Brooklyn's Progress
August 2003

By Dave Schneider

The Brooklyn Philharmonic’s newly appointed Concertmaster Brennan Sweet wasn’t born with a violin in his hand, it just seems that way. However, it didn’t take long for him to discover his passion for music, and the violin in particular. Although originally from New York City, Mr. Sweet moved to Edmonton, Alberta at the age of two and enrolled in one of Canada's first Suzuki violin programs., a program which places extensive focus on a child’s natural learning ability and applying this focus to a musical instrument.
 
And focused he is. Along with his new position at the Brooklyn Philharmonic, Mr. Sweet continues to serve as Associate Concertmaster of the New Jersey Symphony Orchestra (NJSO). He has also performed as concertmaster for several regional Indiana orchestras since 1986, including the Evansville Philharmonic Orchestra; he was a founding member of the Evansville String Quartet. Mr. Sweet also performs frequently outside of his duties as concertmaster, performing as a soloist or guest artist with orchestras, and teaming up with his wife Christine (she is a cellist) for recitals whenever the opportunity presents itself.
 
Mr. Sweet was thrilled when he was first approached by the Orchestra’s music director and offered an opportunity to join the Philharmonic in this capacity. For Mr. Sweet, the opportunity to play alongside the Philharmonic’s acclaimed Music Director Robert Spano, and its accomplished musicians, was a chance he couldn’t pass up. “The Brooklyn Philharmonic is recognized as a serious group, nationally recognized. It is a real joy to play with them, because they are a very responsive group, all fine, high-level musicians.”

He will make his concertmaster debut with the Brooklyn Philharmonic on December 3, 2003, at the Brooklyn Academy of Music’s Howard Gilman Opera House, where the Orchestra will begin its subscription concert series with the first of three performances of John Adams’ The Death of Klinghoffer.

So exactly what role does the concertmaster play in today’s orchestra? As orchestras continue to grow in size, the concertmaster (or first violin chair) has evolved into more of a traditional and practical position.  Historically, the concertmaster served a vital purpose, acting in the same capacity as today’s conductor, with musicians relying solely on the concertmaster for direction. Today, the concertmaster is responsible for more subtle aspects of a performance (at least as they pertain to the audience); musicians still depend on the concertmaster to maintain a uniform sound and pitch, as well as cohesiveness among the ensemble.

Audiences will recognize the concertmaster as the violinist who walks onstage once the orchestra is seated, and just prior to the entrance of the maestro. In between, he is responsible for tuning each of the orchestra’s sections. In the January/February 2002 issue of SYMPHONY magazine, Brooklyn Philharmonic Music Director Robert Spano strikes at the essence of this position. “"The Italian expression for concertmaster is spalla d'orchestra, which means 'shoulder of the orchestra.' I love that phrase. It tells the whole story."

Mr. Sweet comes to Brooklyn with a strong background as both a performer and educator. Although he began his college career as an engineering student, he graduated from the esteemed Indiana University School of Music in 1990 with a Bachelor of Music in Violin Performance. Between 1988-1991, he served as an assistant instructor to the highly-respected professor and musician, Josef Gingold; he later joined the faculty for another two years as a lecturer. “This is a truly exciting time…I am very hopeful for the future there,” he says of the Brooklyn Philharmonic.

Mr. Sweet and his wife Christine just recently celebrated their twelve-year anniversary. They currently reside in Verona, New Jersey. 
The Brooklyn Philharmonic’s 2003-2004 concert season, “Brooklyn Celebrates Brooklyn,” in addition to the over one hundred education and community outreach events it will present across the borough epitomizes the Orchestra’s ongoing commitment to the cutting-edge and American music. It underscores the valuable role the Orchestra plays in the local community through music education programs, and a series of community collaborations with Brooklyn-based cultural institutions that build upon themes from the concert-hall repertoire.