August 22-26, 2013

POSITIONS AVAILABLE:

Permanent                     

English Horn/3^rd Oboe
Fourth Horn
Section Percussion
Section Violin

One Year

Principal Flute (may be extended)
Principal Trombone (may be extended)
Section Percussion
Section Violin

ORCHESTRA:

The Wichita Symphony primarily serves Wichita and south-central Kansas.  The 2013-2014 season is the fourth for Music Director Daniel Hege.  The Wichita Symphony is a fully professional part-time orchestra with most members employed in other jobs within the community.  Rehearsal and concert schedules are planned to allow for outside employment.

SEASON:

The 2013-2014 season will begin on September 26, 2013 and is anticipated to conclude no later than May 30, 2014.  The Orchestra will perform approximately 70 services, including eight subscription concert pairs, two Young People’s Concert series, pops concerts and other services.

COMPENSATION:

Orchestra musicians are paid on a per-service basis.  Based on the requirements of repertoire to be performed during the season, the estimated salary for full year section positions is $5,000-7,000 and principal players $11,000.

AUDITIONS:

Local auditions will be held at Wichita State University, Wichita, KS on August 22-26, 2013.  Please contact the Wichita Symphony for the audition requirements and application form, 316-267-5259 or ambrown@wso.org.  In order to have an audition scheduled, YOU MUST FILL OUT the application form.  The date and time of your audition will be mailed to you no later than August 12, 2013.

Application deadline is August 9, 2013.

Wichita Symphony Orchestra
225 W. Douglas, Suite 207
Wichita, KS  67202

316-267-5259

The winning candidate must meet eligibility requirements to work in the United States or be able, at the candidate’s expense, to meet all eligibility requirements no later than the date upon which services would commence.

WICHITA SYMPHONY ORCHESTRA CHORUS AUDITION INFORMATION

2013-2014 SEASON

The Wichita Symphony Orchestra Chorus is a volunteer chorus that performs with the Wichita Symphony on selected concerts each season.  Rehearsal and concert schedules are planned to allow for outside employment.  Typical chorus rehearsals are Thursday evenings leading up to the concert week, when rehearsals are Tuesday,Thursday and Friday.  Concerts are Saturday evening and Sunday afternoon.

CONCERTS: 

April 5 and 6, 2014

REPERTOIRE:

Vaughan Williams:  Serenade to Music
Beethoven:  Symphony No. 9

AUDITIONS:

Local auditions will be held before the first rehearsal, Thursday, February 6, 2014, beginning at 6:00 p.m. in the chorus room in the Riney Fine Arts Building at Friends University.  For more information and to schedule an audition please contact Cindy Bailey, chorus assistant, at 316-777-0774 .  Please leave a message and she will return your call in the evening.

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Wichita Festivals Inc. announced Friday morning the rest of its musical lineup for the festival, which is scheduled for May 31 to June 8. The list includes Mike Finnigan and the Phantom Blues Band, Beatles tribute band American English, Big Head Todd and the Monsters, The Go-Go’s, Wade Bowen and Logan Mize.

These acts will join already named performers Chris Mann, Montgomery Gentry and Big Bad Voodoo Daddy. Admission to all festival concerts this year is free with a River Festival button, which costs $5 for adults.. This year’s festival also will offer a limited number of $3 children’s buttons.

Mann, a Wichita native who was a finalist on NBC’s “The Voice,” will perform on the festival’s opening night, May 31. He’ll sing with the Wichita Symphony Orchestra at the Koch Twilight Pops Concert.

Read the full story on Kansas.com

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May 5, 2013
David Baxter
Eagle Correspondent

AJ Swearingen and Jonathan Beedle

The Century II Convention Center was aglow with nostalgia Saturday night as the Wichita Symphony Orchestra was joined by guest conductor Michael Krajewski and guest artists A.J. Swearingen and Jonathan Beedle to perform a Simon and Garfunkel retrospective.

The guest artists established an amiable rapport with the audience right from the start and sprinkled interesting facts about Paul Simon’s and Art Garfunkel’s careers throughout the program.

The playing of the orchestra was very strong. The higher frequencies were somewhat too prominent, but considering the venue, the sound was good.

The concert began with an orchestral medley titled “The Sounds of Simon and Garfunkel.” The orchestra communicated a wide range of moods and colors in the piece. While much was made by Krajewski of the enhancement the orchestral accompaniments provided to these widely loved songs, too often the arrangements were too foreign to the style or feel of the original composition.

An excerpt from Aaron Copland’s “Appalachian Spring” made an attractive introduction to “America,” but other arrangements were filled with musical busy work that did nothing to amplify the composer’s original idea.

The orchestra performed consistently well throughout the evening, but Swearingen and Beedle were at their best when performing alone or during those moments when the arrangements were simple. The “59th Street Bridge Song (Feelin’ Groovy)” had a nice lilt to it, and the duo’s performance of the Everly Brothers’ “Dream, Dream, Dream,” as an example of one of the influences on Simon and Garfunkel, had a warm sheen.

In the second half of the concert, attention was given to Simon and Garfunkel’s solo efforts. The orchestra performed a stilted medley of many of Simon’s hits, and Beedle sang Jimmy Webb’s “All I Know,” a song Garfunkel enjoyed success with in the 1970s.

“Scarborough Fair” and “Old Friends/Bookends” came next on the program. The arranger’s touch was more gentle on these selections, permitting the listeners to enjoy the simple beauty of Simon’s writing and the excellent musicianship of Swearingen, Beedle and the orchestra. “Bridge Over Trouble Water” started prettily enough, but as the piece built, the cluttered quality of the arrangement detracted from the power of the performance.

The final programmed song of the concert, “Mrs. Robinson,” written for the movie “The Graduate,” was followed by “The Boxer” as an encore. “The Boxer” made a strong and satisfying ending to a concert in which the sum of the parts was a little bit less than the whole.

David Baxter is a member of the music faculty at Newman University. He has performed in symphony orchestras and orchestra pits in many cities and enjoys participating in Wichita’s musical community.

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AJ Swearingen and Jonathan Beedle

The Simon and Garfunkel Retrospective performers are not imitating a legend — they simply are honoring one.

Singer/songwriter’s Paul Simon and Art Garfunkel’s ballads propelled them to stardom in the 1960s. A.J. Swearingen and Jonathan Beedle will sing several of Simon and Garfunkel’s Grammy Award-winning songs and well-known ballads as they perform Saturday with the Wichita Symphony Orchestra.

“We discovered very early on that we had this vocal blend that seemed to be there right from the start,” Swearingen said. “We just loved Simon and Garfunkel so much. It just seemed to fit.”

Swearingen and Beedle began performing the ’60s dynamic folk-rock duo’s songs in the early ’90s.

“We have a mutual love for the music,” said Beedle, who grew up listening to “Bridge Over Troubled Water” and “The Boxer.”

Beedle and Swearingen said they studied old recordings and video clips of Simon and Garfunkel, but because no two performers are the same, they do not see themselves as imitators.

“We try to adhere to how they did it without impersonating them,” Beedle said.

Swearingen and Beedle dress in modern garb and do not put on wigs or imitate Simon and Garfunkel in looks. What they do is blend their voices and bring the rich tenor and baritone that Simon and Garfunkel made famous to the stage.

Although each concert is a bit different, audience favorites like “Mrs. Robinson” and “The Sound of Silence” always make it into the show.

Beedle said that his favorite song of the night changes depending on the audience.

“Each audience has a different flavor,” he said.

Unlike the musicians they emulate, Swearingen and Beedle grew up in Pennsylvania, not New York City.

In March, Simon and Garfunkel’s “The Sound of Silence” was one of 25 recordings selected for preservation through the Library of Congress.

“I know how great the music is,” Swearingen said. “We’re a modern-day version of a folksinger.”

“The Sound of Silence,” a 1966 recording, serves as a benchmark to a generation. By 1967, “Scarborough Fair” had reached hit status for the duo from Queens. One year later, the poetic “Bookends” album was released.

“It’s amazing to stand on stage and be performing these songs and have the symphony behind you,” Beedle said. “It’s so beautiful and so powerful to stand on stage and have that music wrap around you. It’s spectacular.”

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April 17, 2013

FOR IMMEDIATE RELEASE

City officials announced a new three-month parking test project that will make it even easier to park downtown. Starting today, visitors who park in the lot east of Century II Expo Hall and south of the Central Library will be directed to centralized pay stations to pay for parking. The parking meters will not be in service. The four new pay stations – located near the north entrances to the lot – are equipped to accept both coins and debit and credit cards. The cost for parking will remain the same daily between 8 a.m.-11 p.m.: ten cents for a half-hour, 25 cents for two hours and $1.25 for 10 hours.

“We’re happy to give visitors who enjoy our many activities downtown the convenience of paying for parking by debit or credit card,” said John D’Angelo, Manager, Arts & Cultural Services Division. “This system also benefits the City because it lowers the cost of fixing and maintaining equipment by going from 344 individual meters to centralized pay stations that are very easy to use.”

Informational signs are posted at the north parking lot entrances and by the pay stations to help people get acquainted with the new parking system. The process is simple:
1.    Before you leave your parked car, make note of your space number.
2.    Walk up to any one of the four pay stations.
3.    Follow the instructions on the pay station screens: Select the amount of time you wish to pay for, follow the prompt to enter your space number and insert payment. (Only coins and credit cards are accepted; no dollar bills.)
4.    Keep the printed receipt for your records. (You do not need to take it back to your car.)

The City of Wichita has contracted with its current parking management company, The Car Park, to oversee the temporary transition from meters to parking stations. The cost for the test project is $15,315. At the end of the three-month period, City officials will review the project to determine if it should be kept long term and expanded.

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April 7, 2013
David Baxter
Eagle Correspondent

“Maestro Hege is to be commended for programming this important American piece and the orchestra is to be commended for its dedication to an excellent performance. No section of the ensemble is spared from facing the limits of their instruments, and each section answered the call.”

The Wichita Symphony Orchestra crowned its 2012-13 Classics Season on Sunday afternoon with great fanfare and flourish, performing a powerful program of works in the Century II Concert Hall under the baton of Music Director Daniel Hege. From the first notes of the overture to the final notes of the concert, the orchestra played with passion and commitment.

The Overture was the Prelude to Act III of the opera Lohengrin by Richard Wagner. The rich orchestral textures and the splendor of brass that characterize Wagner’s writing were well represented in Sunday’s performance. The orchestra didn’t sound quite settled on this piece, but their minds may have been on the momentous work waiting for them on the other side of intermission.

The next work on the program was Beethoven’s Piano Concerto No. 5 in E-flat major, known as the Emperor Concerto. The soloist was Markus Groh, a pianist who has received international acclaim for performances as a soloist and chamber musician. Mr. Groh performed with great authority, and his playing was clean and precise but not abundant in color or nuance. The orchestra played with warmth, creating a beautiful sound.

The concert concluded with Aaron Copland’s epic Third Symphony, written in 1944. This weekend’s performances were the first of this piece by the Wichita Symphony. Maestro Hege is to be commended for programming this important American piece and the orchestra is to be commended for its dedication to an excellent performance. No section of the ensemble is spared from facing the limits of their instruments, and each section answered the call. From the extended high passages in the violins to the thundering percussion battery, Copland’s score was projected in to the concert hall with beauty and strength.

At Sunday’s performances, Hege honored four retiring members of the orchestra. Through a long-term commitment to excellence, the Wichita Symphony has become capable of presenting the most challenge works of the orchestral repertoire. Each time the orchestra takes on these master works, its members are bettered by the experience, like athletes facing ever greater challenge.

David Baxter is a member of the music faculty at Newman University. He has performed in symphony orchestras and orchestra pits in many cities and enjoys participating in Wichita’s musical community.

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Internationally renowned German pianist Markus Groh will perform Beethoven’s Concerto No. 5 (“The Emperor”) with the Wichita Symphony Orchestra Saturday and April 7.

The Wichita Symphony Orchestra ends its classics season next weekend with popular works by Ludwig Van Beethoven, Richard Wagner and Aaron Copland. Internationally renowned German pianist Markus Groh will perform a piano concerto written by his nation’s most famous composer, Beethoven.

Beethoven wrote Piano Concerto No. 5 in 1809. Also known as “The Emperor,” this work was the last of Beethoven’s piano concertos.

“It has pomp and a regal quality to it,” said Daniel Hege, the symphony’s music director and conductor. “It makes you lift your head up.”

The three movements in Beethoven’s work take the listener through a maze of emotions. The pianist negotiates back and forth with the orchestra. A musical conversation sometimes pits one against the other.

“It’s a fascinating work,” Hege said. “There’s an actual real conversation between the soloist and the orchestra.”

Groh, who is flying in from Berlin to perform, grew up playing Beethoven’s music.

“This is a wonderful, deep and at the same time brilliant piece,” Groh said by e-mail.

Groh began playing the piano at age 4 in a small city outside Stuttgart. His parents were both doctors, and their love for music was passed down. Groh’s father and uncle would fill the home with classical sounds from the works of Chopin, Beethoven and Schumann as they played the piano and violin each weekend.

Groh’s repertoire is large — from Johannes Brahms to Edvard Grieg to contemporary composers. But his admiration for Beethoven never ceases.

“It is impossible to tell who my absolute favorite is, but Beethoven definitely belongs in my favorite group,” Groh said. “Usually, I feel very much at home with this piece.”

After winning the prestigious Queen Elisabeth International Competition in Brussels in 1995, Groh, the first German to win the award, has garnered many awards and toured many famous concert halls worldwide.

“He’s a very inspiring artist,” said Hege, who has worked with Groh on several performances outside Wichita. “He has such a refined touch, and he has a lot of power.”

Because this work by Beethoven requires great finesse, Hege selected Groh.

“It’s like you are aspiring to go a little bit higher on the mountain,” Hege said.

While the second movement is more ethereal, the third is frolicsome. Going from the celestial sphere back to earth, the piece has an uplifting ending.

Copland’s quintessential Americana piece, Symphony No. 3, was written during World War II, Copland’s American Folksong Period. This inspirational symphony includes “Fanfare for the Common Man” in the final movement.

“In my opinion, it’s the greatest American symphony,” Hege said. “It’s the gold standard for an American composer to set their work to. It feels like Aaron Copland has identified with the American spirit.”

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Pianist Joyce Yang will perform with the Wichita Symphony Orchestra on Oct. 26 and 27.

Just as the Wichita Symphony Orchestra prepares to present its final classics concert of the current season, it also is ramping up for its 70th classics season, which begins in October and will include flying acrobats, guest artists and Beethoven’s Ninth.

Music Director and Conductor Daniel Hege and Executive Director Don Reinhold wanted both old favorites and show stoppers in the lineup.

“There’s something for everyone,” Reinhold said. “We’re looking to stretch our horizons.”

The season opener will feature the large orchestra pieces by Maurice Ravel and Igor Stravinsky — “Daphnis and Chloe Suite” and “The Rite of Spring.” Identical twin sisters will play Francois Poulenc’s “Concerto for Two Pianos.”

The second classics concert will feature what is endearingly called “Rock 3.” Sergei Rachmaninoff’s Piano Concerto No. 3 will feature piano virtuoso Joyce Yang. Rachmaninoff’s piece is paired with the quick-paced Hungarian Dances by Johannes Brahms and Bela Bartok’s “Miraculous Mandarin Suite,” which will show off the orchestra’s principal players as they trade off small solos.

Much of Hungarian-born Bartok’s music is inspired by his native land’s folk tunes.

“Bartok’s work shows off the orchestra wonderfully,” Reinhold said. “The music is so colorful.”

The third concert will feature the Symphony’s very own concertmaster, John Harrison, performing Felix Mendelssohn’s Violin Concerto in E minor.

“He’s a fantastic player,” Reinhold said. “This is the most popular and famous violin symphony ever written.”

Harrison, who has performed the Mendelssohn piece for several orchestras, said he is delighted to be the group’s soloist for the evening.

“It has beautiful melodies, and it’s also a very sophisticated piece,” Harrison said. “It’s a real honor to play with the orchestra. I’m extremely excited to get this opportunity.”

In 2014, Chilean native Maximiano Valdes will conduct works by 20th-century Argentinian composer Alberto Ginastera and French composers Camille Saint-Saens and Cesar Franck.

“Max Valdes is fantastic,” Reinhold said. Hege and Valdes worked together to choose the fast-paced and colorful lineup.

The fifth classics event, which also will include a blue jeans concert, features the Cirque de la Symphonie. Acrobats will fly through the air and perform feats of strength, beauty and balance as the orchestra performs short classic pieces.

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March 27, 2013

FOR IMMEDIATE RELEASE

The Wichita Symphony begins its public subscription drive for the 2013-2014 concert season on the weekend of April 6 and 7 at the eighth and final Classics concerts of the current symphony season. What better incentive to subscribe is there than chocolate? In this case, a pair of wrapped chocolates from Coca Dolce will be given to individuals who place a season subscription order at the weekend concerts.

According to the Symphony’s Executive Director Don Reinhold, who has done similar promotions elsewhere, chocolate is an incentive that encourages patrons to subscribe. “It’s like the carrot and the stick,” he said. “The chocolate is the carrot to subscribe now, the stick comes later in the form of higher prices if you wait!”

Tables will be set up in the Century II Concert Hall Lobby and staffed by Symphony volunteers from the Board of Directors and the Women’s Association before and after the concerts, as well as during intermission. Subscriptions will be available for the full Classics 8 Series and the traditional Classics 4 Series offering a pre-selection of four Classics concerts, two in the fall and two in the spring. Those who subscribe during the weekend subscription drive will receive a package of exquisite Coca Dolce chocolates, one of which will be imprinted with the Symphony’s new logo. Chocolate supplies will be on a first come, first served basis.

Subscribers purchasing the Classics 8 Series can save up to 20% from the cost of single tickets during the Early Bird Renewal Phase, which runs from April 6 until May 24. With the price of center orchestra seats going up to $55 next season, those savings can add up. After May 24, the discount for the Classics 8 Series will be 15%, and the Classics 4 Series 10%. “The more you buy, the more you save, and subscribers get the first choice of seats,” states Reinhold. He adds that the sooner patrons purchase their subscriptions; it saves the Symphony critical money in the long run.

Symphony subscription campaigns have evolved a lot in recent years. Traditional subscribers willing to make season long commitments still remain an important segment, but for those patrons who prefer more flexible options, the Symphony will offer a Compose Your Own series in June. The Wichita Symphony also engages a telemarketing company that will work throughout the summer and fall to build the Symphony’s subscription base using both fixed and flexible options. Last season’s efforts reversed a trend of declining subscriptions sold at the Wichita Symphony for the first time in a decade.

Subscription campaigns are no longer a short blitz, but a long marathon of packaging and re-packaging the season, says Reinhold, who indicates that there will also be a Pops series for next season rolled out later this spring.

The Symphony’s final Classics concerts of the season take place this weekend in Century II Concert Hall at 8pm on Saturday, April 6, and at 3pm on Sunday afternoon, April 7. Thirty-minute preconcert talks, Inside the Music, with Music Director Daniel Hege are offered free to all ticket holders one hour before the concert in the Concert Hall. The weekend’s programs feature acclaimed German pianist Markus Groh in Beethoven’s Emperor Concerto. The orchestra performs one of the quintessential American symphonies on the second half – Copland’s Third Symphony, which uses the well-known Fanfare for the Common Man in the final movement. Tickets may be purchased online at www.wso.org, by calling the Symphony Box Office at 316-267-7658, or at the Symphony office on the second floor of Century II Concert Hall.

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March 27, 2013

FOR IMMEDIATE RELEASE

Insiders at the Wichita Symphony, including current subscribers and Facebook friends, have been learning about the Symphony’s plans for its 2013 – 2014 Classics season over the past few weeks. Today, the Symphony revealed its season to the general public to coincide with the Early Bird Subscription Campaign that begins at the Symphony’s concluding Classics concerts for this season on April 6 and 7.

THE FULL SEASON LISTING CAN BE SEEN IN LIST FORM BY SCROLLING DOWN

Next season marks the 70th Anniversary Season of the Wichita Symphony and the fourth with Daniel Hege as Music Director. To open the season, Hege has selected a pair of orchestral blockbusters: Maurice Ravel’s Daphnis and Chloe Suite No. 2 and Stravinsky’s Rite of Spring. “Not only do these works require two of the largest symphonic forces utilized by orchestras,” said Mr. Hege, “but the Rite of Spring premiered on May 29, 1913 to great notoriety, so its centennial coincides with our 70th Season.” Also appearing on the season opener will be the identical twin sister and piano duo, Christina Naughton and Michelle Naughton, who will perform François Poulenc’s Concerto for Two Pianos, marking the 50th anniversary of Poulenc’s passing in January 1963.

Another blockbuster bookends the season finale, when the Wichita Symphony Chorus and local choruses join the Symphony for Beethoven’s Ninth Symphony, which will being the 70th season to a joyful and celebratory conclusion. Beethoven’s iconic work will be paired with Vaughan Williams’ pastoral Serenade to Music.

In between, Wichita audiences will embark on a musical exploration of symphonies by Beethoven, Franck, Dvorak and Bruckner. Music by Bartok, Brahms, Canning, Ginastera, Liszt, Mendelssohn, Saint-Saëns, and Wagner will also be heard.
In addition to the Naughton sisters, soloists for the 2013-2014 season will include pianists Joyce Yang and William Wolfram, cellist Julian Schwartz, and the Wichita Symphony’s own Concertmaster John Harrison, who will perform the Mendelssohn Violin Concerto on the November Classics. Chilean conductor Maximiano Valdes, Music Director of the Puerto Rico Symphony and frequent guest of many American, European, and South American orchestras, will be the season’s guest conductor for the January 18 and 19 Classics.

In February, one of the world’s foremost brass ensembles, the American Brass Quintet, will appear in American composer Eric Ewazen’s Shadowcatcher, a work inspired by the renowned photographer Edward Curtis, who is famous for his comprehensive photographic record of the American Indian in the West. Creating a thematic element to the program, Hege has selected the orchestral suite from the Oscar-winning movie, Dances with Wolves, to begin the program, and ends the program with Dvorak’s New World Symphony on the second half.

The audience favorite Blue Jeans Concert and Popular Classics in late January will feature the ever-popular Cirque de la Symphonie in a new program featuring aerialists, jugglers, and the renowned contortionist strongmen. Previously appearing in Wichita on the Symphony’s Convention Hall Pops, the return of these Cirque artists will take place in the Century II Concert Hall, January 31 – February 2, 2014, and will also be experienced by approximately 12,000 children attending the week’s Young People’s Concerts.

The Symphony will present three Pops concerts next season, continuing the program expansion of the past season. Plans for the Pops Series will be announced later this spring.
The subscription campaign offering patrons the opportunity to purchase the entire Classics Series of eight concerts or a group of four Classics is underway. Patrons receive additional discounts for purchasing during the Early Bird Subscription Campaign, now until May 24. For more information, contact the Symphony Box Office at 316-267-7658.

WICHITA SYMPHONY ORCHESTRA
2013-2014 CLASSICS SEASON

The Classics 8 Series consists of all eight Classics concerts.

*The Classics 4 Series consists of Classics 1, 3, 6 and 8. Exchanges between concerts are not available at this time.

*Classics 1: October 12 and 13, 2013
Christina Naughton and Michelle Naughton, pianos
Ravel: Daphnis and Chloe Suite No. 2
Poulenc: Concerto for Two Pianos
Stravinsky: The Rite of Spring

Classics 2: October 26 and 27, 2013
Joyce Yang, piano
Brahms: Hungarian Dances No. 1 and 5
Bartok: The Miraculous Mandarin Suite
Rachmaninoff: Piano Concerto No. 3

*Classics 3: November 16 and 17, 2013
John Harrison, violin
Canning: Fantasy on a Hymn by Justin Morgan
Mendelssohn: Violin Concerto in E Minor
Beethoven: Symphony No. 2

Classics 4: January 18 and 19, 2014
Julian Schwarz, cello
Max Valdes, guest conductor
Ginastera: Pampeana No. 3
Saint-Saens: Cello Concerto No. 1
Franck: Symphony in D minor

Classics 5: February 1 and 2, 2014
Popular Classics! Cirque de la Symphonie

 
*Classics 6: February 15 and 16, 2014
American Brass Quintet
John Barry: Dances with Wolves Suite
Ewazen: Shadowcatcher
Dvorak: Symphony No. 9 “From the New World”

Classics 7: March 15 and 16, 2014
Wagner: Ride of the Valkyries
Liszt: Piano Concerto No. 1
Bruckner: Symphony No. 4 (“Romantic”)

*Classics 8: April 5 and 6, 2014
Wichita Symphony Orchestra Chorus
Vaughan Williams: Serenade to Music
Beethoven: Symphony No. 9

All programs subject to change.

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