Introducing the Reading Symphony’s new Executive Director, David Whitehill — an arts leader with a passion for rallying communities around their home orchestra. We’re thrilled to welcome him aboard and look forward to the exciting journey ahead.
David Whitehill is an award-winning arts and culture leader with more than 20 years of experience, spanning Orange County, California; Bangor, Maine; Asheville, North Carolina; and Canton, Ohio. Most recently, David served in Canton as president and CEO of ArtsinStark and the Cultural Center for the Arts. He is deeply passionate about advancing arts education and leveraging arts as a catalyst for community development.
Prior to his role at ArtsinStark, David served as executive director of the Asheville Symphony, where he implemented groundbreaking programs such as Asheville Amadeus and Ideasound, collaborating with renowned artists Emanuel Ax, Midori, and Warren Haynes, who was the longtime guitarist for The Allman Brothers Band. Before that, he led the Bangor Symphony Orchestra, earning recognition as one of the state’s top young business and community leaders from the Portland Press Herald newspaper.
David’s diverse music career also includes roles with organizations such as the Pacific Symphony, Laguna Beach Music Festival, and the Philharmonic Society, where he worked with distinguished orchestras, including the London, Israel, Warsaw, and New York philharmonic orchestras and artists like Preservation Hall Jazz Band, Drummers of Burundi, and Linda Ronstadt. He is a former board member of the League of American Orchestras and was named one of the Top 30 Professionals of the Performing Arts by Musical America in 2019.
Question and Answer: Getting to Know David Whitehill
Q: Welcome, David! We’re eager to get to know you beyond your professional achievements. As someone who is deeply involved in classical music, what are your thoughts on the future of classical music?
A: Classical music is timeless, but in today’s fast-changing world, we’ve got to think about how it stays relevant. To me, the future of classical music depends on its ability to adapt while preserving its rich traditions. As demographics shift and tastes evolve, it’s essential that classical music organizations prioritize inclusivity and accessibility. This involves welcoming new audiences and offering diverse programming that reflects the unique communities we serve. By collaborating across different disciplines and embracing new formats, classical music can continue to resonate with people from all backgrounds, ensuring its lasting impact for future generations. Ultimately, I’m looking to further establish the Reading Symphony as a community-driven orchestra, a dynamic and inclusive cultural organization that enhances the lives of everyone in our community.
Q: You’ve shown a strong commitment to advancing arts education. Could you elaborate on how incorporating music and the arts benefits students?
A: I believe integrating music and arts into learning enhances creativity, critical thinking, and problem-solving skills, which are valuable beyond musical development. The Reading Symphony’s youth orchestras and Orchestra Zone program play a key role in nurturing these skills. By providing opportunities for collaboration and creative expression, we empower young musicians to develop important life skills through music education. These programs not only enrich individual lives but also contribute to the cultural vibrancy of our community. The Reading Symphony, along with its partner, the Reading Musical Foundation, are ensuring that the transformative power of music reaches beyond the concert hall.
Q: Music is such a universal language. Could you share some of your favorite musical inspirations and genres?
A: I’ve always enjoyed a wide range of music. I’ve been really inspired by Wyclef Jean, especially his “Carnival” album. It encompasses many musical genres, such as hip-hop, reggae, disco, and soul, mixed with Haitian and Cuban influences. And, of course, I love classical music, especially the Mahler symphonies and anything Carlos Kleiber and Yevgeny Mravinsky ever conducted. If I were stranded on a desert island, my must-have music selections would include Bloch’s Schelomo, Beethoven’s “Hymn of Thanksgiving” from his String Quartet No. 15, Op. 132, Brahms’ Piano Concerto No. 1, Golijov’s opera Ainadamar, and Strauss’ tone poem Eine Alpensinfonie.
Q: What are you most excited about discovering in Berks County?
A: I’m really looking forward to exploring Penn Avenue in West Reading, checking out the Reading Railroad Heritage Museum, and getting creative at GoggleWorks Center for the Arts. I’m also excited to dive into the vibrant music scene here, attend concerts, and explore the various music festivals. Plus, I can’t wait to catch some minor-league sports action—I just snagged a 36-game season pass for the Reading Royals!
Q: What’s your go-to comfort meal or favorite cuisine?
A: Living in Maine for five years, I grew very fond of lobster. But on the weekends, my true craving is a traditional bagel-and-lox schmear. There’s just something so satisfying about it!
Q: Are there any books that have left a lasting impression on you?
A: As soon as I read Rudolf Bing’s “1,000 Nights at the Opera,” I knew I wanted to work in arts administration. I have gone back to “The Art of Possibility” by Rosamund and Benjamin Zander when I want to be inspired in my professional life and Thoreau’s “Walden Pond” for personal inspiration.
Q: Any final thoughts you’d like to share?
A: I’m looking forward to bringing a healthy amount of energy and enthusiasm to the Reading Symphony Orchestra. Together, I believe we can make meaningful contributions to the cultural landscape of our community.
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