Civic Fellowship Program

Through an array of experiences designed to build and diversify creative and professional skills, the Civic Fellowship program empowers participants to realize their full potential as artistically excellent, civically engaged, collaborative and entrepreneurial musicians. Fellows serve as facilitators for special projects, perform at Symphony Center as well as in schools and communities across the city, mentor young musicians, design and implement community engagement projects, and more.

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Civic Fellows curate a program of contemporary works for CSOtv
The Civic Orchestra of Chicago’s second CSOtv episode, titled Shared Reality and premiering on February 18, was curated by the Civic Fellows and features works by living composers.
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Don’t Touch the Horsehair: An afternoon observing Davis King
It’s Halloween. I am sitting in an elementary school on the southwest side of Chicago, observing an interaction between a student and a violin teacher. Sebastian, a third grader, is dressed as a vampire. The teacher, Davis King, asks him if it would be easier to play without the plastic vampire teeth in his mouth.
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For the Love of Chamber Music
Chamber music is a complicated and intricate genre within the classical music confines. It requires a high level of musicality, an immense amount of focus and awareness, and the ability to communicate skillfully with other musicians, often without words.
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Learning to Love Audition Prep
Music is a challenging life. It’s harder than I knew when I chose it, and I grew up on the inside, in a musical family. But for me, well, it’s pretty clear. I can’t stay away.
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Civic Fellows' Call for Scores culminates in program of new music
Led by a team of five Civic Fellows, the Call for Scores project offers an opportunity to discover and perform exciting new pieces by contemporary composers. The program will be available to stream for free on CSOtv beginning on June 17.
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Myron’s Story
It’s widely known, more so now than ever, that making recordings – regardless of the musician’s status or experience – is not an economically viable or lucrative venture for anyone involved, including the record label. So then why, 18 years later, did Myron decide to record works of lesser known composers, even if it took a Kickstarter campaign to do so?
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