“I am not afraid to make a fool of myself,” says Conductor Jere Flint. “I enjoy it.” But even though Mr. Flint is known for his comedic flair — dressing like wizards and ghosts of dead composers at Haunted Halloween family concerts to “busting-a-move” illustrating syncopation to young children, bopping along to orchestrations of Beach Boys favorites and rocking out on his cello — by no means does he take his job lightly.
Flint knew, from the very beginning of his tenure with the Atlanta Symphony Orchestra, that he was going to do all he could to make sure “audiences see and hear first-class, innovative” programs. He also knew that he wanted to wear many hats and get involved any way he could. Most of all, he knew that this Orchestra would be a platform to teach young musicians, which is his passion.
Jere Flint was born on Long Island, New York. He wanted to play the violin, like his big brother, but his parents encouraged him to try the cello. He jokingly says he learned to play the cello while his sister studied piano and his brother played the violin, so his parents could have a trio entertain them.
But he cultivated a real passion and flair for the cello, and soon after graduating from the University of Washington, he began to audition for established and budding orchestras around the country. He received a notice from ASO icon Robert Shaw welcoming young artists to come to Atlanta to help him start an orchestra. Through correspondence, tapes, and recommendations from teachers, Flint was invited to become a permanent member of the cello section.
Flint joined the ASO, which at the time was a part-time orchestra, with musicians who worked in a number of professions. When it became full-time, people had to start making decisions about whether or not to stay. Flint chose to stay.
“To be part of the growth was fabulous,” says Flint. “I was forced to learn along with everybody else about building a major orchestra, what it entailed. There was real promise on the horizon.”
In its early years, the ASO performed at the downtown Municipal Auditorium, but a move to the Woodruff Arts Center was a giant step toward growth. Under Robert Shaw, the ASO introduced Atlanta and the world to the finest choral and orchestra repertoire, and gave Atlanta a place on the arts and culture map.
Eventually, Shaw allowed Flint to conduct and program some concerts, which sparked more passion and enthusiasm. Shaw believed that a Youth Orchestra was integral to the success and sustenance of the Orchestra, so in 1975, he asked his Assistant Conductor, Michael Palmer, to begin an orchestra for young musicians. After Palmer left, Flint, who was already conducting concerts for children, was offered the job as music director of the Atlanta Symphony Youth Orchestra (ASYO).
This appointment thrilled Flint. Now, he could not only pursue his passion for teaching young musicians, but he also could begin to develop programming that appealed to wider audiences, and craft repertoire that entertained and enlightened young minds.
“I tried to get the audience to enjoy themselves,” explains Flint. “This is the basic thing. All music may not at first be ‘enjoyable,’ but it’s thought provoking. There’s a place for deep art and there’s a place for light art, just as there are places for humorous art and sad art.” And whatever type of art is being performed, there are always new things for conductors and children to learn.
“Jere’s commitment to the ASO over the years has been extraordinary,” said Allison Vulgamore, ASO President and CEO. “No matter which hat he wears for the ASO, he always performs with great dedication, professionalism and good humor.”
“Learning” sums up Flint’s philosophy as a conductor: He believes that a conductor’s job is not only to teach, but to learn, and that has allowed him to cultivate exceptional musicianship from, specifically, the Youth Orchestra. “I always try to treat them the way I would want to be treated, and I don’t talk down to them; I don’t belittle them. I respect them for what they can do, and I respect them as people.”
Because of this philosophy, Flint has had no discipline problems over the years. These young musicians “do the best they can do; that’s all you can ask. And they sometimes do better than they think they can. Sometimes the repertoire is so gargantuan they just have to jump in.”
Part of jumping in also means being mentored by ASO musicians. Having “world class professionals teach you and give you insight into how they come to work everyday and play their instruments is education that you can’t pay for,” says Flint.
With Jere Flint at the helm, the musicians of the Atlanta Symphony Youth Orchestra have had many exciting opportunities. They played at the 1992 Olympics, ventured into the rock and roll world by recording with Collective Soul, and have performed in Berlin.
“We’ve done hundreds of high-class concerts of major repertoire,” says Flint. “It’s quite thrilling. It’s been a happy relationship over the many years. It’s great to see the level of student musicians increasing. Because of the expansion of Atlanta, the pool of great players has expanded. We have a really well-respected Youth Orchestra. And I still enjoy it.”
The ASYO turns 35 next year. When it officially reaches this milestone, there will have been thousands of alums from all walks of life, who have played some of the most challenging classical repertoire in the world. Some will go on to become professional musicians, some will go on to be lawyers, doctors, and teachers, but Jere Flint hopes they will have left knowing a sense of community and camaraderie.
“Yes, being a member of this orchestra teaches discipline,” says Flint. “It teaches work ethic; it teaches a lot about life itself,” but it also teaches, “how to create something, to strive for perfection, and I hope that people who graduate from the Youth Orchestra become arts supporters. Whether or not they play music professionally, I hope they look upon this as a great social experience — that they’ve met a lot of nice people, made friends over the years. My hope is that they become cognizant of the arts in general, wherever they end up.”
Laura Soldati is the publicist at the Atlanta Symphony Orchestra. This is her first
article for Encore Atlanta.
