BY STEPHANIE ESLAKE
Should you stay in Australia to build your music career, or travel overseas in search of bigger things? What even are those bigger things?
This new interview series aims to educate you about the best of both worlds. And we’ll give you a hint: there’s no right answer.
Throughout 2019, we’re teaming up with the Australian Youth Orchestra to bring you stories about those who have started to forge their industry path in Australia. But some have remained in the country, while others have stationed themselves across the world.
No matter where you choose to live and work, there is plenty for you to learn. In this interview, we meet Caleb Wong, who spent his childhood in rural New South Wales before going on to receive his AMusA and LMusA in cello (not to mention an AMusA in piano, too) by 15 years old!
Caleb has studied at the Australian National Academy of Music, and his brightest achievements include scoring an AYO Accenture Scholarship and AYO Ernest Llewellyn Memorial Scholarship, being named the Canberra International Music Festival’s Young Artist Festival Fellow, and winning the ANAM Concerto Competition. He’s also toured to Europe and Asia with AYO.
Caleb, tell us how you joined AYO.
I first heard about the Australian Youth Orchestra from one of my sister’s music teachers. It piqued my curiosity, as at that time I had next to no orchestral experience.
A few of my family members auditioned together with me the first year, but I failed to get into any of the programs. It was my first audition ever and first time playing orchestral excerpts and, as fellow musicians will relate, auditions can be a completely different animal to other types of performances.
I learnt from my mistakes, prepared smarter, and auditioned again the following year, where I experienced a life-changing first National Music Camp in 2015.
So how have you found the experience of working to build your career in Australia?
It has been a wonderful and rewarding journey for me studying music in Australia. I have had immense support from the very start from friends, family and colleagues.
At the Australian National Academy of Music, it has been a privilege connecting with the enthusiastic audience they have built, and I have gotten to know many wonderful people who are so supportive of my endeavours, even kindly coming along to my competition preparations to help me better prepare.
One of many great things about studying at ANAM is how they strive to give us experience in professional performance through side-by-side programs with the Australian Chamber Orchestra, Australian World Orchestra, and many festivals.
As this point in time, I haven’t decided the exact trajectory in which I want my career to go, but I have done my best to make the most of the opportunities I’ve been given so far and have enjoyed it immensely.
Talk us through your daily life: practice, work, study.
My days tend to vary a lot depending on what I have on, whether it be orchestral rehearsals, concerts, and/or lessons and classes. I’m a bit of a late practiser, and complete most of my practice during the afternoon.
When I get home, I probably attempt to cook something edible, then longboard down the road to either Maccas or the gym, depending on my mood.
How has studying, training, and working in Australia contributed to or helped shape your identity as a musician?
Growing up in a rural town in Australia has given me an appreciation for all the opportunities I have now, which I didn’t have in the past. As a kid, my parents regularly made a 10-hour commute to Sydney and back so we could have access to good music teachers, performance opportunities, and competitions. Sometimes, when our favourite artists came to Australia, we’d go on a family road trip to the Sydney Opera House. As I watched my music idols perform solo on stage accompanied by the Sydney Symphony Orchestra, I dreamed of doing the same one day.
Something I’ve taken away from my training at ANAM is the importance of being a complete musician. I’ve learnt how to know and engage with my audiences, look after my physical and mental health, and explore the different approaches, genres, and purposes for music. I’ve been lucky to be able to work with other musical art forms; the highlights being a collaboration with the Victorian Opera through AYO, and performing a choreographed cello concerto with The Australian Ballet. Getting experience in these different performance types has helped me develop a wider range of skills, and also an appreciation of the crafts of the artists we work with.
There’s a perception that Australian artists need to go overseas to ‘make it’. But what are some of the benefits you think Australia has to offer you as an emerging artist?
Young Australian musicians benefit a lot by having institutions like ANAM and AYO, which give opportunities to work with international teachers, performers, and conductors. The relatively small music scene means I’ve met so many of the talented musicians from the different universities. I have found everyone is very supportive of each other, attending and playing in each other’s performances; it’s a very tight-knit community.
We are also lucky to be living in the modern age, where we are more connected than ever, with so many resources at our fingertips like the International Music Score Library Project, Spotify, and YouTube where we can even have access to full masterclasses, lessons, and concerts.
How has your local community in regional NSW supported you as a young musician, and what are your biggest needs from this community?
I have been blessed with so much support towards my music journey from the very start. I have had extremely dedicated teachers, and enthusiastic audiences in the surrounding communities who have been cheering me on since I was performing Twinkle Twinkle Little Star.
I have also been supported by very generous arts councils, and individuals who would allow my family and I to give concerts in their halls for free, where we would gain valuable performance experience. Peter Crisp, who owns the Crisp Galleries, was generous enough to give me the chance to perform two recitals a year in his gallery for many years, which gave me an excellent goal to work towards and valuable practice in preparing a large amount of repertoire.
This kind of support from friends and family is the sole reason I have been able to even consider pursuing music to any extent at all. I have found that to be my experience with so many Australians in the music community, where they give from the heart and are truly cheering you on to succeed.
The the biggest need was definitely good music educators. When I started teaching my very first cello student in Cootamundra when I was 11, the cellist count in the town doubled in a day! But there are people doing great and important work in rural Australia, and I have been fortunate in tutoring at their Riverina Summer School for Strings for a couple years now.
You trained with the AYO to build your professional experiences as you enter the industry. What was the key message from your training that remains with you now – and that you’ll take with you anywhere in the world?
The biggest take aways from my AYO experiences will be the infectious enthusiasm and passion with which all the music is approached and the many friendships I’ve made.
As to one of the many things I’ve learnt, a key lesson has been how to pace myself during intense preparation for a concert. Some of the AYO programs I’ve attended have been the most intense, busy weeks of my life. I had to learn essential skills in balancing practice, rehearsals, social life, and sleep.
I was also introduced to so many incredible symphonies for the first time, and the joy and emotions I felt when playing them will stick with me forever.
What advice would you give to young people who are undertaking this sort of training, or who have recently completed it, and are looking to build their career in Australia?
Three things:
Make the most of every performance opportunity, and take as many performances as you can handle. Becoming more comfortable and creative on stage can only come with experience.
Secondly, it’s worth going to the extra effort of getting access to the best possible teacher.
And lastly, get your siblings into music as well. I swear it helps, somehow!
And finally…where are you off to next?
Right now, I’m still searching for what the best next step will be in terms of study. I’ve planned some trips to travel to Europe and meet a few teachers and play for them. But the next thing now will be the AYO tour to Europe and China, for which I am very excited!
Apply to take part in the Australian Youth Orchestra programs online.
READ NEXT: All the world’s a stage | Runa Murase, violin
We’re teaming up with the Australian Youth Orchestra to bring you real-world stories that explore the benefits of a music career in the country or across the globe. Stay tuned for our next interview in All the world’s a stage. In what country would you like to make music?
Images supplied.
