Testimonials

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Bob’s immense knowledge of strategy, programming development and artistic intentionality was apparent from the very first conversation we had together. With his guidance, we created two programs that were very individual to my vision as a conductor and artist. This allowed me to debut with the BSO in a manner that was truly authentic. His collaborative approach made effective decision making very easy and productive. I feel very grateful for his partnership through the MD Search and consider him to be one of the best in the business.
—Jonathon Heyward, Music Director, Baltimore Symphony Orchestra

Bob Moir led the Baltimore Symphony Orchestra’s recent search for its new Music Director, Jonathon Heyward. Not only is Maestro Heyward a terrific choice, but Bob’s direction throughout the process was first-rate. Bob not only brought a superb knowledge of the field to the assignment, but he also led us through the process with great discipline and efficiency, and without putting his thumb on the scale.
–Barry F. Rosen, Chairman of the Board, Baltimore Symphony Orchestra

We were very fortunate to be in Bob Moir’s capable hands during a period of transition recently at the Baltimore Symphony Orchestra. Bob deftly navigated the incredibly mercurial changes the Pandemic brought, bringing thoughtful and ingenious programming as we gradually increased the scope of our ensembles from chamber music size to eventual full orchestra settings. During this period, he also provided a steady hand through a Music Director Search that yielded a fantastic young Music Director in the person of Jonathon Heyward in record time. We are so pleased with the guidance and care Bob brought to all facets of his work with us..
—Brian Prechtl, percussionist, former Player’s Committee Chair, Director of Education and Community Engagement, Baltimore Symphony Orchestra

Bob Moir is a long-time friend and colleague: first because he is an outstanding person with complete integrity and second because he has an enormous experience, knowledge and expertise in the artistic world of symphonic music, repertoire and artists. His life as a musician combined with leading artistic roles in the Great Woods Festival and the Pittsburgh Symphony has given him a most expansive knowledge.”
—R. Douglas Sheldon, Senior Vice President and Director of Columbia Artists Management

I consider Bob Moir one of the ‘wise men’ in the orchestra field. Throughout the many years I have known him, he could always be counted on as someone who saw the breadth and depth of any issue, and who had a really smart way of dealing with it. I have no reservation at all in enthusiastically endorsing and recommending him.”
—Henry Fogel, former President of the Chicago Symphony, former President of the American Symphony Orchestra League, and current Dean of Roosevelt University College of Fine Arts

In our work together, Bob was a strong partner who was able to creatively suggest combinations of guest artists and repertoire that aided not only me in preparing my programs, but also the many guest conductors who came to work with the Pittsburgh Symphony. Bob was also able to passionately communicate my artistic vision.
—Manfred Honeck, Music Director, Pittsburgh Symphony Orchestra

I’m very lucky to have worked closely with Robert Moir over many seasons in Pittsburgh.  He has an undying passion for symphonic music and a true gift for inventive programming.  His Composer of the Year program is remarkable: a year-long focus on one composer that thoughtfully weaves new works throughout the entire season.  It is a model every orchestra should follow.  Additionally he has a special gift for identifying talent on the podium and for sensing how the musicians respond.  Bob’s insights are invaluable in both standard rep and new music, and in both administration and in artist booking.​”
—Mason Bates, American Composer of of symphonic music and DJ of electronic dance music

I’ve never met anyone who combines such consummate knowledge of the traditional, core classical side of our business with an unbounded creative attitude towards the new and innovative. To be able to advise with total wisdom and experience on one hand and such imagination and inventiveness on the other is a rare and special sort of brilliance.
There is no way that FUSE at the Pittsburgh Symphony would exist today if not for Bob’s foresight, vision and advocacy for taking creative risks.”
—Steve Hackman, Creative Director of FUSE@Pittsburgh Symphony Orchestra

Bob is supremely competent. Whatever he says he can do, he’ll do wonderfully well. And on top of that, he has terrific, way out of the box ideas — which work! Finally, his skill set is enormous. It ranges from judging and guiding conductors, all the way to stage direction, When I hosted a concert series with the Pittsburgh Symphony, Bob was in charge, and I couldn’t have asked for a better coach for what I did on stage.”
—Greg Sandow, Host, PSO Symphony With a Splash series, Consultant, Writer, Teacher, Composer, Change Agent and Thought Leader

The privilege of having the opportunity to work with an orchestra like the Pittsburgh Symphony is knowing that you are taking part in a tradition that has been carried on for many decades. For more than 25 years, Bob Moir not only accepted the responsibility of tending to the PSO’s venerable legacy, but became a vital part of its growth.”
—Ed Stephan, Principal Timpanist, Pittsburgh Symphony Orchestra

As a veteran of the classical music industry, Bob Moir has a lot to offer junior artistic staff.  Working with him at the Pittsburgh Symphony has truly been a formative experience in my career. From management insights to direct industry expertise in season planning, artist relations and working with artist managers, I have learned and continue to learn from him.  Having led several projects(such as the Paris Festival) under his supportive but empowering guidance, I think he is a natural fit for consulting. He is still the first person I call when I need sound industry advice.”
—Yonca Karakilic, Artistic Administrator

For almost 30 years, it has been my privilege to call Bob Moir my colleague and friend.  His work in the orchestral field has been extraordinary by any standards.  Bob has always exhibited a fair and honest approach to artists, at the same time being sensitive to the fiscal responsibilities that come with the territory.  I believe that his finest hours are yet to come and that whoever he works with will be the beneficiary of his experienced hand.”
—Leonard Slatkin

Bob Moir is one of the most generous, supportive and truly kindhearted people I have ever worked with. I feel deeply fortunate to have had the opportunity to get to know him during his years at the Pittsburgh Symphony, and value greatly the guidance and advice he has provided me with over the years. People like Bob are rare and much needed.”
—Nicola Benedetti, violinist

Bob Moir’s long experience with programming and artistic issues, plus his incredible depth of musical knowledge, gives him a sophisticated perspective that is very valuable for our field. We have worked together on numerous projects over the years, and I wouldn’t hesitate to work with him again.”
—Simon Woods, President and CEO, Seattle Symphony

I met Bob Moir for the first time when I guest conducted the Pittsburgh Symphony in 2011. Since then I had the pleasure to work with him and meet with him on an almost frequent basis. With his vast experience and insight and a large network I think he is one of the few (and last) people in the music business being able to give multi-dimensional and profound advice to young musicians and artists in order to foster their musical careers. He helped me with a very important aspect of my artistic development, and I will be eternally grateful for what he has done for me.
Bob and I worked on a project which aimed at introducing Richard Strauss’ ‘Also sprach Zarathustra’ to the public at Heinz Hall in Pittsburgh by talking about the music and playing excerpts of it in the first half of the concert, and playing the entire composition in the second. Basically, what Bob had written was not so much a script of a musicologist but rather a suspense story of the entire (and very intriguing) philosophic and spiritual background of the piece and Nietzsche’s original thoughts. It was a real hit with the public.”
—Christoph König, conductor

When I joined the Pittsburgh Symphony Orchestra as Assistant Conductor, it became immediately clear that I would be incredibly fortunate to have Bob Moir as my supervisor and mentor for the next six years. His vast knowledge of the symphonic world from both the artistic and administrative perspectives afforded me priceless advice that continues to impact my professional life today. Bob Moir is one of those rare individuals whose integrity is on the same level of his/her experience and I am forever grateful for the influence that his guidance has had upon my musical life.”
—Lucas Richman, conductor; composer; music director, Bangor Symphony

Bob Moir is a creative, experienced and innovative collaborator in all things music; his lifelong involvement in orchestras as a player, administrator and consultant offers a unique and ubiquitous approach to the challenges of today’s music industry. He is a major force in the business.”
—Andrés Cárdenes, violinist, conductor, chamber musician and pedagogue

One of my first auditions was in 2002 for Robert Moir. He engaged me to sing with the Pittsburgh Symphony immediately. In the years to come, he introduced me to important conductors such as Manfred Honeck, Rafael Frühbeck de Burgos, Richard Hickox, Andrew Davis, and Martin Haselböck to mention a few. This led to engagements in Europe and the United States. He was very helpful in advising regarding repertoire and career strategy. Robert Moir is very well-connected and respected by conductors, promoters, singers and instrumentalists both in Europe and in the US. His knowledge of the symphonic, as well as vocal and choral repertoire is most impressive. In addition, he is honest, kind, and very committed; the projects he created for the Pittsburgh Symphony were always original, inspiring and successful with the public.”
—Chen Reiss, soprano

Bob is one of the few in the field with extensive knowledge and experience in building up careers of young conductors.  Throughout his twenty-six years with the Pittsburgh Symphony, he’s been involved with every aspect of the music business and I’ve always found his advice to be extremely valuable.”
—Fawzi Haimor, Pittsburgh Symphony Assistant Conductor

I have had the wonderful opportunity to work with Robert Moir for many years and appreciate his many qualities and long experience in planning, programming, touring and recording’.  With his great commitment, enthusiasm and love for music, as well as his numerous professional connections, I can recommend without reservation Robert Moir’s consultancy in a wide range of musical and artistic ventures.”
—Yan Pascal Tortelier, Chief Conductor, Iceland Symphony; Conductor Emeritus, BBC Philharmonic; Principal Guest Conductor, Royal Academy of Music, London

I worked with Bob and the PSO for six years as a resident stage director.  Bob’s standards are among the highest in the industry, his keen intelligence leads consistently to spot on, creative decision-making, whether applied to an entire season of artists and programming, or day-to-day minutiae.  Moreover, despite his sober, creative and wise approaches to things artistic and pragmatic, Bob remains a wonderful, warm, fun-loving colleague, a first-class team builder and teammate!  I can’t wait to work with him again.”
—Peter Frisch, Stage Director PSO Soundbytes series; Artistic Director The Frisch Studio

Konzertdirektion Schmid has worked with Bob Moir for many, many years. His knowledge of music and the music scene is unparalleled and he has picked out many of the most talented young musicians to give them their US debut with the Pittsburgh Symphony including conductors like Andris Nelsons. He also knows the European music scene and has befriended some of the major European promoters through the numerous European tours of the PSO which we planned together.”
—Cornelia Schmid

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