Tell us about one of the most memorable experiences during your years in the Civic Orchestra.
I will never forget playing Shostakovich 10 with Stefan Sanderling conducting. I played the principal bassoon part and it was the last time I ever played a principal part on a big symphonic work. Our section was coached by the legendary David McGill, and he inspired me so deeply in terms of how to sculpt the phrasing of the big solos that I don’t think I ever felt more confident and free playing such an important part. It felt absolutely exhilarating to perform this work in the gorgeous Symphony Center, among so many great friends and colleagues, to a packed audience.
How did your experience in the Civic Orchestra influence your musical career?
Interestingly enough, I was originally an alternate for Civic and was preparing to move to NYC to pursue a career in arts administration after graduate school. About one week into the season, Civic called and asked if I could come play as a regular member. This turned my career plan completely on its head, but ended up being one of the best things that ever happened to me. I found a place to live and moved to Chicago on two weeks’ notice and have never looked back. My entire arts administration career has been built around the incredible music community in Chicago.
Do you stay in contact with any of your Civic colleagues and, if so, who and in what capacity?
I count many of my Civic colleagues among my closest friends. There is something special about the time in a person’s life between being a student and becoming a career professional. We all leaned on each other for support during that time, and it’s been so fun and rewarding to watch everyone create their own success. Two of my Civic friends, Rob Dillon and David Skidmore, are members of the GRAMMY-winning Third Coast Percussion which was founded around that time. As I was starting out in arts administration, I served on TCP’s very first board of directors and helped connect them to presenters and other resources. I couldn’t be more proud of what they have built, literally from the ground up.
What is your advice for Civic members who are beginning to take professional auditions?
Be yourself, be prepared to make mistakes and learn from them, and lean on your friends for support. You may not have been looking for this answer, but the #1 lesson I learned from taking auditions was that they were not for me. I found out, after taking several auditions, that I really desired to be behind the scenes, making more opportunities for my friends and colleagues to make a living in music, rather than playing the audition circuit.
What would you say to musicians who are considering an audition for the Civic Orchestra?
Civic provides the opportunity of a lifetime. Go for it! This is truly a rare chance to be fully supported as you bridge the gap between school and professional life, and it happens to place you right in the middle of one of the greatest cities in the world.
Share your thoughts on how to best prepare for a professional career in music.
Keep your mind open. Beyond excelling at your instrument, you have something to add to the profession whether it be your leadership skills, passion for helping others, ability to communicate effectively, or affinity for working with children. My music conservatory training only provided a tiny glimpse into the many paths I could take, and I continue to be surprised and inspired by the many ways I can help further the art form.
