Will White Aims to Amplify Haydn’s Timeless Voice

The Sedona Symphony has appointed William C. White as its new artistic director, starting in the 2025-26 season. White, who has conducted the Harmonia orchestra and chorus in Seattle since 2018, earned his new role following a competitive selection process.

Selection

A composer and conductor, White was previously a finalist during the Symphony’s 2022-23 audition season. Adversity struck when a January snowstorm forced an abrupt cancellation of the orchestra’s performance. Undeterred, White performed as an accompanist for soloist Rachel Priday and later showcased a song cycle inspired by Martha Stewart’s Instagram posts.

“They still had me on their radar screen,” White remarked. “I think they preferred not to conduct a whole new search.” He quickly expressed interest in the position. “It didn’t take much negotiating; it’s all pros, no cons.”

White sees the Sedona Symphony as a complementary addition to his work in Seattle. “The orchestra is definitionally a chamber orchestra, offering a unique repertoire different from my regular fare.” He plans to include a Mozart symphony this upcoming season, which will mark only his second conducting of such a work in two decades. “I think we’re going to have a nice mix, including works from Haydn and Beethoven.”

Leading an orchestra also offers logistical benefits. “Conducting just an orchestra is a lot easier,” he stated. “Choral orchestral works involve more complexity, such as text interpretation and balance.” However, he remains open to integrating choral elements in future programming.

2025-26 Season

White aims to highlight Franz Joseph Haydn’s works with the Sedona Symphony. “I’d program three Haydn symphonies in every concert if I could,” he joked. The opening concert will feature Haydn’s Symphony No. 99 alongside Mozart’s reorchestration of Handel’s overture from “Acis and Galatea.” He hopes this will raise awareness of Haydn’s compositions. “Nothing would make me happier than to make Haydn a regular part of the musical diet.”

Additional highlights of the season include Beethoven’s first piano concerto, featuring soloist Jon Nakamatsu, and a performance that will showcase marimbaist Abigail Fischer. White also mentioned a young artist performing Mendelssohn’s violin concerto.

To engage the audience, White plans to implement pre-concert lectures, a method he has found effective in fostering deeper connections to the music. “Every conductor must make the case for each piece afresh,” he noted.

Looking ahead, he envisions various avenues for developing the orchestra, including expanding the concert schedule and orchestra size, which would influence the repertoire.

Self-Taught Keyboardist

White describes himself as a self-taught keyboardist, starting with the viola before gravitating towards the piano. “I learned piano on my own; it became my true passion,” he explained. While he admires the viola for its role on his path, he now primarily uses the keyboard for composing and score study.

“I barely play the piano anymore,” White admitted, noting that he still performs on the harpsichord for Handel’s “Messiah” with Harmonia. “That’s a very improvisatory way of playing, and I enjoy it immensely.”

‘What Am I Adding?’

White acknowledges that mastering conducting is an ongoing journey. “It takes time to truly understand orchestral work,” he noted. He appreciates the depth gained from conducting pieces multiple times, noting it enriches his interpretations.

As a composer, he now spends considerable time contemplating the significance of his works. “I push myself to consider what I’m adding to an already rich musical landscape,” he stated.

White continues to explore the role of a conductor as an enabler of both the composer’s vision and the musicians on stage. “Flexibility in interpretation is crucial; you must remain responsive to each performance’s unique context,” he emphasized.

His pursuits extend beyond music, as he frequently reads biographies of composers, recently tackling the extensive works of Allan Walker on Franz Liszt. Additionally, he publishes a newsletter focused on musical topics at toneprose.substack.com.