BY STEPHANIE ESLAKE
Have you ever wondered what life is really like in the orchestra? Welcome to EXPOSED!
Throughout 2017, we’re teaming up with musicians and arts administrators from the Tasmanian Symphony Orchestra to take you behind the scenes, and show you what it means to pursue a career in a challenging and fulfilling industry.
Here we chat with TSO tutti violinist Edwina George. Edwina started playing when she was four, though pursued studies in science and arts before fully realising her passion for music. After an arts degree, she studied at the Queensland Conservatorium and “got serious about the violin”, completing a Masters of Music Studies there – followed by a Master of Music at Melbourne University. Loyal to her new career goal, Edwina continued her academic training at the Australian National Academy of Music for three years before gaining her place in the TSO in 2013.
How did you make your way into a position with the Tasmanian Symphony Orchestra?
I had a slightly round-about way into professional music in that, straight after school, I wanted to be a physio!
I had played violin since I was four, and continued to have private lessons and play in the Queensland Youth Orchestra and Australian Youth Orchestra, but never thought I wanted to make it my career. I enrolled in a Bachelor of Applied Science in Human Movements, and a few years later switched to a Bachelor of Arts, studying everything from writing to sociology. It was during this time that I began to think about that thing I’d done since I was four, and thought that might be worth a try. That naive arts student had no idea how much work was involved in transforming a good violinist into a professional musician! But, after many early mornings and late nights, and many failed auditions, I successfully auditioned for TSO in May 2013 and the rest is history.
What did you imagine life would be like with the orchestra – and how have you found the experience in reality?
I imagined life in the orchestra would be pretty fast-paced, and always on stage. In reality, it’s like that sometimes, but the weeks we’re not on stage are recording CDs or doing education projects, basically training the next gen composers, conductors, or performers.
How would you describe your typical day backstage and in the rehearsal room?
A ‘normal’ day at work for me involves a day of full-orchestra rehearsals. TSO is unusual in that the violins are not employed as First or Second, but as tutti (everyone). So we move around a lot within the violin sections. That means that we might be sitting in a position of responsibility, so the rostering definitely keeps us on our toes.
We also have a small string section, which means we individually need to contribute more per player, and play more proactively in the section. The first goal of the rehearsal process is to get everyone playing in tune and in time (harder than it sounds!), but that is basically our professional responsibility. Further than that, I enjoy the rehearsal process where we try out different musical ideas, and experience that wave that only orchestral music can bring. Just like any job, some days can be frustrating if you feel like you’re not contributing fully to the outcome, but other days can be exhilarating!
What do you feel are the strongest expectations placed on you in the orchestra?
The strongest expectation placed on me in my job is the ability to be flexible. In the tutti section, we are required to change the way we play (faster, slower, louder, softer, smoother, shorter, more singing, more punchy) in an instant – even if we don’t agree! We’re also required to blend our sound with all of the violinists in our section. That means always listening and adjusting volume, articulation, character, and a thousand more things.
Was there ever a time you thought the challenge of your role inside the orchestra would be too great?
This job definitely challenging. It’s a pretty physical job, and sometimes our bodies (especially back, shoulders, neck) and our minds get tired. I try to keep fit and strong, but I can always do more yoga and stretching to keep my body in check. I also think it’s important to take time out to rejuvenate our minds. By the end of the year, I can get pretty burnt out, but after a good holiday I feel like my musical ideas are fresh again, and ready to perform.
How do you cope with live performance pressure?
I love performing on stage, so this job is pretty perfect for me. Sometimes I feel less prepared or tired or preoccupied with something in my personal life, which obviously affects my performance. But, after 3.5 years in the job, I’ve got my pre-concert routine sorted out, and know when a cup of chai can hit the spot. If I feel nervous, I try and draw on my training, open my shoulders, and present a confident persona, even if that’s the opposite of what I feel (‘fake it til you make it’!).
How would you describe the chemistry in your instrumental section, and how do you work to support each other in your team?
The chemistry in the violin section is very important because it’s the largest section in the orchestra. We have a new concertmaster in the TSO, so that obviously has a huge impact on the camaraderie. We have a pretty tight-knit section and support each other in anything from a spare shoulder rest, hair spray, or black shirt; but musically, we often share fingerings and the principal players collaborate on bowings. None of us take ourselves too seriously, so while the principals ultimately make the final decision, they’re open to change if it doesn’t produce the desired result when we play it. I’ve also drawn on the support of my colleagues when times are tough. They’re a pretty great bunch.
What do you wish audiences could understand about what it means to play in the orchestra?
I wish audiences would understand that we’re just normal people, who’ve worked very hard to perfect their craft. We’re not strange beings obsessed with the 18th Century. We love to cook, bush walk, surf, have a glass of wine after work. I also wish the wider public would understand how much work has gone into getting us all on stage to produce the concert. Most of us have done upward of six years university study, on top of playing our instruments for 15 years before that. It is frustrating that our profession is not valued in society, but I hope that changes.
What is the thing you love most about life in the orchestra?
I love the fact that each week is different in orchestral life. Every week, we prepare a new program for stage or recording, so there’s always something to prepare and work on.
What is one piece of advice you can offer young musicians looking to commence their orchestral career?
One piece of advice for aspiring orchestral musicians is to keep going! It’s years and years of hard work, and seems impossible sometimes, but the most prepared musician on the day wins the audition. Take all the opportunities you can, watch as many concerts as you can and draw inspiration. What sounds do you like, how can you emulate them, what don’t you like, why?
See Edwina George in her role as violinist with the Tasmanian Symphony Orchestra in The Rite of Spring, 7.30pm March 24 in the Federation Concert Hall. This event is part of the Ten Days on the Island festival and in collaboration with ANAM.
Do you have a burning question about what life is really like in the orchestra?
Image supplied.
