Things I Have Learned as a Violist in the Ballet Pit

I recently had a gig doing a ballet on viola. As I'm playing more concerts on the viola, there are things I've noticed and have had to adjust to, physically and mentally. Here's a list of a few of them!

1. It's possible to get more tired playing the viola, as it is larger and heavier than the violin. Luckily I haven't had this problem yet and the viola is still more comfortable for me, but I am aware that it is common for this to happen, and maybe once I'm doing more serious concerts with full-length symphonies I'll experience this too.

2. Opposite desk sides...this means that the "outside" is the "inside" and vice versa. So, one has to remember whether they're the one turning the pages, and who's playing top/bottom and generally get used to the opposite setup!

3. Different orchestral positions - while the first violins never move (that I have seen, anyway) from their position in the front at stage right, the violas often play on the outside stage left, and also often play between the second violins and the cellos, in the middle.

4. Violas do actually have the ability to make more sound than violins. This is why there are fewer violas in the section. It takes more effort to get a good sound out of a viola than a violin, and this extra effort translates to a louder sound. (Whether that sound projects as well is another story, however.)

5. Sometimes, the viola part may not make sense. Within itself, that is. Unlike the first violins who almost never have a line that doesn't musically make sense, the violas seem to often have combinations of notes that seem musically illogical, making the part harder to anticipate. In context the viola part (usually) makes perfect sense, so we violas have to get used to interpreting the music as more of a whole than the violins, who can get away with knowing it on a more superficial level and living in their own, self-absorbed world.

6. The violins sometimes sound pretty...interesting. As everyone knows, they're the ones with all the high stuff and when first reading/rehearsing these parts, it can sound rather...well, awful. More so than one can appreciate when playing as one of them! Luckily they also improve quickly, but hearing a first run-through brought me thoughts of "That's what we sound like!? Glad I'm not doing that anymore!"

7. Finally, even though it is the violins who have the melodies and show-offy stuff, the violas have more fun!

Music is Alive...with the Goldner String Quartet and Piers Lane

Last Monday evening, I went to see the Goldner String Quartet, an ensemble from Australia. They performed a commissioned piece by NZ composer Gareth Farr, the Elgar Piano Quintet and to start the programme, Schubert's very popular Death and the Maiden String Quartet No. 14.

Overall the Goldner Quartet (click to see their website and images!) struck me as a very talented group even compared to the last international quartet I saw, which was the Tokyo String Quartet - undoubtably a hard act to follow. The friend I was with remarked that after seeing the Tokyo String Quartet, the ensemble of other less-established groups seems lacking - just in that the perfection of the Tokyo quartet was so absolute and unattainable, not that the other groups are lacking anything in actuality.

I had actually never heard the Elgar Piano Quintet before, and hearing it on Monday was really great, and now I know what a great piece it is. In the genre of piano quintets it seems that it will inevitably be difficult to integrate the piano part into the already well-established string quartet group, and that it may often seem that the string quartet and piano are in opposition. Elgar makes use of this right from the start, with the strings sharing the same rhythmic accompanying part while the piano takes the melody. The strings often have a role together against the piano, but Elgar also knows how to integrate all of the instruments masterfully as well, though perhaps not in the same way as in some of the other piano quintets that I am more familiar with.

What really impressed me was their rendition of the old favorite, the Schubert. (Though the Gareth Farr piece was nice too, not intending to belittle that too much.) I had heard this piece a few times before, but never had it seemed so alive. The feeling of constant motion and flawless continuity was always there, and it was as if the music was a living, breathing being created by the four players together. These players rose beyond having a good dynamic within the group to being able to create one whole entity from their four parts (almost as if there was in fact no dynamic within the group), which was amazing. The second movement especially was palpably full of life, a little faster than I'd heard previously (in fact, all movements were a bit faster) but lacking none of the emotion. The other movements showcased the players' effortless articulation and there was never a moment where an important part was covered, and even the inner voices were always discernible and individual, while still being part of one whole. It didn't seem like they had to try to make sure the melody was heard, (for example, the first violin wasn't a separate entity in melody passages) but the melody was indeed heard at all times...along with the rest of the music. Which is what made it so great.

The rests in the music were alive too, not necessarily "full of electric energy" as is so often said of rests, but alive, and each containing varying different qualities of life, if that makes sense! Rests are a feature which musicians often find the most difficult. (Which is ironic, considering that we're not actually producing sound during rests.)

It had been awhile since I had been to a concert, and I'm glad the Goldner Quartet came along to refresh my musical awareness and renew my inspiration for chamber music.

Musical Inspiration and Motivation: After the Nelson Symphony

After playing the first movement of Walton with the Nelson Symphony on Saturday night, I returned to Wellington on Sunday morning with a renewed sense of passion for the viola and motivation to practice and learn new music. (And also very tired, had an early flight, and forgot about Daylight Savings, so it was even earlier than anticipated!)

Having the chance to play solo with an amateur orchestra is a great privilege for aspiring young soloists. It's a great atmosphere, with a great audience, a lively and supportive young conductor, and fellow musicians who share the same goals as you do. There's a little article from the Nelson Mail here about the concert, the people, and the programme.

It's important for musicians to support each other like this, and remember that we do share the same goals and can help each other get there. It's easy to forget that life is not always about competing against one another - and for music especially, things so often are competitive. Orchestral auditions, getting into schools, and competitions themselves present situations where we have to pit ourselves against one another and try to be better than all of our colleagues to make a name for ourselves.

But sometimes the most inspiring situations are when musicians are united in one goal, and achieve it together. When it's not about winning or losing.

On Sunday afternoon I also got to attend a Wellington Chamber Orchestra concert (Delius, Bottesini, and Beethoven), which had the same atmosphere of amateur determination and genuine love of music, conducted by another young, aspiring conductor whose professional career is just beginning.

Professional musicians out there, do try to go see what the amateurs are up to and be reminded that although it is your profession, music isn't just a job. Don't stop going to concerts once you've made it into a professional career and don't stop being inspired to strive to do more, and better. For us, it's one of the things that makes life worth living.

Tips for Audition Day

I recently had an orchestral audition on viola. So, I thought I'd share some of my audition-day tips with you!

1. Dress at least somewhat professionally
Yes, auditions are usually screened and they'll probably let you know whether there's any possibility of taking screens down for final rounds. But nevertheless there are a few people who will see you regardless of screening, like the managers or coordinators of the orchestra (whoever has a part in organizing the auditions) and you want to make a good impression on them as well - you don't want to get into the orchestra and then have the administration people make fun of you for showing up in sweatpants or worn-out tshirt.  

2. Be healthy in body and mind
Don't do anything stressful beforehand if you can avoid it, stay hydrated, eat healthy foods during the day (and days before if possible), and get plenty of sleep. Musicians are athletes too, so keep that in mind - our bodies need just as much maintenance as those of professional basketball players or runners.

If it helps, take along some peppermints or essential oils if those clear your mind. Everyone has their own little calming rituals, and this is definitely a time when you want to be calm. Make sure you've got everything you need before you get to the audition venue as well - you don't want to discover after you arrive that you are missing a page of music, or don't have a mute or rosin or your beta-blockers (if you take them). This brings on the next point...

3. Arrive early! (Or at the very least don't let there be any possibility of being late)
This is going along with being calm and relaxed - make sure you've got enough time to get to the audition venue comfortably, and try to get there at least half an hour early so you can warm up and relax a bit before the audition. (And if you've forgotten something, you still have time to go get it now). Some people do find that if they arrive too early they'll over-practice and stress out, so know your own tendencies and plan accordingly - just don't let there be any chance that you'll have to rush there and not be ready to play when you have to!

4. Don't play faster than you can play.
If anything, take a few notches off your top speed, think "slow" to combat the audition adrenaline rush. You are going for rhythm and clarity, both of which will suffer if you are going at breakneck speed. You've presumably practiced with a metronome beforehand, so you know exactly what your comfortable speeds and capabilities are.

5. If you make a mistake, don't give up!
If you play a note out of tune or stumble over a rhythm, don't automatically think you are written off. Just make sure to prove you can play in tune or do the rhythms correctly in the rest of the excerpt, or following excerpts. Everyone makes mistakes, but your recovery from a mistake can show the judging panel that you don't consistently make mistakes.
The other thing to remember about this is that things often don't sound as bad as you think, or don't come across as bad as you felt it did in context. It's not over until they've told you to leave, so don't stop trying.

6. Try not to encourage nervousness
It's difficult especially with auditions for actual jobs, not to be nervous. I ended up being more nervous than I had expected to be for my audition, even though I'm not in a situation where my livelihood may depend on this job as others sometimes are. The thing is, though, that auditions will come again. There will always be another orchestra and another audition somewhere, so even if you do mess this one up or don't get the position, you haven't totally blown it. Just keep practicing and try again!

Orchestral diagram 

NZSQ: Bravo Britten!

After writing a not-so-positive review of The Flying Dutchman, it's nice to get back to recommending and having a bit of a rave about an entirely pleasurable event. Last Friday and Saturday I did some front of house/ushering work and got to attend two New Zealand String Quartet (NZSQ) concerts, from their "Bravo Britten!" tour of NZ.

I am also fortunate to have two of the quartet as teachers (the second violinist and violist, you can read more about them and the other members at their website).

These concerts were a tribute to the centenary of composer Benjamin Britten's birth in 1913. The first concert was made up of a piece by Stravinsky (Concertino), some short pieces by Frank Bridge, Britten's Quartet No. 1, and a Mozart quartet (K. 589 in B-flat major). The second concert featured two fantasias by Purcell, Schubert's Quartettsatz, Britten's 3rd quartet and the Ravel quartet. I really enjoyed the programming in that both of them had a great variety of works, in addition to both ending with famous and familiar works (Mozart and Ravel). All of these composers inspired Britten in his composition career at some point, and the quartet did a little introduction to each piece to tell the audience how or when Britten encountered the work, and the impact it had on him. These tidbits of inside information were great to have as well, and really engaging for the audience to hear the quartet speak about their programme.

My personal favorite piece from the two programmes turned out to be one that I'd never heard before, the Britten Quartet No. 1. Described as being from the period of Britten's composition when he was "old enough to have great skills, but young enough to want to show them off", this piece really resonated with me. (Perhaps it was the "showing off" aspect!). Beginning with dissonance in the high strings, Britten's first quartet captivates from the first notes, whether one likes it or not. The contrasting rhythms and ideas provide interest and stimulation throughout the work. 

Another favorite moment was the beginning of the second movement, with the outbursts of energy from each musician in turn, with a background of staccato chords, which although they have momentum, are relatively calm compared to the outbursts. The first entry is taken by the violist, and Gillian Ansell of the NZSQ did this so effectively that as a first-time listener of this quartet I had absolutely no warning of what was to come, and after the entry, she played on with the staccato notes so calmly and good-naturedly, as if nothing out of the ordinary had happened, creating a slightly amusing and extremely enrapturing effect. After that first entry I couldn't wait to hear what would happen next in the rest of the work.

Also in this quartet is an unusual instance of the two violins and the viola all being in unison against the cello, and later the cello gets a turn at playing the unison tune while the others do something different. The quartet executed this splendidly and the virtually flawless intonation of the (quite long) unison passage was very impressive!

The NZSQ is a real asset to New Zealand. In addition to performing in NZ and overseas, they take the time to teach and run a summer chamber music course for young people. They each have their own individual strengths that, when combined, make them a unique and dynamic group. And, they are at a standard that undoubtedly rivals that of the international ensembles we see come through Wellington. Finally, having met and had lessons from them I know firsthand that they are all very encouraging and dedicated individuals who genuinely care about the wellbeing of their students. Long live the NZSQ!

From the Theatre: The Flying Dutchman, Wagner

On Thursday night I attended the dress rehearsal for an upcoming opera, Wagner's The Flying Dutchman. Opening night was on Saturday.  

Promotional image used by NZ Opera for The Flying Dutchman

I've only been to one other professional opera in my life, and that was Madame Butterfly. These works were quite different in many ways! And I have to say, I'm glad that I got to see the Puccini (Madame Butterfly) first, as The Flying Dutchman had a few qualities that would not make it a good show for first-time opera-goers. I don't like to write less than commendatory reviews, but to stay true to my honest opinion it must be done, in this case. And it's not that I regret going, I still enjoyed seeing the performance and having the experience.

Firstly, while the plot lines of operas are notoriously slow, The Flying Dutchman was still unexpectedly slow-moving, and didn't really have much of a story at all. The plot is, as one may have guessed, the story of the Flying Dutchman, who has been condemned to an eternity at sea. He can only be saved if he finds a wife who will stay faithful until death, but he is only allowed ashore to seek a wife once every seven years. 

The opera begins at sea, with a vessel full of sailors headed home. The Dutchman comes across this ship and speaks with the captain, offering all his riches for shelter for one night, and the captain's daughter's hand in marriage. The captain accepts, and they head ashore. 

This concludes the first act. No female roles have been introduced yet - the second act begins with the women's choir and the female lead, Senta, working away making clothes (and nude male dummies to put the clothes on...). Senta is the captain's daughter, and as it happens she is infatuated with the story of the Flying Dutchman, and has a picture of him on the wall. She sings the ballad of the Flying Dutchman, which is perhaps the high point of this opera. 

Just so that things aren't too straightforward, Senta does already have a "lover" of sorts. There is a hunter who believes that he and Senta are to be married, and who has taken care of Senta while her father has been away at sea. Naturally he is very upset by Senta's infatuation with the Flying Dutchman, and has dreamt that Senta will marry the Dutchman when her father returns. However, the audience isn't really given much opportunity to feel sympathy for this hunter, and indeed we don't really feel much sympathy for the Dutchman either. This lack of connection to the characters didn't help the show's overall effectiveness, and unlike Madame Butterfly, I didn't leave this opera feeling as if I had witnessed something powerful, even though Senta and the Dutchman both kill themselves at the end. 

There are several choral numbers, and a large male and female choir. They sing separately (as in, male numbers and female numbers) and together. The abundance of songs featuring the choir seemed to make this opera lean undesirably towards the "musical theatre" genre, and the modern dress and mannerisms of the choir in the third act especially did not help this at all. 

The theatrical effects were very cool, complete with "visions" of a (nude) female lover and a sailor spitting up blood. Especially effective were the Dutchman's sailors with their long hair, who stood up after many motionless minutes (silent through a large choral number) to reveal black, skull-like faces. The curtain that made up the back wall of the stage moved forwards to signify the waves of the ocean, and this backdrop softly fell at the end of the show to indicate the death by sea of the lead roles. Amusingly, the front curtain at the beginning of the show had the word "Overture" projected onto it as the orchestra was playing, which seemed a little unnecessary and even a little bit degrading.

The set was also very well constructed for the audience's benefit. The "ship" at the beginning was a minimalist-style box, with a ladder that went through the box's roof as the watchtower. This housed all the sailors (male choir) and captain. Impressively, the leads occasionally sang from the top of the ladder, on what must have felt like unstable grounding! Additionally, the stage was on a slope, so that the whole of the choir could be seen (which was probably not great for the singers' comfort either). 

As for the actual music, well, there was nothing exceptionally moving and nothing exceptionally memorable. The orchestra is full of stormy strings doing chromatic runs, as Wagner often is, and calls from the horns, (some of whom were offstage), nothing too revolutionary. The songs were okay, nothing too impressive there either, even in the soprano's role. The "Ballad of the Dutchman", one of the soprano's songs, was one that I remember being good, but other than that, not much of the music stayed with me. 

Overall, although the singers were fantastic and the production's set was very well constructed, this opera failed to live up to the high expectations that NZ Opera had set up for me with Madame Butterfly. The odd juxtaposition of the very modern with the non-modern didn't work for me and cheapened the experience, and for a Wagner opera, this was not the best choice to put on, especially here in New Zealand where we don't have the luxury of having the choice of multiple operas to go see and might appreciate the chance to see a lesser-known work (as may be the case in New York or bigger cultural centers).

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What I'm Playing...Solo with the Nelson Symphony

On the 28th of September, so a bit less than a month from today, I will be performing the 1st movement of the Walton Viola Concerto with the Nelson Symphony.

The Nelson Symphony puts on a "Solo Spotlight" concert every year, showcasing young soloists from around New Zealand who send in audition tapes and are selected to perform with the orchestra. Usually there are around six to eight soloists, on a variety of instruments. I have previously played with them three times in these concerts, (mainly due to living in Nelson and playing as a member of the orchestra). I performed all but the first movement of the Telemann concerto for two violas in 2009, and then the following year I did the third movement of the Tchaikovsky Violin Concerto, and after that, the second movement of the Mozart Sinfonia Concertante, on violin. Now, two years after the Mozart, I'm going back to make what feels like my "real" viola debut, playing Walton. I'm really thankful that the Nelson Symphony gives young musicians this opportunity, it can really show us whether a solo career is something we want to strive for or not. And as an added plus, Nelson is a beautiful little place.

Smudged and scribbled-on copy - clearly much loved!

Those concerts with the Nelson Symphony, or any amateur orchestra really in my experience, always end up being so absolutely magical in that the performers and the audience so enjoy the music. All the players are trying their best to produce greatness together, even outside of their daytime professions, and they always succeed admirably.

It's a great thing to be a part of and a very special feeling to have after a concert, going outside into the darkness, walking along the streetlamp-lit pavement to drive home and tumble into bed, with souls satisfied by the uplifting experience and inspiring young artists. It's what music is truly all about.

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Audition Preparation: How to Practice Orchestral Excerpts

As I've written about earlier, I am currently preparing a selection of viola audition excerpts for an audition and a scholarship. For anyone who plays an orchestral instrument, learning excerpts is an unavoidable part of getting an orchestral job, so it's important to learn how to effectively prepare and practice them. Once you get the hang of it, doing excerpts can be rewarding and even fun to play! Here are some of the tips and rules I go by when working on orchestral excerpts:

1. Start slowly!
Learn the notes and rhythms and dynamics correctly the first time by playing so slowly you can't get them wrong or miss any detail in the music. It doesn't matter if that's at quarter note (or crotchet) = 40 on the metronome. This is so important, because every time you play something wrong, even when just learning something, you are building in the wrong habits.

Learn so that you are able to sing the notes as well, so that your knowledge of the music is rock-solid. This is especially important for excerpts with a lot of accidentals or unexpected notes, because playing any note wrong in an audition (even if the passage is really complicated) is simply unacceptable.

2. The metronome is your best friend...
And worst enemy (when it starts to drive you crazy). No one can argue with the metronome. There have been times that I've practiced an excerpt, and then put a metronome on to discover that I am rushing a section of it. Do not let these issues go undiagnosed - use the metronome to find out where you tend to rush or drag, and then use the metronome some more to treat these issues! You can use it for subdivisions too, putting it on twice or four times the actual speed so that the metronome beats smaller divisions of the beat you are playing for extreme precision.

3. Look on Youtube, watch videos
Watch other people playing the excerpts you're doing, if they're standard ones there will probably be videos of people playing them on Youtube. There are even some videos on how to practice standard excerpts like Don Juan and Mozart 35, with specific practice techniques for the commonly difficult parts.


4. Listen to recordings of the piece (with full orchestra)
You've got to know the context of your excerpt as well as be able to play it so that for example, if there's a flute solo above what you're playing, you're not ignorantly blasting out your less interesting line. The audition panel has heard and probably performed the work multiple times, they will know how your part should be played and which nuances you should use. Not to mention the correct tempo. You've got to know that too. Listen to multiple recordings to choose a version that seems consistent.

Some people like to play along with recordings too. Personally I don't (lest I start to develop any undesirable characteristics of the recording), but I prefer to visualize what it would be like to play the excerpt in its orchestral context while I'm listening.

5. Use short bursts of practice
Excerpts are short, usually a few lines to a page in my experience. You can most effectively work on these snippets of music by going through them and working on any problems, putting the instrument down for awhile to let your brain absorb the information, and then going back to it after a little break and some mental visualization. This is more productive than hammering away at five lines of music for two hours hoping it'll just magically improve with repetition.

Repetition is better when you have learned something well and are aiming to improve your consistency.

6. Engage your brain with different practice techniques
So you've learned the excerpts pretty well? Good. Now, practice them with rhythms, difficult bowings, at different speeds, anything to engage and challenge your brain. String crossing passage? Play it on all open strings for bow work. Left-hand passage? Do it without the bow, making sure your hand is relaxed. These techniques will ensure that you know the excerpt inside out, and can recover quickly if a minor mishap (like doing a wrong fingering or bowing) happens on audition day. Practice runs from the end, (or top if it goes up) working backwards, like Roger Benedict says to in his Youtube tutorial on Don Juan, so that you always get the final arrival (or top) note even if you happen to miss one at the beginning.

7. Play for people, and record yourself
Finally, play for people. Play for other musicians to get musical feedback, and play for non-musicians to get practice playing your excerpts in a higher-pressure situation than you would get practicing by yourself. You can even imitate the audition situation and play to them behind a curtain or screen if you wish.

Record yourself as well, you are your harshest critic and you are the one with the power to change how you sound. Do this multiple times to keep track of your own progress - it could happen that an excerpt you were once happy with has since deteriorated or become interpretatively too free or rushed or other flaw you've stopped noticing because you think it's still all good. Regularly checking up on yourself will prevent this. Even if you've reached a point where there's nothing to change in your recordings it's reassuring to know that you are staying ultra-consistent.

Also, if you have the chance, talk to teachers and members of orchestras who already know how to get into an orchestra and may be able to tell you what you need to focus on so that you get in too. Maybe they have advice for how to approach the audition day as well.



Are there any other techniques musicians out there use for working on orchestral excerpts?

Happy practicing, and good luck!

Go to Concerts, Good and Bad

My first music teacher once told me to see all the concerts I possibly could, (chamber, orchestral, solo, etc!) because that's one of the best ways to learn, and also how you learn some of the things that can't be taught.* That advice has only become more and more true as I become more advanced in my own learning.

One can of course learn from good concerts, in a monkey-see-monkey-do kind of way. This is valuable in that you can see someone who is successful in action, someone who has mastered your trade, and someone who knows what to do from experience and is showing you what you'll be doing if you get to that level. Hopefully by watching the great players, you can absorb some of what they've got, and be inspired to keep striving for your goals.

And for the masters of older generations, there are recordings and Youtube videos, though they're never the same as seeing something live! Check out viola virtuoso William Primrose (pictured) and his amazingly relaxed left hand (in Paganini, no less!) here.

However, one can also learn from the "bad" concerts, or concerts where you didn't enjoy the way someone was presenting something. Doesn't matter if it was a bad setup, bad venue, bad program or even a downright bad performance, you need to be looking at these with the idea of learning from them. You can see what is effective and what is not effective by watching the mistakes of others, and learn from everything around you. And even more importantly, you may even find out new things about yourself and your personal tastes if you see something you like that you hadn't thought to try, or see something you didn't like that maybe you still do yourself because you didn't realize how it sounded or came across. Specifically defining what you want to produce is the first step to actually producing those results.

This is the way to attend concerts and events with a positive attitude and no regrets. Rather than complaining about how lacking a performance was or wishing you hadn't wasted the time and money, use the experience, good or bad, as valuable information about what you do and don't like and how you are going to present yourself when you perform for others in the future. As an added bonus, the people around you will appreciate your more positive attitude too!



*Arguably, nothing can be taught, as teachers serve as guides for a student's own learning. More on this later!

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Sunday Jazz

A couple of days ago, the Ken Avery Combo Competition took place at the Chicago Sports Bar in Wellington, NZ. Five jazz bands from the jazz department of the New Zealand School of Music played two pieces each, from the jazz standards repertoire for a total prize pool of $2,000. The competition was set up in memory of Wellington "jazz legend" Ken Avery, who died in 1983, and it was judged by three "prominent jazz practitioners."

Pictures of American presidents

The Chicago Sports Bar provided a great atmosphere for the event. It has an American theme, with signs of American sports teams and presidents hanging from the walls, and it had good lighting for the performance, (probably partly due to the fact that it was an afternoon event).







The food also seemed pretty good - my conducting fellow (boyfriend, who is going to be a conductor) and I had planned to have dinner elsewhere in the evening so we just had an order of chips, plus some of the nibbles the Wellington Jazz Club had ordered for the event. Best bowl of fries I've had in a long time! Perfect thick-cut shape, and the potatoes had a fantastic texture.




As for the music - well, I don't listen to a lot of jazz (which is what attracted me to this event) but it was really excellent. The groups all had different styles and energy levels, but there was so much of both - that is, style and energy - it was really refreshing. The players were all able to show their own personality through their solos, and some did so with their outfits as well, with shiny silver suits, colorful neckties, or bandannas and other accessories. There were groups that did more slow, deep, and thoughtful numbers, and groups that kept the stage electric with energy and interaction between the players. Every group had a drummer and a double bassist, but the combos varied in the other instruments, some adding saxophones, guitar, piano, and/or trombone to the mix. There was even a group with a male vocalist, who did the popular song 'LOVE' by Nat King Cole.  (You know, the one that goes "L, is for the way you look at me").

Personal Branding

A couple of weeks ago, we had a guest workshop at the New Zealand School of Music on personal branding. As musicians, when we're done studying we're going to have to figure out how to get work, be it gigs, teaching, or getting people to come to our recitals and performances. This not only applies to classical musicians, singers, jazz and rock bands, but also to people outside the music field who work under more independent conditions like writers, actors, and business owners.

The idea is that everyone has their own unique perspective on what they do, so no two people, even though they have a lot in common and may do the same thing, (like playing the viola) have the same things to offer. What you've got to do to have an edge over competition is play to your strengths as well as highlight what is different and special about you - what sets you apart from the crowd. As Personal Branz (the company who came and held the workshop) says on their Facebook page, it "moves you from being insecure to indispensable" when you have found your niche, and are offering to fulfill a need the way that only you can do best.

Handouts from the lecture

We first explored what our strengths were by finding three words that define ourselves. Then we expanded on that by defining what we do and what we aspire to do. The way to get people's attention right from the start is to tell people about the results of what you do. Their example was that if someone asks an author of children's books, "What do you do?" and the author responded with, "I stimulate the minds of children to help them learn and enjoy reading" it is much more interesting and specific than saying "I'm a writer." It will also lead to further questions, like "how do you stimulate the minds of children?" which then leads you to further explanation, and potential business connections.

So, instead of saying "I'm a musician" or "I'm in a band", we should say things like "I'm part of a virtuosic violists movement, encouraging the performance of beautiful and difficult music and showing people it's possible to go beyond expectations and do difficult things" or "we expose New Zealand roots music to the wider public, as it's a great and valuable genre that needs more recognition".

Seems a little strange and even a bit over the top when you're trying to say things like that straight away in a real conversation, but you can see how it would get real results, as opposed to giving generic answers people have heard time and time again and aren't really interested in.
Definitely something to think about!

The lecture from Personal Branz was actually partly the inspiration for me to start this blog, as a space for me to use my writing strengths together with my passion for music and communicate my own personal brand. You can check them out on Facebook here: https://www.facebook.com/PersonalBranz 

What I'm Playing...Orchestral Excerpts

Right now, I'm in the daunting situation of having to prepare three quite challenging excerpts for this Tuesday, on violin: Don Juan, the infamous Schumann Scherzo, and Berlioz Symphonie Fantastique, beginning of the 1st movement. I definitely did not leave myself enough time to prepare these adequately, and it's a bit frustrating to have to do these on violin knowing I probably won't use them again. Luckily it's only for a university assessment though, not a real audition for a position or scholarship, and the assessment may not even count towards the final grade for the orchestra course. On the plus side, the second opera season I was playing in this year finished last night, so I'll have some more time to practice!

I've encountered many more orchestral excerpts on viola. Here's my viola list:

Beethoven Symphony No. 5, 2nd Movement
Berlioz Carnival Romain Overture
Brahms Variations on a Theme by Haydn, Variation 1
Britten Four Sea Changes, 4th Movement
Mendelssohn Midsummer Night's Dream, Scherzo
Mozart Symphony No. 35, Movements 1 and 4
Shostakovich 5, 1st Movement
Strauss Don Juan
Strauss Ein Heldenleben
Tchaikovsky Serenade, 1st Movement and Waltz (2nd movement)
Tchaikovsky Symphony No. 5, 3rd Movement

I'd say the most daunting of the above for me to learn was the Strauss Ein Heldenleben, due to high shifting, tone quality, and speed. What a great piece, though!

Also, learning Don Juan on violin has made me realize how much more difficult it is to play the excerpt on viola, in terms of tone quality at that speed. It's a lot more work making something that fast sound as good on viola...so at least that part of it will be easier this Tuesday on violin! (Getting the notes in the chromatic-y section after figure C though, not so much...)

The ones I'm currently preparing are the Berlioz, Brahms, Mozart, Shostakovich, Strauss Don Juan, Tchaikovsky Symphony and Serenade - a total of eight different excerpts to be used for two different auditions - there are a lot of doubles. It's smart for viola players (and violinists too) to have the core standard orchestral excerpts always in rotation in their practice, because you never know when opportunities will come up and chances are, you're always going to have to play Don Juan!

See the hilarious misspelling of "Don Juan"...

Right, practice time!

What I'm Playing...University Recitals

For the final recitals at the New Zealand School of Music, a 3rd year student (finishing a Bachelor's degree) needs 45-55 minutes of repertoire. I am also doing 2nd-study viola, at first-year level, so I need 15-20 minutes of repertoire for that. This is the repertoire I'm doing for my final recitals:

Violin

Beethoven Sonata No. 4 in A minor, for piano and violin
Sibelius Violin Concerto - 1st and 2nd movements
Epitaphium - John Rimmer (New Zealand composer. This unaccompanied piece was written in memorial of the death of Alex Lindsay, a former concertmaster of the NZSO who died suddenly in 1974. Epitaphium is a latin word meaning "funeral oration." This piece has interesting staging, using five music stands arranged in the shape of a cross).

Viola

Bach Viola da Gamba Sonata No. 3 - 1st movement
Vieuxtemps Sonata in B-flat Major - 1st movement

Although I've got a lot more repertoire to learn, these programmes are otherwise seemingly less ambitious than previous programmes I've done, which have included more technically virtuosic works by Bach, Prokofiev, Wieniawski and Saint-Saens. My aim is to achieve a more musical and flawless execution of these works, to conclude and exit my degree with style rather than fireworks...and ideally making my last serious violin performance a good one.

In addition to performing we also write programmes (and programme notes) and do a viva voce (or kind of conversation about our programme), which make up part of our final grade.

(I do wish I had a piano at home to practice the accompaniment parts on so as to fully know the works, as I've got a lot of collaboration work in the sonatas, and not as much rehearsal time as I'd like, but oh well.)

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Overcoming Disappointment and Setbacks

Out of all the various occupations in life, those in the field of fine arts (musicians, artists, actors) have to deal with disappointment and setbacks a LOT.

For musicians, this includes not getting into orchestras, (or not even getting an audition in some cases, as recently happened to me!) not winning competitions, not not getting gigs, not having a successful chamber music group, and not getting into a good school or getting scholarships. The best-quality instruments cost a lot of money too, and require constant maintenance. Without a good job, not all musicians can afford a good instrument. 

Injuries can become major setbacks for us too. RSI (repetitive stress injury) affects so many musicians, preventing them from practice and improvement. And the road to recovery is often a long one.

And even when we've reached a very high level and gotten our first degrees, it is difficult to find employment. Musicians often go for audition after audition, or keep entering competitions without success. The competition is fierce. Every musician out there wants to live their dream of performing for their living, and to get a job you've got to show that you've got something no one else has. Often you've only got minutes - or even seconds - to prove this...make a mistake at the beginning of an orchestral audition and you may well have blown it, because there'll be quite a few others who didn't make that mistake. Doesn't matter that you CAN play it perfectly, if it doesn't go well on the day, in those few seconds. Pressure? Definitely. 

We all (even non-musicians) have to learn to deal with failure. We cannot let our disappointments define us and obsessively question everything that happens: chances are, you won't find out the real reason why you didn't get an audition or position, and many factors could have taken part in the final decision. Don't let it get to you, and don't let those setbacks make you question everything about what you do and how you do it. Just try to learn (from your personal experience of the situation, if you can't get feedback) for next time, so you can feel more confident when you try again.

Finally, remember that we do what we do because it's such an integral part of our lives, a passion that we can't bear to give up. Doing something else is not an option for us, even if we have the ability. 

If we forget this, or if at some point it stops being true, then it's impossible to continue. But if we remind ourselves of why we are musicians and stay true to our dreams, hopefully that will give us the drive to keep working at it and trying our hardest and eventually reach success. Never give up - there will always be another chance, another audition, another competition, and all we can do is can make sure we're better prepared for the next one.

We can all adopt a better mindset towards failure if we heed the following advice from the American industrialist Henry Ford: 

"Failure is only the opportunity to begin again, only this time more wisely." 

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From the Concert Hall...Magnificent Mozart

I recently attended an NZSO concert of Mozart, conducted by Andrew Grams.
The programme was the Overture from The Abduction of Seraglio, followed by the Sinfonia Concertante and then after interval, Symphony No. 40 in G minor.

It was really pleasing to see a full turnout for this popular programme.

The Sinfonia Concertante is a work I've played myself, on violin, with a fellow violist. We even had the opportunity to play the second movement solo with an orchestra, so I've had firsthand experience with the piece. It was amazing to get to see it played live! To me, the third movement especially is the epitome of Mozart and the character of his music at its finest: lively, whimsical, even a bit ironic. (Feel free to disagree - I may be biased by a particular affinity for final concerto movements). The combination of violin and viola gives Mozart two characters to use, and (as music teachers say) the operatic style of the writing is very apparent.

The soloists (Vesa-Matti Leppänen and Julia Joyce, usually the concertmaster and principal violist of the orchestra) played beautifully, almost too much so in that they made me think about how music is about more than just sounding beautiful. The characters of music sometimes demand that you sound harsh, strained, and angry, as well as silly, playful, or cute. And these sounds sometimes require a less beautiful and graceful style, but they are evocative and moving nonetheless. Especially in the third movement of the work, it seemed that the beauty and grace of the (very talented and accomplished) players overshadowed the playful, chirpy, and fun aspect of the music.

It was amusing to hear the audience gasp in delight at the very recognizable opening of Symphony No. 40. This work from late in Mozart's composing career is filled with contrasts and complexities, and it's so easy to spot the inspiration for Beethoven's style here. Moments of sunshine transform into anguish and passion through split-second transitions and there are frequent unexpected turns in the melodies. Watching the first couple of movements it occurred to me how difficult it is to play Mozart, both solo and orchestrally, and what a fine performance it was. The first movement is very rich in counterpoint and the orchestra held it together admirably. Again I found the fourth (and final) movement the most impressive both in playing and conducting. Andrew Grams' style was absolutely sublime in this last movement, reminiscent of Carlos Kleiber (my personal favorite conductor) at times, not showing the orchestra too much when they didn't need it, but drawing attention to interesting features that the audience needed help hearing, like scale runs in the 2nd violins and winds.

All in all, one of the most satisfying orchestral concerts I've attended in a long time.

My Inspiration

Niccolò Paganini, 18th-century Italian violinist, violist, 

guitarist, and composer. My idol and inspiration.

Music and Me

I've recently started a personal blog, and decided it'd be a good idea to create a separate one for my profession and main passion in life. This is a musically-oriented blog for those music-lovers, musicians, and people interested in learning music.

The name of my site, "The Paganini Violist", describes my main musical goal of being known for successfully playing difficult repertoire on the viola. Undertaking challenges is what I like to do, and succeeding in overcoming obstacles is so rewarding. So many violists seem to shy away from playing Paganini, and difficult repertoire in general, and I want to change this mindset through my playing and my results.

About me, and music:
I am a classical musician currently pursuing a Bachelor of Music degree at the New Zealand School of Music (Victoria University), in Wellington. I am majoring in the violin, taking the viola as a second instrument. Once I finish studying I will focus more on the viola - because I'm in my final year, I'm unable to switch while doing this degree. But I have come to realize that the viola is the instrument that strikes the right chords (musical pun intended) for me. I wrote about this decision on my other blog, here. It's quite a common thing for viola players to be "reformed violinists." Not saying that violinists are criminals - but for me it's definitely involved a change that's relevant to my character as well as the instrument itself. For me at this later stage of learning (in university), switching to viola was like what I'd imagine "coming out of the closet" would be like...being a "violinist" was quite ingrained in my personality and in the perceptions my friends and colleagues had of me, so my switch was at first very confusing for me, and surprising to them!

I also play the piano, have dabbled in percussion and bagpipes (just the chanter though!) and have just started to learn the trumpet. I've taken a course in conducting as well, and hope to do more of that in the future too.

While I'm studying, I earn my living by teaching violin and piano with two different music schools as well as privately, and really enjoy guiding people in their musical learning. And when I can, I play gigs with string duos, trios or quartets, play in operas or ballets, and do orchestral work.

Music is great for making people think, and can stimulate new ideas and new creativity. Music can move people to tears or anger, but also spark great energy as well, making people want to sing, dance, clap their hands, and jump for joy.

I aim to expand my own horizons in music, and therefore hope that eventually this blog will be relevant to non-classical musicians as well as classical musicians. (I've already had one successful public experience with improvising on the violin, not to mention a couple of other unsuccessful experiences!) All genres of music have value, and it's important that the genres can peacefully coexist - that way everyone has something that they like to listen to, and people can produce whatever takes their fancy!

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