Wesley Schulz: Building Community Through Innovative Orchestral Programming and Cultural Engagement
Wesley Schulz
Wesley Schulz’s journey as a conductor is defined by his love for collaboration and a belief in music’s ability to build community. Currently Music Director of the Auburn Symphony Orchestra in the Seattle area, Schulz’s story began as a young cellist in Omaha, Nebraska, where he started in the Suzuki program at the age of three. Later, he picked up percussion, which opened up new musical experiences in both orchestra and band settings. Schulz initially pursued a career in public school teaching, but a semester studying timpani in Vienna changed his path. Immersed in the city’s rich musical history, he was inspired to pursue conducting, drawn to the role’s unique combination of artistry, advocacy, and community engagement.
A breakthrough in Schulz’s career came at the Brit Music Festival in Oregon, where he served as an assistant conductor for five summers. During one of his children’s concert rehearsals, an arts administrator noticed his work and later offered him a fellowship with the Seattle Symphony. This unexpected moment was pivotal, setting him on a path that led to positions with the North Carolina Symphony and ultimately his current role in Auburn. Reflecting on these experiences, Schulz emphasizes that success in music requires hard work and the support of those who recognize and champion one’s potential.
Schulz’s conducting philosophy has been shaped by a range of influences. He credits his percussion professor, Erwin Mueller, with instilling the importance of balancing teaching and performing, encouraging Schulz to pursue excellence in both. In conducting, Schulz looks to figures like Claudio Abbado, Simon Rattle, and Esa-Pekka Salonen, whom he admires for their focus on the composer’s intent and their ability to make music relevant to today’s audiences. Schulz’s programming approach reflects this balance, as he aims to pair classic works with contemporary pieces, creating concerts that resonate with the present while honoring the past.
One of Schulz’s most memorable projects took place during his graduate studies when he organized a performance of Stravinsky’s Rite of Spring. With a volunteer ensemble of over 100 musicians, he put together an event that combined music, dance, and a panel discussion exploring the work’s impact on early 20th-century Paris. To Schulz’s surprise, the concert drew a standing-room-only crowd, demonstrating the power of creative programming to engage audiences deeply. More recently, he led a performance of Vaughan Williams’ A Sea Symphony with the Auburn Symphony and the Seattle-based choir Seattle Pro Musica. The concert was a moving experience, highlighting themes of unity and humanity at a time when they are more relevant than ever.
Looking ahead, Schulz is excited about several innovative projects in the Auburn Symphony’s 2024-25 season. A highlight is a new piece by composer and violist Jessica Meyer, commissioned through a consortium of eight orchestras, with Auburn Symphony as the lead. “It’s thrilling to know that her piece will have a life beyond our premiere,” Schulz shares. The season will also feature Philharmonia Fantastique by Mason Bates, a multimedia work that introduces the orchestra’s sections in a format reminiscent of Young Person’s Guide to the Orchestra. Paired with Beethoven’s Ninth Symphony, this program underscores themes of unity and connection, values Schulz believes are essential in today’s world.
Schulz’s programming consistently includes American composers, reflecting his commitment to expanding the orchestral repertoire with music that speaks to current cultural and social issues. In a mini-festival of American music, for instance, he has programmed works by Samuel Barber, Aaron Copland, and Carlos Simon. Each piece was chosen not only for its musical impact but also for its thematic resonance. Barber’s Symphony No. 1 and Simon’s Four Black American Dances capture unique American perspectives, while Copland’s Tender Land Suite brings a sense of place and identity that Schulz sees as central to the American experience.
Beyond the concert hall, Schulz is dedicated to bringing music into the broader community. He envisions American orchestras, especially regional ensembles, as vital resources that can enrich local life in diverse ways. “It’s not just about having musical glory on stage,” he says. Schulz wants to create programming that reaches all parts of the community, from chamber music concerts and educational programs to events in retirement centers. His goal is to make orchestral music accessible and relevant to as many people as possible, helping foster a lasting appreciation for live music.
In his personal life, Schulz has an eclectic range of interests. An avid runner, he has completed 10 marathons and is now focused on CrossFit, even nearing a personal milestone with a challenging “muscle up.” When asked about his dream collaboration, Schulz imagines himself in the room with Stravinsky, Diaghilev, and Pierre Monteux as they worked on Stravinsky’s Russian ballets, particularly The Firebird and Rite of Spring. “I’d love to witness that dynamic energy,” he muses, imagining what it would be like to see Stravinsky’s creativity in action.
Ultimately, Schulz defines success as finding joy and love in daily life. This philosophy shapes his approach to conducting, where he prioritizes meaningful connections with musicians and audiences alike. Through his thoughtful programming, dedication to community engagement, and passion for making music accessible, Wesley Schulz is building a career that not only honors the rich traditions of classical music but also brings it into conversation with the world around him. As he looks to the future, Schulz remains committed to his mission of fostering a love for music that resonates far beyond the stage.
Listen to the episode today on Apple Podcasts, Spotify, or wherever you listen to podcasts.
