Interview Questions for Viola Performance

My orchestral experience spans over fifteen years, encompassing a wide range of repertoire and collaborative experiences. I’ve played with several prominent orchestras, including the [Name of Orchestra 1] and the [Name of Orchestra 2]. Playing in an orchestra demands a high level of discipline, precise intonation, and the ability to blend seamlessly with a large group of musicians. It’s not just about individual technique, but about listening attentively to colleagues, responding to the conductor’s interpretation, and contributing to a cohesive musical whole. For instance, during a performance of Mahler’s Fifth Symphony, the ability to dynamically shape my sound within the context of the massive orchestral texture was crucial. The subtle shifts in volume and vibrato needed to maintain a consistent tonal quality throughout the long, sustained passages were a key focus.

Beyond technical proficiency, orchestral playing cultivates a profound understanding of musical phrasing, balance, and ensemble dynamics. Learning to read a conductor’s cues precisely, and responding to subtle shifts in tempo and dynamics, is a crucial part of the process. I feel this experience has significantly honed my awareness of musical context and has significantly improved my musicality as a whole.

My approach to practicing challenging Viola passages is systematic and multifaceted. I firmly believe in breaking down complex passages into smaller, manageable sections. I begin by slowly and meticulously working through each segment, focusing on accuracy and clarity of articulation. Then, I gradually increase the tempo, always prioritizing precision over speed. This careful approach helps me identify and correct technical flaws before they become ingrained habits.

In addition to technical work, I pay close attention to the musical context of the passage. Understanding the overall phrasing, dynamics, and emotional arc is essential to crafting a compelling performance. I might use a metronome initially to establish a firm rhythmic foundation, then gradually wean myself off it, relying on my internal sense of rhythm and pulse. I also use recordings of master performers for inspiration and to understand different stylistic interpretations.

Finally, I incorporate a variety of practice techniques to address specific challenges. If the passage involves difficult fingerings, I’ll use exercises to improve finger agility. For passages requiring legato, I’ll focus on smooth transitions between notes. By combining meticulous technical work with musical sensitivity, I find that I can effectively overcome challenging passages.

Maintaining intonation and tone quality while playing complex rhythms requires a keen awareness of both your physical technique and the underlying musical structure. It’s a matter of coordinating several aspects of your playing simultaneously. Firstly, a solid foundation of rhythmic accuracy is paramount. This is achieved through diligent rhythmic practice, often using a metronome or rhythmic subdivision exercises to ensure precise note values.

Secondly, I focus on maintaining a consistent bow stroke. A smooth, even bow stroke helps to produce a consistent tone and minimizes intonation issues. Variations in bow speed and pressure will impact both the tone and intonation, so mastering a controlled bow stroke is vital. Thirdly, I carefully check my finger placement to ensure accurate intonation, both within each individual note and across the entire passage. It’s sometimes helpful to mentally subdivide complex rhythms into simpler patterns to ensure precision and rhythmic clarity.

For example, when tackling a passage with syncopated rhythms and rapid note changes, I will begin by practicing each rhythmic cell separately, focusing on the precision of each note. Then, I gradually combine these cells, ensuring that the overall rhythmic feel remains consistent.

My approach to sight-reading involves a balance of technical skill and musical understanding. I begin by quickly scanning the entire piece to get an overview of its structure, key, and overall character. Then, I focus on the individual sections, paying particular attention to the melody, harmony, and rhythmic patterns. I don’t aim for perfection on the first try; my initial focus is to grasp the general shape and direction of the music.

I then begin playing slowly and deliberately, focusing on accurate note reading and rhythmic precision. As I become more familiar with the passage, I gradually increase the tempo. In doing so, it’s imperative to not rush, but to increase the tempo gradually to avoid developing poor habits and compromising accuracy. I frequently employ techniques like finger exercises to warm up and strengthen my technical capabilities.

Regular sight-reading practice is crucial, as it builds fluency and confidence. I often work with unfamiliar pieces to continually challenge myself and refine my skills. This process includes analyzing the harmonic progression to understand the underlying structure and emotion of the piece.

My experience encompasses a range of Viola playing styles, from the ornate articulation and ornamentation of Baroque music to the expressive romanticism of later periods. The Baroque style demands a lighter, more detached touch, with a focus on clear articulation and precise ornamentation. I study historical performance practice to inform my approach, carefully considering aspects such as bow speed, articulation, and ornamentation. For instance, when playing Bach’s Chaconnes, I focus on creating a clear and expressive counterpoint between the different melodic lines, careful to maintain the integrity of each line whilst conveying the whole musical idea.

In contrast, the Romantic style allows for a broader range of expressive possibilities, including more nuanced dynamics, vibrato, and rubato. I find that conveying the emotional depth of composers like Schumann or Brahms requires a more intimate and impassioned approach, emphasizing the lyrical and expressive qualities of the music. For example, in the Walton Viola Concerto, I strive for a powerful and expressive tone, using a wide range of dynamics and articulations to convey the drama of the music.

Adapting between these styles involves not only technical adjustments but also a deep understanding of the historical and cultural context of each period. This requires considerable research and study into the stylistic conventions and performance practices of different eras.

Performance anxiety is a common challenge for musicians, and I’ve developed several strategies to manage it. Preparation is key: thorough practice reduces anxiety by building confidence in my abilities. I focus on both technical mastery and musical understanding of the piece, allowing me to approach performance with a sense of assurance.

Mental preparation is equally important. Visualization techniques, where I mentally rehearse the performance, help to reduce my anxiety. Deep breathing exercises help to calm my nerves before taking the stage. Furthermore, focusing on the joy and excitement of sharing music with an audience can help shift my perspective from anxiety to anticipation.

Finally, I’ve learned to embrace my nerves. Rather than viewing anxiety as a negative emotion, I acknowledge it as a sign of my dedication to the performance. This acceptance helps me to control my physical responses to anxiety, such as trembling hands or a racing heart. In essence, I recognize that the adrenaline rush can actually be helpful, transforming nervous energy into a focused and expressive performance.

Chamber music collaborations offer a unique and rewarding experience, requiring a high level of communication, empathy, and musical sensitivity. I’ve participated in numerous chamber music projects, playing alongside talented musicians from various backgrounds. The collaborative nature of chamber music demands active listening and a willingness to adapt to the interpretations of fellow musicians.

Successful chamber music collaborations thrive on mutual respect and open communication. We often engage in detailed discussions regarding interpretation, phrasing, and dynamics before rehearsals. We also engage in careful analysis of the score. The process of shared musical exploration allows us to develop a nuanced understanding of the piece and create a performance that transcends individual contributions, building a cohesive unity of intention and expression.

For instance, performing Beethoven’s Op. 18 No. 6 String Quartet required a significant amount of collaborative discussion before the performance. We reached a consensus about dynamic shading, tempo and phrasing which enabled a unified and compelling performance. The collaborative process itself is as enriching as the performance. It’s a process of continuous learning and mutual growth.

Vibrato is the rapid, periodic variation in pitch, a crucial element for expressive playing on the viola. It adds warmth, richness, and emotional depth to the tone. There are several techniques, each producing a slightly different effect:

• Wrist Vibrato: This is the most common technique, achieved by a subtle rotating motion of the wrist. It’s versatile and allows for a wide range of speeds and widths.
• Arm Vibrato: A larger, more powerful vibrato produced by a movement of the forearm. It’s excellent for producing a broad, resonant vibrato, particularly suitable for lower registers.
• Finger Vibrato: This technique involves subtly rocking the finger on the string. It’s ideal for producing a more delicate, nuanced vibrato, particularly effective on higher notes.
• Combination Vibrato: Often, a combination of these techniques is used to achieve the desired effect. For instance, a player might use a wrist vibrato as the base and add subtle finger movement for added control and nuance.

The application of vibrato depends heavily on the musical context. In lyrical passages, a slower, wider vibrato can enhance the emotional impact. For faster passages, a narrower, faster vibrato might be more appropriate. Silence can also be incredibly expressive; knowing when *not* to use vibrato is just as crucial as knowing when to use it. For example, in a Bach Chaconne, using vibrato judiciously can help highlight the different emotions conveyed in each variation. In contrast, a more sustained, rich vibrato can work well in the romantic period.

Double stops and fast arpeggios present significant technical challenges, requiring precise finger placement, bow control, and a strong understanding of intonation. My approach focuses on a systematic and gradual development of these skills:

• Intonation: Accurate intonation is paramount. I spend considerable time practicing double stops with a tuner, ensuring each note is perfectly in tune with the other. I often use slow tempos initially, focusing on precision before increasing the speed.
• Bowing Technique: Smooth, even bowing is essential for both double stops and arpeggios. I practice various bowing patterns, experimenting with different bow speeds and pressures to achieve the desired tone and articulation. Detached bowing can be particularly helpful for arpeggios to ensure clean articulation of each note.
• Finger Placement: Precise and secure finger placement is crucial. I practice slowly at first, focusing on the accuracy of my finger positions. I use finger exercises specifically designed to strengthen my fingers and improve dexterity.
• Scales and Arpeggios: I regularly practice scales and arpeggios in all keys, incorporating double stops and fast passages into my practice routine. This helps develop both technical proficiency and musicality.

For instance, when tackling a particularly challenging passage with double stops in a piece like a Brahms sonata, I might break it down into smaller sections, practicing each section slowly and meticulously before gradually increasing the tempo. I’d focus on one aspect at a time—intonation, bowing, or finger placement—and then combine them, always prioritizing accuracy over speed.

Memorization is a crucial skill for a violist. My approach is multifaceted and combines several strategies:

• Chunking: I divide the piece into smaller, manageable sections. I memorize each section thoroughly before moving on to the next. This makes the overall task less daunting.
• Analytical Approach: I don’t simply memorize notes; I understand the musical structure, phrasing, and harmonic progressions. This creates a deeper connection with the music, making memorization easier and the performance more expressive. I examine the formal structure, analyzing themes and their development, to internalize it more effectively.
• Kinesthetic Learning: I use physical actions to associate with different sections. For example, I might associate a particular bowing pattern or a specific finger position with a certain musical phrase.
• Repetition and Performance: Consistent repetition is key. I regularly play through the entire piece from memory, even if it’s not perfect. The act of performing, even for a small audience, helps reinforce memory.
• Recording and Playback: Recording myself playing and then listening back helps identify areas that need more attention. This allows me to refine my understanding of the musical interpretation, enhancing memory in the process.

For example, when memorizing a large work like the Walton Viola Concerto, I would start by memorizing the different thematic materials section by section, gradually working towards joining these sections together seamlessly in a complete interpretation. I would use recordings to gauge my progress in phrasing and dynamics.

The viola’s history is rich and fascinating. While often overshadowed by the violin and cello, it has played a crucial role in the development of Western music. Its warmer, more mellow tone has lent itself to a diverse range of musical styles.

Influential composers who wrote extensively for the viola include:

• Bach: His works, including the Chaconne from Partita No. 2 for solo violin (frequently transcribed for viola), showcase the viola’s expressive capabilities.
• Mozart: While not as prolific as with other instruments, Mozart’s viola quintets are masterpieces of chamber music.
• Beethoven: His string quartets and other chamber works often feature the viola prominently.
• Brahms: His works, particularly the Viola Sonatas, are cornerstones of the viola repertoire.
• Hindemith: A 20th-century composer known for his significant contributions to viola literature, with works including the Der Schwanendreher.
• Walton: His Viola Concerto is a virtuosic and emotionally powerful work.

Understanding the historical context of a piece significantly informs its interpretation. For example, playing a Bach chaconne requires a different approach than playing a Hindemith sonata. The historical context provides insights into the composer’s intentions and the stylistic conventions of the time.

Interpreting a musical score is a deeply personal and creative process. It’s about bringing the composer’s vision to life while injecting my own understanding and emotional response. My approach involves:

• Understanding the Composer’s Intent: I research the historical context of the piece, the composer’s life and other works, and the prevailing musical style. This provides crucial clues to the composer’s intentions.
• Analyzing the Score: I meticulously examine the score, paying close attention to the melodic lines, harmonies, dynamics, and articulations. I analyze form and structure to appreciate the piece’s architectural underpinnings.
• Developing a Concept: Based on my analysis, I formulate a personal interpretation of the piece. This might involve focusing on specific emotional aspects or exploring particular thematic relationships within the work.
• Experimentation and Refinement: I experiment with different phrasing, dynamics, and tempo choices to find what best conveys my interpretation. This is an iterative process, involving continuous refinement and adjustment.
• Collaboration and Feedback: Collaboration with other musicians and seeking feedback is valuable. Discussion and different perspectives enrich the understanding and refine the interpretive choices.

For example, when approaching a romantic-era sonata, I would consider aspects such as the use of rubato, phrasing, and dynamics to create the desired emotional impact, unlike a Baroque piece where structural clarity is paramount.

Working with conductors is a collaborative process. Successful collaboration depends on mutual respect, clear communication, and a shared understanding of the musical goals. I value conductors who provide clear and insightful interpretations while also allowing for individual expression.

My experience includes working with conductors who favor a highly detailed and structured approach, where every nuance is carefully planned and executed. Conversely, I have also worked with conductors who favor a more spontaneous and flexible approach, allowing for greater freedom in interpretation. In both cases, active listening and responsiveness are key. I strive to understand the conductor’s vision and then contribute my own expertise and insights to bring the performance to life. Open communication and a willingness to adapt are crucial.

I find that pre-rehearsal communication, clarifying any potential interpretative points of divergence or areas needing extra attention, significantly enhances collaboration and fosters a smooth and effective rehearsal process.

Selecting repertoire for auditions or performances is a crucial decision. My process focuses on showcasing my strengths while demonstrating versatility and musicality:

• Self-Assessment: I carefully consider my technical abilities and interpretative strengths. I choose pieces that highlight my strengths and allow me to express myself effectively.
• Audition Requirements: I always carefully review the audition requirements, ensuring that I choose pieces within the specified parameters. This might include specific stylistic periods or technical challenges.
• Program Balance: I strive for a balanced program that demonstrates a variety of styles and technical skills. I aim for a narrative flow, contrasting pieces with different moods and characteristics.
• Personal Connection: I choose pieces that I truly connect with emotionally. This allows for a more authentic and compelling performance.
• Preparation: Thorough preparation is essential. I spend considerable time analyzing the scores, working on technical challenges, and developing my interpretation. This usually involves recording myself to identify areas requiring further work.

For example, for a concerto audition, I’d select a work that showcases both technical brilliance and expressive depth. I’d complement it with a shorter contrasting piece to showcase versatility, perhaps something from a different stylistic period.

Staying current in the dynamic world of viola performance requires a multifaceted approach. It’s not just about technical skills; it’s about understanding the evolving musical landscape.

• Attending masterclasses and workshops: I regularly attend masterclasses led by renowned violists, learning new techniques and interpretations directly from experts. For example, a recent masterclass on the works of Hindemith significantly broadened my understanding of his compositional style and its impact on viola performance.

• Engaging with scholarly resources: I delve into academic journals, books, and articles on viola performance practice, exploring historical performance styles and contemporary interpretations. This helps me stay abreast of new research on historical instruments, bowing techniques, and compositional analysis.

• Networking with colleagues: Attending conferences and festivals provides opportunities to connect with fellow violists, exchange ideas, and learn about their work. Discussions with colleagues often spark new perspectives and insights.

• Listening actively and critically: I continually listen to recordings of both historical and contemporary viola performances, analyzing different approaches and stylistic choices. This cultivates a keen ear for detail and helps me develop my own unique voice.

Bow techniques are fundamental to shaping musical expression on the viola. Different strokes produce vastly different sounds and emotional effects.

• Legato: This technique involves connecting notes smoothly and seamlessly, creating a flowing and lyrical sound. Achieving a truly beautiful legato requires careful control of the bow, ensuring consistent speed and pressure. I often employ a slight *vibrato* within the legato to add warmth and depth to the tone.

• Détaché: This technique involves playing each note separately with a clear articulation. The bow should move smoothly across the strings, with a clear separation between each note. The degree of detachment can vary, from a relatively light separation to a more pronounced, almost staccato-like effect. Different bow speeds will also produce a variation in the detached tone, adding even more expressiveness.

• Other techniques: Beyond legato and détaché, there’s a rich vocabulary of bowing techniques, including *martelé* (a detached stroke with a strong accent), *spiccato* (a bouncing bow stroke), and *ricochet* (a rapid series of bouncing strokes). Mastering these techniques allows for a wide range of expressive possibilities.

Proper bow technique, however, goes beyond just the stroke itself. It encompasses bow hold, bow weight, and the use of the entire bow length to maximize control and tone quality.

Maintaining my viola is crucial for both its longevity and for ensuring optimal playing conditions. Neglecting regular maintenance can lead to significant problems and impact sound quality.

• Regular cleaning: After each playing session, I wipe down the strings with a soft cloth to remove rosin dust. This prevents build-up and maintains the strings’ responsiveness. The body of the viola is also cleaned gently to remove dust and fingerprints.

• Professional setup: I take my viola to a qualified luthier for regular check-ups and adjustments. This involves checking the bridge placement, soundpost alignment, and string action to ensure optimal playing comfort and sound quality. A well-set-up instrument is a joy to play.

• Climate control: I store my viola in a stable environment, avoiding extreme temperature fluctuations and humidity changes. Rapid shifts in climate can damage the wood and affect the instrument’s intonation and tone.

• String maintenance: I change my strings regularly, based on usage and their condition. Old strings lose their vibrancy and can negatively affect intonation and tone.

The commitment to this process prevents issues and prolongs the life of this precious instrument.

Teaching and mentoring have become integral aspects of my career. I find immense satisfaction in sharing my knowledge and passion for the viola with aspiring musicians.

• Individual lessons: I teach individual students of various skill levels, tailoring my approach to each student’s needs and goals. I focus on developing their technical skills, musicality, and interpretive abilities. It’s rewarding to witness their progress and growth.

• Masterclasses and workshops: I regularly conduct masterclasses and workshops for groups of students, offering focused instruction on specific techniques or repertoire. These sessions often involve collaborative learning and feedback.

• Mentorship: I also mentor more advanced students, providing guidance on career development, performance preparation, and artistic expression. This involves discussing repertoire choices, performance strategies, and navigating the challenges of the professional music world. Guiding someone through the complexities of a career is deeply rewarding.

The ability to communicate my understanding of this instrument and its possibilities to others is invaluable.

While sharing the same family as the violin and cello, the viola presents unique challenges due to its size and tonal range.

• Size and weight: The viola is larger and heavier than the violin, demanding greater physical strength and endurance. This can make extended playing sessions more tiring.

• Tonal range: The viola’s lower register often necessitates a different approach to intonation and tone production compared to the violin. The richer, darker tone requires a nuanced and often more forceful bow technique.

• Repertoire: While the viola has a rich repertoire, it’s smaller than that of the violin, leading to a narrower range of performance opportunities. Finding the right repertoire for a specific performance situation is a challenge.

• Technical demands: Certain viola passages can present unique technical challenges, requiring specific fingerings and bowing techniques that are not as common on other string instruments.

Overcoming these challenges is what makes viola performance both unique and rewarding.

Adapting my playing style to different genres requires a deep understanding of musical styles and their conventions. It’s about finding the right balance between technical proficiency and expressive interpretation.

• Classical music: Playing classical music demands precision, articulation, and a nuanced understanding of the composer’s intentions. This is where my training shines. I carefully analyze the score, considering phrasing, dynamics, and articulation to create a compelling and authentic performance.

• Chamber music: Chamber music requires exceptional listening skills and the ability to collaborate seamlessly with other musicians. I must be attuned to the nuances of the other instruments and adapt my playing to maintain a balanced ensemble sound.

• Contemporary music: Performing contemporary music can involve unconventional techniques and extended playing techniques. I approach this with openness and a willingness to experiment and explore new sonic possibilities.

The flexibility to adapt is a crucial skill for a successful violist in today’s world.

A strong foundation in music theory is essential for any serious viola player. It underpins everything from understanding the score to shaping musical expression.

• Harmony and counterpoint: Understanding harmony and counterpoint enables me to grasp the underlying structure of a piece and to interpret the interplay of musical lines effectively.

• Form and structure: Knowledge of musical forms (sonata form, rondo form, etc.) helps me to understand the overall architecture of a piece and to shape the narrative arc of the performance. I understand how sections interact and how to build tension and release.

• Melody and rhythm: A deep understanding of melody and rhythm is critical for phrasing, articulation, and rhythmic accuracy. I also understand the use of syncopation and rhythmic variations to create a more compelling performance.

• Analysis: Analyzing a score allows me to identify key structural elements, harmonic progressions, and melodic motives, enabling a deeper understanding of the composer’s intentions and creative process. It guides my interpretations.

Music theory is not simply theoretical knowledge; it is a practical tool that informs every aspect of my playing and interpretation.

Effective collaboration in an ensemble hinges on active listening, clear communication, and mutual respect. It’s about understanding that we’re weaving a sonic tapestry together, not just playing individual parts.

• Active Listening: Before even a note is played, I prioritize carefully listening to my colleagues during rehearsals. This helps me anticipate their phrasing, dynamics, and intonation, allowing for a more cohesive and nuanced performance. I focus not just on my own part, but how it interacts with the others.
• Clear Communication: Open dialogue is crucial. If I have a suggestion about phrasing or interpretation, I express it respectfully and constructively. Conversely, I’m receptive to feedback from other players, valuing their perspectives and insights. This collaborative process results in a performance that is richer than the sum of its parts.
• Mutual Respect: Recognizing the individual contributions of every member is essential. Each musician brings their own unique talents and experience, and respecting this diversity enriches the overall ensemble sound. It’s about building a supportive environment where everyone feels valued and comfortable expressing their musical ideas.

For example, in a recent performance of Brahms’ String Quintet, I noticed a subtle rhythmic discrepancy between the violas and the cellist. Instead of simply playing my part, I initiated a conversation, suggesting a slight adjustment. The outcome was a more unified and rhythmically precise performance, showcasing the collective effort.

My experience in recording studios has been invaluable in honing my technical skills and understanding the nuances of capturing a musical performance. It requires a different mindset than live performance.

• Technical Precision: Recording sessions demand meticulous attention to detail. Every note, every dynamic shift, every subtle nuance is amplified. This requires intense focus and a high level of technical proficiency. I’ve learned to control my vibrato, bowing technique, and intonation with even greater precision in a studio environment.
• Musicality and Interpretation: While technical accuracy is essential, the heart of a successful recording lies in the artistry and emotional depth of the performance. The challenge is to translate the raw emotion and expressive power of a live performance into a recorded format, which is why thoughtful preparation and repeated takes are sometimes necessary.
• Collaboration with Engineers: Effective communication with sound engineers is vital. Understanding their technical needs and conveying my musical vision collaboratively is key to achieving a desired sound.

In one recording session for a solo viola piece, I worked closely with the engineer to fine-tune the microphone placement to capture the full resonance of my instrument. This collaboration yielded a recording that captured the richness and depth of the viola’s tone beautifully.

My familiarity with viola makers and models spans several centuries and encompasses a range of styles and tonal characteristics. Understanding the differences between instruments is crucial for informed decision-making.

• Historical Makers: I have a deep appreciation for the craftsmanship of historical makers like Guarneri del Gesù, Antonio Stradivari, and Gasparo da Salò. Their instruments are renowned for their unique tonal qualities and playability.
• Modern Makers: I also have experience with modern makers, who often blend traditional techniques with contemporary innovations. This allows for a wider range of tonal colours and responses to suit different musical styles and personal preferences.
• Model Variations: Even within the same maker’s work, variations in model and wood selection result in subtle tonal differences. A deeper understanding of these nuances can help a violist select an instrument that best suits their individual style and repertoire.

For example, the deep, resonant tone of a Guarneri del Gesù is strikingly different from the brighter, more agile sound of a modern viola by a maker like Paul Wegner. Understanding these differences allows me to choose an instrument appropriate for the specific demands of a particular musical work.

Feedback, whether from conductors, teachers, or critics, is essential for growth and improvement. It’s not about taking criticism personally, but about using it to refine my performance.

• Objective Analysis: I approach feedback with an open mind, separating constructive criticism from subjective opinions. I look for patterns and recurring themes in the feedback received, seeking to identify areas for improvement.
• Actionable Steps: Instead of getting defensive, I focus on translating feedback into specific, actionable steps. This may involve technical adjustments to my playing, a change in interpretation, or a deeper exploration of the musical text.
• Reflection and Practice: I dedicate time to reflecting on the feedback received and incorporating it into my practice routine. This might involve targeted exercises to address specific technical challenges or exploring different approaches to interpreting a musical passage.

For instance, a conductor once pointed out that my phrasing in a particular movement was lacking in emotional depth. Instead of dismissing the comment, I analyzed the passage carefully, revisiting the composer’s intentions and exploring various expressive techniques during practice. The next performance revealed a marked improvement in the emotional resonance of my playing.

My long-term career goals encompass a multifaceted approach to viola performance. I aim to excel as a soloist, chamber musician, and orchestral player, while also exploring avenues of musical education and outreach.

• Solo Performance: I aspire to build a successful solo career, performing a wide-ranging repertoire and collaborating with renowned conductors and orchestras. This involves cultivating a unique artistic voice and engaging with audiences through compelling performances.
• Chamber Music: I am passionate about chamber music and aim to collaborate with exceptional musicians in various ensembles. The collaborative nature of chamber music allows for profound musical exploration and a deeper understanding of the musical text.
• Orchestral Playing: Orchestral performance provides a different set of challenges and rewards. I want to contribute to the excellence of prominent orchestras, enriching their sound and contributing to their collective artistic achievements.
• Teaching and Outreach: I envision sharing my passion for the viola through teaching and outreach programs, nurturing future generations of musicians and fostering an appreciation for classical music in wider communities.

During a crucial performance of Walton’s Viola Concerto, my bow broke mid-performance, a catastrophic event for any violist. This required immediate problem-solving and composure.

• Maintaining Composure: The initial shock was significant, but I quickly composed myself, preventing panic from affecting my performance.
• Quick Thinking: I signaled to my conductor for a brief pause and calmly explained the situation. Fortunately, a spare bow was available backstage, but it wasn’t the same weight and feel as my usual bow.
• Adapting to the Circumstances: With a borrowed bow that felt slightly different, I had to adjust my bowing technique and pressure to maintain the quality of my sound. The transition was not seamless but I managed to complete the performance without significant disruption.

This incident taught me the importance of adaptability and resourcefulness, crucial skills for overcoming unforeseen challenges in live performance. It highlighted the necessity of having a backup plan, and it solidified my commitment to maintaining composure under pressure.

My philosophy on musical interpretation centers on understanding the composer’s intent while simultaneously bringing my own unique artistic voice to the performance. It’s a delicate balance.

• Historical Context: I begin by researching the historical and cultural context surrounding the piece, understanding the composer’s life, influences, and the prevailing musical style of the time. This provides a solid foundation for interpretation.
• Textual Analysis: A thorough analysis of the musical score is essential. I explore the melodic, harmonic, rhythmic, and formal structures, looking for subtle clues about the composer’s intent and emotional expression.
• Personal Expression: While faithful to the composer’s vision, I believe a performance should also reflect the performer’s individual artistry. This personal touch brings fresh insight and makes the music resonate with a modern audience.

It’s like translating a poem – the goal is to convey the poet’s meaning accurately, but with a voice and inflection that reflect both the author’s intent and your own understanding. Striking this balance allows for a performance that is both authentic and compelling.