My performance of the Brahms Concerto with the Harrisburg Symphony Orchestra in May, 2011 represents a milestone of 20 years as concertmaster of the HSO. Time and time again over those years, audience members, community leaders, and people from the community have asked me just what exactly a concertmaster’s role is in a symphony orchestra. To be truthful, it is not the simplest of questions. In terms of the specifics that many can agree on, the concertmaster sits in the first chair of the first violin section, creates bowings (up, down, on the string, off the string, etc…) that help to achieve conductor’s interpretations of works, and cues entrances for the string sections and orchestra through gesture. In addition, concertmasters bring to the table their own artistic accumen in establishing a “string sound” in the orchestras they lead. They also play significant solos that appear in the orchestral repertoire and play concertos as soloists with their orchestra. In best case scenarios concertmasters inspire, guard, and maintain the artistic morale of the orchestral organism, through the example of their own playing, attitude towards work ethic and colleagues, and general enthusiasm. At times, concertmasters are also presented with the duty of interceeding on behalf of musicians to conductors, management, or the board of directors. Artistic, social, psychological and logistical questions as they relate to the creative process all enter into aspects of the “hot seat.”
In addition to typical concertmaster duties, as mentioned above, my tenure with the HSO has carried with it some unique opportunities, responsibilities and challenges. When I arrived in 1991, the orchestra’s string section was made up of a combination of professionals and semi-professionals and played on the level typical of an advanced community orchestra. As individuals retired and positions became open, some of my top colleagues from Julliard, Curtis, and other conservatories joined our roster and sub list. After Larry Newland’s tenure as conductor came to a close, the HSO announced a nationwide conductor search. During the subsequent season, several qualified candidates came to conduct the orchestra. In an effort to maintain a strong orchestral identity, my late mother and I hosted after-concert receptions with food for all of the musicians. This allowed us a forum to discuss our thoughts on candidates, on maintaining artistic integrity during the search, and in my opinion helped establish a strong sense of family among HSO musicians. Richard Westerfield’s distinguished tenure, marked by unprecedented growth in the quality of the HSO’s performance level followed. My mother and I again hosted seven more receptions at The Firehouse in Harrisburg, in the search that followed Richard Westerfield’s departure. In those first ten years with the HSO (and ever since), I also have had the great fortune of raising money for the HSO through numerous outreaches and collaborative efforts with area corporations, foundations, and individuals. I think the decision to move to Harrisburg in 1993 was strongly motivated by the needs of the HSO for artistic and marketing excitement, not to mention the love for the community that was growing in me and my family. I’ve enjoyed close working relationships with all three music directors of the HSO. The last ten years with Stuart Malina have included performances of the complete sonatas of Brahms, numerous chamber music works, and the many violin showpieces Stuart and I enjoy so much. The orchestra continues to develop both technically and musically, and today must be counted among the nation’s top regional orchestras. That is something we can ALL be very proud of.
In discussing the role of concertmasters, I must add that there is an attribute of fearlessness in leadership that I have always espoused. What that means is that if I see something that I believe to be wrong, I have never been afraid to be vocal about it. This disposition, by definition, has occasionally led to necessary confrontations. Happily, the musicians and community have always sensed my honesty and integrity as the motivators of my very “hands-on” approach. For that I am very grateful and humbled. (Please read Norman Lebrecht’s outstanding article on the role of true concertmasters - The Death of the Concertmaster by Norman Lebrecht - THE STRAD MAGAZINE, February 2011)
I remain as passionately committed to my job as concertmaster and my role in our community as I was 20 years ago. I am as optimistic about what we can achieve in the next 20 years as in the past. I thank subscribers and all those who support our efforts at the HSO for their understanding of the arts’ vital role in our community and civilization. You are our partners in maintaining this public trust. See you at the Symphony!
With Love,
Odin
Quotes & Letters from colleagues:
“Dear Odin,
I just wanted to congratulate you on having reached another important milestone in your artistic life and career: twenty years of distinguished service as Concertmaster of the Harrisburg Symphony Orchestra.Our friendship and musical collaboration must predate your tenure in Harrisburg by a good ten years or so; still, I find it hard to believe that it already has been two decades since I received that phone call from you, saying that you had won the job. The excitement and joy in your voice were palpable, and I still remember the gist of our conversation, the strong feeling that this was the start of something big, both for you and for the Harrisburg community.
I also remember, on my own visits to Harrisburg in those early days, how impressed I was with the way you had realized this vision in such a short span of time. Many concertmasters, including some in the largest American cities, seem to be content to simply fulfill their orchestral duties, with little sense of service to the community informing their activities outside of the rehearsals and concerts that are a part of their contract. From the very beginning, Odin, you followed a different model, realizing that the only road to long-term success was by becoming fully integrated into Harrisburg’s musical life in all aspects. This kind of thinking, of course, is especially relevant today, in an economic climate in which little can be taken for granted, even at the major arts organizations.
So, whenever I would come to visit, whether it was to play chamber music with you or a concerto with the orchestra, or for purely social reasons, I would find you wearing many hats: leader, teacher, solo performer, fundraiser- and yes, at times an outspoken politician and advocate when necessary. All of these activities you undertook with your customary energy, passion, and love of excellence. On every occasion, I would be inspired yet again by your contagious enthusiasm: for the growing excellence of the orchestra, for the progress of a particular student that had begun to make great strides under your guidance, for a colleague whose playing had recently moved you.
Very dynamic people are often suspected of having an egocentric basis for their actions, even if those actions benefit many. In Harrisburg, you found a community that was rich in possibility, but needed a catalyst to develop its artistic potential. When you arrived, you recognized that need, and became that agent of change, bringing in first-class musicians to contribute to the city’s musical life. Your network of friends and colleagues from the major arts centers of New York and Philadelphia have been instrumental in raising the quality of the orchestral and chamber music performance in the region. Although you fully deserve the credit for this influx, the motivation was never to fix the eyes of the public on you, but, I always felt, was rather a sincere desire to raise the standard and create a musical life in your home community that you could be proud of.
And now, Odin, fully two decades later, I can say without reservation that you have succeeded in that most fulfilling endeavor. You have immeasurably enriched the artistic life of your community, communicating your great love of music and remaining steadfastly committed to a standard that makes me proud to be counted among your friends. Thank you for having invited me and so many others over the years to be a part of this uplifting vision.
Sincerely,
Kurt Nikkanen
“I have worked with fine concertmasters and played countless concertos with the top violin soloists of our time. My husband and I frequently commented to others that Odin could easily be concertmaster of a major orchestra. His solos are exquisite. Odin is frequently asked to solo with the orchestra and present solo recitals. Many of his colleagues and friends remark that if Odin wanted the life of a solo artist, he could easily compete and compare with the best. I heartily agree.
Odin is an active, assertive concertmaster who has the respect and friendship of both his colleagues and management. He socializes with our Music Director and musicians, supplies coffee at breaks for them, and cleary conveys his feelings of respect and appreciation for those with whom he works…
Odin’s talents are rarely - if ever - found in one person. He is able to visualize beyond the big picture and think outside the box; he is able to make his dreams come true against all odds; he is able to interact with colleagues, administrators, donors, and the public in an extraordinary, even magical way. Most of all, his musical talent speaks for itself.” - Susan Klick, Director of Operations, The Harrisburg Symphony Orchestra
“I think we are lucky to have Odin Rathnam as our concertmaster. His artistic vision to have the violin sections play as one, both technically and musically, is an ispiration to all of us. His dedication to each note we play is self evident, and along with it is an enthusiasm that is certainly contagious.” - Walter Choi, longstanding HSO member and first violinist
“He’s a phenomenal violinist. We’ll start there. He’s constantly striving to grow. Accordingly, he’s constantly open to ideas.” - Stuart Malina, conductor of the HSO (Read more on my PRESS page - Harrisburg Magazine Article, September 2002)
“I was the Associate Concertmaster of the Harrisburg Symphony when Odin first arrived in Harrisburg. I had the privilege and pleasure of sitting with him for his 1st season. We had a lot of fun! I moved away the following year - but NOT because of Odin! - LOL! I went out of state for a job. It is hard to believe that it was 20 (TWENTY!) years ago. Odin has helped this orchestra grow in so many ways. He has provided leadership as well as inspiration. He has provided many technical suggestions as well as moral support. He has performed exquisitely as soloist on many concertos as well as performing the many concertmaster solos with great flair and deep musical feeling. It has been inspiring to see Odin grow along with the orchestra - and he was pretty darned good when he came here. I am so honored and grateful to be a part of this wonderful organization. It truly feels like a family and not just a job. Odin fosters that feeling by
providing refreshments at many rehearsals and has even thrown receptions for the entire orchestra. He has also done so much for the Harrisburg and Central PA communities. He is a community treasure.” - Carl Iba, longstanding first violinist with the HSO
“Odin has been such a positive force of change for the orchestra. His tireless commitment and dedication have inspired a coherent, loyal string section that sounds unbelievably good for an orchestra of its kind. He has also fostered an overall positive attitude and sense of community, which is rare in any orchestra. We are so lucky to have him.” - Jennifer DeVore, cellist with the HSO
“I spent almost ten musically rewarding seasons with the HSO wherein every master work in the series was a “Music Festival” experience. Aside from the two illustrious music directors I served, Richard Westerfield and Stuart Malina, I have to pay homage to my dear friend and colleague, concertmaster Odin Rathnam for upholding a musical atmosphere of such high standards. HSO is unique to have talented musicians who pursue concert careers as soloists and chamber musicians. This is encouraged and duly supported by Odin, a very gifted and successful concert violinist and chamber musician in his own right. Harrisburg is very fortunate to have a violinist and musician of his calibre!” - Joseph Esmilla, former HSO violinist, Filipino concert violinist and conductor
“When I was right out of Juilliard, Odin Rathnam invited me to come play with the Harrisburg Symphony Orchestra. I performed with HSO for two and a half seasons from 1994-96. It was so refreshing to come into a situation with a regional symphony orchestra where the ConcertMaster created an atmosphere of mutual respect and learning. Odin was always finding creative way’s to help individual players approach technical problems. His goal was to reach out to weaker players and help them find ways to improve, instead of trying to replace them.Anybody can throw in bowings to a part of music. Odin always suffered over the bowings for the music HSO performed. Each bowing was not just about ease, but rather about how that individual bowing could best express artistically what the composer wanted.
During my time performing with HSO it was very apparent that Odin’s approach to leading helped to create a higher standard of playing and much higher musical expectations.Early on in his tenure at HSO Odin readily shared his enthusiasm as to the potential for Harrisburgs cultural life. It is an enthusiasm that has, to this day, found him going from place to place raising money, playing for less fortunate individuals, and lending his voice to encourage great artistic undertakings in the Central Pennsylvania region. Much of this he has done without remuneration believing that his role as concertmaster includes reaching out to all the people in Central Pennsylvania and encouraging artistic growth for the region, in many different genres.In following this path Odin has not been shy to take on powerful people/interests who might have been uncomfortable with his vision of high artistic integrity. The parochial comfort level of many has been challenged. Odin has paid a personal price for this. But the artistic undertakings that he has hatched and watched grow, have benefited from his refusal to accept anything less than the best.” - Julian Hallmark - Violinist