Welcome to Con Fuoco – CutCommon’s new interview series with emerging musicians across Australia.
Born in Melbourne, Milo Dodd began playing trombone at eight years of age, fascinated by the golden colour of the instrument and its beautiful sound. After many years of practice, Milo’s first solo outing came in 2010 when he performed Lars-Erik Larsson’s Concertino for Trombone at the Melbourne Recital Centre’s Season of Excellence concert series. He began his tertiary music studies that same year at the Melbourne Conservatorium of Music with Michael Bertoncello. Two years later, he moved to Sydney to continue his studies at the Sydney Conservatorium with Scott Kinmont.
Milo has performed in a wide range of styles from big band to opera; Renaissance to contemporary music; rock and roll to classical symphonies. Milo has appeared in concert with the Sydney Symphony Orchestra, Canberra Symphony Orchestra, Sydney Chamber Opera and the Australian Youth Orchestra. He also has a keen interest in environmental and social justice issues and enjoys volunteering time where he can with Amnesty International and other organisations.
Your all time favourite piece of music?
Not an easy question! I think it really depends on what I’m listening to at the time. If I’m listening to Brahms’ fourth symphony, then that’s my favourite. If I’m listening to the ‘Rite of Spring’, Brahms can take a hike. That said, there are some pieces, or even moments from larger works that I know I couldn’t live without. Like Benjamin Britten’s ‘Sea Interludes’, the madrigals of Monteverdi, or the opening to Schoenberg’s ‘Gurrelieder’. I guess having favourites is not the point; the more music you love, all the better for you!
Most memorable concert experience?
Performing Bruckner’s fifth symphony with the Musician Project in Sydney last year. For many reasons (one of which was that I hated the piece at first), I thought it was blocky, clichéd, and overall felt very contrived. Upon rehearsing and performing the work with an incredible team of musicians all committed to the idea of playing great music for the its own sake, I was very quickly converted to loving the piece and the resulting performance was exhilarating.
Biggest fear when performing?
Usually the idea of letting my colleagues down or not conveying the music well. Though in my experience, fear is not a very productive motivator so I try to think more about goals for the performance rather than avoiding pitfalls when I can. Though, easier said than done!
Best piece of musical advice you’ve been given?
‘Be inside the music’. I actually heard this quite recently from Steve Williams, the music education and conducting powerhouse at the NSW Arts Unit. I think this is a really powerful idea for music performance in any situation – to let oneself be consumed by all aspects of the music being performed. Internalising the pulse, the tonality, the character and direction of the music gives the performer the best chance of playing well within the ensemble and the musical context. I think it also contributes to a more rewarding and enjoyable experience for the performers and the audience.
How do you psych yourself up for practice on a lazy day?
Interestingly, I often feel I have to calm myself down for effective practice. The days when I fly straight into the practice room full of enthusiasm but without a plan are often the least productive days. So the battle for me is for concentration rather than motivation.
Most embarrassing moment on stage?
I’ve had too many to think of one! Though what I’ve found have stayed with me over time are the moments you don’t realise are embarrassing until later. Everyone makes mistakes while playing, and they’re usually water under the bridge. However, realising that, as an inexperienced youngster, you inadvertently said the wrong thing or spoke out of turn in a professional situation can be pretty scary and embarrassing down the track.
Favourite post-gig activity?
I like to spend time with the people I just played with or for. It’s nice to have a chance to relax and get to know your colleagues or your audience a little better.
What are you most proud of in your musical career so far?
While studying at the Sydney Conservatorium, I’ve been in the habit of putting together free concerts of chamber music with friends from the Con and elsewhere. These have been a great experience in programming a concert, commissioning composers, and attracting an audience. The end result is always hugely satisfying and something I’ve been really fortunate to be able to do.
What do you most love about making music?
Music is such an abstract art form that it’s hard to say, exactly. But when you perform a piece you really love and capture an audience’s imagination or emotions, then it’s a feeling of shared enthusiasm and affection for something beautiful or meaningful. To me, that is a very basic but also profound human experience; both life-affirming and personally enriching. To quote the late Claudio Abbado: ‘We can think ourselves fortunate, because this enrichment takes place over, and over again’.
What’s your ultimate goal?
Essentially, I’d say my ultimate goal is to be in a position to take part in truly great, immersive musical performances – whatever form that might take. With all the distractions and challenges of life as an aspiring musician, it’s hard to avoid being careerist or even survivalist in your goals. Nevertheless, I’ve found that those things don’t sustain my interest or motivation nearly as well as my love of the music itself.
If you’re an emerging artist and would like to be featured in Con Fuoco, give us a shout at editor@cutcommon.com.
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