Tell us about one of the most memorable experiences during your years in the Civic Orchestra.
There were so many experiences throughout my time at Civic that left strong impressions, but the one that stands out the most to me was being invited to observe a rehearsal between Yo-Yo Ma and Emanuel Ax. To be allowed to not only sit in to observe the work of two of the greatest living masters in the art form, but to be invited to participate and give feedback as they polish their work was a formative artistic experience, and a true privilege to take part in.
How did your experience in the Civic Orchestra influence your musical career?
My time in Civic, taken as a whole, pushed me to go beyond simply playing music at a high technical level, and to centrally focus every act of music-making on manifesting the expressive character of the work, and reaching the audience with an impactful and distinct experience. As simple of a concept as this seems, the primacy of expressing a message through one’s art is sadly so often lost in the rigors of music education, as it is most commonly administered even in our most prestigious artistic institutions.
Do you stay in contact with any of your Civic colleagues and, if so, who and in what capacity?
I formed a strong artistic relationship with many of the musicians who were members of the brass section with me (for one year or the other during my two years in Civic) to the point that I still collaborate with them on a regular basis and regard some of them as close personal friends.
What is your advice for Civic members who are beginning to take professional auditions?
I would mainly advise Civic players, and any young musician, not to put all of their stock in auditions, as auditions represent only one avenue of carving out a career as a musician, and really only one relatively narrow outlet for their artistry. While it is true that a seat in a tenured symphony orchestra constitutes an unparalleled position of financial stability--not only in the arts but in the economy in general--a realistic outlook must acknowledge the comparatively minuscule probability that one will actually win such a seat (when considering the shrinking number of orchestras, the explosion in the number of talented young musicians, and the hesitance with which committees even name a winner). A true artist is able to thrive in a variety of artistic and social contexts, as it is their integrity in pursuing artistic expression that is paramount. For instance, I find my most fulfilling artistic projects in chamber settings, which are also often educational ones, and besides chamber music (which offers a myriad of configurations and a wealth of repertoire) there is also solo repertoire and independent projects.
What would you say to musicians who are considering an audition for the Civic Orchestra?
I would definitely encourage them to take the audition, and to put the effort into making it a focus if possible. It also helps to keep in mind that, although it is an audition and players should do their best, it is different from a professional audition because it is for an educational institution. The committee doesn’t (or at least shouldn’t) expect perfection but rather potential, since a perfect candidate really wouldn’t need the training from Civic or any program for that matter! Civic also looks for strong personal traits in a musician that are not exclusively musical, like responsibility, integrity, curiosity, and open-mindedness, among many others, so it is important to cultivate those qualities and learn how to exhibit them in an interview setting, and in writing.
Share your thoughts on how to best prepare for a professional career in music performance.
My best piece of advice, if I am even qualified to dispense any at all, is to seek experience, accrue knowledge, and forge bonds of empathy beyond your artistic practice--beyond your instrument and your practice room, and even your rehearsal hall. There is a whole world out there, and while training at the high level required to become a professional requires immense dedication to practice, ultimately our job is to reach audiences in the world beyond our insular classical music discipline. If we don’t spend any time in that world, on its terms, how do we expect to reach the people in it on an expressive, human level? Berlioz reveled in the dramas of Shakespeare, Liszt versed himself in poetry, Shostakovich endured and chronicled in his music one of the most harrowing periods in human history, so how can we do their works justice and, moreover, transmit the expressive character of their work to others who are not as intimately familiar with them if we don’t take the time to educate ourselves and grow academically and personally? There’s a lot out there, but every little bit that we as artists digest makes our work that much more relevant, and art must constantly earn its relevance.
