quote:

Originally posted by Bow wow:
That could be due to my incompetence as a teacher, but more likely it involves many other things, such as the fact that I don’t teach privately very much or very regularly (these days I am not officially affiliated with a University or College). Most of my current teaching is either Master Classes or festivals of some sort that have a student program, most often not in the Milwaukee area.

Frank,

I would have thought that someone in your position would want to teach at the local university or conservatory. Is it that you just don't have the time or the interest? Or perhaps, you have other hobbies outside of music and perfer to "have a life" away from it?

Truly amazing someone of Frank's caliber has taken the time to post on myauditions. Frank, thanks for taking the time.

I truly enjoy reading your discussion thread and your postings are highly educational. Perhaps myauditions should have you as one of their artist bloggers? I am sure it would be a very popular one! I, for one, would subscribe to it.

quote:

Originally posted by Artemis:
Hi Frank,
From your profile I know you were DeLay's student. I have read Barbara Sand's biography on her about how she trained students. Ofcourse, you won the Paganini's and the Tchaikovsky's before that means your techniques are undoubtly superb. But when I know you have been an international concertmaster and from your replies here, you are really humble and with a very good communication skill which is very important as a CM, could you tell whether DeLay has trained students the qualities of being this ? How was your training ?

Hi Artemis,

I appreciate the kind words. I’ll get to Ms. Delay shortly, but I thought of one other relevant point regarding my previous posting- the brief thoughts on the practical role of a Concertmaster in a “live performance” sense.

There are some conductors who have very rigid and ingrained thoughts about the role of the CM (and other Principals), and just exactly how much influence and input they should or should not have, both in rehearsal and performance. Some are quite adamant that the CM play a subordinate role almost exclusively unless absolutely necessary (I.e. keep one’s mouth shut most of the time and don’t move around a lot). I’ve learned over the years to sense this pretty clearly within the first ten minutes of the first rehearsal, and obviously this approach creates a very different dynamic for performances. I have experienced this fairly infrequently, and almost exclusively with guest conductors who some would characterize as insecure (maybe that description is itself redundant). Fortunately I have not found this to be the case with most top-level conductors, who seem to be content to allow me to at least attempt to do my job or fail in the process. They usually know that competent Principals in an orchestra can both save them time in rehearsal and help immeasurably in performance. But the next time you see your favorite orchestra having an “off” night with a guest conductor, remember that “chemistry” can be affected by many things leading up to a particular concert.

I count Ms. Delay as my main teacher during my time at Juilliard, but for the record I played for and spoke with as many people as I could find that interested me, including Felix Galimir, Harvey Shapiro, and Eugene Drucker, all of whom were hugely influential to me. As far as Delay’s effect on her students, that is such a wide topic that it’s really difficult for me to address except as far as my own personal experience. In that sense, I can say I am incredibly grateful to have had the opportunity to play for her as often as I did (not such a common occurrence), but also that she very much encouraged me to think for myself, artistically and otherwise. Paradoxically, as a result I have probably had a less “mainstream” career than others in her class, but I feel I also have established a certain kind of longevity, variety, and enjoyment that is becoming more satisfying rather than less.

Having said that, I think it must be acknowledged that Ms. Delay did not enthusiastically promote learning about orchestral playing (except as it related to following a soloist), and in a certain sense even seemed to look down on it (but she did encourage a vibrant life of chamber music). Although I understood that attitude from a motivational perspective, from what I saw going on in the business at the time, it seemed sort of unrealistic to me, even in the late ‘80s. It just seemed obvious that to have a career as a violinist one was going to have to learn how to wear as many hats as possible, because things were contracting and there were only a finite number of “real” satisfying jobs. This dovetailed nicely with my own personal fascination with people like Gingold or Silverstein (or Glenn Dicterow), all of whom I believed had the consummate musicianship and opportunities to really do whatever they wanted. In that regard I was on my own, despite Ms. Delay’s formidable talents and passionate devotion to her students.

Frank

quote:

Originally posted by TommyBoy:

quote:

Originally posted by Bow wow:
That could be due to my incompetence as a teacher, but more likely it involves many other things, such as the fact that I don’t teach privately very much or very regularly (these days I am not officially affiliated with a University or College). Most of my current teaching is either Master Classes or festivals of some sort that have a student program, most often not in the Milwaukee area.

Frank,

I would have thought that someone in your position would want to teach at the local university or conservatory. Is it that you just don't have the time or the interest? Or perhaps, you have other hobbies outside of music and perfer to "have a life" away from it?

Hi-

I’ve had various “formal” teaching positions, including San Diego State and Texas Christian University (I was CM of the Fort Worth Symphony prior to Milwaukee). I enjoy teaching very much and am good at it (so I’m told), but it has become more a matter of timing and my own sanity.

In addition to my duties w/the MSO, I play with An die Musik in NYC and occasionally on tour, do various other chamber music projects, run a fairly substantial (and unorthodox) chamber series, play several solo dates every season, make a CD now and then, and have an 18-month-old daughter and a wife who is clearly a very patient and tolerant non-musician. I also have fairly eclectic tastes in other areas of music that I try and cultivate (my brother is a fairly well-known rock and jazz drummer), I like to snowboard sometimes, I read incessantly, I like learning about wines, and have a couple of other interests I won’t bore you with.

So it’s a lot. Further, I really don’t want to give a lesson and waste someone’s time by telling them just to use less bow or play louder or whatever. Teaching well requires a lot of concentration and skill, often as much as my own practice or performance, and that’s what I expect to deliver in a class or a lesson. Sometimes that’s not possible on a regular basis for me, so it’s kind of morphed into the current situation.

Frank

Thanks Frank again. You are really so smart in reading those bosses' temper ! Right, having a smooth relationship is really important at the very beginning. I agree with you that some conductors (actually no matter they are the Director or the guests), may have the knowledge (or preference) of letting the CM or other principals to give a hand. But since management skills nowadays in other fields all support departmental style, in this situation the conductor is the CEO, then CM is the GM, and principals are Managers. The ability of all principals is a crucial part actually. Otherwise, how can one controls a hundred ?

Since DeLay is not here anymore, then maybe I can say more freely, I have also heard that your classes were stars factories. But anyway, to my special interest, I have also studied about what those CM roles are whenever I have a chance, well, almost 10 years already. But you were lucky to play to her as often as than other students, and worked with other great tutors. Yes, " mainstream " career disappears very quickly. And, though I have never heard your playing, I know you must be a very extraordinary CM because you ran from Continent to Continent, with big orchestras. " Stars " may not make it. So, that's why I say having a chance to speak to you here is valuable.

Well, your writing is also very attractive. I think one day you may write a book on being a CM and it will be on the bookshelves of Management category ! I am not kidding, there is already a book on the Orpheus Chamber ! You just give me a very good lesson on this topic since, I told you, I have tried my best to know it for 10 years.

quote:

Originally posted by Morassi:
It's best to let the world tell you're you're great rather than you telling the world.

See? Frank is so generous !

quote:

Originally posted by Mac:
Truly amazing someone of Frank's caliber has taken the time to post on myauditions. Frank, thanks for taking the time.

I truly enjoy reading your discussion thread and your postings are highly educational. Perhaps myauditions should have you as one of their artist bloggers? I am sure it would be a very popular one! I, for one, would subscribe to it.

Hello-
Many thanks for the kind words, and I'm glad you are enjoying the discussion. This is all sort of new for me, so we'll see what happens.

Frank

Frank,

My pleasure!

What is An die Musik all about? Is this a small chamber music group? Sounds like "new music" to me.

Hi Frank--we were at Juilliard together--I remember seeing you waiting for those late nite lessons outside the DeLay room--after the elevator to the left--everyone just waited--and I would be finished with my humbling lessons with Adele Marcus--

Your words are terrific, and isn't it true, though, that our teachers kept us humbly aware that there was always so much more to learn (and so little time!), and they truly believed in the great solo career back then. Adele, like Dorothy, encouraged lots of chamber music as you say. Felix Galimir was so much fun--tougher on you string guys than the pianists for sure. Having students now really makes me appreciate their immense dedication.

What's Bow wow about? (I'm the 'Biegel') Hope to stay in touch--see you in Milwaukee next May (with the Liebermann 3rd--still waiting to see the manuscript!!??!!)--we'll catch a coffee or something. Welcome to My Auditions--a great meeting place of many hats in the field.

quote:

Originally posted by Mac:
Frank,

My pleasure!

What is An die Musik all about? Is this a small chamber music group? Sounds like "new music" to me.

An die Musik is a chamber group that’s been around for 30 years or so, based in NYC. They’ve had various personnel except for its founder/pianist Connie Emmerich. Violinists have included (among others) Elliot Chapeau, Earl Carlyss, and Andrew Dawes prior to my joining in 1997. Its reputation and unusual configuration of vln, vla, cello, oboe, and piano has led to various interesting collaborations with leading composers, but the group is also well known for its devotion to standard repertory. It was also one of the first groups to pursue the idea of a “special project” about 20 years ago, i.e. working with painters and things of that nature. Currently several composers have been commissioned to set various nursery rhymes to music; the project is being recorded by Newport Classic and has been nominated for two Grammys. The name of the group refers to the famous Schubert song.

[QUOTE]Originally posted by Jeffrey Biegel:
Hi Frank--we were at Juilliard together--I remember seeing you waiting for those late nite lessons outside the DeLay room--after the elevator to the left--everyone just waited--and I would be finished with my humbling lessons with Adele Marcus--"

Hi Jeffrey-

Of course I remember you; mostly from both of us hunting for practice rooms on the 4th floor. That was before they built the spa/dorm/resort next door. It's a different scene there for sure- better, I think. I hear there's another renovation coming to use up the space facing Bway. I still miss going in through that cave on 66th.

Thanks for the kind words, and I have enjoyed your postings as well. I look forward to hearing your terrific playing again next year; I'm sure Lowell will send the music by April or so.

best, Frank

I miss the practice rooms and that beloved 66th Street entrance too. Alas, we'll meet in Milwaukee--and Lowell will be there too--it'll be old home week!

Your posts are so helpful for everyone!!

Hello everyone-

Starting today I will be away for a week and am unsure of my regular access to the internet. I apologize in advance if I cannot respond on the forum as quickly as I would like. Thanks for all the questions, and please keep them coming.

Frank

Have a nice trip ! And I am still thinking of new questions.

quote:

Originally posted by Bow wow:
Hello everyone-

Starting today I will be away for a week and am unsure of my regular access to the internet. I apologize in advance if I cannot respond on the forum as quickly as I would like. Thanks for all the questions, and please keep them coming.

Frank

I found this forum through Google and wanted to send greetings. I hope I can catch an NYC performance soon.
Helen Martin

Spa/dorm/resort????

I don't know what Juilliard dorm you've been to, but it's no resort, and I definately saw no spa.

I went to Juilliard back in the late 70's/early 80's and remember them building the dorms. Never got inside them but from the commons area on the ground floor, it does seem to be pretty ordinary.

When the were building the structure, I think they started around 1981, they started closing off the 66th St entrance. The long hallway was bleak and the only area prior to the entrance at the end of the hallway was the bookstore. Small, cramp with only one retail person.

Of course today, they've got the entrance facing Lincoln Center, with the arduous stairways on Broadway to get up to the entrance (my knees aren't what they use to be). Right next to the entrance is a rather large bookstore with t-shirts and the whole nine yards. Back in my day, you couldn't get a shirt that said Juilliard on it unless you had it made.

The entranceway and inside lobby use to be just a big empty space where they use to have fundraising events. No one ever practice there as it was all stone and marble. No good acoustics.

Last year I was at Juilliard, Wynton Marsalis was a freshman and for the first time, Juilliard decided to have a graduation prom in what use be the first floor, now the entrance lobby. Wynton got a few people together and I remember catching his rehearsal there on the day of the prom while staff was setting up.

Prior to Wynton, you never discussed Jazz at Juilliard. It was a taboo. Now they've got their own Jazz program. They've come a long way.

Hi Frank, hope you enjoy your vacation !

Like other principals, CM sometimes has to play solos in the orchestral pieces. Some conductors like to control principals' tempo and interpretation even in a concert, perhaps they think solos are just part of the piece and should not contain personal opinion. But sometimes they just put their hands and baton on the music stand. From your experience, which situation happened most ? And people like to discuss Rimsky-Korsakov's Scheherazade as the most interesting showpiece. But not much people would think of Saint-Saens's Danse Macabre which I think CM is very important in bringing the right touch to the whole work. What do you think and what pieces do you like most ?

quote:

Originally posted by Morassi:
Spa/dorm/resort????

I don't know what Juilliard dorm you've been to, but it's no resort, and I definately saw no spa.

I was sort of joking; the Rose Building is always an interesting topic for those of us who attended Juilliard before its construction. I left in 1989 (I think construction had started already), and the school was a very different place then, both in terms of practicality and atmosphere. At that time attending Juilliard meant that you were pretty much on your own as far as housing in NYC, and this added a unique dimension to an already singular “college” experience. Also, the building was only “officially” open between 7 or 8 AM until 10 PM- ingenuity sometimes helped in extending those hours. I remember the distinct feeling that it was more like going to work in the morning than attending college, and I’m sure I was not alone. For better or worse, there was really no “campus” or student life, beyond what you created for yourself. Meal plans and dorm life were unheard of, and there seemed to be a certain pride in that. It all permanently changed when the Rose Building opened (much for the better, in my opinion); Juilliard looks and feels a lot more like a “real” school, with all kinds of things that didn’t exist there for decades of the school’s existence.

Frank

"Prior to Wynton, you never discussed Jazz at Juilliard. It was a taboo. Now they've got their own Jazz program. They've come a long way."

I agree that Juilliard has dramatically changed its archaic views on jazz since I was there. I remember stories of Peter Mennin (former President of Juilliard) running around the fourth floor trying to keep people from practicing anything but what he deemed appropriate “classical” music. Growing up, I was encouraged to listen to as many different styles as possible, so I was always mystified by that kind of exclusionary attitude. My brother has been quite successful in the jazz world, and I’ve been fortunate enough to meet and listen to many of the top jazz players on the planet. There’s a lot that classical musicians could learn, especially in terms of a sense of time (rhythm) and overall awareness of what’s happening around you musically.

And if anyone’s interested, click here: http://www.cliffalmondmusic.com/
Next show in NY is at 55 bar on Sept. 1 w/Wayne Krantz (gtr), Anthony Jackson (bass) and Cliff playing drums. I’d suggest arriving early if you want to actually sit down for the show.

Frank