Advice From Musical Experts, Part II

In the course of a panel discussion at the Sharon Lynne Wilson Center on Tuesday, 6/12, four Milwaukee-area music professionals dispensed a great deal of advice on the nuances of being a professional soloist. PianoArts music director Andrews Sill, honorary board member Lee Dougherty, former Milwaukee Symphony Orchestra vice president Laurence Tucker and executive director of the Wilson Center Jon Winkle all spoke in the panel discussion, entitled "Careers in Music" and "Working with Managers and Presenters". This is Part II of a two-part post.

As advice to keep tucked away for when the finalists are all famous, Dougherty advised them to "be sure to honor that contract", even if a better offer comes along. She also emphasized the importance of "expand[ing] your repertoire to the degree that people can call you and ask what you'll be able to play next year". But while doing this, added Tucker, "have a few things you can play in your sleep". He also cautioned against the contestants' performing too many concertos in too short a time period. "Don't offer more than 4-5 concertos in a season," Tucker said; with too many concertos, like 12 or 13, it's guaranteed that none of them will be great ones.

Artistic Director Stefanie Jacob, who was sitting in the audience, advised the crowd to "think about what pieces you can play with real conviction, that speak to you. When you do, it speaks more to the audience". And if a piece doesn't speak to you, she added laughingly, learn how to make it speak! It makes for a better performance all around. On the subject of learning, Sill then told the crowd about his struggle to speak in front of groups, which he had overcome through discipline and practice. "If something doesn't come naturally to you, practice it," Sill added. "If it doesn't come naturally to you, it's okay, but you need to work at it... It's OK if it's uncomfortable, but it's not OK to say ehh, I'm not going to do that."

Returning to the subject of little things, Dougherty advised that at future competitions, the semifinalists should plan their repertoire according to the time they're given. Budget time for walking onstage, for the in-concert talks and for applause, she said. It all has some importance, as Winkle reminded the crowd, there's "a lot of money on the table" that goes beyond just the soloist. You have a responsibility to the patrons of the establishment you'll be at. "You are the talent, and when you express yourself, you're like no other individual," Dougherty said. "You're lifting the souls of hundreds of people. Not everyone gets to do that."

During the question-and-answer period, Sill offered a final piece of advice. When speaking about a piece, Sill said, "I don't want to hear technical things or emotional things. I want to know, what connects you to this music? What grabs you? It's not an easy answer, but if you can articulate that personal connection, well, you will leave the audience hooked."