PART 3: How Do We Choose Guest Artists and New Composers?
One of my favorite parts of planning a Symphonicity season is selecting the guest artists and composers who will join us on stage. When I consider artists for our programs, I look for musicians who will not only deliver extraordinary performances but also bring something meaningful to our community.
Local Connections and Community Relationships
Sometimes the connection begins close to home. Virginia Beach native Ànnika Jenkins is a wonderful example. She has a long history with our orchestra, dating back to when she was a young student violinist advocating for city support for our concert hall. Since then, she has trained at Juilliard and become an internationally recognized performer, scholar, and philanthropist. When she returns to perform with us today, she often attracts a large and enthusiastic following.
We are also fortunate to have remarkable composers living right here in our region. Richard Moriarity, for example, studied with both David Danielpour and Adolphus Hailstork and lives just around the corner from my house. I’ve had the pleasure of programming Dr. Moriarity’s thoughtful and beautifully crafted music alongside works by one of his teachers, Dr. Hailstork. Often referred to as the Dean of African-American composers, Dr. Hailstork is one of many outstanding artists whose presence enriches our musical community.
Matching Artists to the Season Theme
Our season themes also help guide artist selection. Each year we look for musicians whose specialties align naturally with the repertoire we want to explore.
During our Voices of America season, for instance, I invited composer and mandolin virtuoso Jeff Midkiff to perform his mandolin concerto, a vibrant work that blends classical traditions with bluegrass influences.
Similarly, violinist Risa Hokamura was a perfect fit for a program celebrating Virginia Beach’s sister-city relationship with Japan. Her artistry helped bring a meaningful cultural connection to life on stage.
In another case, composer Erich Stem reached out to me years ago to introduce his series of compositions inspired by American cities. He also shared that he had once lived and studied in our region. After hearing his music, we commissioned his work Virginia Beach Symphony to premiere during our Voices of America season.
Returning Artists and Long-Term Collaborations
Long-standing relationships are an important pillar of our artistic roster. Some artists return frequently because of their popularity with our audiences and their chemistry with our musicians.
Pianist Thomas Pandolfi is one of those Symphonicity “signature artists.” He has appeared with us multiple times over the years, dazzling audiences with beloved concerto repertoire while also premiering new works.
Violinist Irina Muresanu is another artist we were delighted to welcome back after a decade. We look forward to working with her even more often in the future.
Similarly, we frequently invite vocal soloists from our region who have become trusted interpreters of major choral repertoire or who bring special flair to our pops programs.
Mentors, Colleagues, and Artistic Networks
Professional relationships also shape programming choices in meaningful ways. Two composers whose work I’ve admired since my student days are Timothy Mahr and Mark Camphouse.
I had the privilege of studying composition with Camphouse during my undergraduate years, and later helped coordinate a national workshop with Timothy Mahr. It probably comes as no surprise that I eventually programmed Camphouse’s music and, more recently, commissioned a new season-opening work from Mahr. These long-standing artistic connections matter deeply.
Young Artists on the Rise
Symphonicity is also proud to serve as a career-launching partner for emerging artists through collaborations with Curtis on Tour from the Curtis Institute of Music and the Young Concert Artists program in New York.
Through these partnerships, we typically present one or two young artists each season who are on the path toward major international careers. Our stage offers them an opportunity to test bold artistic ideas in an environment that balances ambition with support. In turn, our audiences experience electrifying young talent performing some of the most iconic works in the repertoire.
Discovering New Voices
We are always searching for new artistic voices.
A particularly meaningful example came when we discovered the music of Filipino composer Jem Talaroc. Although he had won the National Commission for Culture and the Arts Composer’s Prize in the Philippines, his work had never been performed publicly. We were honored to present the world premiere of his composition and even live-streamed the performance so that audiences in the Philippines could hear it.
In another project, blues artist Bobby “BlackHat” Walters collaborated with us to bring the soulful sound of his music into the orchestral world. Together we arranged several of his songs for orchestra and blues band. His daughter, singer-songwriter Akeylah Simone, was also featured with orchestral arrangements of her music during a large city showcase event.
These types of collaborations allow us to expand the boundaries of what a symphony orchestra can do.
How We Discover Artists and Composers
Routine research is a major part of building our shortlist of potential collaborators. Members of our Artistic & Repertoire Group regularly suggest soloists and composers, and ideas also come from our board members and colleagues in the arts community.
As music director, I maintain an extensive list of programming ideas, soloist résumés, and composer portfolios that I continually revisit when planning future seasons. We attend concerts, read performance reviews, follow talent agencies and publishers, and simply ask colleagues for recommendations.
Networking often leads to exciting discoveries. For example, we learned about pianist Svetlana Smolina—an internationally acclaimed performer who was appearing around the world—through a meeting I had with her at the Philadelphia International Music Festival. She became the first soloist to perform with us during the COVID lockdown period, presenting a remarkable all-strings arrangement of Rachmaninoff’s Piano Concerto No. 2 that she helped develop.
In another case, I first heard John Mackey’s Song from the End of the World at a wind ensemble concert featuring my wife, soprano Andrea Boothe, as the soloist. I loved the piece immediately and later discovered that Mackey had also created an orchestral version. It soon found its way into one of our programs, again featuring Andrea, who has become widely recognized in our region for her powerful performances of contemporary vocal repertoire.
The Reality of Unsolicited Proposals
We also receive many unsolicited proposals from composers, soloists, and artist managers. These usually arrive via email, and occasionally by traditional mail.
While many of these musicians are undoubtedly talented, the reality is that orchestras receive a large volume of submissions, and it can be difficult to explore each one in depth. Sometimes it may take a year or even two before I have the opportunity to revisit a proposal—if at all—simply because so many other programming ideas are already in development.
Not hearing back does not necessarily mean a proposal lacked merit. Sometimes it simply isn’t the right fit at that moment due to budget limitations, programming needs, or the number of other candidates already under consideration. In other cases, the materials may not align with the artistic or professional standards required for our programming at that time.
Advice for Artists Reaching Out
For artists who are interested in performing with us or sharing their music, I offer a few thoughts from the conductor’s desk:
The classical music world is highly saturated with promotional materials. To stand out, your outreach should be thoughtful and intentional.
- Personalization matters. Referencing something specific about our orchestra or programming shows that you’ve taken the time to learn about us.
- Patience is essential. Following up repeatedly within a short period of time can work against you. If you don’t hear back, it’s perfectly reasonable to check in again several months later or even the following season.
- Relationships can help open doors. Connections with conductors, staff members, or orchestra musicians can sometimes lead to opportunities.
- If you do receive a positive response, reply promptly. Timing can matter greatly when opportunities arise.
- Keep your initial message concise. Highlight one or two key accomplishments and include links to your biography, résumé, recordings, and repertoire lists rather than presenting everything at once.
When Outreach Works
Some wonderful collaborations have begun with thoughtful outreach.
Grammy-winning composer Kenneth Fuchs once contacted me after seeing a video of me conducting on YouTube. He kindly asked if he could send me a CD of his music. Not long afterward, a beautifully handwritten letter and recordings arrived in the mail. I was touched by the personal gesture and eager to explore his work. Within months I commissioned him to write a new piece, and since then I’ve programmed his music multiple times.
Another memorable example is pianist Clare Longendyke. She first contacted me with a brief and gracious message expressing interest in performing with our orchestra. I wasn’t able to respond right away, but about once a year she would send a short, friendly note simply reminding me of her interest. Eventually I explored her recordings and was deeply impressed by her artistry. Our resulting collaboration became one of the finest performances I’ve ever experienced with a soloist.
Her patience and persistence made all the difference.
An Open Invitation
If you’d like to perform with Symphonicity or share your music with us, I would truly enjoy hearing from you. And if you don’t hear back right away, feel free to check in again next season!
You never know where that first introduction might lead.
In part 4, we'll discuss how our community interests and attributes shape our concert ideas.
Thanks for reading and see you at the concert!
CRAFTING A SYMPHONY SEASON: The Art & Heart Behind Symphonicity's Programming
Part 1: Who's Actually Making These Programming Decisions?
Part 2: How Do We Actually Pick the Music?
Part 3: How Do We Choose Guest Artists and New Composers? ←You Are Here!
Part 4: How Do Community Interests Shape Our Programming?
Part 5: What Surprising Things Influence Our Process?
Part 6: Fun Facts About the 2025-26 Season Choices
Part 7: The Heart Behind Every Decision