The Columbus Symphony Orchestra celebrates its 156th birthday when it opens its 2011-12 season Saturday. It’s also conductor and music director George Del Gobbo’s 25th year in Columbus.

Before becoming a conductor, Del Gobbo played violin and piano, but now he says he’s “retired” from playing either instrument in public because he says he never practices and one must practice to be good.

Now he mostly leaves the playing to his daughter, Mary, a professional musician. She started playing the cello when she was 3 1/2 years old but Del Gobbo didn’t know she’d grow up to be a musician.

“I never sensed any kind of passion until her junior year in high school,” Del Gobbo said.

His oldest daughter, Jane, played the piano until she graduated from high school but now “she’s done. She hasn’t touched a piano since,” he said.

Mary plays in the Columbus Symphony Orchestra and the Alabama Symphony Orchestra in Birmingham, where she lives with her husband, Adam Pandolfi, a professional horn player.

Being the conductor’s daughter didn’t give Mary an edge with the Columbus Symphony Orchestra, though. Del Gobbo said they were careful to avoid any issues of nepotism by having Mary audition for other musicians and not her father. All of the musicians in the orchestra are required to audition before they’re chosen.

Del Gobbo said he didn’t even need to tell Mary how competitive it is to be professional musician.

“Mary realized how competitive jobs are,” he said. “She would go to an audition and there would be 80 cellists there. Only one was going to get the job.”

We spoke to Del Gobbo last week. This interview is edited for length and clarity.

When you moved to Columbus, did you think you’d be here for 25 years?

No. I didn’t plan on it. My profession is so odd. I was not looking at the 25-year time frame.

What are the biggest changes you’ve seen in the time you’ve led the orchestra?

Columbus has changed almost completely. I don’t think there was much of a middle class. The educational level of the community has gone up. Columbus State University is thriving. We have a new naval museum and RiverCenter for the Performing Arts. The Springer Opera House and the Columbus Museum are doing well.

How has the Columbus audience changed?

Well, I don’t know that it has. I don’t think it’s changed much. It still trends toward older folks. It’s a constant struggle of orchestras everywhere -- how to replace the older audience members with younger ones. I think it’s a one-by-one process. People tend to come to us as their children are older. It usually happens when a person is in their 30s and 40s. I just did a “lunch and lecture” at CB&T. There was a young man who said they had small children, but he says they need breaks. So he bought a subscription. If we can get people to try it (classical music), they’ll come back. It’s getting them over that hurdle that is always a challenge.

How did the creation of RiverCenter impact the orchestra?

It’s clearly a much nicer place to be (than the Three Arts Theatre, the former performance venue). There are so many more amenities available. The concert hall area is nice. As a multiuse space, compromises were made, but on the whole, it is a success. And for people who come to hear the orchestra, the experience is much better.

How do you decide which pieces of music and guest artists to schedule in a season?

If I hear something or someone, I file it away for future reference. I try to construct the program that is entertaining, enlightening so people will enjoy themselves. That’s a lot of “e” words. I want to show them an emotional experience that will make a difference. I also need to engage the orchestra to let them play something that is challenging. I try to work in some new music or less popular pieces that people need to know. The guest artists are those who are just starting out in their careers who are affordable to us. Most of the people are under 35, and they are happy to play.

How would you like to see the orchestra change over the next 25 years?

I think we’ve started down that road. I want to be much more involved in education and outreach. I don’t know how that (impacts) growth in terms of performers but I see lots of opportunities of growth in education.

What should a newcomer know before attending a CSO performance?

Have an open mind and open your ears when you hear music. Then you can see where it leads you. You don’t have to know anything. Classical music is more difficult because it’s aural. We are not an aural people. We are visual people. As for clapping between movements, we don’t care about that. We (the musicians) think it’s a sign of appreciation, not a sign of ignorance. I think we’ve become so stuffy. When you clap between movements, it’s a sign that you liked it. What we hate are cell phones. It disrupts the mood of the music.

What audience-related faux pas have your witnessed?

Not really. It’s been very uneventful.

How are musicians selected for the orchestra and how long do they typically play with the orchestra?

We go through an audition process. The first year is a probationary year. After two years, they begin to get tenure. The oldest musician? It might be me. Monique Gunnels, who plays flute, has been in the orchestra since 1965. Some long-time musicians have retired in the past five years, including Dr. Mary Schley and Manuel Diaz.

Tell us about the “Know the Score” sessions held before each performance.

It’s an hour before the concert and they are typically 30 to 40 minutes. We have 20 to 50 people. We talk about what they will hear that night. More often than not, an orchestra member will come to talk. Guest artists usually don’t. They’re getting ready for the performance. It’s good for newcomers.

What are some of your favorite pieces of music?

It’s impossible to answer. They’re all like my children. Resphigi and Richard Strauss (pieces) are wonderful music to play. Music that is profound are by Mahler, Beethoven, Brahms and Mozart. It’s hard to pick a favorite.

How can parents help their children develop an appreciation for classical music?

Exposure is important, the earlier the better. Letting them hear music. Musical education is only part of their whole education. Music can be very important in terms of creativity in a lot of different ways.

What music classes would you like to see in schools?

I think it’s really sad that performance music -- band, orchestra, chorus, jazz band -- is no longer considered essential. I to hink it would be a sin to not concentrate on math or English, but a large number of kids can be involved in musical pursuits. Give the kids an opportunity to listen and learn. When you think about it, classical music can be heard in movies, television shows and commercials.

What can Columbus residents do to help the city’s art scene thrive?

I think that the arts can’t be successful without an audience. Without an audience, the creative process is going to be unsuccessful. Sooner or later, public education will require the arts. Right now, it’s easier to cut thing than to bring it back to the curriculum.

What are your favorite and least favorite aspects of your job?

I don’t have any idea. For me, I guess my favorite part is making music. Everything else is not my favorite. I’ve never felt put upon to do anything. I’ve never felt oppressed. I’m not always in a good mood, but it’s not because of the job.

What advice would you give teens who are considering a career as a professional musician or conductor?

If I’m talking to a teenager I hope they’ve been playing their instrument for at least 10 years. Otherwise, you’re really going uphill. You have to love it enough to put up with the struggle to make a living. If you’re going to play a recital, it’s over in an hour. But you would have practiced hundreds of hours. You have to define what success is. Only a very few people are able to really make a living. Even the big orchestras like the Boston Symphony Orchestra. You can make $85,000, but you have to live in Boston. It’s an economic struggle. You have to be prepared for that. Find the best teacher you can find. As for being a conductor? Don’t. I’d say don’t become a conductor too soon. Make sure you know what it’s like to play under a bad conductor. Go and study and learn. Don’t rush. When you’re a young conductor, you’re learning on the job. So learn, be prepared, get a repertoire. Take time to do it right. Be a conductor for the right reasons. It’s not about you.