Symphony, Richard says he learned that “the most important, cherished quality a concertmaster could pass on to their colleagues is a patient, positive and empathetic nature devoted to presenting a passionate, proud and fun musical production.” It’s not a surprise that he considers one of his best memories the costumed Halloween pops concerts, especially the year he dressed as Batman with his 8-year-old son as Robin, and played the solo piece from Young Frankenstein in full cape and cowl - click here for the video! (I know many of us are fondly reminiscing right now!)
Our gratitude goes to Richard for the past ten years and for giving us a special look at the important role of the concertmaster as we head into our second conductor audition concert. If you would like to keep up with Richard’s music and life, you can find Bachiosaurus Studios at http://www.richardaltenbach.com.
So, who will be our next concertmaster? How are we filling such a key position this season? Until we have a new Music Director (who will hire the permanent concertmaster) we are very grateful for the talented services of another longtime friend, Charles (Chase) Spruill. Chase is performing with us throughout the season and we are grateful for his leadership talents and depth of experience.  (Click here to listen to an interview with Chase on Capital Public Radio.)
Finally, closing out one year and starting another is a time to reflect back as well as looking forward. Thank you to all of you for the tremendous support you gave in so many ways during 2021. We are also humbled by the year-end financial gifts that came in. We promise you that your trust in us is well-placed as we look forward to 2022 and the season, and bringing artistic direction to start planning our future. We continue to work hard on providing a safe environment for our musicians, concert-goers, staff and volunteers. We want to see you all in person as you are comfortable and able. 

In spite of the silver linings brought to us the past two years by Zoom or YouTube, I’ve recently heard it said that "reality has its charms" and "there's something about being together at a concert that adds a conspiratorial shiver to the music." We are truly looking forward to launching 2022 together to the wonderful in-person sounds of the Auburn Symphony Orchestra!
Stephanie Snyder, President
Auburn Symphony Board of Directors
Give the Gift of Music
Applications are open for our
2022 Young Artists Competition!
Alex Chang
Alex Chang & Owen Yang / 2021 Grand Prize Co-Winners
Make a difference this holiday!
Shop for gifts at smile.amazon.com/ch/93-1039723 to generate donations for your Auburn Symphony!

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2021/2022 Season Signature Sponsors

Bobbi Machado
Dr. Dwight & Mary Odom
Bob & Stephanie Snyder

2021/2022 Concertmaster Sponsors

Bud & LaRaine Beadles
Dean Prigmore & Patrice Taylor


Auburn Symphony
Box 74, Auburn 95604
985 Lincoln Way, #102, Auburn 95603
530-823-6683


Tuesday - Friday / 9:00 a.m. - 3:00 p.m.