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 concertmaster Emma McGrath. The British violinist started her role with the orchestra last year, and has a rich musical background having made her London debut at 10 years old in the Southbank Centre. At 14, she performed with the London Philharmonic Orchestra under the baton of Howard Shelley – who himself has a long history with the TSO. Emma was associate concertmaster of the Seattle Symphony Orchestra and Seattle Opera Orchestra from 2009 until she made the move to Hobart, and has performed as a soloist across Europe, Asia, and the United States.
Emma is a graduate of the Royal College of Music in London and Carnegie Mellon University in Pittsburgh in the USA. In addition to her orchestral career, she is a professional singer, folk musician, and a published and recorded composer.
How did you make your way into a position with the Tasmanian Symphony Orchestra?
I saw a job posting in December 2014, two weeks before my second child was born. Looking back on it now, that was not an ideal time to be applying for a new job! I sent recordings and publicity materials, and did a phone interview when my second child was just a couple of weeks old! Based on my credentials, the TSO invited me for an extensive trial during the winter of 2015, of about five weeks duration.
In the middle of this, I had to play a recital of concerto repertoire and concertmaster excerpts. In October, they had finished reviewing all the candidates on trial, and I imagine there were many meetings and surveys about this. I got a phone call in October saying they’d like to offer me the position, and I said yes! Within two months, we had sold our house in Seattle, packed our belongings and shipped them, and rehoused our dogs. We arrived in late February 2016 to begin our new life here!
What did you imagine life would be like with the orchestra – and how have you found the experience in reality?
This isn’t my first orchestral job, so I had a reasonable idea of how it would be. The TSO constantly exceeds my expectations in terms of commitment, sincerity, and passion.
How would you describe your typical day backstage and in the rehearsal room?
A typical day begins with practice. If I don’t warm up properly, and get my brain in the right gear, then the whole day can feel like a scramble. Then I usually have a morning rehearsal and an afternoon rehearsal. Rehearsals are pretty intense – I usually feel like all my senses are out on stalks! Not only do I have to be incredibly prepared, I also have to be extremely flexible and sensitive – the conductor or soloist or other sections of the orchestra could do something different at any time. It’s a big challenge and there’s never a chance to rest or relax, but it is also incredibly rewarding to create something new every time we’re on stage. There’s nothing like live performance!
We have breaks in the rehearsals and also a lunch break, but as concertmaster I rarely get much of a chance to unwind. There are always meetings or emails, bowings, chatting with other members of the orchestra, receiving feedback from the conductor – it makes for a very full day.
After a day like this, I try to go to the gym. Exercising helps me re-calibrate after using my brain on such a wired level, yet mostly sitting all day! Also, musicians are exceptionally prone to injury, so exercising intelligently helps me to hopefully prevent this. When I exercise, I have more positive energy because I feel better about myself, and that can only help with my mood at work, which I know can affect others.
What do you feel are the strongest expectations placed on you in the orchestra?
I feel people expect the concertmaster to take on a lot of responsibility – both musically and in a personnel role. I really enjoy this because I enjoy team work and getting the best out of people – but sometimes I have to realise that I cannot please everyone at all times!
Was there ever a time you thought the challenge of your role inside the orchestra would be too great?
As concertmaster, there is no room for ‘giving up’ or not rising to the occasion. Every time I play, it can be a challenge to overcome nerves or feelings of inadequacy. When I feel like this, I remember there are always people that are more accomplished, but everyone has something special and unique to give. I draw on that, knowing no-one can communicate quite like I can.
How do you cope with live performance pressure?
Deep breathing helps! And remembering what is really important in life helps to put things in perspective.
How would you describe the chemistry in your instrumental section, and how do you work to support each other in your team?
The violins are the biggest section in the orchestra and as such I’m always amazed at how so many different players from different backgrounds can come together and blend as one! The violins in the TSO are a really fun bunch of people, easy to talk to, very professional and committed, and so flexible. We all really listen to each other and genuinely respect one another.
What do you wish audiences could understand about what it means to play in the orchestra?
We often get the response that it’s so great we can earn a living by doing what we love. Whilst I don’t want to take any magic away from this, I do think it’s important to understand that for every single person sitting on stage, it has taken a lifetime of training and sacrifice to get there. Talent alone doesn’t get you very far!
What is the thing you love most about life in the orchestra?
My two favourite things are music, and people. Playing in an orchestra gives me both!
What is one piece of advice you can offer young musicians looking to commence their orchestral career?
Don’t act like a diva. Be quiet and listen, take criticism well, constantly be open to learning. Even though some young people have fantastic playing ability, one cannot fathom the importance of the experience of the more seasoned players.
See Emma McGrath in her role as concertmaster with the Tasmanian Symphony Orchestra this February – for free. The RACT Symphony Under the Stars will take you to the great outdoors, so bring a picnic blanket and get ready for music under the baton of Jessica Cottis and featuring special guest saxophonist Amy Dickson. Find out more online about the open air Hobart (February 18) and Launceston (February 25) occasions.
Do you have a burning question about what life is really like in the orchestra?
Image supplied.
