Based in the San Francisco Bay Area, Brad is the Associate Professor of Conducting at San Francisco State University, the Associate Conductor of the Monterey Symphony, and the Music Director and Conductor of the Art Haus Collective, known for presenting spectacular performances of classical and contemporary works in unique spaces. He is also the Music Director of the Peninsula Youth Orchestra and is on the faculty at the San Francisco Conservatory of Music.

Recently, Brad has guest conducted with the Dallas Symphony Orchestra, San Francisco Symphony, San Francisco Ballet, Monterey Symphony, Eastman Wind Ensemble, Eastman Brass Guild, San Francisco Contemporary Music Players, and Bay Brass. In the 2024-2025 season, he will make his debuts with the Marin Symphony and Symphony San Jose. He regularly conducts Grammy-winning composer Mason Bates‘ Mercury Soul projects and, in 2022, was part of the conducting staff for the National Brass Ensemble recording project, concert, and institute.

In August 2017, Brad conducted the Art Haus Collective’s ballet production of Stravinsky’s Rite of Spring at Burning Man, drawing an estimated 10,000 attendees. Photos from the event were featured in USA Today, Business Insider, and the Smithsonian’s Renwick Gallery as part of the No Spectators: The Art of Burning Man exhibit.

An accomplished trumpeter, Brad performs regularly with various orchestras. He can be heard on the San Francisco Symphony’s recording of Ives’ Symphony No. 4 and the San Francisco Ballet’s recording of Lowell Liebermann’s Frankenstein. He toured with the Indianapolis Symphony to the Kennedy Center as part of the 2018 SHIFT Festival and has performed as guest principal trumpet with the Louisville Orchestra.

Brad earned a Bachelor’s degree from the Eastman School of Music, spent a semester in Germany at the Hochschule für Musik Freiburg, and holds a Master’s degree from the San Francisco Conservatory of Music.

Get to Know Brad 

Q&A

What do you love most about conducting?

What I love most about conducting is the collaborative spirit it fosters between the musicians and the audience. All of us on stage come to rehearsals with a deep understanding of the music and a shared vision, but we will also remain flexible; listening and adjusting to one another over the course of the rehearsals and performance. It’s through this collaborative process that we discover the best interpretation of the composer’s intent. There’s also something incredibly special about the element of trust that conducting requires, since I’m the only one on stage not making a sound.  When all of this is shared with an audience during a live performance something electric occurs.

 What are some memorable experiences you have had as you’ve shared in community engagement/education?

Some of the most rewarding moments of my career have been working with both young musicians and adult community orchestras. I’ve spent over 10 years leading adult community ensembles, which has given me a deep appreciation for the dedication and passion these musicians bring to their craft. Collaborating with these groups has been a source of inspiration, as it blends the joy of music-making with the spirit of lifelong learning.

The incorporation of art, dance, and other art forms with concerts often create the most memorable experiences. As the music director of the San Francisco Civic Symphony, one of my favorite projects was premiering Transfigurations for Brass Quintet and Orchestra by San Francisco based composer Stefan Cwik. It is a massive and cinematic work featuring digital animations of the paintings of renowned Mexican Artist Eduardo Rodriguez Calzado projected on a huge movie screen above the orchestra. Much like Disney’s Fantasia, the audience was taken on a journey through the art while Cwik’s trademark bombastic orchestral compositional style perfectly mirrored the artist’s vision. The audience was riveted, and the musicians totally committed to the creation of this brand new piece of art. 

Another particularly memorable experience was serving as an adjudicator for the 2024 Southeast Alaska Music Festival, where I had the chance to mentor and perform for a diverse group of talented students from across the region. The logistics required by all of the dedicated teachers and parents is daunting. Hundreds of people literally have to get on ships and planes in order to come to the festival. From dawn till dusk, students were playing their solo and ensemble pieces, listening to each other, and making new friends. The energy of the event was electric and the students were so excited to be there to play and learn. Witnessing their enthusiasm and development over the course of the festival was incredibly rewarding. 

 Can you tell us how you go about developing programs?

When I develop programs, I begin by considering the orchestra’s strengths and the community it serves. I believe that programming should strike a balance between honoring the great classical repertoire and incorporating contemporary works that engage with the world we currently inhabit. I also enjoy integrating other art forms into performances, and have collaborated with dancers, filmmakers and poets. I place a strong emphasis on diversity in programming, ensuring that we feature living composers and performers from underrepresented backgrounds. This blend of the traditional and contemporary allows us to engage both long-time patrons and new audiences in meaningful ways. 

 What excites you most about the Juneau Symphony?

Juneau’s unique environment and vibrant community offers an exciting opportunity for thematic programming that could connect music to the region’s natural beauty and cultural heritage. I would cherish the opportunity to create programs that are bespoke to the community while building on the core values of the Juneau Symphony: inclusivity, collaboration, education, respect and excellence.