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.

Sage Advice Worth Remembering

Sun, Dec 6, 2015Mon, Dec 6, 2010 by Holly Mulcahy

When I was a teenager I would occasionally wonder if my desire to play music professionally would ever come to fruition. Growing up in Denver, CO meant watching The Denver Symphony dissolve in 1989. In May, 1990 the Denver Symphony Association merged with the newly formed Colorado Symphony Association, a new and initially smaller orchestra employing many of the Denver Symphony musicians.

The new orchestra continually endured cuts and budget adjustments. Watching it was unsettling, and as teenager, it was always fresh on my mind as conversations with fellow teen musicians would ultimately end with negative feelings and views for our futures in the arts.

I specifically remember returning from a six week music festival in British Columbia and talking about my fears with my parents. While neither of my parents were musicians, they offered incredibly sage wisdom to juxtapose against my increasingly negative outlook.

Your Bio is Boring (and so is mine)

Sun, Sep 4, 2011Mon, Nov 1, 2010 by Holly Mulcahy

Listening to a live concert can be a truly special thing. Hearing and feeling music first hand, performed right before your eyes can never be replaced. But let’s face it; there are moments, mostly the slow movements, where some audience members check out. I watch them, flipping through their programs, reading notes, bios, the advertisements; anything to pass the time until something exciting starts up again.

On a few occasions where I’m not playing and actually get to attend a concert, I have been grateful there was a program book to flip through. And it doesn’t take long to figure out that most artist bios are extremely predictable and more often than not, rather boring.

So You Want To Be Liked

Wed, Apr 13, 2016Mon, Oct 4, 2010 by Holly Mulcahy

For arts organizations, the era of Facebook is here. Nearly every day I get invited to “Like” an organization such as symphony orchestra, chamber group or individual artist. If I decide to Like the group, I’ll get updates on concerts and events in my newsfeed.

At first, it was kind of fun to see what groups were playing and doing. Following how different groups approached and used their representative Facebook tool was interesting at first but after the first year I started noticing distinct patterns; some of which produced a steady stream of flawed approaches, others generated regular gems, and others were nothing more than general annoyances.

Speaking The Unspeakable; A slip of the tongue helps maintain vigilance.

Mon, Dec 17, 2012Mon, Aug 2, 2010 by Holly Mulcahy

The Teton Valley in Jackson Wyoming is my summer home. Playing in the Grand Teton Music Festival is something I look forward to each summer. Some of the finest orchestra musicians across the country collaborate in excellent concerts and exciting hiking. Musicians compare jobs, past seasons, and catch up on who is doing what and recent trends throughout the field.

Orchestra Etiquette Part II

Sun, Sep 4, 2011Mon, Jul 5, 2010 by Holly Mulcahy

In the etiquette books I featured last month, great detail and care was given on proper behavior to enhance one’s enjoyment of attending concerts and shows. Flowery texts used wit and sincerity to give the readers every chance to share a wonderful concert experience.

But as the century turned, the general mood toward concert etiquette shifted from politeness so enjoyment wasn’t squashed, to politeness so one could come across as upper class. It was all to keep up appearances it seemed.