Faculty Spotlight: Francisco Noya, Conductor of the Berklee Contemporary Symphony Orchestra
By Lorenzo Carrano
Counting almost one hundred members from every corner of the globe, the Berklee Contemporary Symphony Orchestra is the perfect reflection of the college’s rich cultural and musical diversity. Walking into the rehearsal hall before practice starts is like entering a garden with a thousand butterflies: one can hear pretty much any type of music known to mankind. From Irish folk music to bebop, from classical to salsa, the hall resounds with all sorts of different colors. It all stops, though, once the maestro steps on the podium.
Rhode Island Philharmonic resident conductor and Berklee faculty Francisco Noya is in fact the perfect musician to lead the BCSO. With over thirty years of experience as a professional conductor, Maestro Noya has had a long history leading both professional and youth orchestras all over the world.
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Mr. Noya, what made you decide to become a conductor?
Francisco Noya: Well, I don’t think I made that decision until I was heavily involved with it. I was attending the conservatory in Venezuela, where I grew up, and I was studying cello as a second instrument, when I was informed that a youth orchestra was being created in the city where I was living. Back in 1976, I was one of the first members of what is now known as “El Sistema,” the system of national youth orchestras in Venezuela. After a couple of weeks into rehearsals, the conductor had to take a short leave and asked me to rehearse the orchestra during that time. I took that opportunity and things went well. Some time later, the conductor resigned his position and I was left in charge of the orchestra. As a performer and music student, I then traveled to France first and then to the United States, where I earned my undergraduate degree in Composition and master’s in Conducting. During that time I also performed and conducted in and outside Venezuela.
How did you get involved with the BCSO?
FN: Matt Marvuglio, Dean of the Performance Division, contacted me and asked if I was interested in collaborating [with Barbara LaFitte and Melissa Howe] in the creation of a symphony orchestra here at Berklee. Something similar already existed, but the college wanted to push it in a different direction. We decided to found the Berklee Contemporary Symphony Orchestra because we believe in the importance of performing music of the present times. We wanted to explore different repertoires and types of music – symphonic material that does not necessarily belong to the traditional symphonic repertoire. In our next performance [on Nov. 2nd, Fenway Center], for instance, we will include “Devolution,” a piece by Boston-based composer Anthony De Ritis featuring a DJ and symphony orchestra.
The BCSO often performs music written by living musicians. How does it feel to conduct a piece having the composer in the audience or even performing with the orchestra?
FN: That is my favorite thing to do. When performing the music of a living composer, you have the possibility to call them up and ask for exact directions or help in interpreting the music. You cannot do that, for instance, with the music of Brahms! Overall, it is a fantastic opportunity and I especially like having the composer performing with the orchestra.
Do you ever have the composers come talk to the BCSO during rehearsal time?
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