BY LAURA BIEMMI, TRENDS EDITOR
It’s common practice for a major Australian orchestra to invite world-renowned soloists to dazzle local audiences with their interpretations of masterwork concertos. Right?
But sometimes, such a soloist lurks within the orchestra, and is plucked from their regular seat and placed at the front of the ensemble, instrument in hand.
The Melbourne Symphony Orchestra’s Associate Principal Oboe Thomas Hutchinson is one such performer.
A graduate of the Conservatoire National Supérieur de Musique de Paris, the New Zealand-born oboist has performed internationally as a soloist with ensembles such as the Symphonieorchester des Bayerischen Rundfunks, Münchener Kammerorchester, Münchner Rundfunkorchester, and the Dubrovnik Symphony Orchestra.
He’s also performed as guest principal oboe in even more orchestras across the world – and if he wasn’t busy enough, Thomas is also an active chamber musician and recitalist, having toured both Australia and New Zealand.
Ascending the ranks of the music profession towards international soloist can seem like a daunting prospect. For Thomas, it’s all about taking it one step at a time.
“I’ve always focused on what was in front of me,” Thomas says.
“And – one moment – the next thing that was in front of me was playing with the Melbourne Symphony Orchestra. And here I am!”
Thomas will perform Richard Strauss’ Oboe Concerto in the MSO’s upcoming Mozart 40 concert. The concerto is programmed alongside Mozart’s Symphony No. 40, and Prokofiev’s Classical Symphony, and all three works explore the inspiration and legacy of the classical style on orchestral music.
To Thomas, the Strauss concerto is a “charming, nostalgic work [that] looks back to simpler times. Inspired by his hero Mozart, this fresh and vital work is a joy for audiences and musicians alike”.
But for this musician, the concerto has a more personal significance: “It’s the piece I’ve played more than any other; this performance with the MSO will be the 18th time I’ve played the concerto with orchestra.”
“The last time I played it was in the finals of the ARD International Music Competition in Munich in 2017, and before that, in the finals of the ANAM Concerto Competition – and I’d also played it with a youth orchestra back in New Zealand.
“It feels like an old friend, now!”
Such an extensive performance history is extremely impressive for such a young musician. But how does preparing the concerto with one’s own orchestra and regular colleagues compare to previous performances?
As Thomas explains, “I’m trying not to approach it any differently”.
“Of course, it’s a huge honour that they’ve trusted one of their own to get up and play a concerto, so of course in the back of my mind I’m thinking: ‘Don’t let the team down!’.
“But I don’t want to overanalyse anything; I just want to go in there and play the piece as if I were playing with any other orchestra.”
Whether he’s performing with the MSO or any other ensemble, Thomas is keenly aware how to manage any pre-performance nerves he might encounter.
“My approach is just to accept that I will be nervous. All you can do is manage that, and prepare as well as you can. I figure, ‘I’m definitely going to be nervous, but if I’m very well prepared to play this piece, then what do I really have to be nervous about?’.”
For any young musicians aspiring to one day perform as a soloist with an orchestra, Thomas has one piece of advice. “Practice a lot!”
See Thomas perform the concerto in Mozart 40 with the Melbourne Symphony Orchestra (conducted by Benjamin Northey), 7.30pm September 13 in the Melbourne Town Hall.
We’re excited to team up with the MSO to bring you this story! Did you read our interview with the maestro of the show, Benjamin Northey? He tells us why we still love Mozart so much.
Images supplied. Benjamin captured by Julian Kingma; Thomas captured by Daniel Delang.
