Hartford Symphony Orchestra

The Hartford Symphony Orchestra (HSO) is an American orchestra based in Hartford, Connecticut. Marking its 65th season in 2008-2009, the Hartford Symphony Orchestra is Connecticut's premier musical organization and is widely recognized as one of America's leading regional orchestras.

Each season, the HSO plays to audiences numbering approximately 170,000 and reaches thousands statewide through its broadcast concerts on Connecticut Public Radio. The Hartford Symphony Orchestra's extensive array of Musical Pathways educational activities serves more than 70,000 individuals in Hartford and surrounding communities annually. The Hartford Symphony Orchestra is supported by approximately 8,000 subscribers and 3,000 donors. The organization has been greatly strengthened by an extensive level of communication and involvement with its musicians that has become a national model for orchestral governance. Now representing 15% of the Board of Directors and one-third of its Executive Committee, musicians also serve on all major Board committees.

History

1930 – 1939: Community Beginnings

1934- The Federal government established the Federal Emergency Relief Corporation, which included a program to help struggling musicians through the economic depression. Amateur musician and businessman Francis Goodwin II, considered today to be the “Father of the Hartford Symphony,” seized the opportunity to bring orchestral music to the city of Hartford. His Federal “Orchestra Application” was accepted, resulting in the creation of the Hartford Symphony Orchestra, then known as the “Civic Symphony Orchestra of Hartford.” Created as a public service, the orchestra gave two free concerts per week, and the musicians rehearsed every day for a weekly salary of $21. The Civic Symphony Orchestra of Hartford performed its first concert on November 20, 1934 under music director Angelo Coniglione at West Middle School in Hartford. Although this first concert did not bring in a huge audience, it was generally considered to be a promising start to the orchestra’s future.

1935- The Federal government disbanded the Federal Emergency Relief Corporation and instead began a larger program called the Federal Music Project (FMP). This project was a subdivision of the Works Progress Administration (WPA) of the New Deal. Many orchestras in the United States were born out of the funding from this project. To the Hartford Symphony, being a part of the Federal Music Project meant they could pay musicians higher wages and charge a moderate admission of 25¢.

1936- Jacques Gordon replaced Angelo Coniglione as conductor and music director and the name of the orchestra officially changed to the “Hartford Symphony Orchestra.” The Symphony’s concerts schedule expanded with performances in The Bushnell, as well as public venues across Connecticut, Massachusetts, and Rhode Island.

1937- The WPA changed its policies so that orchestras could not charge admission. However, the Hartford Symphony continued to bring in revenue by cleverly charging each patron 10¢ to rent a seat for summer concerts. At the final summer concert that year, Francis Goodwin II received a telegram in the middle of the first half explaining that the Federal Music Project was changing its policies and that the Hartford Symphony would need to cover half of its own costs or it would lose all Federal funding. Panicked, Mr. Goodwin stood up at intermission and appealed to the audience for its financial support. A box was passed around, and by the end of the concert they had collected $1,200! The next day the contributions continued to roll in, saving the orchestra from financial disaster and initiating the strong connection between the Hartford Symphony and the Hartford community.

1938- In the past the FMP had always had dictated which guest artists and conductors would be allowed to perform. Looking for complete artistic control over the orchestra, the Hartford Symphony pulled out of the FMP in order to hire conductor Leon Barzin as the new music director. Despite the Symphony’s poor financial status from a lack of government funding, the orchestra’s four-concert season was the most illustrious the orchestra had ever seen; it featured world famous soloists and a high ticket revenue from $3 admission prices.

1939- In an effort to raise community spirits, the City of Hartford funded five successful summer concerts with guest conductor George Heck at the podium. Bushnell Park’s outdoor bandshell was torn down at the end of this summer series, marking the end of the first decade of the Hartford Symphony’s history.

1940 – 1949: Resilience and Rebirth

1940- Ever since the decision was made to forgo Federal funding in 1938, the Hartford Symphony had been struggling to keep its doors open. Board member Francis Goodwin II, considered to be the “Father of the Hartford Symphony,” even put up $11,000 in personal collateral to finance a loan for the Symphony. (The Symphony was later unable to pay back the loan, and Goodwin’s personal collateral was confiscated.) Despite this financial distress, the Hartford Symphony presented five concerts in The Bushnell which featured all-Beethoven programming. These concerts marked the highest attendance the orchestra had experienced in its six year history.

1941-1945- The Hartford Symphony played the last of its successful Beethoven concerts on May 14, 1941. By this time, World War II had swept through Europe, and by the fall of 1941 nearly all of the Hartford Symphony’s musicians had taken leave to join the armed forces. With crippled finances and no musicians, the orchestra only existed as a corporate entity and it did not seem likely that Connecticut would ever hear the Hartford Symphony again.

1946- In a final effort to save the Hartford Symphony, Francis Goodwin II pulled together a new Board of Directors comprised of prominent Hartford businessmen, including Willard B. Rogers, the Commissioner of the Connecticut Department of Economic and Community Development, as President of the Hartford Symphony Board.

1947- In an unprecedented action, Hartford’s musicians’ union agreed to perform for free for one year in an effort to get the Symphony up and running again. The Hartford Symphony was then free to use what little funds they had to pay for technical costs. They hired two alternating co-conductors: George Heck, Dean of what is now the Hartford Conservatory, and Moshe Paranov, Dean of The Hartt School.

1948- The Hartford Symphony’s first concert back was held on January 25, 1948 in Mortensen Hall. For the first time, patrons could buy subscriptions ($6 for seats at four concerts in either the Orchestra or Front Balcony section) or pay $1 per concert for a seat in the rest of the house. The audiences were much larger than the Symphony had seen in the past, with more than 1,000 paid admissions at every concert.

After observing this heartfelt struggle to revive the Hartford Symphony, Travelers Insurance Company, in conjunction with radio station WTICdn, offered up a generous gift of $30,000 over the course of three years to the Hartford Symphony. After the first $10,000 installment in 1948, the HSO was finally able to open official administrative offices in the first floor of the Old State House in Hartford, and, more importantly, was able to pay the musicians scale wages.

1949- The Hartford Symphony’s concert season expanded to six concerts in The Bushnell instead of four. In addition, Arthur Fiedler guest conducted the first Hartford Symphony POPS! concerts at The Bushnell and the Trinity Field House, where audience members sat at cabaret-style tables and were served food and drink by white-coated Trinity Students. It was noted this year that the orchestra played better than ever before; it seemed that musicians and audience members alike had a renewed interest in keeping the Hartford Symphony in business.

The Fifties- Today

It was the Viennese-born Fritz Mahler, the orchestra's sixth music director, who built the national reputation of the ensemble through an ambitious schedule of broadcasts and recordings. Under his leadership, the HSO began its Young People's Concerts and made several recordings for Vanguard. In 1964, Arthur Winograd, a founding member of the Juilliard String Quartet, became music director. Under Winograd, the Orchestra grew in artistic stature, culminating in a successful series of critically acclaimed performances at New York’s Lincoln Center and Carnegie Hall. Under the artistic leadership of Michael Lankester from 1985-2000, the HSO received national recognition for its programming innovations, including the popular Classical Conversations and United Technologies Family Matinees, as well as a series of landmark theatrical productions.

After an extensive search involving nearly 300 applicants from around the world, the Hartford Symphony Orchestra named Edward Cumming as its ninth Music Director in 2001. During his first season Cumming introduced several exciting and successful initiatives including the popular United Technologies Rush Hour Classics and Classical Connections Series at The Bushnell's Belding Theater; the HSO's first Latino Music Celebration; and a long-awaited return to Bushnell Park with "Sounds of the City", a concert embracing the rich musical traditions of many of Hartford's diverse ethnic populations. Recognizing his commitment to performing the music of our time, the American Society of Composers, Authors and Publishers (ASCAP) presented Edward Cumming and the HSO with its 2003 Award for Adventurous Programming. The HSO also was one of three orchestras in North America to be honored with the 2004 MetLife Award for Excellence in Community Engagement, awarded by the American Symphony Orchestra League, and a 2003 award from the Hispanic Professional Network recognizing the HSO's "dedication to promote awareness of Hispanic arts and culture."

The HSO launched a major community engagement initiative designed to reach new audiences in 2000 with "I Have A Dream," the HSO's first concert celebrating the life and legacy of Dr. Martin Luther King, Jr. In June 2004, the Hartford Symphony Orchestra was awarded the Governor's Arts Award "in recognition of remarkable artistic achievement and contributions to the arts in the state of Connecticut."

In 2001, 2003, and again in 2005, the popular Italian tenor Andrea Bocelli chose the HSO to accompany him on tour in a total of eleven cities across North America.

The Hartford Symphony presents more than 70 concerts annually – from The Masterworks Series, Hartford Symphony POPS!, and Family Matinees at The Bushnell Center for the Performing Arts, to The Choral Collection, a series presented in collaboration with The Hartford Chorale and CONCORA, and the Talcott Mountain Music FestivalSM in Simsbury, Connecticut. Highly talented resident musicians have helped the Orchestra reach its highest artistic level ever.

Music Directors

* 1934–1936 Angelo Conigilione
* 1936–1938 Jacques Gordon
* 1938–1941 Leon Barzin
* 1947–1953 George Heck
* 1947–1953 Moshe Paranov
* 1953–1963 Fritz Mahler
* 1964–1985 Arthur Winograd
* 1985–2000 Michael Lankester
* 2002–date Edward Cumming

Concertmasters

* 1934–1939 George Heck
* 1948–1955 Rubin Segal
* 1955–1960 Gerald Gelbloom
* 1961–1962 Gabriel Banat
* 1962–1969 Renato Bonacini
* 1969–2001 Bernard Lurie
* 2005–date Leonid Sigal

External links

* [http://www.hartfordsymphony.org/ hartfordsymphony.org] - Official Site
* [http://www.new.facebook.com/pages/Hartford-Symphony-Orchestra/18027192411/ Hartford Symphony Facebook Page]