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.
In our latest interview we chat with Rob Clark, who is about to perform his final concert with the TSO after 43 years in the orchestra. Rob was born in Victoria and joined the TSO in ’74, performing as principal bass trombonist and travelling with the orchestra across the nation and world. In the years since he started, he’s played under the baton of Charles Dutoit, En Shao, Kurt Sanderling and Marko Letonja; and with soloists such as Howard Shelley and Stephen Hough among many, many others.
So after more than four decades on the job, Rob has a thing or two to tell us about a classical music career.
How did you make your way into a position with the Tasmanian Symphony Orchestra?
I studied at the Melbourne Conservatorium in the early 1970s and worked as a freelance trombonist in Melbourne for a number of years. During this time, I played as a casual with the Melbourne Symphony Orchestra, various theatre, ballet and opera orchestras as well as doing some big band and rock band gigs. It was a fun time even though I was keen to land a full-time orchestral job.
I auditioned for various positions during these years, but it was not until 1974 that I was successful in my audition as bass trombonist with the TSO.
What did you imagine life would be like with the orchestra – and how have you found the experience in reality?
When first getting this permanent position, I focused on my playing as this is what I imagined orchestral life was going to be. But having a full-time position with the TSO for more than 42 years has enabled me to develop lots of musical activities around the job. These have included teaching students both at the Hobart conservatorium and in secondary schools over many years, and of course this led to being heavily involved as an examiner with AMEB. I have also been involved with a number of chamber groups, a brass trio, a couple of brass quintets and other musical events in Hobart. One highlight was doing Stravinsky’s The Soldiers Tale, with Michael Fortescue narrating.
How would you describe your typical day backstage and in the rehearsal room?
There is no such thing as a typical day in the orchestra, and this is perhaps why I have enjoyed this life for so many years. The day may vary from a full rehearsal for an upcoming concert, recording sessions, going on tour, schools visits and more. But always one has to somehow fit in some private practice – often for me this might be early in the morning or very late at night.
Rehearsals can be exhilarating at times – for instance, hearing how the bass trombone part I have prepared fits into the whole of a great piece. Other days it can be tedious with endless repetitions of certain bars and phrases. On these days, you really have to concentrate; definitely no daydreaming!
Conductors vary enormously in their approach to rehearsing the orchestra. Some focus on minute detail, others like to explore the broader picture and, of course, there are those who combine both approaches.
What do you feel are the strongest expectations placed on you in the orchestra?
For me, the major expectation is consistency of performance day after day over a long period of time. And it is expected that you play well regardless of your physical or mental state or what is going on in your personal life. The music-making is about the moment and you can’t afford ‘off days’! Needless, to say, some days don’t always go to plan.
Was there ever a time you thought the challenge of your role inside the orchestra would be too great?
Performance can sometimes be stressful so it important to have an outlet outside the orchestra where you can let off steam. I love being outdoors, so working in my garden or bushwalking are my ways of releasing tension. One of the hardest times for me was when I had a shoulder injury that required me to play the trombone with a supportive brace. It was hard-going for nearly two years, and there were moments when I thought of giving up. However, I had a very supportive environment including professional help organised by TSO and eventually the injury healed.
How do you cope with live performance pressure?
It’s natural to feel anxious before a performance even when you know you have prepared as well as possible. I try to have at least 30 minutes of quiet time on my own so that I go into the performance in a relaxed state of mind. But, ‘the best plans of mice and men’, and all that! Things can go awry, as happened recently when my beloved dog disappeared just before a concert; this wasn’t an easy night!
How would you describe the chemistry in your instrumental section, and how do you work to support each other in your team?
Again it is the music that counts when you are working with your colleagues. Regardless of differing temperament and personalities, your focus is on producing the best sound. For me, having time to play around with new music outside of more formal rehearsals is a great way to support each other and to push our respective boundaries.
What do you wish audiences could understand about what it means to play in the orchestra?
I would love more people to understand that playing in the TSO is a full time job! So often I am asked where I teach, with the assumption that playing in the orchestra is just an add-on to teaching. Many people don’t understand that playing the trombone requires a daily commitment of personal practice, let alone maintaining one’s instrument and studying the music.
What is the thing you most love about life in the orchestra?
For me, it is about the performance and having ‘the best seat in the house’. There is nothing that can compare with the feeling of being surrounded by the music – you literally live it!
What is one piece of advice you can offer young musicians looking to commence their orchestral career?
If you have the passion, follow your dreams if you really want to play. Don’t be put off by well-meaning people who tell you that you will never earn a living from music.
See Rob Clark in True Romantics – his final performance as Tasmanian Symphony Orchestra principal bass trombone, April 7 in the Federation Concert Hall. Tickets are available online.
Do you have a burning question about what life is really like in the orchestra?
Image supplied.
