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Changing of the Guard
This article first appeared in the August 24-30 edition of pulse niagara.
BPO's distinguished concertmaster
With the departure from their leadership roles of an indefatigable, passionate concertmaster and a dedicated, community-oriented
executive director, the musical landscape on both sides of the Niagara River is about to change considerably. Simultaneously, both the Buffalo Philharmonic Orchestra and the Niagara
Symphony are losing key personnel. Will audiences notice any difference?
Coming at the invitation of Lukas Foss to Buffalo in 1966 and assuming the post of concertmaster three years
later, Charles Haupt has been the direct line of communication between BPO music directors (after Foss, Michael Tilson Thomas, Julius Rudel, Semyon Bychkov, Maximiano Valdés and JoAnn
Falletta) and magnificent band of players. Reached just before heading off to Spain, Valdés put Haupt's contribution in perspective: "He belongs to the great generation of American
concertmasters and the orchestra would not have accomplished its level of excellence without his outstanding work."
Haupt is always led by the music and has spent countless hours in
rehearsal and performances plying his often underestimated craft. Reached at home, he describes his task. "In essence, the concertmaster is supposed to interpret what the conductor
wants and communicate that through body language, bowing changes and the occasional solo demonstration. Sometimes I'm faced with the worse possible intention or no intentions! I have
to be aware that the musicians around me can be innately hostile beings as we try to create motion than only exists in time." This writer has seen and heard Haupt's ability to draw
incredibly homogeneous and rich tone from his talented colleagues and, on more than one occasion, take charge as an "assistant" conductor when the podium leadership loses his or her
Haupt hasn't stepped down to take a rest. It's no secret there's no love lost between the seasoned violinist and Falletta. But, worry not: he will continue to be a regular
fixture on the concert scene. Indeed, his new series, "Musical Feast," will provide many opportunities to savour his considerable skills, now put to the service of chamber
music—leading trios, duos and quartets instead of nearly 100 fellow musicians. "In the chamber repertoire, I'll have more authority but will entertain suggestions, just so long as
there is one prevailing idea in each work. Many of my collaborators have similar background and experience; even though it's the New York 'thing' to offend with every comment, I'll be
careful what I say," explains the humour-loving artist.
Longtime BPO cellist and now conductor (Ashland Symphony, Ohio), Arie Lipsky, met Haupt for the first time in his NYC
apartment where he was to go through the rigours of an audition. Between rehearsals in Chautauqua Lipsky recalls, "I arrived three hours early, was a bit nervous, hungry and
exhausted. Charlie cut me some watermelon, revealing a very human side that permeates his music making to this day."
Trombonist Dave Taylor also has a fond early memory. "I joined
the Mostly Mozart Festival more than twenty years ago, the first person to make me feel this warmth, freedom, and totally at home (especially since I came from outside the normal
orchestral path), was Charles. He approaches music on a natural level, and brings everyone along with him. I can't wait to be part of his chamber music group."
Hear them both on October 3 at the Kavinoky Theatre.