A man for all music

ASO's man of many hats

I am not afraid to make a fool of myself, says Conductor Jere Flint. I enjoy it.
Even though Flint is known for his comedic flair dressing like wizards and ghosts
of dead composers at Haunted Halloween family concerts to busting-a-move
illustrating syncopation to young children, bopping along to orchestrations of Beach
Boys favorites and rocking out on his cello by no means does he take his job
lightly.
Flint knew, from the very beginning of his tenure with the Atlanta Symphony
Orchestra, that he was going to do all he could to make sure audiences see and
hear first-class, innovative programs. He also knew that he wanted to wear many
hats and get involved any way he could. Most of all, he knew that this Orchestra
would be a platform to teach young musicians, which is his passion.
Jere Flint was born in Long Island, New York. He wanted to play the violin, like his
big brother, but his parents encouraged him to try the cello. He jokingly says he
learned to play the cello while his sister studied piano and his brother played the
violin, so his parents could have a trio entertain them.
But he cultivated a real flair for the cello soon after graduating from the University of
Washington. He began to audition for established orchestras around the country.
He received a notice from ASO icon Robert Shaw welcoming young artists to come
to Atlanta to help him start an orchestra. Through correspondence, tapes, and
recommendations from teachers, Flint was invited to become a permanent member
of the cello section.
Flint joined the ASO, which at the time was a part-time orchestra, with musicians
who worked in a number of professions. When it became full-time, people had to
start making decisions about whether or not to stay. Flint chose to stay.
To be part of the growth was fabulous, says Flint. I was forced to learn along with
everybody else about building a major orchestra, what it entailed. There was real
promise on the horizon.
In its early years, the ASO performed at the downtown Municipal Auditorium, but the
move to the Woodruff Arts Center was a giant step toward growth. Under Robert
Shaw, the ASO introduced Atlanta and the world to the finest choral and orchestra
repertoire, and gave Atlanta a place on the arts and culture map.
Eventually, Shaw allowed Flint to conduct and program some concerts, which
sparked more passion and enthusiasm. Shaw believed that a Youth Orchestra was
integral to the success and sustenance of the Orchestra, so in 1974, he asked his
Assistant Conductor, Michael Palmer, to begin an orchestra for young musicians.
After Palmer left, Flint, who was already conducting concerts for children, was
offered the job as music director of the Atlanta Symphony Youth Orchestra (ASYO).
This appointment thrilled Flint. Now, he could not only pursue his passion for
teaching young musicians, but he also could begin to develop programming that
appealed to wider audiences, and craft repertoire that entertained and enlightened
young minds.
I tried to get the audience to enjoy themselves, explains Flint. This is the basic
thing. All music may not at first be enjoyable, but its thought provoking. Theres a
place for deep art and theres a place for light art, just as there are places for
humorous art and sad art. And whatever type of art is being performed, there are
always new things for conductors and children to learn.
Jeres commitment to the ASO over the years has been extraordinary, said Allison
Vulgamore, ASO President and CEO. No matter which hat he wears for the ASO,
he always performs with great dedication, professionalism and good humor.
Learning sums up Flints philosophy as a conductor: He believes that a
conductors job is not only to teach, but to learn, and that has allowed him to
cultivate exceptional musicianship from, specifically, the ASYO. I always try to treat
them the way I would want to be treated, and I dont talk down to them; I dont
belittle them. I respect them for what they can do, and I respect them as people.
Because of this philosophy, Flint has had no discipline problems over the years.
These young musicians do the best they can do; thats all you can ask. And they
sometimes do better than they think they can. Sometimes the repertoire is so
gargantuan they just have to jump in.
Part of jumping in also means being mentored by ASO musicians. Having world
class professionals teach you and give you insight into how they come to work
everyday and play their instruments is education that you cant pay for, says Flint.
With Jere Flint at the helm, the musicians of the ASYO have had many exciting
opportunities. Their experiences range from performing at the 1992 Olympics,
venturing into the rock and roll world by recording with Collective Soul, and
performing in Berlin.
I will now definitely remember that the rhythm is, indeed, the most important thing in
music, ASYO senior violinist, Ilya Kim says as he did an impression of Flints
well-known chant, Rhythm, rhythm, rhythm! Kim being accepted in to Stanford
University for violin performance, added,
Jere creates a perfect learning atmosphere and has amazing opportunities like
master classes with the ASO musicians and getting to meet John Williams and
Steven Spielberg.

The ASYO turns 40 this year. When it officially reaches this milestone, there will
have been thousands of alums from all walks of life, who have played some of the
most challenging classical repertoire in the world. Some will go on to become
professional musicians, some will go on to be lawyers, doctors, and teachers, but
Jere Flint hopes for something different as this 2013-2014 ASYO season will be his
last.
Yes, being a member of this orchestra teaches discipline, says Flint. It teaches
work ethic; it teaches a lot about life itself, but it also teaches, how to create
something, to strive for perfection, and I hope that people who graduate from the
Youth Orchestra become arts supporters. Whether or not they play music
professionally, I hope they look upon this as a great social experience that
theyve met a lot of nice people, made friends over the years. My hope is that they
become cognizant of the arts in general, wherever they end up.
Justin Welch, a senior violinist in the ASYO describes his experience with the
orchestra as a personal growth as a musician.
Every piece we perform, it is just so pure. You can really feel it in the atmosphere,
and when we finish, everyone has genuine smiles and it so great. And I really thank
Jeres charisma and passion for the amazing past 4 years Ive had.