As the Jacksonville Symphony kicks off the 2022/23 season, we are excited to launch our first, bi-monthly newsletter where you’ll find exciting announcements and behind-the-scenes stories and get to know the Symphony staff. In this issue, we caught up with Music Director Courtney Lewis, Principal Tubist James Jenkins and spoke with a volunteer usher as she begins her 29th season with the Jacksonville Symphony.
Under the Spotlight
Prior to the start of the season, we got the chance to meet with Music Director Courtney Lewis, Haskell Endowed Chair, to learn about his musical journey and aspirations for the Jacksonville Symphony.
Courtney Lewis, Music Director
Haskell Endowed ChairWhat is your "why" when it comes to music?
I have been a music nerd since I was three, and it was obvious that music was motivating me even at that early of an age. I wanted to be a conductor who could persuade other people about the value of classical music, how powerful it is and how it can change their lives. It saved me as a young person, and a lot of musicians feel that as well. They know how music gives you a moral compass and the belief of how the world should be, and I want other people to have that. I also really wanted to engage with the entire piece at once. When you are in the orchestra, you get to focus on your part, but the conductor gets to engage with the whole thing on a different, more aerial level.
I have been a music nerd since I was three, and it was obvious that music was motivating me even at that early of an age. I wanted to be a conductor who could persuade other people about the value of classical music, how powerful it is and how it can change their lives. It saved me as a young person, and a lot of musicians feel that as well. They know how music gives you a moral compass and the belief of how the world should be, and I want other people to have that. I also really wanted to engage with the entire piece at once. When you are in the orchestra, you get to focus on your part, but the conductor gets to engage with the whole thing on a different, more aerial level.
Read More
Beyond the Barriers
James Jenkins, Principal Tubist of the Jacksonville Symphony, is a leader who plays a crucial role in furthering the Symphony’s Diversity, Equity and Inclusion Initiatives, and educational opportunities for the community. Read on to discover how his strides make such a difference.
An Interview with James Jenkins
Principal TubaJames Jenkins is a proud musician, educator and advocate. As a musician of the Jacksonville Symphony Orchestra since 1995, Jenkins helps fill Jacoby Symphony Hall with warmth and richness from the brass section where he serves as Principal Tubist. When he isn’t busy performing with the Symphony, Jenkins can be found teaching full-time at two universities and also devoting his time to Body & Soul–The Art of Healing, an award-winning non-profit organization Jenkins created to implement the resources of Jacksonville’s Arts Community into unique programming for healthcare institutions. Read on to get to know James Jenkins a little better and find out how his passion for music and education have become driving forces for Diversity, Equity and Inclusion (DEI) efforts.
Read More
Along for Every Song
Joan Sobanski is one of the Symphony’s most loyal and longest-serving volunteer ushers who has dedicated nearly 30 years to the organization. Click below to find out more about her own musical background and inspiring story.
Decades of Musical Dedication:
Usher Joan SobanskiJacksonville Symphony ushers come from all walks of life and are united through their collective passion for music and being involved in the community. Some volunteers are high-school students, many of whom participate in the Symphony’s JSYO (Jacksonville Symphony Youth Orchestra) programs, while others have volunteered for decades coming from a wide variety of careers, locations and experiences. Joan Sobanski is one among the latter who will be embarking on her 29th season with the Symphony this September. Since this will be the Symphony’s 73rd season, Sobanski has volunteered for almost half of the organization’s history!
Read More
Behind the Scenes
Amanda Fraser
Manager of Individual Giving and Corporate EngagementWhat is a fun fact about you that many people may not know?
I used to work in costuming on cruise ships, and I have been around the world from Los Angeles and back on a ship! Ten days to cross the Atlantic will definitely give you your sea legs. I am also a Florida native. I have a sweet dog, Lucy, and a salty cat, Lemon. I love spooky things and cooking new recipes.
What got you into working with the Jacksonville Symphony?
I actually have a theatre background, and I’ve performed in a lot of musicals. I also played clarinet in middle school, so music has always been in my life. As an arts administrator, I love connecting people with what they are passionate about, so the Symphony is a perfect fit.
What is your favorite part about working with the Jacksonville Symphony?
I love the opportunity to represent the Symphony in the community. I love seeing people’s faces light up when I tell them where I work, and I get to tell them about the incredible strides we are making during the season. I love inviting people in.
I used to work in costuming on cruise ships, and I have been around the world from Los Angeles and back on a ship! Ten days to cross the Atlantic will definitely give you your sea legs. I am also a Florida native. I have a sweet dog, Lucy, and a salty cat, Lemon. I love spooky things and cooking new recipes.
What got you into working with the Jacksonville Symphony?
I actually have a theatre background, and I’ve performed in a lot of musicals. I also played clarinet in middle school, so music has always been in my life. As an arts administrator, I love connecting people with what they are passionate about, so the Symphony is a perfect fit.
What is your favorite part about working with the Jacksonville Symphony?
I love the opportunity to represent the Symphony in the community. I love seeing people’s faces light up when I tell them where I work, and I get to tell them about the incredible strides we are making during the season. I love inviting people in.
Bart Dunn
Principal LibrarianWhat is your favorite quote/mantra that you live by?
I have a great fondness for the works of William Shakespeare. Polonius’s line, "to thine own self be true" from Hamlet has always been one of my favorites.
What is the importance of music to you, and how did it lead you to working with the Jacksonville Symphony?
Music has always been a big part of my life. I started playing the cello at a young age. During my undergraduate degree, I was introduced to the orchestra library profession. Following my degree, I interned in the libraries at Interlochen and later at the Philadelphia Orchestra. Prior to coming to the Jacksonville Symphony, I was the librarian and ensembles manager for the Boyer College of Music at Temple University.
What are some of your hobbies?
In my spare time, I am an avid cross stitcher. I am particularly drawn to antique samplers and filet crochet patterns. I also design my own patterns, which are usually connected to music in some way.
I have a great fondness for the works of William Shakespeare. Polonius’s line, "to thine own self be true" from Hamlet has always been one of my favorites.
What is the importance of music to you, and how did it lead you to working with the Jacksonville Symphony?
Music has always been a big part of my life. I started playing the cello at a young age. During my undergraduate degree, I was introduced to the orchestra library profession. Following my degree, I interned in the libraries at Interlochen and later at the Philadelphia Orchestra. Prior to coming to the Jacksonville Symphony, I was the librarian and ensembles manager for the Boyer College of Music at Temple University.
What are some of your hobbies?
In my spare time, I am an avid cross stitcher. I am particularly drawn to antique samplers and filet crochet patterns. I also design my own patterns, which are usually connected to music in some way.
Under the Spotlight
Courtney Lewis, Music Director
Haskell Endowed ChairWhat is your "why" when it comes to music?
I have been a music nerd since I was three, and it was obvious that music was motivating me even at that early of an age. I wanted to be a conductor who could persuade other people about the value of classical music, how powerful it is and how it can change their lives. It saved me as a young person, and a lot of musicians feel that as well. They know how music gives you a moral compass and the belief of how the world should be, and I want other people to have that. I also really wanted to engage with the entire piece at once. When you are in the orchestra, you get to focus on your part, but the conductor gets to engage with the whole thing on a different, more aerial level.
What are your aspirations for connecting with diverse communities in Jacksonville?
I would like us to be the orchestra that is for everybody no matter what part of the community they are from. We have made a lot of progress, but there is still a long way to go. Our first-ever Pride Night was an effective example where we were conscious that there was a community being well-represented, and that felt different. Wouldn’t it be so amazing if we could do that with other diverse communities and make them feel comfortable in our Hall? My philosophy is to provide the highest range and quality of art, the best of what we have to offer, to everyone in the community.
I have been a music nerd since I was three, and it was obvious that music was motivating me even at that early of an age. I wanted to be a conductor who could persuade other people about the value of classical music, how powerful it is and how it can change their lives. It saved me as a young person, and a lot of musicians feel that as well. They know how music gives you a moral compass and the belief of how the world should be, and I want other people to have that. I also really wanted to engage with the entire piece at once. When you are in the orchestra, you get to focus on your part, but the conductor gets to engage with the whole thing on a different, more aerial level.
What are your aspirations for connecting with diverse communities in Jacksonville?
I would like us to be the orchestra that is for everybody no matter what part of the community they are from. We have made a lot of progress, but there is still a long way to go. Our first-ever Pride Night was an effective example where we were conscious that there was a community being well-represented, and that felt different. Wouldn’t it be so amazing if we could do that with other diverse communities and make them feel comfortable in our Hall? My philosophy is to provide the highest range and quality of art, the best of what we have to offer, to everyone in the community.
What are your goals for the Symphony’s growth?
I want to be more institutionally focused on how we expand the orchestra nationally. The orchestra needs to be heard more in terms of recordings, touring and broadcasting. We have achieved so much, but I want to continue our growth so that we are recognized on a grander scale. Overall, I'd like us to be a leading group for the arts and an orchestra that fulfills its role in the community.
What is the role of new music and commissions with the Jacksonville Symphony?
It is important that we do not see new music as a different tradition from everything else. We are part of a musical legacy that goes from the Renaissance all the way through today. I think it is important that new works are part of that continuum rather than thinking of them as existing separately. What we want to achieve is convincing people that new music is not something we have to endure or something that is difficult to understand. That is why we have chosen composers who patrons will enjoy. Music doesn’t exist without us performing it, and we have the responsibility to keep the art form fresh, alive and contemporary by commissioning new pieces.
What have been some of your best moments with the Symphony?
The operas have been very exciting, and of course, and there are certain symphonic performances that I would deem as highlights. Some examples are when we performed a large, 70-minute chunk of Richard Wagner’s epic Götterdämmerung, the fourth opera in the grandiose Ring Cycle, with Christine Brewer and Jay Hunter Morris. A few years back, we also performed Gustav Mahler’s Symphony No. 5, which was spectacular. Most importantly, I am proud of how far we have come with our stylistic awareness when it comes to music from the 18th century and early 19th century from Franz Joseph Haydn, Wolfgang Amadeus Mozart, Ludwig van Beethoven and other iconic composers of these eras.
What have been some of your most unforgettable moments with other symphonies?
For my final performance with the Minnesota Orchestra, I played Mahler’s Symphony No. 5 for the last time, which is something I will never forget. When I performed with the New York Philharmonic in 2017, I conducted Hector Berlioz, two new piano concerts and Edward Elgar’s In the South (Alassio). Those are some of my biggest, exciting memories.
What exciting plans did you embark on over the summer?
This summer, I went to Bayreuth, Germany, for the Bayreuth Festival. Bayreuth is an opera house that Richard Wagner built for his own music. This festival takes well over 10 years to get a ticket, so it is such a rare and special opportunity to attend. I went for a week to hear the entire four-opera cycle, The Ring of the Nibelung, sung by a world-class cast. It is a wooden theatre with the same seats from 1880 when it was built and no air conditioning, so it is definitely an experience for very dedicated music lovers. Besides that, I spent the summer learning music for next season until I could recall it from memory.
How many symphonies can you conduct without a score?
I can confidently conduct all pieces composed by Mozart, Haydn, Beethoven, Johannes Brahms, Robert Schumann among other composers from the 18th and 19th centuries. I cannot conduct a lot of 20th century repertoire from memory, however, especially when meter changes much more frequently.
What are you most excited about for the Symphony’s next season?
After the grand success of La bohème last season, I am excited for opera to return with Mozart’s The Magic Flute in addition to conducting Anton Bruckner’s Fifth Symphony, the world premiere of Sean Shepherd’s piece and pianist Conrad Tao returning at the end of the season.
How do you stay motivated as a conductor?
In the summer when I’m not conducting, I like to stop, sit in a room full of books and read. The thing about conducting is it's all about giving energy out, so you need energy going in. I also go and hear other orchestras and conductors perform like Nathalie Stutzmann, the new Music Director of the Atlanta Symphony. I got to see her conduct the Philadelphia Orchestra in July at the Bravo! Vail music festival in Colorado. I’m excited to see another conductor who is performing some of the pieces we will be this season, like Pyotr Ilyich Tchaikovsky’s No. 6, because it makes me think of how I can keep my interpretation fresh. I also like to travel and spend time in nature to recharge.
Where do you draw inspiration to breathe new energy into the same works time after time?
That is not as hard as you think because when you open a score, you are a different person from the last time you conducted it. You bring all the life that’s happened in-between to the next time you perform it, so you see the piece in a completely different way. I also find myself being challenged each time I revisit a piece. It is good to have time away from the performance, listen back to what I used to do and see what I have done differently over time. All of those things feed into conducting a piece.
Who are your role models?
Conductors who stayed in one place for a long time and connected with their communities. When I was growing up, it was Simon Rattle. He was the City of Birmingham Symphony Orchestra’s Music Director who stayed there for 18 years, commissioned an abundance of new music, persuaded the audience of the importance of new music and raised the profile of the orchestra enormously on a national and international scale. He was committed to the orchestra’s development, so it could be the best orchestra for that city. When I was in Minneapolis, Music Director Osmo Vänskä of the Minnesota Orchestra, who just recently finished his tenure of 19 years, really inspired me. He lived in the city, was deeply involved and achieved a lot of amazing things because of his integration with the community, which is what I am trying to do here.
What do you hope to achieve by the end of your career?
Working with great orchestras and great musicians to make great performances. There is music I eventually hope to record that archives my methods of conducting certain pieces. However, the most important thing to me is having the means available to make great music. This means building a great orchestra or being with an established orchestra. It’s about to being able to make music for people to enjoy whether it’s live or on a recording. When I think about how I want the Jacksonville Symphony to develop, I want to make the orchestra a stronger conduit for the greatness of the music it performs, so it can be more inspiring in its task to perform for the people who experience it.
I want to be more institutionally focused on how we expand the orchestra nationally. The orchestra needs to be heard more in terms of recordings, touring and broadcasting. We have achieved so much, but I want to continue our growth so that we are recognized on a grander scale. Overall, I'd like us to be a leading group for the arts and an orchestra that fulfills its role in the community.
What is the role of new music and commissions with the Jacksonville Symphony?
It is important that we do not see new music as a different tradition from everything else. We are part of a musical legacy that goes from the Renaissance all the way through today. I think it is important that new works are part of that continuum rather than thinking of them as existing separately. What we want to achieve is convincing people that new music is not something we have to endure or something that is difficult to understand. That is why we have chosen composers who patrons will enjoy. Music doesn’t exist without us performing it, and we have the responsibility to keep the art form fresh, alive and contemporary by commissioning new pieces.
What have been some of your best moments with the Symphony?
The operas have been very exciting, and of course, and there are certain symphonic performances that I would deem as highlights. Some examples are when we performed a large, 70-minute chunk of Richard Wagner’s epic Götterdämmerung, the fourth opera in the grandiose Ring Cycle, with Christine Brewer and Jay Hunter Morris. A few years back, we also performed Gustav Mahler’s Symphony No. 5, which was spectacular. Most importantly, I am proud of how far we have come with our stylistic awareness when it comes to music from the 18th century and early 19th century from Franz Joseph Haydn, Wolfgang Amadeus Mozart, Ludwig van Beethoven and other iconic composers of these eras.
What have been some of your most unforgettable moments with other symphonies?
For my final performance with the Minnesota Orchestra, I played Mahler’s Symphony No. 5 for the last time, which is something I will never forget. When I performed with the New York Philharmonic in 2017, I conducted Hector Berlioz, two new piano concerts and Edward Elgar’s In the South (Alassio). Those are some of my biggest, exciting memories.
What exciting plans did you embark on over the summer?
This summer, I went to Bayreuth, Germany, for the Bayreuth Festival. Bayreuth is an opera house that Richard Wagner built for his own music. This festival takes well over 10 years to get a ticket, so it is such a rare and special opportunity to attend. I went for a week to hear the entire four-opera cycle, The Ring of the Nibelung, sung by a world-class cast. It is a wooden theatre with the same seats from 1880 when it was built and no air conditioning, so it is definitely an experience for very dedicated music lovers. Besides that, I spent the summer learning music for next season until I could recall it from memory.
How many symphonies can you conduct without a score?
I can confidently conduct all pieces composed by Mozart, Haydn, Beethoven, Johannes Brahms, Robert Schumann among other composers from the 18th and 19th centuries. I cannot conduct a lot of 20th century repertoire from memory, however, especially when meter changes much more frequently.
What are you most excited about for the Symphony’s next season?
After the grand success of La bohème last season, I am excited for opera to return with Mozart’s The Magic Flute in addition to conducting Anton Bruckner’s Fifth Symphony, the world premiere of Sean Shepherd’s piece and pianist Conrad Tao returning at the end of the season.
How do you stay motivated as a conductor?
In the summer when I’m not conducting, I like to stop, sit in a room full of books and read. The thing about conducting is it's all about giving energy out, so you need energy going in. I also go and hear other orchestras and conductors perform like Nathalie Stutzmann, the new Music Director of the Atlanta Symphony. I got to see her conduct the Philadelphia Orchestra in July at the Bravo! Vail music festival in Colorado. I’m excited to see another conductor who is performing some of the pieces we will be this season, like Pyotr Ilyich Tchaikovsky’s No. 6, because it makes me think of how I can keep my interpretation fresh. I also like to travel and spend time in nature to recharge.
Where do you draw inspiration to breathe new energy into the same works time after time?
That is not as hard as you think because when you open a score, you are a different person from the last time you conducted it. You bring all the life that’s happened in-between to the next time you perform it, so you see the piece in a completely different way. I also find myself being challenged each time I revisit a piece. It is good to have time away from the performance, listen back to what I used to do and see what I have done differently over time. All of those things feed into conducting a piece.
Who are your role models?
Conductors who stayed in one place for a long time and connected with their communities. When I was growing up, it was Simon Rattle. He was the City of Birmingham Symphony Orchestra’s Music Director who stayed there for 18 years, commissioned an abundance of new music, persuaded the audience of the importance of new music and raised the profile of the orchestra enormously on a national and international scale. He was committed to the orchestra’s development, so it could be the best orchestra for that city. When I was in Minneapolis, Music Director Osmo Vänskä of the Minnesota Orchestra, who just recently finished his tenure of 19 years, really inspired me. He lived in the city, was deeply involved and achieved a lot of amazing things because of his integration with the community, which is what I am trying to do here.
What do you hope to achieve by the end of your career?
Working with great orchestras and great musicians to make great performances. There is music I eventually hope to record that archives my methods of conducting certain pieces. However, the most important thing to me is having the means available to make great music. This means building a great orchestra or being with an established orchestra. It’s about to being able to make music for people to enjoy whether it’s live or on a recording. When I think about how I want the Jacksonville Symphony to develop, I want to make the orchestra a stronger conduit for the greatness of the music it performs, so it can be more inspiring in its task to perform for the people who experience it.
Click Here to Return to the Newsletter
Beyond the Barriers
Beyond the Barriers with James Jenkins
The Principal Tubist of the Jacksonville SymphonyJames Jenkins is a proud musician, educator and advocate. As a musician of the Jacksonville Symphony Orchestra since 1995, Jenkins helps fill Jacoby Symphony Hall with warmth and richness from the brass section where he serves as Principal Tubist. When he isn’t busy performing with the Symphony, Jenkins can be found teaching full-time at two universities and also devoting his time to Body & Soul–The Art of Healing, an award-winning non-profit organization Jenkins created to implement the resources of Jacksonville’s Arts Community into unique programming for healthcare institutions. Read on to get to know James Jenkins a little better and find out how his passion for music and education have become driving forces for Diversity, Equity and Inclusion (DEI) efforts.
Pursuing Music Across Borders
Most recently, Jenkins performed with the Gateways Music Festival, an organization that connects and supports classical, African American musicians through world-class performances presented to communities across the nation. The festival has been in existence for nearly 30 years, and Jenkins was one of the first inaugural members invited to join its mission. Jenkins was actively involved in the organization for the first four years of its establishment and recently rekindled his involvement this year. As one of several concerts part of the Gateways Music Festival, Jenkins and other musicians performed in Rochester, New York, in Carnegie Hall. This concert marked a pivotal moment in Carnegie Hall’s history as it was the very first time the renowned concert venue presented a fully African American ensemble.
Following this debut, Jenkins left the Gateways Music Festival to perform with the Boston Symphony over the course of several weeks and provided masterclasses at the Eastman School of Music, New England Conservatory of Music and Boston Conservatory.
Pursuing Music Across Borders
Most recently, Jenkins performed with the Gateways Music Festival, an organization that connects and supports classical, African American musicians through world-class performances presented to communities across the nation. The festival has been in existence for nearly 30 years, and Jenkins was one of the first inaugural members invited to join its mission. Jenkins was actively involved in the organization for the first four years of its establishment and recently rekindled his involvement this year. As one of several concerts part of the Gateways Music Festival, Jenkins and other musicians performed in Rochester, New York, in Carnegie Hall. This concert marked a pivotal moment in Carnegie Hall’s history as it was the very first time the renowned concert venue presented a fully African American ensemble.
Following this debut, Jenkins left the Gateways Music Festival to perform with the Boston Symphony over the course of several weeks and provided masterclasses at the Eastman School of Music, New England Conservatory of Music and Boston Conservatory.
Thereafter, Jenkins was a featured artist in Atlanta, Georgia, for the 19th Annual International Euphonium Tuba Festival. He then traveled to Steamboat Springs, Colorado, to perform in the Strings Music Festival, a renowned, year-round festival that gathers high-caliber musicians from the nation’s top orchestras. This season, in addition to being Principal Tubist of the Jacksonville Symphony, Jenkins has been invited to perform with the Cleveland Orchestra and the Los Angeles Philharmonic.
“These have all been such rare and incredible opportunities. The value for me, in addition to performing with such wonderful and distinguished musicians, is that these are all learning experiences,” said Jenkins. “Even if I am playing the same music that I have been performing for years and years, I’m constantly learning more about nonverbal communication and opening up my awareness. When I come back to Jacksonville, I always come back changed and more enriched with something different to offer.”
Discovering Passion for a “New” Genre
Jenkins was raised in Miami, Florida, as a pastor’s son and was brought up in a musical environment where R&B and Gospel reigned supreme. It wasn’t until his college days at the University of Miami that Jenkins was formally introduced to classical music. Upon finding a passion for the genre, Jenkins discovered that the outdated perception that “people don’t like classical music” might stem from a lack of understanding and, more importantly, exposure. “Exposure was key for me,” said Jenkins. “I may have never had the chance to delve into classical music if I did not go to college.”
Providing one opportunity to engage with classical music however, according to Jenkins, is simply not enough. “Having three or four opportunities to build an audio repertoire is much more effective,” said Jenkins. “It’s only after people hear the music multiple times that the interest starts to develop. The music of Igor Stravinsky sounds completely different than John Williams, and this is something they will learn along the way.”
While most readers of this blog are well aware of the world of symphonic music and have garnered an appreciation for all things classical, there are still many populations across the country and right here in Jacksonville that have never experienced the wonder of live symphonic music. Jenkins’ philosophy is that music is for all and that we need to work together to remove barriers and stigmas keeping newcomers from diverse communities from enjoying the experience of symphonic music.
A Pioneer of Diversity, Equity and Inclusion
Throughout his career, Jenkins has been a pioneer of DEI efforts. Jenkins is the first African American in the United States to play full-time on the tuba in a major orchestra. Jenkins is also a full-time professor at Bethune Cookman University, a Historically Black College and University (HBCU), making him the only musician in the country that is employed full-time with a symphony orchestra while working full-time at a HBCU institution.
In addition, Jenkins founded the non-profit Body & Soul–The Art of Healing in 1999 as a way to form mutually beneficial collaborations between the arts and healthcare. Through a variety of arts-based programs, Body & Soul offers patients and residents in hospitals, retirement and assisted living communities, psychiatric facilities, hospices and more to find joy during hard times.
The Role of Diversity in the Symphony
At the Jacksonville Symphony, Jenkins serves as a key member of the DEI Committee and is excited to help implement initiatives contained within the Symphony’s strategic plan for DEI. “Being the only African-American in many ensembles has given me a very different perspective as a musician,” Jenkins explained. “The journey I’ve experienced being in the classical world has felt very isolating at times. It’s a culture that is very different from what I grew up with. I don’t often find myself thinking about the other musicians on stage and the differences in our ethnic backgrounds. I do notice, however, who we present our work to.”
Jenkins notes that he often finds himself performing for a very specific audience and that while the lack of diverse audience members is troubling, there is always opportunity to change that. “What I see in the industry a lot is organizations not directly involving the demographics they are trying to reach when it comes to decisions that are being made. We need that external inclusion and to get community members to the table to hear their voices to see what works musically and what doesn’t. Every suggestion makes a world of difference.”
Through the efforts of Jenkins and the other members of the DEI Committee, the Jacksonville Symphony is on the path to engaging our community with culturally responsive performances, education and community initiatives. “The Symphony is leading the charge in addressing DEI, which will inspire others in the community and hopefully those everywhere else to follow,” stated Jenkins. “Once others join this mission, we will see change enacted across arts organizations, allowing more people from diverse backgrounds to develop a passion for all the ways music enriches lives.”
A Balance of Tradition and Modernity
Simply put, Jenkins believes that traditional symphonic music has a lot of power. “While it’s important to implement diverse programming and bring in high-quality, new music to the Jacksonville Symphony, it is important to embrace the classical music that has been known and loved for centuries but is unheard by many.” For Jenkins, when it comes to the topic of DEI and creating a more diverse arts organization, he believes that there is a delicate balance between honoring the history of symphonic music and performance and embracing modern music that is more widely known. “There is so much strength and power in music that has been there for hundreds of years,” said Jenkins. “By exposing others to a ‘new’ genre of music and educating them on what makes it so special, it allows them to develop an appreciation for the art while growing personally as well.”
Discovering Passion for a “New” Genre
Jenkins was raised in Miami, Florida, as a pastor’s son and was brought up in a musical environment where R&B and Gospel reigned supreme. It wasn’t until his college days at the University of Miami that Jenkins was formally introduced to classical music. Upon finding a passion for the genre, Jenkins discovered that the outdated perception that “people don’t like classical music” might stem from a lack of understanding and, more importantly, exposure. “Exposure was key for me,” said Jenkins. “I may have never had the chance to delve into classical music if I did not go to college.”
Providing one opportunity to engage with classical music however, according to Jenkins, is simply not enough. “Having three or four opportunities to build an audio repertoire is much more effective,” said Jenkins. “It’s only after people hear the music multiple times that the interest starts to develop. The music of Igor Stravinsky sounds completely different than John Williams, and this is something they will learn along the way.”
While most readers of this blog are well aware of the world of symphonic music and have garnered an appreciation for all things classical, there are still many populations across the country and right here in Jacksonville that have never experienced the wonder of live symphonic music. Jenkins’ philosophy is that music is for all and that we need to work together to remove barriers and stigmas keeping newcomers from diverse communities from enjoying the experience of symphonic music.
A Pioneer of Diversity, Equity and Inclusion
Throughout his career, Jenkins has been a pioneer of DEI efforts. Jenkins is the first African American in the United States to play full-time on the tuba in a major orchestra. Jenkins is also a full-time professor at Bethune Cookman University, a Historically Black College and University (HBCU), making him the only musician in the country that is employed full-time with a symphony orchestra while working full-time at a HBCU institution.
In addition, Jenkins founded the non-profit Body & Soul–The Art of Healing in 1999 as a way to form mutually beneficial collaborations between the arts and healthcare. Through a variety of arts-based programs, Body & Soul offers patients and residents in hospitals, retirement and assisted living communities, psychiatric facilities, hospices and more to find joy during hard times.
The Role of Diversity in the Symphony
At the Jacksonville Symphony, Jenkins serves as a key member of the DEI Committee and is excited to help implement initiatives contained within the Symphony’s strategic plan for DEI. “Being the only African-American in many ensembles has given me a very different perspective as a musician,” Jenkins explained. “The journey I’ve experienced being in the classical world has felt very isolating at times. It’s a culture that is very different from what I grew up with. I don’t often find myself thinking about the other musicians on stage and the differences in our ethnic backgrounds. I do notice, however, who we present our work to.”
Jenkins notes that he often finds himself performing for a very specific audience and that while the lack of diverse audience members is troubling, there is always opportunity to change that. “What I see in the industry a lot is organizations not directly involving the demographics they are trying to reach when it comes to decisions that are being made. We need that external inclusion and to get community members to the table to hear their voices to see what works musically and what doesn’t. Every suggestion makes a world of difference.”
Through the efforts of Jenkins and the other members of the DEI Committee, the Jacksonville Symphony is on the path to engaging our community with culturally responsive performances, education and community initiatives. “The Symphony is leading the charge in addressing DEI, which will inspire others in the community and hopefully those everywhere else to follow,” stated Jenkins. “Once others join this mission, we will see change enacted across arts organizations, allowing more people from diverse backgrounds to develop a passion for all the ways music enriches lives.”
A Balance of Tradition and Modernity
Simply put, Jenkins believes that traditional symphonic music has a lot of power. “While it’s important to implement diverse programming and bring in high-quality, new music to the Jacksonville Symphony, it is important to embrace the classical music that has been known and loved for centuries but is unheard by many.” For Jenkins, when it comes to the topic of DEI and creating a more diverse arts organization, he believes that there is a delicate balance between honoring the history of symphonic music and performance and embracing modern music that is more widely known. “There is so much strength and power in music that has been there for hundreds of years,” said Jenkins. “By exposing others to a ‘new’ genre of music and educating them on what makes it so special, it allows them to develop an appreciation for the art while growing personally as well.”
Click Here to Return to the Newsletter
Along for Every Song
Decades of Musical Dedication: Usher Joan Sobanski
The Jacksonville Symphony is not only home to some of the world’s finest musicians but also volunteer ushers who dedicate their evenings to the Symphony out of their love for music and live performances.
Adorned in white shirts and black pants, the ushers take their stations outside of Jacoby Symphony Hall before every performance with concert programs in hand and a smile for every patron who walks through their doors. In making every concert-goer's symphonic experience as joyous as possible, ushers play an essential part in the creation of unforgettable, musical memories.
Jacksonville Symphony ushers come from all walks of life and are united through their collective passion for music and being involved in the community. Some volunteers are high-school students, many of whom participate in the Symphony’s JSYO (Jacksonville Symphony Youth Orchestra) programs, while others have volunteered for decades coming from a wide variety of careers, locations and experiences. Joan Sobanski is one among the latter who will be embarking on her 29th season with the Symphony this September. Since this will be the Symphony’s 73rd season, Sobanski has volunteered for almost half of the organization’s history!
Sobanski first decided to join the Symphony as an usher because of her love of the arts and her own robust musical background. Joining the United Service Organizations (USO) in her college years, Sobanski was a principal dancer in three Broadway shows including Girl Crazy, South Pacific and An American in Paris. She also worked in TV and radio for the U.S. Army before becoming the Administrative Assistant to the owner of the New England Patriots and the Remington Razor company.
Adorned in white shirts and black pants, the ushers take their stations outside of Jacoby Symphony Hall before every performance with concert programs in hand and a smile for every patron who walks through their doors. In making every concert-goer's symphonic experience as joyous as possible, ushers play an essential part in the creation of unforgettable, musical memories.
Jacksonville Symphony ushers come from all walks of life and are united through their collective passion for music and being involved in the community. Some volunteers are high-school students, many of whom participate in the Symphony’s JSYO (Jacksonville Symphony Youth Orchestra) programs, while others have volunteered for decades coming from a wide variety of careers, locations and experiences. Joan Sobanski is one among the latter who will be embarking on her 29th season with the Symphony this September. Since this will be the Symphony’s 73rd season, Sobanski has volunteered for almost half of the organization’s history!
Sobanski first decided to join the Symphony as an usher because of her love of the arts and her own robust musical background. Joining the United Service Organizations (USO) in her college years, Sobanski was a principal dancer in three Broadway shows including Girl Crazy, South Pacific and An American in Paris. She also worked in TV and radio for the U.S. Army before becoming the Administrative Assistant to the owner of the New England Patriots and the Remington Razor company.
It was in the army where she met her husband who was a jazz pianist. They were married for 66 years and had four children, one of whom used to work for the Metropolitan Museum of Art. Thereafter, Sobanski lived in Chicago for 13 years and was a resident of Connecticut for 17 yrs. Being so close to New York, she frequently went to theatre productions and museums, including the Metropolitan Opera summer series every year at Lincoln Center, which continued to deepen her passion for the arts.
After moving to Florida, Sobanski searched for an organization that would fulfill her lifelong connection to music and discovered the Jacksonville Symphony as her new home.
She has also regularly volunteered over the course of many years at several other performing arts organizations including the Florida Theatre, Theatre Jacksonville and the Thrasher-Horne Center.
Sobanski’s favorite aspect of being an usher is having her “regulars” come through her door as she has become close friends with many patrons and rejoices in every opportunity to see them. Her favorite performances of the Symphony’s 2021/22 season included Holiday Pops, The Music of Queen, The Music of Elton John and The Music of Whitney Houston. Sobanski is thrilled to play a part in the Symphony’s upcoming season, experience all of the performances in store and share her excitement with audiences.
“What draws me to music and what draws other people is that we can forget what’s going on in the world today and just sit back and enjoy,” said Sobanski. “We truly are so lucky to have such an outstanding orchestra that offers music for all to lose and find themselves in.”
After moving to Florida, Sobanski searched for an organization that would fulfill her lifelong connection to music and discovered the Jacksonville Symphony as her new home.
She has also regularly volunteered over the course of many years at several other performing arts organizations including the Florida Theatre, Theatre Jacksonville and the Thrasher-Horne Center.
Sobanski’s favorite aspect of being an usher is having her “regulars” come through her door as she has become close friends with many patrons and rejoices in every opportunity to see them. Her favorite performances of the Symphony’s 2021/22 season included Holiday Pops, The Music of Queen, The Music of Elton John and The Music of Whitney Houston. Sobanski is thrilled to play a part in the Symphony’s upcoming season, experience all of the performances in store and share her excitement with audiences.
“What draws me to music and what draws other people is that we can forget what’s going on in the world today and just sit back and enjoy,” said Sobanski. “We truly are so lucky to have such an outstanding orchestra that offers music for all to lose and find themselves in.”
Click Here to Return to the Newsletter