AN UNCOMMON FIGURE
IN THE MUSIC BUSINESS

Glen Fast is impossible. Yes, he is a superb conductor and, now entering his 20th season with the Kingston Symphony Association, his success as its music director is close to becoming legendary. But he is an uncommon figure in his profession. He doesn't fit the mould and here's why:

He doesn't have a conductor's ego. Any professional musician knows about a professional conductor's ego. No, it's not always a bad thing, but it is constantly front and centre. Not so, Glen Fast.

He gets along with his players. Granted the days of tyrant conductors such as Arturo Toscanini, Serge Koussevitsky and George Szell have passed but in orchestras throughout the world the relationship between conductor and players remains edgy. It's quite unusual for a person who has held the position of music director for as long as Glen has that there are no rumblings in the ranks.

He gets along with management. Has this meant 100-per-cent mutual admiration and lack of tension between the two parties? Of course not, in the orchestra business or any other. But there has been throughout his tenure an uncommon mutual respect.

He gets along with his board. A quite primary investigation of relationships between boards of directors and music directors will reveal that this is frequently not so. We need not go beyond our own province to be aware of this.

Guest artists love him because he is such a fine accompanist. They find his sensitivity to the needs and nuances of solo performance outstanding. Ask any concerto soloist or other solo players or singers and they will tell you this is certainly not always the case for them.

You see, Glen Fast is a nice guy. Malcolm Williams, in his excellent 50th anniversary history of the Kingston Symphony Association, describes Glen's arrival on the scene this way: "Glen Fast was able to fit in immediately. He is urbane, courteous, attentive, innovative." Then Malcolm added this, which also tells us a lot about the man, Glen Fast: "...and very committed, whether it be on the podium or wielding a paint brush to spruce up the stage, on the golf course or at the wheel of a fishing boat."

He certainly comes by his position honestly. As a youngster growing up in Vancouver, he studied piano and violin and, beginning about age 11, flute. It was through the flute, after graduation from the University of Victoria, that his professional career began. He was chosen as a member of the Hamilton Philharmonic Institute in its inaugural year. Boris Brott, son of former KSA music director, Alexander Brott, initiated this program which provided training in communication skills and an entry into the world of professional music. By this time Glen Fast was also an aspiring conductor and he was provided with opportunities to conduct as well as play.

On his return to his home province, a career as a conductor became his major goal. Conducting positions with the Victoria Youth Orchestra, the Vancouver Youth Orchestra, the University of British Columbia Symphony and the Victoria Chamber Orchestra followed and he progressed from guest to assistant to associate with the Victoria Symphony. Then a major step forward came about in his winning a nationwide competition for the position of assistant conductor of the Vancouver Symphony under Kazuyoshi Akiyama.

In the 1990-91 season, Brian Jackson concluded his term as music director of the KSA. A short list of applicants to succeed Brian in the position appeared as guest conductors during this season.

The feeling among the players was that the applicant Glen Fast was the right man for the job. Twenty years later, he is unquestionably still the right man for the job.

Andrea Haughton, general manager, KSA: "I came into this work directly out of university and Glen's experience and professionalism have assisted me greatly in my role as general manager. He is supportive of us in our work in the office and attentive to our concerns. It's a good relationship."

Tricia Baldwin, former general manager, KSA, now managing director, Tafelmusik: "I remember Glen telling me a simple truth. When training to be a conductor, one is focused on gaining experience, and ensuring the experience of making music together is a good one for the musicians and audience. Then wisdom kicks in, and the real music is made when the conductor knows it is all about the music. With Glen, it's all about the music."

Gisèle Dalbec: "I have been concertmaster of the orchestra throughout Glen's time as music director. I have found him to be inspiring, fun, and willing to take risks. All of this makes for a very satisfying experience for all of the musicians."

Bill Harris, president, KSA board of directors: "Thank you Glen for your support and leadership over these 20 years. Your contribution to the success of the KSA has been enormous."

Lisa Draper, violinist, Glen's wife: "Can I separate his being my husband from being my conductor? Absolutely. Although our pre-rehearsal/pre-concert rituals are very much like two married people heading off to work together, when we go on stage, it's business. It has to be. What we do demands it. He has been on the podium ever since I joined the orchestra in 1992. I have learned and continue to learn much from him, and I trust him completely. However, after concerts I revel in the fact that what we have shared on stage can be celebrated together."

Glen Fast: "I am most proud of our accomplishments over the years. I continue to be excited about each and every concert and look forward to further developing and strengthening our ability to perform great music."

Happy 20th, Mr. Impossible. A fine season awaits you. And us.

Jim Coles is a retired violinist with the Kingston Symphony and the music director of Kingston Community Strings.

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