President, University Musical Society
University of Michigan
Ann Arbor, Michigan
ums.org
In July 2017, Matthew VanBesien became the seventh president of the University Musical Society of the University of Michigan. Prior to this, Matthew served for five years as president of the New York Philharmonic, where he developed and executed programs such as the NY PHIL BIENNIAL in 2014/2016; The Art of the Score film and music series; Jeanne d’Arc au bucher with Marion Cotillard; and Sweeney Todd with Emma Thompson. A former French horn player, Matthew performed with the Louisiana Philharmonic for eight years before joining the League of American Orchestras’ management fellowship program. From there, he assumed the roles of general manager, executive director, and CEO of the Houston Symphony for seven years. Matthew serves on the Board of Directors of the League of American Orchestras and the Executive Committee for the Avery Fisher Career Grants. He earned a bachelor of music degree in French horn performance from Indiana University. In May 2014, Matthew received an honorary doctor of musical arts degree from the Manhattan School of Music. He resides in Ann Arbor with his wife, Rosanne Jowitt, an accomplished geoscientist in the oil and gas business.
Book: A Heartbreaking Work of Staggering Genius by Dave Eggers
Destination: The Luberon in Provence - no place like it!
Motto: Whatever doesn't kill you makes you stronger.
Sanctuary: My wine cellar at home.
St. Louis, Missouri, but I grew up mostly in Denver and Carbondale, Illinois.
What were some of the passions and pastimes of your earlier years?
To be honest, I was a pretty normal kid with no particular interests (other than Star Wars, which came out in 1977 when I was eight and I became totally obsessed with the film and its music) until I picked up a French horn at the age of 12 or 13. It was really then that I not only found music, but playing an instrument really became the central driving force in my youth and into adulthood.
What is your first memory of music as an experience?
My mother used to laugh about the fact that I became a professional musician because when I was very young she desperately tried to interest me in music through the Young People’s Concerts on LP, and taking me to concerts at Wolf Trap outside of Washington, DC — all with little or no effect. She did note, however, that I enjoyed running up and down the hill at Wolf Trap.
How did you begin to realize your intrigue with orchestral music?
I remember my first time ever playing in an orchestra — I was a freshman in high school and had the great fortune to perform with the local university orchestra on Brahms’ Requiem. The piece still gives me chills and brings back a flood of memories every time I hear it.
What remains most memorable about your time with the New York Philharmonic?
Helping lead the Philharmonic was so wonderful and memorable — every day was really exciting, challenging, and even humbling to play a part in the history of such an organization and orchestra that was once conducted by Bernstein, Toscanini, and Mahler. For me, the most memorable aspects were helping to select the next music director, Jaap van Zweden, who in many ways was not an obvious choice but will be very successful I am certain; working to develop new projects with partners like UMS and those in Shanghai; and developing a relationship and trust with conductor Alan Gilbert and the musicians in the orchestra — these are relationships I still treasure today.
What led to your decision to come on board with the University Musical Society this year?
It was knowing that UMS is not only one of the best arts presenters in the country, but because of ‘how’ they think about presenting great work and artists on and off their stages. There is such history here, but also great potential - working with U-M, people across SE Michigan, and beyond.
How does it feel to become only the seventh president in UMS’s 138-year history?
It feels so good to know that the leaders that preceded me were very committed to UMS — Ken Fischer was here for 30 years, his predecessor Gail Rector for 40 years, and Gail’s predecessor Charlie Sink for 60 years. I’ve certainly got my work cut out for me!
What is the focus of the programs/initiatives that you will lead with as you begin your tenure?
Our focus at UMS is always about quality — about inspiring and uncommon experiences for our audiences and the artists who engage with them. UMS’s next chapter will certainly focus on expanding our creative platform and audiences; looking at how we partner and program geographically; incorporating and addressing today’s issues around social justice through our programming; and looking to develop some kind of flexible, dynamic home or “HQ” space for UMS.
Is there an artist/musician living today that you admire most?
For me, Wynton Marsalis has the greatest combination of artistry, enormous talent, fierce determination, humor, and an uncanny ability to connect with others to articulate why music is so important.
What three things can’t you live without?
Noise canceling headphones, great wines from France, and my wife Rosie — not in that order!
What’s the best advice you’ve ever received?
Always stay focused on quality.
Is there a book or film that has changed you?
2001: A Space Odyssey, which premiered a year before I was even born, strikes me as one of the most beautiful, haunting, thrilling, and simply audacious films ever. Kubrick was a master on so many levels — cinematically, musically — you name it. It is a film that captures a moment in time but really looks forward to what might be possible — good and bad.
Whom in your life would you like to thank, and for what?
My wife and partner Rosie is simply the best — I would not have had anything close to the career I’ve been able to have without her, period.
What drives you these days?
While I am now an administrator, for me, it’s just like being a musician or any kind of artist. We can always be better, do the things we do more successfully — always reaching for that next level. The great cellist Pablo Casals, then in his eighties, was asked by a reporter why he still practiced so much each and every day, to which he replied, “Because I think I’m making progress.”
