trying to get information that enforces these decisions so we can be as relatable to our community as possible . That ’ s our responsibility , our mission really with the Baltimore Symphony Orchestra . I think we are on the cusp of really exciting things when we think about that intentionality .
The BSO is also a top-tier orchestra with fans and listeners around the globe . What do you see as your role and the Orchestra ’ s role in the global musical community ? HEYWARD : Where I see us in five or ten years is to be a prime example of what the role of a symphony orchestra is in a community and in a society . I want people to say that there ’ s a “ Baltimore Symphony model .” And in a global sense , it ’ s really needed , particularly after the bounce back from COVID . Why come to the symphony ? Why come back ? We have to really take intentional steps to say this is why this art form is still relevant and important . That ’ s how I see us in a global sense of our future and our impact .
Let ’ s talk about you and your artistic process , specifically the way you approach a musical score . Of course , there are two possible scenarios for learning a piece : the ideal one where you have all time in the world , and the perhaps more realistic one where you have a set deadline — maybe even a matter of days . Can you walk me through those processes ? HEYWARD : I ’ ve certainly been in the position of stepping in [ last minute ] for some major orchestras . My Los Angeles Philharmonic debut was a step in . My New York Philharmonic debut was a step in . But if I had all the time in the world , I use this micro – macro approach to studying , which is to try to get all of the details in at the very beginning of my endeavor with a piece , and then
Where I see us in five or ten years is to be a prime example of what the role of a symphony orchestra is in a community and in a society .”
— Jonathon Heyward
slowly try and let it go . Because if I tend to still be in the micro , I tend to be a bit too obsessively detail-oriented by the time I get to the rehearsal process . So it ’ s very important to be able to do this with the macro and let it be free .
But when I ’ m given that call — that infamous call of “ You ’ ve got to do this quicker than expected ”— that same process happens , but as you can imagine , the micro isn ’ t so micro . It has to be more broad sweeping , because particularly when I have to learn something very quick , the approach to that is still open , trying to be as receptive as possible . Actually when you ’ re in that position you have to be so much more aware your surroundings , and not in your own world .
What ’ s your pre-concert routine ? HEYWARD : Again , I like to think about the music more macro , so I ’ m not really gripping on to it still . I tend to listen to the whole program while taking a walk , trying to remember things without the score . Then an hour before the concert , I ’ m in my dressing room . I ’ m taking about a 20-minute nap first , just kind of trying to focus myself , and get myself energized . Then I take about 20 minutes of reviewing the score . Then the next 20 is just keeping grounded and getting ready to go on stage .
What do you consider to be your artistic inspirations ? HEYWARD : What always inspires me is the music , and making music . The idea that this is my job , that this is what I get to do for a living . When I ’ m making music , the inspiration is between the musicians and me . And , of course , feeling the audience ’ s reaction afterwards is another source of inspiration — a triangle of inspiration if you will — is such a beautiful part of what I get to do .
What do you do to relax ? HEYWARD : Currently , I am aiming to get my private pilot ’ s license . And that , for me , has been an amazing escape because I can ’ t really think about anything else other than flying the plane — I ’ m a beginner at it . It ’ s probably the only time when I don ’ t have music in my brain . So in order to completely relax , I have to be about 3,000 feet in the air . It seems to work , so there we are .
This interview has been edited and condensed for reasons of clarity and brevity . The filmed , unabridged version will be published on our website this winter at BSOmusic . org / bso-news .
14 OVERTURE / BSOmusic . org