Holly Mulcahy

After hearing Scheherazade at an early age, Holly Mulcahy fell in love with the violin and knew it would be her future. She currently serves as concertmaster of the Wichita Symphony Orchestra. She spends her summers at the celebrated Grand Teton Music Festival. Believing in music as a healing and coping source, Holly founded Arts Capacity, a charitable 501(c)3 which focuses on bringing live chamber music, art, artists, and composers to prisons. Arts Capacity addresses many emotional and character-building issues people face as they prepare for release into society. Holly performs on a 1917 Giovanni Cavani violin, previously owned by the late renowned soloist Eugene Fodor, and a bespoke bow made by award winning master bow maker, Douglas Raguse.

No Conductor, No Problem Part 3: Advice From The Top

Fri, Oct 14, 2016Mon, Oct 10, 2016 by Holly Mulcahy

This is a continuation of the behind the scenes look on my preparation for an upcoming conductorless concert of Haydn Symphony #31. I thought it would be interesting to share the process and methods used by many musicians, both for conducted and conductorless concerts. Concerts are planned months ahead of the performance date, and this upcoming Haydn concert has been on my front burner since July. Within hours of landing in Jackson Hole for my summer orchestra, Grand Teton Music Festival (GTMF), I headed first to the GTMF music librarian to begin … Continue Reading

No Conductor, No Problem Part 2: The Librarian Is Your Friend

Mon, Sep 26, 2016Tue, Aug 30, 2016 by Holly Mulcahy

Since there are no step-by-step checklists on how to navigate a way through planning a conductor-less concert, I’m sharing the processes and planning as I prepare myself for leading the Chattanooga Symphony’s chamber concert featuring Haydn’s Symphony #31. Planning for an upcoming season, for much of my job as concertmaster, happens in the summer. While I’m performing at the Grand Teton Music Festival, upcoming concerts for Chattanooga Symphony are never far from my mind. Whether I’m bowing CSO parts or practicing CSO repertoire, it’s the all occurring several months ahead of any … Continue Reading

No Conductor, No Problem: Navigating A Conductor-Less Concert, Part 1

Tue, Aug 2, 2016 by Holly Mulcahy

There are no how-to or step-by-step instructional checklists for preparing a conductor-less concert on Wikihow, eHow, Pinterest, or Wikipedia. But generally concertmasters who find themselves in the position of leading a concert without conductor have some kind of prior experience of leading from the concertmaster chair. This experience generally comes from a variety of chamber music experiences or previous conductor-less concerts. So when planning an upcoming conductor-less concert for my orchestra in Chattanooga, it occurred to me that it might be interesting for non-musicians to know the extent of preparation that goes … Continue Reading

I’m a condescending bore. You’re an ignorant dilettante. Please give us money.

Thu, Nov 30, 2023Thu, Jun 2, 2016 by Holly Mulcahy

There is condescension in every field and every aspect of life. You can’t get away from it. But in the nonprofit arts sector the condescending tone needs to stop. And yes, this is somewhat about the snobby affectation classical music can allude to, but it is more about general decency, especially when the coda to any concert experience is asking for money. Here is a list of situations. You decide which conversation is a door opener or door closer. Situation #1 You are a conductor or soloist standing in front of an … Continue Reading

Allowing Voices To Be Heard

Fri, May 12, 2017Mon, May 2, 2016 by Holly Mulcahy

It’s been nearly a month since performing a recital in Walker State Faith and Character Based Prison. The experience was no doubt memorable, but after finally reading all of the surveys prisoners filled out and notes jotted down by prisoner mentor, Alan Bonderud, it was clear we had something uniquely special. The reoccurring theme on the prisoners’ surveys was the impact they felt sharing their emotions or interpretations while experiencing each musical work. There was a distinct value placed on the living composers works and that sentiment was also mentioned a number … Continue Reading