William Ford | 6 MAR 2025
This coming Sunday, March 9, the Georgia Symphony Orchestra and Chorus present ‘Lux Perpetua: Light of Hope’ at Marietta, Georgia’s historic Zion Baptist Church. In advance of that event, William Ford sat down with Timothy Verville, Music Director of the Marietta-based Georgia Symphony Orchestra.
A conductor with an impressive international career, Verville has led orchestras across the U.S. and abroad, earning acclaim for his innovative programming, dynamic leadership, and ability to connect with audiences. Under his direction, the GSO has flourished, expanding its artistic vision and redefining what a regional symphony can achieve.
In this interview, we’ll explore his approach to music-making, his journey as a conductor, and the exciting future of the GSO. We also discuss the unique challenges and opportunities of leading a community-based orchestra in the shadow of a major metropolitan symphony—and how the GSO continues to carve out its own space in the classical music world.
The transcript of the interview has been edited for readability and length. The full video interview is embedded below the the text version.
William Ford: You represent a niche in classical music that’s important, and I’d like to help my readers understand exactly what that means and what it looks like.
Timothy Verville, music director of the Georgia Symphony Orchestra. (credit: Keitaro Harada)
Timothy Verville: Yeah, orchestras exist at all different levels, and they all serve different purposes with distinct missions.
Ford: I was looking at your bio, and it seems like you were born in Oklahoma.
Verville: That’s right—born and raised in Oklahoma. I grew up on a farm, riding horses from the time I could walk. But alongside that, I learned the value of hard work, feeding animals, and cleaning up.
Ford: Where specifically in Oklahoma?
Verville: Clinton, in western Oklahoma—about halfway between Oklahoma City and the Texas state line. Later, my family moved to the Oklahoma City metro area for better educational opportunities.
Ford: When did you develop an interest in classical music?
Verville: There wasn’t really an aha moment. In fifth grade, I took a required music class that covered note reading and rhythms. In spring, we were assigned to different ensembles—choir, band, or orchestra. I was placed in the orchestra, which was all strings at that age. The teacher looked at my hand and said, “You should play cello.” I thought it was fun, but the next year, we moved, and my new school had to order cellos. While waiting, my teacher suggested I switch to bass. It felt more natural to me, and I stuck with it.
Ford: How did your studies progress from there?
Verville: My teacher arranged for a university professor to give me private lessons once a week before school. Looking back, I realize how lucky I was—he drove 30–40 minutes to teach me for just $10 a lesson. That experience shaped me significantly.
Ford: What about your parents? Were they musical?
Verville: Not at all. But they were very supportive. When I needed a better instrument, they made the financial commitment to get one.
Ford: After high school, what was your educational path?
Verville: I initially thought I’d be a performer, playing bass, gigging, and teaching. In undergrad, I had to take an instrumental conducting class, which I resisted at first. But my professor, Dr. Matthew Millman, was an incredible teacher. I eventually realized that conducting allowed me to shape the music on a larger scale. I started taking outside lessons and was given opportunities to rehearse youth orchestras.
Ford: How did you transition into conducting professionally?
Verville: I had been playing in the pit orchestra at the Pollard Theater in Oklahoma. They struggled to find consistent conductors, so I convinced the artistic director to give me a chance. That led to two and a half years of conducting productions. I then pursued my master’s degree in conducting at the Boston Conservatory, where I worked with the Boston Chamber Orchestra. One day, the music director told me, You’re not going to play bass anymore—you’re going to conduct for us.
Ford: You later took a position in Arizona before coming to Georgia. What was your role there?
Verville: I completed my doctorate at Arizona State and founded Arizona Pro Arte, a collaborative ensemble that experimented with integrating different art forms into performances.
Ford: How did you join the Georgia Symphony Orchestra?
Verville: They held auditions after their previous conductor left. Three candidates, including myself, led audition concerts. At the end of the process, they invited me to be their Music Director.
Ford: How large is the Georgia Symphony Orchestra?
Verville: The orchestra size varies per performance, ranging from 25 to 75 musicians. We also have a chorus of about 110 members, a jazz ensemble that varies in size, and a youth orchestra program with over 300 students. In total, we have around 650 musicians involved.
Ford: What is your audience reach?
Verville: It depends on the venue, but we primarily draw audiences from Cobb County, reaching as far south as Smyrna, north into Cherokee County, and east toward Roswell.
Ford: How does the GSO sustain itself financially?
Verville: Like most orchestras, ticket sales only cover about 15–22% of production costs. The rest comes from donors, foundations, grants, and corporate sponsorships. Fundraising is a major part of our sustainability.
Ford: How much of your time is spent fundraising?
Verville: Around 10–20%. But fundraising is closely tied to marketing—educating supporters about our mission and involving them in our work.
Ford: How many performances does the GSO present per season?
Verville: We offer three to four classical concerts, a holiday pops event, and sensory-friendly and family concerts. We also collaborate on special performances like Sonic Symphony and Carnival of the Animals. Overall, we produce or partner in 24–30 performances each season.
Ford: Do you take the Atlanta Symphony Orchestra’s programming into account when planning your own?
Verville: Generally, no. If ASO announces a major work like Carmina Burana, we might reschedule it for a different season. Otherwise, our audiences don’t overlap much, so we focus on what best serves our community.
Ford: Do you still guest conduct?
Verville: Yes, but my focus has shifted. I conduct everything from professional orchestras to all-state and festival ensembles. I was once in those student groups, and I remember how impactful guest conductors were for me. It’s important to give back.
Ford: This has been great. Thank you for your time.
Verville: Thank you! I appreciate the thoughtful questions. ■
Watch a video of the complete interview EXTERNAL LINKS:
- Timothy Verville: timothyverville.com
- Georgia Symphony Orchestra: georgiasymphony.org
Read more by William Ford.
