Say it How it Really Is

It's always encouraging to talk with highly esteemed professionals in your field of choice. Today I had a meeting with my new academic advisor at my new University, North Park University. Walking in, I didn't know quite what to expect. The meeting turned out to last almost an hour long, and only a few minutes were dedicated towards looking at my academics. The first half hour was spent discussing the plans I had for my future - grad school, etc. He told me that the teacher is the most important reason to go to a particular grad school, or no grad school at all (independent lessons). He said that if I were his daughter, he'd send me to a guy in New York. Apparently he is well known for connecting music to the inward person, not just teaching someone how to play their instrument well. A few other pedagogues he mentioned: Mimi Zweig and a lady at Rice University in Houston. He talked about the alarming circumstances of today's orchestras and the growing growing gap between the repertoire and the audience. He said he would do anything to save the repertoire. He told me that if I stay in Chicago for grad school, I should talk to my current teacher (Robert Hanford) about joining the Civic Orchestra. I'd heard of it before. He said if you get in you get to attend grad school free of charge. He said the atmosphere there (as well as the atmosphere of the CSO, he seemed to joust at) was awful; fowl language and negativity swarm. He said its the sacrifice you must decide you want to make, however. He seemed to think I might have a change at that. That was encouraging. He gave me so much other good advice. He also said that reputation is important. My stand partner, as of now, does not have a good one (he missed a rehearsal already and arrived late yesterday). People talk. He said Claudio (chamber music coach) is a good connection. He told me to stay close with her. He talked about everything I needed to hear, but everything I kind of already knew: the orchestras are diminishing, the culture is disconnecting from the classics, connections/reputation are important, teachers are important. He said the teaching they do at Northwestern is a strong Dorthy Delay approach. He said that has worked fine all these years, but there needs to be something new added to that. A performer, in his opinion, should learn all aspects of music, and really how to HEAR and LISTEN to it. He said a lot of teachers/orchestra/people don't actually care about the performer, only how they play. He said this is wrong. Disciple and hard work are necessary, yes. But not this negativity that make people miserable, depressed. I couldn't have agreed more. He told me to find the place where I can be really honest, despite how intimidating this might be. I don't remember how this connected with our musical conversation ... He can't stand commercial music. He tried it in Germany - with musicals. He said it pays well, but it makes him want to vomit. But bills must be paid, he said, and that is what some people have to revert to. He commented that if people are performing this type of music, though, they should know their doing dirty work, and should not act innocent about it.