by Mike Telin

Why take the Young Artist Competition to this next level? “When I came on board at CIPC and saw the level of playing by the young pianists, it took me by surprise,” CIPC president and chief executive officer Pierre van der Westhuizen said during a telephone conversation. [Read more…]




I’m fairly sure that from its inception, the Canton Symphony Orchestra’s much-anticipated Beethoven Festival that commenced on March 28 & 29 posed some challenging program questions. Which works could best celebrate the composer’s genius while sating the appetites of his most ardent aficionados? Should the festival, spread across four concerts, be built upon only the symphonies?
Exiting Umstattd Hall after the January 24 “East Meets West” MasterWorks concert by the Canton Symphony Orchestra (CSO), I briefly noticed wide-eyed wonder on the face of a woman just ahead of me as she looked at her companion. I heard her gush, “Oh, those strings, those glorious strings! I had no idea!” And I thought to myself ah ha… another convert.
If America’s entry into World War II was seen by its citizens as not only necessary but also heroic and noble, then perhaps no orchestral work better embraced such lofty resolve than Aaron Copland’s Fanfare for the Common Man. Thus began the program called “Remembrance” by the Canton Symphony Orchestra, with CSO assistant conductor Rachel L. Waddell on the podium, on November 23 at Umstattd Performing Arts Hall.
Maestro Gerhardt Zimmermann’s program notes for this, his 34th season with the Canton Symphony Orchestra, are full of enthusiasm and gratitude for the recently opened $5.4 million Zimmermann Symphony Center adjacent to Umstattd Performing Arts Hall. “At last,” he writes, “the CSO family (orchestra, music, library, staff and board) will be housed under one roof. This is a dream come true for me…” 

