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JED GAYLIN has been music director of the Bridgeton-based Bay-Atlantic Symphony since 1997. The international award-winning musician has led the symphony into prominence forging residencies with three area colleges, numerous town, music festivals and casinos. — Two major recording projects will be released in 2011. Mr. Gaylin conducted

for a two-album CD played by the Xinjiang Philharmonic in Northwest China. He also recorded She Comes to Shore—concerto for improvised piano and orchestra, by pianist/composer Lee Pui Ming (Naxos). The recording features the Bay-Atlantic Symphony, with the composer at the piano.

LS: What is your philosophy of music? JD: Great music is not meant for a select few because it speaks to so many of us on so many levels. It withstands repeated listening and only grows more powerful because of it. Music is meant to be shared live. And when it is, a powerful bond between the performers and the audience who share that moment is created..

LS:WhyshouldthepublicattendaBayAtlanticSymphonyOrchestraconcert? JD: People who attend our concerts come because they have discovered there is no more beautiful, powerful and satisfying way to spend an evening. They will hear beautifully rendered performances of classic works with great spontaneity. Often we include something new and that keeps the exploration even more energized. One thing the symphony and I have jointly forged is a conviction—and we live this daily—that each performance should be a discovery of powerful emotion, great nuance, and shared communication. Because our venues are small, every seat is excellent and there is an immediacy to Bay-Atlantic Symphony concerts that will take people far from usual con- sciousness to something that we discover to be life changing. Our audiences, rather than feeling themselves as passive observers (say at a movie), feel drawn in. It’s particularly moving to share such performances in your own community.

LS:What’s on your iPod? JD: I am a little sheepish to admit that I don’t own an iPod! It just doesn’t fit the way I listen and dig in to music. I will be intensely immersed in whatever pieces I am preparing. I will listen to different recordings of works that I am performing to get a glimpse of other interpretations, but then I go my own way. I keep Bach, Mozart and Beethoven on the music rack. If I’m driving I may find a jazz station and listen with great pleasure or find a new work by a living composer and explore what my contemporaries are saying with music.

LS: Why did you choose to be a conductor? JD: I think conducting chose me, rather than my choosing it. As a child studying piano, I enjoyed going to hear orchestra concerts rather than piano recitals. Even when writing music, which I did a lot until my 20’s, I wrote for combinations of instruments and even the orchestra. I remember the electrifying excitement for me of getting my first scores of Beethoven Symphonies then Mozart as a young teen.Without really thinking about “becoming a conductor” I just couldn’t wait to explore the riches in those works. At Oberlin Conservatory, as apiano andphysicsdoubledegree student, I foundmyself looking for chances to conduct, to work with an orchestra on that repertoire that so tugged at my imagination.

B A Y - A T L A N T I C S Y M P H O N Y



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