Get to know Francesco Lecce-Chong, music director of the Santa Rosa Symphony
Ask Santa Rosa Symphony Music Director Francesco Lecce-Chong if classical music is dying, and he’ll be brutally honest. He acknowledges that the 300-year-old tradition got a bit too comfortable and was slow to adapt to a changing world.
Then he dismisses its death knell, sweeping it aside with his own unabashed passion for the art form.
“My personal opinion is that right now is the most exciting time for orchestras because ... we’re trying new things,” he told the Pittsburgh City Paper in 2018 before leaving as assistant conductor of the Pittsburgh Symphony Orchestra. “Frankly, we’re just not that accessible sometimes, and we don’t show enough joy in what we do.”
Since being appointed to the Santa Rosa Symphony in March 2018, Lecce-Chong, 32, has proven himself both accessible and joyous, unassuming and brilliant, not only in his programming but in his interactions with the community, staff and musicians.
“We’ve all been getting to know each other this season,” said Joe Edelberg, the unflappable concertmaster of the Santa Rosa Symphony. “He’s friendly, respectful and demanding. My sense is that the orchestra developed trust in him pretty quickly.”
Over the past two seasons, symphony staff also have grown to value Lecce-Chong’s integrity, his collaborative style of leadership and his ability to relate to all ages, especially to young adults while leading one family concert a year, the first music director in the symphony’s history to take on that duty.
“Francesco’s positive impact and contribution has gone far beyond our admittedly high expectations,” said Alan Silow, the symphony’s president and CEO. “It includes creative programming, an articulate insight into the magic of new music and a major contribution to supporting our educational programs, which he deeply values.”
Audiences have taken note of the charismatic energy Lecce-Chong brings to the concert hall - that mysterious “it” factor - that makes the music viscerally and visually exciting, whether it’s an old warhorse like Brahms’ Symphony No. 2 in January or the world premiere of Matt Browne’s Symphony No. 1, “The Course of Empire,” in February.
One of his motivations as a conductor is to connect people through the experience of live music.
“I have become so passionate about how an orchestra can be a center for people to come together,” Leece-Chong said. “It’s like a lifestyle. I have so many ideas to build on that, but it’s so exciting for me to go into a community (like Santa Rosa) that has a foot up in understanding this.”
Although the symphony’s final two concert programs of the season had to be postponed due to the coronavirus pandemic, Lecce-Chong did conduct a solid run of five concert sets from October through February and planned the 2020-2021 season, which will be the symphony’s second full season under his leadership.
One of the keystones of next season will be Beethoven’s Symphony No. 9, scheduled for the annual choral concert this December.
“You kind of have to return to Beethoven’s 9th every five or six years,” he said. “It hasn’t lost an ounce of relevance. These days, there are so few things that people can come together over. This is one of those.”
Setting the tempo
As a music student, Lecce-Chong saw Japanese conductor Seiji Ozawa lead his orchestra in Carnegie Hall. When his players walked onstage, Ozawa snuck out with them, then just hung out. That understated style made an impression on Leece-Chong and speaks to his collaborative spirit.
“It’s beautiful to remind people that I’m part of the orchestra.” he said. “We’re just doing this together.”
Last December, Lecce-Chong “play conducted” the orchestra from a fortepiano in a program that opened with Haydn’s Symphony No. 39 and closed with Mozart’s Requiem.
The transparent Haydn symphony - nervous and fleet, spare and elegant - came alive with bristled energy, mostly because of its perfect pacing.
“You can’t just play it perfectly,” Lecce-Chong explained. “There is one tempo that opens up the piece. When I do the perfect tempo, I can see the musicians smile.”
Setting the tempo is perhaps the most crucial job of a conductor, along with communicating feeling and dynamics with the body, giving cues for key entrances and coordinating the orchestra with soloists.
The high-energy Lecce-Chong admits he feels comfortable staying slightly ahead of the beat, like a pace car in a race, showing everyone where the music is headed.
“As a young conductor, it’s better not to be clear than to be late,” he said. “You always have to be on the front side of the beat.”
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