The October 2005 featured artist of the month is Ken Freudigman.

Ken is the Co-Founder of Camerata San Antonio, Principal Cello of the San Antonio Symphony, Adjunct Professor of Cello at the University of Texas at San Antonio, Education Director of the Cactus Pear Music Festival, and a highly-respected cello pedagogue.

Post a question for Ken.

This message has been edited. Last edited by: MyAuditions,

Ken, now that you are the new Principle Cello Player of the wonderful San Antonio Symphony, how different is it playing principle from your former chair? Have you found that you need to reherse more often? How are you able to juggle the new responsiblity in addition to your private teaching & Camerata duties? Do you feel that you have reached the "top" of your game? Did you receive any advice from the previous principle, David Molleauer and last, are you any more nervous than you were before?

Hi Ken,

How is the mood in the orchestra in the midst of the financial crunch you blokes are experiencing? Has that affected the overall playing level of the musicians or is it business as usual?

Before I begin, I would like to thank My Auditions for having me as a Featured Artist.

I was recently appointed to the principal cello position of the San Antonio Symphony and what I realized is that the preparation for each concert is exactly the same (bar solos) except for the fact that I must start my preparations much earlier in the game. For example, I need to have my Symphony parts in my possession about 6-8 weeks ahead of time to do bowings for the librarian. When I get them back about a month out, I then can put them into the “STACK”.
This is a pile of Symphony, Camerata and Students music laid out in order of performance with very hard or new music moved up in line. The most important lesson I have learned about juggling the demands of my schedule is that I need to be very organized which is against my nature! The outcome for my performance is actually that I am less nervous. I firmly believe that nerves are in direct proportion to your preparation.

I looked at the Camerata San Antonio Web site but it is not as descriptive as I thought it would be. Does the group focus on early chamber repertoire from the 18th century. What other repertoire does the group perform?

quote:

Originally posted by musician:
I looked at the Camerata San Antonio Web site but it is not as descriptive as I thought it would be. Does the group focus on early chamber repertoire from the 18th century. What other repertoire does the group perform?

Camerata San Antonio’s repertoire is an eclectic mix of works from the baroque through present day with a special emphasis on the core classical and romantic composers with the occasional American premiere. Camerata is mainly a string chamber music ensemble made up of musicians drawn from the San Antonio Symphony and on occasion we utilize our colleagues in the wind and brass sections.

quote:

Originally posted by violagirl:
Hi Ken,

How is the mood in the orchestra in the midst of the financial crunch you blokes are experiencing? Has that affected the overall playing level of the musicians or is it business as usual?

The San Antonio Symphony is in a period of financial recovery and I am inspired and motivated by the great talents and spirit of my colleagues. Under the leadership of our new music director Larry Rachleff my hopes are very high for a bright future both artistically and financially.

hey ken, very cool! how'd you like attending Eastman?

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Originally posted by thunderlips:
hey ken, very cool! how'd you like attending Eastman?

I Enjoyed it immensely. During my time at Eastman there was a wonderful faculty to learn from that included the Cleveland Quartet with Violinists Don Weilerstein then Bill Preucil, and Violists Atar Arad then James Dunham. I had the opportunity to coach chamber music those four and also 2nd Violinist Peter Salaff and Cellist Paul Katz. Other faculty that stand out in my memory are Soprano Jan DeGaetani, Composer Sydney Hodkinson and of course my Teacher Steven Doane. I know that I will probably leave some important people out and I am sorry but they all played their part in shaping my musical development and each one of them in one way or another still goes out on stage with me.
For example, Paul Katz taught me how important the cello is to the quartet both for rhythm and intonation. It grounds the ensemble. Don Weilerstein and Bill Preucil taught me to express myself with no fear and to take chances. What is the worst thing that will happen if you go for it and miss? Atar Arad, James Dunham and Peter Salaff were huge influences on me by showing how important inner voices are and that they are never just supporting roles but soloist in there own right and how as a cellist I am suppose to relate to them.
The other three- Jan DeGaetani, Sydney Hodkinson and Steven Doane - all had the biggest influence on my playing due to my contact with them. Strangely enough, Jan DeGaetani taught me more about continuo playing than I ever thought possible. One of my classmates suggested I sign up with him for Jan’s Bach-Aria class. I mistakenly thought that I was going to play bass lines for a bunch of singers!! Boy was I wrong. It turned out to be the most amazing lesson of how the bass line in Bach and Baroque music in general relates not only rhythmically and harmonically but also that it was an indispensable part of the ensemble. The continuo is the leader or conductor of the ensemble. Its prominence in the ensemble is so important that the vast majority of baroque music is titled -Sonata for xxxxxxx and Basso Continuo. It seems obvious now but it was an important lesson.

Sydney Hodkinson was a composer but also conducted an ensemble called Musica Nova. All of the music here as you might guess was from the 20th century. I think that I started in that ensemble as a freshman and continued for four years. He opened my eyes to the wonders of music whose ink is still wet. To this day when ever I run across a new work that goes from 13/16 to 3/8 to 5/2 to 11/32 I remember how to work it out because of him. Sydney is a walking Dr Beat. Actually I think that he is Dr Beat!

What can I say about Steve Doane? When I was a sophomore at the Interlochen Arts Academy I heard him play a recital and at that moment I knew I had to study with him. I was accepted to a number of very good music schools but was holding my breath all that winter waiting for the letter from Eastman. I still remember being on spring break from school and this big fat envelope from Eastman and finding out not only did I get in but was accepted into his studio. Lessons with Steve were always held in a learning and nurturing environment. No matter how busy he was with his studio or his trio, he always was genuinely involved in my development as a cellist. He took a talented but unfocused kid and gave me focus. I have to admit that I was not the best student and maybe a little hard to handle but he stuck with me and gave me the tools to succeed.

As you can tell I really have fond memories of studying at Eastman. Thanks for the trip down amnesia lane!

Can you tell us about your audition experiences. In particular how did your recent win (San Antonio) audition go? The process, feelings, tight competition...?

Tell me about your experience in the New World Symphony.

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Originally posted by Annju:
Can you tell us about your audition experiences. In particular how did your recent win (San Antonio) audition go? The process, feelings, tight competition...?

Do we have enough space here to talk about the “AUDITION EXPIERIENCE”? LOL. There are so many ways that I could go with this, it is hard to narrow it down. Let me start by telling you my thoughts on auditioning.


I do think that the first thing that must be taken care of in ones playing, before an audition, is total control of your craft. That means intonation, rhythm, dynamics, sound production, bow control, articulations, and many other things that I could mention. I spent many years being mad at audition committees for not hiring me because I “knew” how well I played. I never thought that any of the auditions were rigged but I could not believe that they did advance/hire me. After many years of winning smaller auditions and getting close at big ones. I had to finally come to terms with the fact that it was not the committee but my playing that was lacking. Until I took control of my craft, I was going to be unable to pass that last hurdle – to leave the committee no reason not to hire me. I am humbled by the amount of work and commitment that it takes to win an audition. Talent alone will only take you to the door of success. It is up to the individual to do the work to open the door.

It may sound simple. but advancement in any audition has a direct relationship to the way that you have prepared. It must be methodical and complete. Nothing glossed over. The minutia of it all can be daunting. I once played for a principal of a major orchestra thinking that I was doing well and he let me know in no uncertain terms that I was good on concept, but bad on execution. The devil is in the details! I feel very fortunate that I have come across musicians, mentors and colleagues who were willing to tell it like it is.

I suppose that this might be the right forum to suggest to those who are auditioning to do a few things that I think that are indispensable to raising the odds of doing well in an audition.

First and foremost, get a REAL assessment of your playing (at whatever level you are) from teachers, colleagues, orchestral musicians and yes conductors. If music is where you want to be, this raw look at how your playing stacks up in the real world of orchestral playing is a must. Don’t be fooled. What you may hear from those who are honestly telling you what they hear without sugar coating their impressions may be hard to listen to, but the benefits you will reap from their years of experience will outweigh any bruised egos. Conductors can be the hardest to play for. During my twenties, I played for a lot of conductors to get their feedback. It was not easy, but I am very happy that they agreed to hear me. If you are squeamish about approaching a conductor that you admire, get over it. The worst that they can say is no, and I have yet to meet a conductor who was unwilling to share what they thought.

Once you have a sense of where you are and what you need to work on, find someone to work with. Again, a teacher or colleague can do wonders here.
Be honest about your progress. As you get closer to the audition, and by this I mean months away if you have that much time, play for as many people as you can. If you have other friends who are also auditioning, host audition boot camp. Set dates where you get together and play parts of your lists in an audition setting. Invite conductors or teachers to make it even more stressful. Practice performing as much as you can. There is nothing better for your playing than putting it under the stress of an audition-like process.

RECORD EVERYTHING!!!!! Don’t forget to leave time to listen to your recording. When you record excerpts, have the courage to let friends listen to it to give you feed back. Ten set of ears are better than two.

What I am trying to say with all of this is that you and only you hold the keys to your audition success. In the end you are the only person with whom you are competing. You are the only one who can sink you audition by not working hard enough. No excuses for not advancing. The committee is looking for the most qualified person on that day. If you are advancing, you are on the right track. Once in the finals, it is just a matter of time.

Not sure if this really answered your questions but it was good to put these thought on paper!

Question for you. You say to play in front of conductors but what conductors are you referring to and how many would actually take the time to listen? I suppose that you would need to take a "lesson" with them and pay for the hour?

I only ask because throughout many discussions on myauditions, i can't recall anyone mentioning to play for conductors, since some assumed that their time is limited.

BTW - How'd your concert go at Travis Park United Methodist Church on the 16th?

quote:

Originally posted by Mac:
Question for you. You say to play in front of conductors but what conductors are you referring to and how many would actually take the time to listen? I suppose that you would need to take a "lesson" with them and pay for the hour?

I only ask because throughout many discussions on myauditions, i can't recall anyone mentioning to play for conductors, since some assumed that their time is limited.

BTW - How'd your concert go at Travis Park United Methodist Church on the 16th?

Playing for conductors is no harder than playing for your colleagues. You simply have to summon the courage to walk up to them and ask them to listen to you. Their time is limited but it is any more limited than a working musician? The only difference is getting access to them. This idea works mostly for musicians who are at music school and/or are already playing in smaller regional orchestras. If you are in music school and you want to try some of the excerpts that you are working on, talk to your conductor and ask for feedback. For all of the conductors that I had asked to hear me, only 1 had flatly turned me down. Every other conductor, (and there were quite a few) found the time to listen to me and never asked for payment. Not that I did not ask about it. If you have a relationship of some sort with them it always makes it easier to approach them.
I also think that many students who are studying at summer festivals also have the opportunity to ask not only the established conductors but also conducting students. They are eager to pass on their knowledge of the score and their ideas about orchestral playing.

One thing I did not mention is if you are at a music school and they have an orchestral rep class, by all means take the class. It is a wonderful laboratory to explore the repertoire, under the guidance of a knowledgeable musician, the ins and outs of your instrument. While at Eastman, Tony Ross, who is now Principal Cello of the Minnesota Orchestra was teaching the rep class. I also study orchestral rep with Steve Doane, Eric Kim, Steven Geber, Desmond Hoebig and Carter Brey.
That reminds me. Often when we are playing summer festivals we have access to great principal players of major Orchestras. In 95 or 96, Cater Brey Came to a festival that I was playing in. I had an audition coming up and went and asked him to hear me. I knew that he was busy but he graciously made the time and it was a very rewarding experience.
One other thing about audition prep: If you are out of school and auditioning or have won a job and want to move to another orchestra, by all means seek out a principal of a larger ensemble than your own. In almost every part of the country, there is a major symphony not too far from where you live. Do research about the principal that you want to play for. Ask your friends, “do you know so and so?” Find a common friend to introduce you. (If you have not noticed the music world is VERY VERY small. You are only a few acquaintances away from almost any one to whom you want to meet.) Then get on the phone and ask for them to hear you. When they do say yes to hear you, ask what there fee is upfront. It will be easier and you wont get sticker shock after the lesson!

Hope that this help!

P.S. I will let you know how the concert on the 16th goes. We play it first on the 14th in Kerrville Texas, before opening our Series in San Antonio on the 16th.

This is great advice! Thanks Ken. BTW - looking at schools starting right now. I know you went to Eastman but do you have any thoughts as to Curtis, Juilliard, Manhattan School? I like Berklee only because it is close to me (I am in Bangor, ME) and I would like to stay in the NE but not sure if that would be the right fit for me. Any ideas for a budding string bassist?

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Originally posted by Pete527:
This is great advice! Thanks Ken. BTW - looking at schools starting right now. I know you went to Eastman but do you have any thoughts as to Curtis, Juilliard, Manhattan School? I like Berklee only because it is close to me (I am in Bangor, ME) and I would like to stay in the NE but not sure if that would be the right fit for me. Any ideas for a budding string bassist?

Pete,

I have a few thought about schools. It is only three words long…….TEACHER TEACHER TEACHER…… It is all about the teacher. Do you have any idea about whom you might want to study with? Who was your teachers teacher? Been to a festival where there were college teachers? Been to any bass web sites? Here is a link to the International Society of Double Bassist http://www.isbworldoffice.com/
What I think is important is to find the right fit with a teacher and then worry about the school. If you can identify a number of teachers that might be good for you, try to see if you can attend a master class, hear a concert or better yet, get lessons with them. This way you can see if the personal interaction will be the best for both of you. Just as you are auditioning to get into their studio, you need to audition them to see if you can work with them. Just because someone has a reputation from a big school does not mean that reputation is easy to work with. Find someone who will teach you the craft of playing your instrument: A master teacher who will teach you to be a complete player.
As for the schools that you have mentioned they are all excellent places to study. I had colleagues who went to all of them and they have only good things to say about them. But your mantra needs to be TEACHER TEACHER TEACHER!!!

Good luck,
Ken

Pete: I'll put in a "plug" for my alma mater, New England Conservatory, which would be close to home.

Thanks ken, really great advice!! so what am i looking for in a teacher? is it that they have been doing it for 50 years, playing in a major symphony, recommendations from other people? what criteria should i be using? I have no idea.

and thanks trickysam, i am already looking into NE conservatory.

Dear Pete,
Instead of me telling you what I think in my own words, refer to the other posts on this forum, specifically 'Conservatory crushers'. There is much sage advice in these posts from performers and teachers alike. Also look at the new post “Choosing the right teacher” I bet it will turn into a very interesting discussion.

Ken

BTW - How'd your concert go at Travis Park United Methodist Church on the 16th? [/QUOTE]

Hey Mac,
The concerts this weekend went very well. Better in Kerrville than San Antonio but we were happy about playing at both concerts. If you want to read the review go to http://www.mysanantonio.com/entertainment/music/stories...amerata.c60bc1e.html

Best wishes,
Ken