Strings attached
Sep 3, 2008 |
The Honolulu Symphony has financial problems. This is not news. Sadly, it has been the state of affairs for a woefully long time. The people who make the symphony work remain committed to it, however, even in the face of the kind of adversity no major city’s orchestra should ever have to endure.
The symphony was established in 1900, which makes it the oldest symphony orchestra west of the Rocky Mountains. Not even culture-conscious cities like Los Angeles or San Francisco can claim that distinction. It was established by a group of amateur musicians in a clubhouse on the slopes of Punchbowl, and their original mission remains: “to enhance the quality of life of the people of Hawai’i by sustaining a symphony orchestra of the highest artistic quality.” In charge of maintaining that quality today are Principal Conductor Maestro Andreas Delfs, and Honolulu Symphony Pops Conductor Matt Catingub.
“Artistically, we are in good shape,” Delfs explains over the telephone from Germany, where he is vacationing with family, “between gigs.”
Acknowledging that the orchestra has been regarded nationally as somewhat amateurish, Delfs means to earn the Honolulu Symphony the respect it deserves. “This orchestra is at the highest professional level in the United States,” he said.
When he was brought in as the conductor two years ago, his biggest challenge was forming a bond with the musicians and the community. “I was bowled over to encounter such talented performers. It is very rare to find such a large group of players of this caliber.” He would know, having worked with orchestras in Pittsburgh, Milwaukee and in Switzerland.
Delfs said that his job as principal conductor is two-fold. He serves an administrative function as a fundraiser and organizer, in addition to his creative and artistic responsibilities. He says his primary responsibility is to ensure the long term success of the symphony.
What makes the Honolulu Symphony so unique, according to Delfs, is the Aloha Spirit. “I’ll never forget my first rehearsal there,” he recalls.
“I arrived to rehearse a fairly serious work from Brahms, and here are all of these musicians, all tanned and wearing flip flops.” It became clear to him immediately that all of the members are deeply ingrained in the community.
Delfs said that the members of the orchestra behave more like its owners than its employees, at times taking pay cuts and even going without pay to make sure the show goes on. Love of the music and aloha for the people in the community are the true engines of the Honolulu Symphony, despite the lack of financial support that has crippled it and, at times, shut down completely.
Financial troubles have been much publicized, and 10-year Pops Conductor Matt Catingub makes no effort at downplaying them. From behind his trademark round glasses, he says, simply, “Yeah, we’ve all had to make our own sacrifices.”
Catingub is affable and witty. When asked if it would be inaccurate to say that he was classically trained, he smiles broadly. “One thousand percent inaccurate.”
“The fun thing about the Pops is that we can do anything,” he says, eyes wide. Catingub was born and raised in Los Angeles, which comes as a surprise, as he looks as local as anyone you’d find fishing at Magic Island or tending the grill at a backyard pa’ina. He began in music playing piano and saxophone. His first gig as conductor of an orchestra came at the age of 15, at the Waikiki Shell. “My mother was singing at a jazz festival,” he recalls. “They needed a conductor, so my mom just sort of pushed me out there.”
Catingub cut his professional teeth touring with jazz bands around the country. Teenage forays into conducting aside, he was first asked to conduct in Hawai’i in 1993 by local entertainer Jimmy Borges, who was performing a tribute to Frank Sinatra. Catingub was happy to oblige. During his career, he has worked with a galaxy of stars, and is quick to point out that Captain and Tennille remain among his closest friends. When discussing the musicians he conducts, he is every bit as awestruck by the commitment and aloha they exhibit as is his symphony counterpart Andreas Delfs. “I think that the lifestyle here makes the musicians receptive to what I do. They are very willing and enthusiastic.”
The stated mission of the Honolulu Symphony is to enrich the lives of residents, and a large part of that enrichment is the education and outreach program. Jon Magnussen is Director of Education and Community Outreach at the Honolulu Symphony, and he is excited about programs underway and in development. The State Department of Human Services provided funding that sent the entire orchestra to the Big Island. “It was so popular, we were like rock stars,” says Magnussen. “There is such a need for music education in our rural communities.”
There is also a pilot program to teach students at Nanakuli Elementary to read music.
Catingub recalls a Pops series a few years ago featuring the music of Brudda Iz. “I saw families from Wai’anae and Kahuku, or wherever, who have probably never even seen a bassoon. People were crying, smiling, enrapt by the symphonic sound.”
Despite financial woes, the Honolulu Symphony, is a world-class orchestra, comprised of loyal and vastly talented musicians, headed by two of the finest conductors in the world and committed to introducing its work to a broader demographic. By bringing music into our schools, the Honolulu Symphony is simultaneously perpetuating its legacy, discovering new talent and providing opportunities for children that might not otherwise have them. It is a noble endeavor; one worthy of the support that it receives. And deserving of more.
