Reid Harris and Christopher Rex
This year, we are saying a fond farewell to two prominent members of our string section: Principal Violist Reid Harris, and Principal Cellist Christopher Rex have announced that they will retire at the conclusion of the 2017-2018 season. Reid and Chris were both hired by former Music Director Robert Shaw on the same day in 1979, and during their tenure, they have each been a part of over 100 ASO recordings. We invited them to reflect on their time performing with this great American orchestra.
Interview with Reid Harris, Principal Viola
1. When did you join the ASO? I presume Robert Shaw hired you? How many recordings have you been featured on? How many times have you soloed with the orchestra - and which performance was your favorite?
You presume correctly! Robert Shaw hired me; I joined the ASO as Principal Viola in September of 1979. Previous to that, I had been Assistant Principal of the Baltimore Symphony. Recordings where I've been featured? Three or four come to mind: Mahler, Vaughan Williams, Kodaly, and Rorem. I would guess I've soloed with the ASO around twenty times - not including repeat performances. I have no doubt my favorite were the 1992 performances of the Walton Viola Concerto.
2. What is your fondest memory from your tenure as Principal Violist of the ASO?
There are certain performances that stick in my mind: the Verdi Requiem and Bach Passions with Robert Spano; Mahler 2nd with Donald Runnicles; Franz Schmidt Symphony No. 2 with Franz Welser-Möst; the historic Beethoven 9th at the Schauspielhaus in East Berlin (1988) with Robert Shaw . . . I could go on and on with 42 years of performing! Yet, just as meaningful has been sharing this wonderful life of playing music with my colleagues both past and present. This perhaps I will miss the most.
3. What are you most proud of during your tenure?
I am proud to have served classical music for 38 years. I am also proud to have served as a member of two ASO Music Director search committees. Additionally, I was chosen to be the first ASO Musician to become a member of the ASO Board of Directors. I take great pride in having chaired the audition committees that have hired all but one in our FANTASTIC VIOLA SECTION!
4. What is your greatest hope for the ASO’s future?
The ASO is a very good orchestra. I think all pieces are in place for it to become one of the great orchestras. Our reputation has been affected by 2 lockouts, loss of personnel, and the resulting collective bargaining agreements. The wonderful Doug Hertz proved that the money is out there to support the great orchestra and concert hall that that the city of Atlanta deserves. I hope I live long enough to see and hear this!
5. Do you have any advice you’d like to share with aspiring young violists/musicians?
I am perpetually fascinated by talent; to me, it's a potential. Realization of talent is a difficult task! I will paraphrase Edison's words about genius: "Talent is 1% inspiration and 99% perspiration." There is no way to get around practicing in a concentrated, thoughtful way. It is the only path to realizing one's talent.
-interview compiled by Jessica Oudin, Section Viola
Interview with Chris Rex
1. What is your favorite memory from the ASO?
I always really enjoyed the tours, but the one that was most powerful for me was in 1988. We toured Europe with Robert Shaw and played Beethoven’s 9th in East Berlin. I believe this was especially poignant for the audience because of the text conveying the message “all people will become brothers” yet Germany was still divided by a wall. At the close of the concert people in the audience were so moved, they were crying. Robert Shaw was called back for one curtain call after another, and finally dismissed the orchestra while he continued to return for solo bows. I was inspired to do my own series of paintings on that tour.
I also enjoyed all of our Carnegie Hall trips, and I particularly remember the exciting performance of Golijov’s “The Passion” in Jazz at Lincoln Center.
On the stage in Atlanta we performed so many incredible Requiems under Shaw. On
Lastly, the Florida tour in 2006 was particularly memorable as we started every concert with Theofanidis’ “Rainbow Body” which opens with an extremely difficult cello solo. It ruined the whole tour for me!
2. What are you most proud of?
I'm so proud of the cello section we have had throughout the years, who have always done their best to blend and perform as a unified section. Having great players in a section is expected, but having each individual work towards a common goal, performing with one sound is not something you find in every orchestra.
I am also very proud of the concertos I have been honored to play with the orchestra – probably approaching 20.
There is so much talent in the ASO, over the years I have been privileged to sit in my seat and listen to the incredible playing around the stage. A front row seat to every concert!
3. What is your greatest hope for the ASO’s future?
I hope the ASO can function as a secure major orchestra that doesn’t have to worry every single year about the bottom line and can concentrate on making great music. With all the talent on stage, it would be great to be put in a position to perform great works of music the way the ASO can without having to offset them with so many concerts that require ear plugs.
I would like to see the orchestra resume touring. Touring is so good for the stature of the orchestra and the city, and it’s incredibly important for the morale of the musicians. 25 more Grammys wouldn’t hurt either.
4. Can you give some advice for young musicians?
Sitting in a practice room practicing 8 hours a day will not get you to a full career in music. Musicians today must do more; you need to broaden your knowledge outside of the practice room, read and investigate other art forms, learn the history of the music, this will enable you to have something to give to the music other than just the notes. Too many students think if they just practice 8 hours a day that will be enough, but it won’t.
A musician today will be called upon to do more than just play their instrument, they should be prepared to speak intelligently to board members and business people, and to understand what it takes to sustain an orchestra. They need to be well-rounded, and that takes more than just practicing.
5. What year did you join?
1979
6. What music Director hired you?
Robert Shaw
7. How many recordings have you been on?
Since 1979 I have played all the recordings except for 2 or 3.
-interview compiled by Joel Dallow, Section Cello
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