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.

Sorry, We’re Fresh Out of Mahler

Sat, Mar 12, 2016Mon, Sep 7, 2009 by Holly Mulcahy

It’s the beginning of another orchestra season and that means it’s time to scout out the season brochures and websites of the groups I’ll be playing in to see what’s in store. It’s hard not to notice that I look through season brochures as I would a restaurant menu. I narrow down the “main courses” that look most interesting or challenging to me and start planning my practicing accordingly.

Most of my concert-going friends analyze a season brochure like a menu as well and as I have Facebook discussions with them about programs, it seems many have already decided which concerts they want to attend. “I think we’ll pass on the Classic Series VI, we don’t care for a whole concert of Strauss, but I think we’ll take the Classic Series II and V.” And much like a restaurant, as one party orders the entrée, the other party prepares the dish.

Fishing With The Right Bait; Should patrons be allowed a say in programming?

Sun, Sep 4, 2011Mon, Aug 3, 2009 by Holly Mulcahy

Last month I participated in a cross blog discussion about whether orchestras should vary their genres beyond standard orchestral repertoire. There was much discussion and interesting comments both here and at the other blogs but I was left wondering what would happen if orchestras would seek some programming views from the people that buy the tickets beyond the traditional “patron’s choice” style programs.

A year ago, Chicago Opera Theater offered the audience a unique opportunity to pick which opera they wanted to hear. For just a buck, people could vote with their wallets between three operas. The winning opera would be performed the following season.

Should Orchestras Confine Themselves To A Certain Genre?

Sun, Sep 4, 2011Fri, Jul 3, 2009 by Holly Mulcahy

A few weeks back, there was a question posed on Inside The Arts by Joe Patti, the author of Butts In The Seats. Joe asked “Should orchestras confine their programming to just a few genres?” Responses from Inside The Arts bloggers and readers generated more interesting questions than answers, all of which got me thinking.

On one hand, some orchestras are limiting themselves by relegating the majority of programming to standard repertoire from 100-200 years ago. But isn’t that what people expect? When they buy a ticket to go see the symphony, aren’t they generally expecting a Brahmish, Beethovenesque or Mozarty type piece? When one goes to a steakhouse for dinner, one expects to see mostly steak on the menu. Why shouldn’t orchestras approach ticket buyers the same way?

Give The Gift of Music

Sun, Sep 4, 2011Sun, May 31, 2009 by Holly Mulcahy

Some of the most memorable and special gifts we received for our wedding were not kitchen appliances, towels, or even dinner sets, they were gift certificates. And not the obvious and ubiquitous gift certificates to department stores, but gift certificates to events like concerts and baseball games. We remember these trips during our first year of marriage with tremendous fondness.

Requiem

Sun, Sep 4, 2011Mon, May 4, 2009 by Holly Mulcahy

It is no secret the world of classical music is a small place. From youth orchestras to summer camps, music schools to festivals around the world, and little orchestras to big orchestras musicians make lifelong connections at every stage of their career. So when a musician passes away, chances are high most musicians around the country will have known of or know another musicians that had worked with that musician. Normally, this sort of sad news spreads remarkably fast and with the advent of email and social networking, it isn’t unusual for musicians to find out about a colleague’s passing within moments.