BY STEPHANIE ESLAKE
Ever wondered what goes on in the mind of a cellist during performance?
It gets pretty complicated. Eliza Sdraulig says her own thoughts swirl around a series of questions:
“Am I achieving a sound quality and articulation that is homogeneous with the rest of the section? What is the function of my part in relation to others at this point in the music? Which instruments and sections should I be communicating with and listening to here?”
While Eliza will perform as a concerto soloist with the Melbourne Symphony Orchestra next month, she’s preparing to “be more assertive” about her own intents, and the way these ideas travel to conductor and fellow musician.
“Performing a concerto is as much of a team effort and collaboration as performing a major orchestral work, and it demands the same kind of musical intelligence and awareness,” she says.
Eliza is one of about 50 young players who will share the stage with Melbourne Symphony Orchestra musicians in Side by Side – a concert celebrating the unity of talents old and new. Under the baton of Tianyi Lu (a 28-year-old conductor who you can read about here), Eliza will present one of the most renowned works ever written for her instrument: Elgar’s Cello Concerto in E minor.
Intimidating, much?
Not really, this 24-year-old says (even though she’ll be performing with an orchestra she’s admired for her “entire musical life”).
“It is an enormous privilege to be able to share the Elgar Concerto with such a high calibre of musicians,” Eliza says.
“I am simply looking forward to drawing on their wealth of experience, exploring new possibilities with the concerto, and above all else, enjoying the music.”
So let’s take a step back with Eliza and explore her musical upbringing. Indeed, quite an upbringing it was – each of her siblings learnt instruments and it was natural for Eliza to follow suit. She figured she’d play violin, and kicked off lessons when she was eight – but decisively changed instruments (and the course of her life).
“I remember the moment very distinctly!” Eliza says.
“I heard someone playing cello in the lesson before me. I quite simply fell in love with the sound!
“I think I have always been drawn to and preferred lower frequency sounds. The cello has such a wonderfully rich range of expressive qualities.”
Eliza has since completed studies at the University of Melbourne, Boston’s New England Conservatory, and now undertakes Professional Performance studies at the Australian National Academy of Music.
Having won a string of awards and scholarships, she’s also been selected as a Rising Star Soloist at the Melbourne Cello Festival, and a 2018 Emerging Artist with the Australian Chamber Orchestra. She seems to take it all in her stride, extracting as much as she can from each new experience while having fun along the way.
“I get a lot of joy from performing and collaborating with others, whether it is within a solo, chamber or orchestral setting,” she says.
“I am enthralled by the process of achieving a unity of sound and musical thought while acknowledging that individually each member of the ensemble has something unique and wonderful to contribute.
“I have been incredibly fortunate to work and perform with musicians from the ACO and MSO who embody and exemplify this musical philosophy in their rehearsal process and performances.”
When asked about the attitudes of professional orchestral players to their youngest counterparts, Eliza is unreservedly positive. Brushing over the topic of impostor syndrome, Eliza insists her experience with professional players “has been nothing but positive”.
“I believe that if you have the right attitude and you are dedicated, open-minded and always willing to develop your musicianship, you will have a worthwhile musical experience in any context,” she states.
“Regardless of whether you are an established or emerging musician, having these qualities will carry you through your musical life with relative ease and ensure that the highest level of music making always remains your priority.
“My ambition has always been to be a musician of the highest level who is diverse, adaptable and open-minded.”
Emerging artists may find promise in her experiences. Although, Eliza does feel that the opportunity for young people to perform side-by-side with professionals is a rare one.
“It is incredibly important for young musicians to have the opportunity to work with orchestras of this calibre and it is a credit to the MSO that they are supportive in this way,” she says.
“Programs such as these are essential to connect emerging musicians with the professional orchestras and further their orchestral experience.”
But it’s not all up to the orchestras, according to Eliza. Though she is working her hardest, and achieving success within her industry, she also adopts an admirable attitude: she takes ownership over her burgeoning career and its consequences.
“As the next generation of musicians, I believe we have a responsibility to open the world of classical music to as many people as possible — from young children to adults.
“If more people understood what we do on a daily basis, and experienced the profoundly positive impact of live classical music, it would be a step towards the further and ongoing support that we need.”
Eliza Sdraulig will perform as a soloist with the Melbourne Symphony Orchestra, Masters students from the Melbourne Conservatorium of Music, and young players of the Melbourne Youth Orchestra.
MSO Side by Side takes place at 7.30pm, June 2 in Hamer Hall. Tickets are just $35. See you there!
Images supplied.
