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The Philadelphia Orchestra

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0 Ann Drinan

The Philadelphia Orchestra – the name says it all. Three equal words. And those words have come to mean “a product of the highest quality.” The Philadelphia Orchestra.

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Toledo Symphony Orchestra

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0 Ann Drinan

The Toledo Symphony has grown from a core group of twenty-two part-time musicians to a regional orchestra that employs nearly eighty professional musicians. The TSO employs nine musicians on staff, participated in the Mellon Foundations’ Orchestra Forum, and has a healthy endowment.

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Toronto Symphony Orchestra

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0 Ann Drinan

The Toronto Symphony is in the middle of what may turn out to be one of the great comebacks in orchestra history. Although it had a long history, a distinguished list of former music directors, a large discography, and a home city that is to Canada what New York is to the US, it came very close to folding in 2001. Its return from the brink is a story with lessons for many orchestras.

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Postcards from South Carolina

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0 Ann Drinan

When you think of South Carolina do you think of Hilton Head? Beaufort? Charleston? Myrtle Beach? Those are the scenic attractions, the top tourist spots in the state. If you are one of “the few, the proud”, (or know one), then perhaps Parris Island comes to mind when someone says they are going to South

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New World Symphony, America’s Orchestral Academy

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0 Ann Drinan

The New World Symphony, a post-graduate orchestral academy located in Miami FL, is celebrating its 20th anniversary season. According to the NWS website, the mission of the New World Symphony is to prepare highly-gifted graduates of distinguished music programs for leadership roles in orchestras and ensembles around the world.

Currently celebrating their 20th anniversary, the NWS has come a long way in 20 years.

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Postcards from Summer Festivals

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0 Ann Drinan

Take a look at postcards sent to Polyphonic from a variety of summer festivals. Keep checking in over the summer, as we’ll be adding more postcards and more festivals!

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Elgin Symphony Orchestra

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0 Ann Drinan

The Elgin Symphony is a suburban orchestra 40 miles NW of Chicago with a budget of $3 million. Yet they just made a Copland recording for Naxos, the city of Elgin is planning to build them a new hall, and they operate in the black. Read about their success and listen to an excerpt of their new recording.

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National Symphony Orchestra

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0 Ann Drinan

There are several things that make the NSO unique among American orchestras. You might have seen us on TV for our annual Memorial Day concert at the Capitol, or our annual 4th of July concert, our most visible national presence. You might not have heard about our yearly American Residency, sponsored in part by the US Department of Education.

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Milwaukee Symphony Orchestra

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0 Ann Drinan

The Milwaukee Symphony Orchestra, now in its 47th season, is one of the youngest of the top 20 American symphonies. Musicians and staff alike attribute its relative youth to the proximity of the Chicago Symphony, which frequently performed in Milwaukee in the early part of the century.

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Edmonton Symphony Orchestra

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0 Drew McManus

Most orchestra musicians probably haven’t given very much thought to the Edmonton Symphony Orchestra, but throughout recent years the ensemble has established itself as one of the most financially stable Canadian orchestras.

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Nashville Symphony Orchestra

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0 Drew McManus

Did you hear? They’re building a $120 million symphonic concert hall in Nashville. You read that correctly; it’s not a typo – Nashville, Tennessee. Even more, the Nashville Symphony Orchestra Association owns and operates the 197,000-square-foot neo-classically inspired Symphony Center that maintains the goal of transforming Nashville’s musical landscape and becoming the cultural heart of the city’s downtown area.

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Grant Park Symphony Orchestra

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0 Ann Drinan

Among the professional level orchestras throughout the United States, perhaps none is as unique as the Grant Park Symphony Orchestra (GPSO). The Grant Park Music Festival (GPMF) was initially conceived by Chicago Mayor A. J. Cermak during the Great Depression in 1931 when the city presented a series of free concerts to lift the spirits of Chicagoans. The following year, James C. Petrillo, the president of the Chicago Federation of Musicians, vigorously labored to turn these concerts into a permanent summer tradition. Petrillo’s motives were twofold: to make classical music available for all Chicagoans, and to provide secure employment for union musicians.

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