BY ZOE DOUGLAS-KINGHORN, LEAD WRITER
I suspect Andrew Groch may be a time lord.
He hasn’t run off to join the circus, but damn, is he mighty good at juggling. A magician who conjures up sound by waving a stick at an orchestra, Andrew is a conductor, music producer, and the artistic coordinator at the Adelaide Symphony Orchestra; all while he studies a Masters of Conducting at the Elder Conservatorium of Music.
I want to know how he fits it all into a seven-day week – surely he has a Harry Potter-style time turner?! But it turns out the answer is: take a day out of the week.
“At the moment, self-care takes the shape of a ‘Sunday ritual’, where I don’t do anything related to classical music; I take myself out to brunch, and read a book,” Andrew says.
“Other times, it’s more extreme and about allowing myself a day or two to completely check out and fall into a Netflix black-hole – 100 per cent guilt free, of course.”
I’m sure many artists can relate. Andrew also says that it’s important to keep long-term personal sustainability in mind.
“For all musicians, it’s a lifelong journey of learning and you need to work hard, and celebrate the small wins, as well as take time out for yourself.”
It’s Andrew’s “small wins” that have helped him develop this healthy work ethic. Beyond the ASO, he’s had professional engagements with some key players in the Australian music scene, including the Melbourne Conservatorium of Music IgniteLab, chamber project anon., and 3MBS’ The Talent.
Looking back further, when asked how he found himself practising the art of conducting, Andrew replies: “I honestly just fell into it.”
In high school, he started working with concert bands and, after a few masterclasses, the young music student realised he loved every second of it. Getting together and being in the thick of it is still what drives him today.
“There’s something very special about being on the podium to bring together a room of musicians for something bigger than any individual,” he reflects.
Andrew takes on the ambitious role of assistant conductor for a number of concerts in the ASO Master Series, spanning 27-29 June.
Despite the impression we may receive from outdated stereotypes, Andrew insists his role of orchestral conducting is not all about calling the shots. Instead, it’s about collaboration.
“The age of the dictatorial conductor is dead. This is especially true for young conductors,” he claims.
“So often, you’re rehearsing something for the first time with musicians decades older than you who have lost count of how many times they’ve performed it. It’s been said time and time again, but conducting is as much psychology as it is music making.”
“I feel that everything I do is driven by a desire to be a facilitator or enabler.”
I laugh when Andrew describes himself as an “enabler” – does he mean to music addicts?
“Every conducting book you’ll read discusses how a conductor is the only one on stage who doesn’t make a single sound, but brings together the musicians in a united whole.
“For me, the inspiration and joy comes from seeing the ‘coming together’ of something I conduct or produce, and the impact it has on the audience.”
So how does he compare the experience of conducting students versus professionals? Quite simply, it’s “worlds apart”, Andrew reckons.
“With students, it can feel a little didactic, often because they’re playing the work for the first time; things aren’t always together or in tune or balanced, and you have to do a lot more ‘taking care of business’.
“In comparison, conducting professionals feels like being handed the keys to a Lamborghini: suddenly, there’s a responsiveness and range of performance that you didn’t have before. It’s really exciting, but as a young conductor also challenging because you also have to step up your level of communication.
“If you don’t have anything to say about a piece of music, a professional orchestra can see right through you.”
A day in the life of an artistic coordinator involves a multitude of tasks in various departments: from discussing with marketing selling points for performances, to mapping out stage plans with operations, and communicating with artists and management about anything from performance fees to airport pick-ups. (And that’s not to mention wrangling a symphony schedule with study commitments.)
“Balancing my Masters can be tricky in intensive weeks, but on the whole I think I’m lucky that my job is essentially part of my study as well,” Andrew says.
“Not only am I developing a working knowledge of the industry, but I also get to engage with artists, be exposed to a colossal amount of music, and engage in critical discussion about music on an almost-daily basis.
“It can a bit exhausting being surrounded by music on every side, but I consider myself lucky.”
Andrew moved to Adelaide especially to study at the Elder Conservatorium, where he is able to conduct alongside such leading lights as Nicholas Carter, Mark Wigglesworth, and Benjamin Northey. Andrew says the opportunity to connect with his idols has been as valuable as conducting practice.
“Music making is so much about human connection, and learning is exactly the same. Podium time in front of an orchestra is a really rare and valuable thing, so there’s an absolute wealth to learn from people who are doing it nearly every single day!”
But the balancing act is the biggest challenge.
“At the moment, I’m sitting in a nice equilibrium between conducting and producing, but to get to this point – and down the track – there’s a lot of tough decisions to be made. Knowing when is the right time to prioritise one or the other, and make the best decision for both, is much easier in hindsight!”
I want to know two final things: what is Andrew’s dream piece to conduct, and what is he listening to now?
As for the latter, he’s listening to a Mahler cycle (a Decca recording of Riccardo Chailly with the Royal Concertgebouw Orchestra). But as for his dream piece, he “couldn’t have a single answer”.
“There’s an absolutely endless list of music that I adore and would be a dream to conduct. The exciting thing about being a young conductor is that there’s so much time to find so much music to love!”
Andrew Groch’s top tips for aspiring young conductors
- “Cultivate your musical capital as much as you can. All an orchestra wants is a conductor who clearly communicates a convincing musical vision. Study your scores, work on your technique, develop your aural skills, and build your knowledge of composers and conductors, so that when you stand in front of 75+ musicians, you have something worthwhile to say.”
- “Find any opportunity to conduct. No matter if it’s the Adelaide Symphony or your friends sight-reading, podium time is gold and you learn so much from it.”
See Andrew Groch as assistant conductor of the Adelaide Symphony Orchestra in Winter Fire. If you’re under 30, check out the ReMastered after party.
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