BY CUTCOMMON
Performing as a soloist is hard. Performing in front of a world-class orchestra is really hard. And being watched and adjudicated while you’re playing solo in front of a world-class orchestra? Next-level challenging. This is the ANAM Concerto Competition — and we think it’s worth celebrating the winner who made it through this incredible experience.
Queensland cellist Joshua Jones — who also entered the 2022 competition as a first-year at ANAM, and had then progressed to the second round — took part in this year’s challenge in Hobart’s Federation Concert Hall. Performing with the Tasmanian Symphony Orchestra under the baton of James Judd, he made it to the finals alongside fellow string players Harry Egerton and Oakley Paul.
Joshua took out first place with his performance of Prokofiev’s Sinfonia Concertante, and he’s here to tell us all about it.
Congratulations on winning the ANAM Concerto Competition, Joshua! How does it feel?
It feels amazing to have all the hard work I’ve put into the Prokofiev Symphony Concerto finally pay off, and having the chance to perform the piece alongside the Tasmanian Symphony Orchestra was the cherry on top. It was an amazing experience, and I am very grateful that I am fortunate enough to be offered the opportunity.
Why did you want to compete in this competition? It’s quite rare in that it pairs you up with a professional orchestra — so the pressure was on.
I originally entered the competition as a challenge. I always enter the concerto competition each year as it gives me a goal to work towards, and if I work hard enough I have the chance to play with the Tasmanian Symphony Orchestra.
I have had some experience playing with [Australian] orchestras, such as with Melbourne Symphony Orchestra during the Ears Wide Open program, so I was very excited to learn I would have the opportunity to play with the TSO in another solo setting.
Tell us a bit about the music you performed, and why you think it was the composition to see you through to this remarkable final stage.
Prokofiev’s Symphony Concerto in E minor is one of my favourite pieces I’ve worked on. I love the virtuosity in both the soaring lyrical lines, as well as the heavier moments of struggle seen in the second movement cadenza, for example. Navigating the multitude of different characters in the piece has also been a challenging yet rewarding experience, and I knew instantly that this was the piece I wanted to play with the TSO if I had the opportunity.
Aside from the competition factor, what was it like to work with the TSO and conductor James Judd?
I had already met James Judd during this year’s Australian Youth Orchestra National Music Camp, so it was good to work with him again in such an exciting environment.
James was able to adapt instantly to whatever ridiculous rubato I was doing in the moment, making me feel comfortable enough to be as creative as I wanted during the performance. The TSO were very friendly and supportive throughout the entire process and had an incredible sound.
The TSO was able to follow James with fantastic skill as well, which made the huge soundscape of the Symphony Concerto feel almost like chamber music.
Overall, it was an enriching and exciting experience to work with these amazing musicians.
So how did ANAM help prepare you for this epic occasion?
During the first two rounds of the competition, my teacher Howard Penny had given me lots of advice for rehearsal strategies during coaching sessions with my associate artist Aidan Boase. Howard also worked through the piece with me for months prior. I was able to apply a wealth of this advice and knowledge to rehearsals with the TSO and James Judd.
Similarly, ANAM hosts many Musician Enhancement Programs that focus on specific aspects of musical careers, so it was very reassuring to enter this process with knowledge on how professional orchestra rehearsals work, and how to communicate my ideas in an efficient manner, for example.
What does this win mean to you in the grand scheme of your career?
This win is a significant milestone in my cello career, as it allowed for me to create connections with James Judd and other professional musicians in the orchestra, and the experience of working with the TSO will act as a catalyst for my future artistic growth and help me refine my skills in cello.
I also received a lot of personal satisfaction from being able to interact and work with the TSO as equals, which was a very rewarding feeling.
What advice would you give to future ANAM Concerto Competition players who might be overwhelmed with nerves at the idea of taking to the stage with the TSO?
Interestingly enough, I was one such player. I had a lot of trouble with performance anxiety backstage, but once I reminded myself that the audience was there to enjoy rather than critique, I felt a lot more comfortable.
I think it is important for performers to remember that music is about conveying a meaning, and that as long as your performance is sincere and meaningful, the audience will be pleased.
It is also important to enter the rehearsal process with a plan of what to work on, and knowledge of the orchestration. I always find preparing before an event as much as possible makes me feel more comfortable.
Any final thoughts?
I would like to thank ANAM, the TSO, and James Judd for this amazing opportunity of being able to rehearse and perform this work with them. I would also like to congratulate the other competitors Harry Egerton and Oakley Paul for achieving incredible performances with such skill and talent.
Images supplied. Credit Helga Salwe.
