An interview with Mason Cancilla, group’s founder and music director

By Aidan Carney 
(Image above: The Avanti ensemble rehearses)

Imagine stepping into a concert hall where the energy is palpable, the musicians engaged, the repertoire is something you don’t often hear—yet it feels as though it’s precisely what you’ve been waiting for. That’s the experience Mason Cancilla strives to create with Avanti, an ensemble he founded in 2023 that is quickly making its mark on Western New York’s classical music scene.

Described by renowned conductor JoAnn Falletta as “poised, elegant and very polished,” Cancilla has built a reputation for bringing precision and passion to the podium. In just a short time, Avanti has grown from a chamber orchestra into a versatile, dynamic ensemble dedicated to performing works that challenge both musicians and audiences alike.

Beyond Avanti, Cancilla serves as music director at St. Benedict’s Catholic Church in Buffalo and leads Cantio Sacra at Canisius University. He is also a conductor and team coordinator for Buffalo String Works and spent three years as a music educator at St. Andrew’s Country Day School. His conducting career has included guest engagements with the Cheektowaga Community Symphony and, most recently, the founding of the Buffalo Beethoven Festival, which debuted in 2024 with a performance of Beethoven’s Symphony No. 3 “Eroica.”

With a clear vision and a commitment to artistic excellence, Cancilla is redefining community ensembles. In this interview, he shares the story of Avanti’s creation, its evolving mission and his hopes for the future of classical music in Buffalo and beyond.

Origins & Mission

Q: How did Avanti come to be? What inspired its formation?

Avanti was born out of both necessity and passion. When I finished my master’s degree in conducting, I began applying for positions with community orchestras. While I received positive feedback, many ensembles wanted someone with more experience. But how does one gain experience without an opportunity? I realized that if I wanted to conduct myself, I had to create the opportunity myself.

That’s when the idea of Avanti came to life. Our first concert took place in February of that year, featuring Vivaldi’s Gloria, a piece I selected because it required only a small orchestra and chorus. I gathered 15 instrumentalists and 15 singers — the numbers entirely by accident, but it worked beautifully. After that first performance, the energy in the room told me this wasn’t just a one-time project. This was something that needed to continue.

The name “Avanti” means “onward” in Italian, and it holds deep personal significance. My undergraduate conducting teacher, Frank Scinta, would always sign his emails with “Onward!” as a reminder to keep pushing forward, no matter the circumstances. That philosophy resonated with me as I was starting this journey. Avanti represents not just musical progress but also personal and professional growth.

Q: What is the core mission of Avanti, and how has it evolved over time?

At its core, Avanti was created to bring high-level chamber orchestra and choral music performances to Western New York. Many local community orchestras gravitate toward large-scale Romantic works, but I wanted to focus on a smaller, more intricate repertoire—music that demands precision and clarity.

As we’ve grown, another key part of our mission has emerged: supporting young musicians, soloists, and composers. Avanti has become a place where emerging artists can experiment, challenge themselves, and develop their craft without the pressures of the professional world. It’s not just about playing great music—it’s about creating an environment where musicians feel inspired, engaged, and valued.

Ensemble & Repertoire

Q: Avanti includes musicians from various backgrounds. How do you maintain a cohesive ensemble?

Creating a cohesive ensemble starts with leadership. The string section, in particular, benefits from a strong core — many of our principal players come from the Equinox String Quartet, a group with excellent internal communication. Their synergy naturally elevates the entire ensemble, ensuring precision even when the back stands may not be as experienced.

Beyond that, it’s about fostering a culture of trust and musical curiosity. We don’t have rigid hierarchies, and I encourage everyone to bring their ideas. A sense of camaraderie in Avanti makes it easy to create music together.

Q: How do you select your repertoire, and what factors influence your programming choices?

Programming is one of my greatest joys and challenges. I try to balance three key factors:

1. Artistic Growth — I approach programming like an etude book, gradually increasing the difficulty so the ensemble can grow. For example, I wanted to program Beethoven’s Second Symphony but knew it would be challenging. Instead, we started with the First Symphony to build the necessary skills, with plans to tackle the Second.
2. Diversity in Repertoire – Every program includes a living composer, an underrepresented composer, or a piece written in the last 100 years. This isn’t just about checking a box — it’s about ensuring that our programs reflect a broad musical landscape. We’ve featured works by Margaret Bonds and Buffalo-based composers, among others.
3. Personal and Audience Engagement – I also select works that resonate with me and the audience. For instance, I plan to conduct Mendelssohn’s Violin Concerto, a staple in the orchestral repertoire. While it’s familiar to audiences, it’s also essential for any conductor to master.

Q: Do you have any favorite or particularly memorable performances?

Our performance of Beethoven’s First Symphony at the Basilica stands out. The piece is notoriously challenging, particularly at the tempo we took it. I wasn’t sure we could pull it off at full tempo, but the musicians rose to the occasion. Afterward, an audience member told me, “I’ve been attending community orchestra concerts for 40 years, and this was the best one I’ve heard.” That kind of affirmation means everything.

Supporting Young Artists

Q: Avanti is committed to aiding young soloists and composers. What opportunities do you provide for them?

One of Avanti’s core missions is to provide young artists a platform to experiment and grow. For composers, this means having their works performed and receiving valuable feedback in a collaborative, supportive environment. For soloists, it’s an opportunity to expand their repertoire without the pressure of a professional contract.

Q: Can you share any success stories of young artists who have worked with Avanti?

Our recent soloist, Heather Holmquest, is a perfect example. She initially trained as a lyric soprano but has been exploring more dramatic repertoire. With Avanti, she performed both Mozart’s Exsultate Jubilate and Mahler’s Ich bin der Welt abhanden gekommen, allowing her to explore different aspects of her voice.

We’ve also featured local composer Richie English, who had a piece performed with us. Our musicians provided constructive feedback on notation and engraving, helping him refine his work in a way that professional ensembles might not have the time for.

Q: What do you look for when selecting young musicians or composers to feature?

So far, most of our featured artists have been personal connections, but I’d love to expand the process. The key qualities I look for are technical ability, artistic potential and a willingness to grow. We don’t expect perfection, but we want musicians eager to push themselves.

Challenges & Growth

Q: What challenges has Avanti faced, and how have you overcome them?

The biggest challenge has been financial sustainability. We’re in the process of obtaining nonprofit status, which will open up more funding opportunities. Another challenge is scheduling—many of our musicians perform with multiple ensembles, so balancing conflicts is an ongoing process.

Q: How do you see the ensemble growing or changing in the next five to 10 years?

I want Avanti to become a financially stable, high-level community orchestra. If I ever step away, I’d like to see it continue under a young conductor who, like me, needs the experience and opportunity to grow.

Audience & Community Engagement

Q: How does Avanti engage with its audience and the broader community?

We try to perform in different venues rather than staying in one location. We’ve also started experimenting with performing the same program in two distinct spaces, allowing us to reach more people.

Q: Do you have any outreach programs or educational initiatives?

Not yet in a formal sense, but I write program notes that focus on how to listen to the music rather than just historical facts. I’d love to introduce a children’s concert in the future, though time and resources make that challenging for now.

Looking Ahead

Q: What upcoming projects or performances are you most excited about?

We have several exciting performances coming up, but one that stands out is our collaboration with the UB Chamber Singers. We’ll be performing works by Mozart and Bach, which will challenge our ensemble while also highlighting the incredible vocal talent within the university’s program.

Beyond that, our Beethoven Festival continues to evolve. The Basilica concert featuring Beethoven’s First Symphony was a significant success, and I want to continue expanding that concept. Rather than waiting 10 years to get through all the symphonies, I’m looking for creative ways to integrate them into our regular season.

We also have a young soloist, Doga Vanwesenbeeck, performing Mozart’s 22nd Piano Concerto with us. He’s only 16, but his ability is exceptional. Opportunities like this — giving talented young musicians the chance to perform with an orchestra — make Avanti so rewarding.

Q: How can people support or get involved with Avanti?

There are many ways to get involved! First and foremost, we’re always looking for musicians, particularly string players. Our wind and brass sections are often filled, but we maintain a sub-list, as there are always conflicts with musicians’ schedules. Anyone interested in playing should reach out to me directly.

Beyond performing, there’s a real need for volunteers. Right now, I handle most of the administrative work — everything from programming and conducting to managing the music library, social media and stage logistics. As the group grows, it’s becoming harder to manage alone, so we’re looking for people willing to help with those behind-the-scenes aspects.

Financial support is another major factor. We’re working toward nonprofit status, allowing us to apply for grants and accept tax-deductible donations. Until then, we rely on free-will offerings at concerts and the generosity of individuals who believe in our actions.

Most importantly, attending our concerts and spreading the word helps more than anything. Building an audience is just as important as creating an orchestra, and having a dedicated group of supporters ensures we can continue bringing high-quality music to the community.

Final Thoughts?

Avanti has grown far beyond what I initially imagined, and that’s a testament to the incredible musicians, composers and supporters who have been part of this journey. We are more than just an orchestra — we are a place for artistic exploration, for young musicians to develop, and for audiences to experience music in new and meaningful ways.

For anyone who loves music, there’s a place for you at Avanti — whether as a performer, volunteer or listener. We’re excited for what’s ahead and hope to continue expanding our reach and impact for years to come.

Aidan Carney is a writer as well as a Music Education and Music History major at SUNY Fredonia.