Adam McMillan, piano
Adam McMillan was the first of our mentorship students, and appeared in Timeless Quartets, performing the Sutherland Sonata for clarinet and piano in one movement, with Paul Dean.
Born in Brisbane, 23-year-old pianist Adam McMillan is currently studying at the Australian National Academy of Music (ANAM) under the tutelage of Timothy Young. Adam began playing when he was four, and by age 16, he had performed as soloist with the Tagiev Chamber Orchestra in the Weill Recital Hall at Carnegie Hall, as well as in China and Estonia. During his school years he received a Licentiate of Music with Distinction, was awarded the Quota Joyce Phillips award by the AMEB, and received 1st prize in the Queensland Piano Competition.
In 2014, Adam completed a Bachelor of Music (Advanced Performance) under the tutelage of Jenni Flemming at the Queensland Conservatorium, where he was a recipient of the Sir Samuel Griffith Scholarship. He graduated with First Class Honours and a University Medal. During his studies in Queensland, performances included playing in the 4MBS Festival of Classics Beethoven Marathon, performing as soloist with the Queensland Conservatorium Symphony Orchestra, and collaborating with other pianists in the Australian Piano Duo Festival. He also enjoyed performing and recording the works of a number of emerging Australian composers, and recording a CD with cellist Elizabeth Hubbard to raise money for the charity ‘HeartKids’.
During his time at ANAM, Adam has performed in the Brisbane Baroque Festival, in the Australian Voices series at the Melbourne Recital Centre, in the Canberra International Music Festival, as soloist with the South Melbourne Symphony Orchestra, and as soloist with the ANAM Orchestra under Richard Gill. He has performed frequently at ANAM alongside his colleagues, and performed with visiting artists such as Sara Macliver, Penelope Thwaites, Lisa Moore, Kathryn Stott, Paavali Jumpannen, Roy Howat, and Steve Davislim. He has also gained experience as an orchestral player under Simone Young and Antonio Méndez.
In 2016, Adam performed in the Australian Showcase at the Sydney International Piano Competition. Another highlight was performing Penderecki’s Sextet in the ANAM Chamber Competition Final; his ensemble received the Musica Viva Chamber Music Prize.
Born in Brisbane, 23-year-old pianist Adam McMillan is currently studying at the Australian National Academy of Music (ANAM) under the tutelage of Timothy Young. Adam began playing when he was four, and by age 16, he had performed as soloist with the Tagiev Chamber Orchestra in the Weill Recital Hall at Carnegie Hall, as well as in China and Estonia. During his school years he received a Licentiate of Music with Distinction, was awarded the Quota Joyce Phillips award by the AMEB, and received 1st prize in the Queensland Piano Competition.
In 2014, Adam completed a Bachelor of Music (Advanced Performance) under the tutelage of Jenni Flemming at the Queensland Conservatorium, where he was a recipient of the Sir Samuel Griffith Scholarship. He graduated with First Class Honours and a University Medal. During his studies in Queensland, performances included playing in the 4MBS Festival of Classics Beethoven Marathon, performing as soloist with the Queensland Conservatorium Symphony Orchestra, and collaborating with other pianists in the Australian Piano Duo Festival. He also enjoyed performing and recording the works of a number of emerging Australian composers, and recording a CD with cellist Elizabeth Hubbard to raise money for the charity ‘HeartKids’.
During his time at ANAM, Adam has performed in the Brisbane Baroque Festival, in the Australian Voices series at the Melbourne Recital Centre, in the Canberra International Music Festival, as soloist with the South Melbourne Symphony Orchestra, and as soloist with the ANAM Orchestra under Richard Gill. He has performed frequently at ANAM alongside his colleagues, and performed with visiting artists such as Sara Macliver, Penelope Thwaites, Lisa Moore, Kathryn Stott, Paavali Jumpannen, Roy Howat, and Steve Davislim. He has also gained experience as an orchestral player under Simone Young and Antonio Méndez.
In 2016, Adam performed in the Australian Showcase at the Sydney International Piano Competition. Another highlight was performing Penderecki’s Sextet in the ANAM Chamber Competition Final; his ensemble received the Musica Viva Chamber Music Prize.
"Recently I had the wonderful privilege of performing in Ensemble Q’s inaugural concert as part of their mentorship program. I performed the Margaret Sutherland Sonata for piano and clarinet with Paul Dean. Paul has long been an inspirational musical figure for me, and so it was very special to be invited to play alongside him in a professional setting. I’ve often found that I learn the most from playing alongside accomplished musicians; it sharpens your senses and challenges you to bring your best efforts to the stage. This was certainly the case playing with Paul. His generous spirit - as a musician and person - made the musical partnership truly enlivening and enriching. I strongly admire Ensemble Q’s commitment to expanding the chamber music scene in Brisbane, as there is so much local musical mastery and personality to showcase. Each of the musicians I heard rehearsing and performing together played with brilliance and flair and were perfect exponents of what chamber music in Australia has to offer. Aside from that, they were simply all wonderfully kind and supportive people."
Adam McMillan
Adam McMillan
Zoe Freisberg, violin
Zoe appears in "A Musical Vision" on June 24, in the Shostakovich Piano Quintet and Mahler Symphony No 4. She is also appearing in "Dreams and Prayers" alongside Alexander Sitkovetsky.
Zoe commenced her violin studies at the age of four under the direction of her mother, Helena Munoz Fernandez. After completing her Bachelor of Music at the Queensland Conservatorium of Music with Michele Walsh, she initiated study at the Australian National Academy of Music, under Dr. Robin Wilson.
Zoe has appeared as soloist in Sibelius’s Violin Concerto with the Tasmanian Symphony Orchestra and Mozart’s A Major Violin Concerto with Orchestra Victoria. Other solo performances include with the Maroondah Symphony Orchestra, the Brisbane Philharmonic Orchestra, the Redlands Symphony Orchestra and the Corda Spiritus Orchestra.
Zoe has performed solo recital tours in China and regional NSW. Zoe is a member of the Affinity Collective, and the ACO’s Inspire Quartet. Zoe has been an Emerging Artist with the Australian Chamber Orchestra Collective since 2014, and enjoys touring with the Collective annually to regional areas of Australia. As an orchestral player, Zoe has played with the Melbourne Symphony Orchestra, Tasmania Symphony Orchestra and Orchestra Victoria. The recipient of numerous awards and prizes, Zoe won the prestigious 2016 Kendall National Violin Competition and 2015 Australian Classical Music Competition. She has been a finalist in the 2016 Freedman Fellowships and was accepted into the 2016 Banff Centre’s International Masterclass Course for Strings and Winds, where she worked and played with world-renowned pedagogues. Zoe has been a finalist in Symphony Australia’s Young Performer’s Awards in 2014 and 2015.
Zoe commenced her violin studies at the age of four under the direction of her mother, Helena Munoz Fernandez. After completing her Bachelor of Music at the Queensland Conservatorium of Music with Michele Walsh, she initiated study at the Australian National Academy of Music, under Dr. Robin Wilson.
Zoe has appeared as soloist in Sibelius’s Violin Concerto with the Tasmanian Symphony Orchestra and Mozart’s A Major Violin Concerto with Orchestra Victoria. Other solo performances include with the Maroondah Symphony Orchestra, the Brisbane Philharmonic Orchestra, the Redlands Symphony Orchestra and the Corda Spiritus Orchestra.
Zoe has performed solo recital tours in China and regional NSW. Zoe is a member of the Affinity Collective, and the ACO’s Inspire Quartet. Zoe has been an Emerging Artist with the Australian Chamber Orchestra Collective since 2014, and enjoys touring with the Collective annually to regional areas of Australia. As an orchestral player, Zoe has played with the Melbourne Symphony Orchestra, Tasmania Symphony Orchestra and Orchestra Victoria. The recipient of numerous awards and prizes, Zoe won the prestigious 2016 Kendall National Violin Competition and 2015 Australian Classical Music Competition. She has been a finalist in the 2016 Freedman Fellowships and was accepted into the 2016 Banff Centre’s International Masterclass Course for Strings and Winds, where she worked and played with world-renowned pedagogues. Zoe has been a finalist in Symphony Australia’s Young Performer’s Awards in 2014 and 2015.
"Being a mentee at Ensemble Q was a marvelous and exhilarating experience. I feel very privileged to have made music alongside musicians of the Queensland Symphony Orchestra and lecturers of the Queensland and Adelaide Conservatoriums.
The Ensemble Q mentors were warm, helpful and extraordinarily inspiring musicians. Witnessing how they took rehearsals was truly enlightening to me. Their vast knowledge of the score, its character and their awareness of ensemble balance and cohesion meant that after 2 days of rehearsal we were able to present these demanding works with a new depth of understanding on my part. I loved every minute."
Zoe Freisberg
The Ensemble Q mentors were warm, helpful and extraordinarily inspiring musicians. Witnessing how they took rehearsals was truly enlightening to me. Their vast knowledge of the score, its character and their awareness of ensemble balance and cohesion meant that after 2 days of rehearsal we were able to present these demanding works with a new depth of understanding on my part. I loved every minute."
Zoe Freisberg
Nathan Greentree, viola
Nathan appeared in "A Musical Vision" on June 24, in the Shostakovich Piano Quintet and Mahler Symphony No 4.
Sydney based violist Nathan Greentree took up the viola in 2012, having previously studied the violin with Charmian Gadd and Marina Marsden. In 2015, he completed his Bachelor of Music (Performance) degree at the Sydney Conservatorium of Music, under the tutelage of Sydney Symphony Orchestra Principal Violist, Roger Benedict. Whilst at the Con, Nathan was the recipient of the Frank Hammond Merit Scholarship, the Helen Bainton Award for most outstanding violist with the highest viola mark and was Principal Viola in the Conservatorium’s Chamber, Symphony and Tour Orchestras.
Last year, Nathan was the first person to be selected into both the Australian Chamber Orchestra’s Emerging Artist and Sydney Symphony Orchestra’s Fellowship programs in the same year. As a result, he was very fortunate to tour and perform alongside such incredible musicians as Pekka Kuusisto, Meta4 string quartet, James Ehnes and members of the ACO and SSO. A particular highlight of his year was the opportunity to perform the Mendelssohn Octet alongside one of his idols, Pinchas Zukerman, at the Sydney Opera House. From 2012-2015, Nathan was a member of the Sydney Symphony Sinfonia and in 2014, he also performed as a guest musician with the London Symphony Orchestra. Since completing his EA year, Nathan has toured nationally and recorded with the ACO.
Nathan really enjoys playing chamber music and in 2014 and 2015, he attended the Conservatorium’s Estivo Chamber Music Summer School in Italy as part of the ‘4’ String Quartet. Whilst there, they performed in Verona and Mantova and received intensive lessons with the Goldner and Amaryllis String Quartets. The quartet have performed on Channel 9’s Today Show, Fine Music 102.5FM, the Sydney TedX talk and were finalists in the 2014 Musica Viva Chamber Music Awards. He is also the violist in the Musica Intima Ensemble, a quartet that aims to perform a broad range of classical repertoire to all sorts of audiences in small salon style venues.
Nathan has participated in masterclasses with Lang Lang, Vadim Gluzman, Wolfram Christ, Paul Silverthorne, Carolin Widman, Ivo-Jan van der Werff and William Coleman.
Sydney based violist Nathan Greentree took up the viola in 2012, having previously studied the violin with Charmian Gadd and Marina Marsden. In 2015, he completed his Bachelor of Music (Performance) degree at the Sydney Conservatorium of Music, under the tutelage of Sydney Symphony Orchestra Principal Violist, Roger Benedict. Whilst at the Con, Nathan was the recipient of the Frank Hammond Merit Scholarship, the Helen Bainton Award for most outstanding violist with the highest viola mark and was Principal Viola in the Conservatorium’s Chamber, Symphony and Tour Orchestras.
Last year, Nathan was the first person to be selected into both the Australian Chamber Orchestra’s Emerging Artist and Sydney Symphony Orchestra’s Fellowship programs in the same year. As a result, he was very fortunate to tour and perform alongside such incredible musicians as Pekka Kuusisto, Meta4 string quartet, James Ehnes and members of the ACO and SSO. A particular highlight of his year was the opportunity to perform the Mendelssohn Octet alongside one of his idols, Pinchas Zukerman, at the Sydney Opera House. From 2012-2015, Nathan was a member of the Sydney Symphony Sinfonia and in 2014, he also performed as a guest musician with the London Symphony Orchestra. Since completing his EA year, Nathan has toured nationally and recorded with the ACO.
Nathan really enjoys playing chamber music and in 2014 and 2015, he attended the Conservatorium’s Estivo Chamber Music Summer School in Italy as part of the ‘4’ String Quartet. Whilst there, they performed in Verona and Mantova and received intensive lessons with the Goldner and Amaryllis String Quartets. The quartet have performed on Channel 9’s Today Show, Fine Music 102.5FM, the Sydney TedX talk and were finalists in the 2014 Musica Viva Chamber Music Awards. He is also the violist in the Musica Intima Ensemble, a quartet that aims to perform a broad range of classical repertoire to all sorts of audiences in small salon style venues.
Nathan has participated in masterclasses with Lang Lang, Vadim Gluzman, Wolfram Christ, Paul Silverthorne, Carolin Widman, Ivo-Jan van der Werff and William Coleman.
"Playing with Ensemble Q was a wonderful experience. Coming into the program, I had obviously heard of the core ensemble artists and knew what each of them had accomplished in their careers, but to be able to sit alongside them and work intensively during the week enabled me to further increase my understanding of the intricacies of chamber music and ensemble playing. The ensemble was always so open to experimenting with ideas until a common ground was reached, which is all that you want whilst working in a small setting. Working with musicians like those in Ensemble Q is always so encouraging and inspiring as it makes me realise how fortunate I am to make my passion for music my career and reaffirms that this is what I want to do for the rest of my life. I'd like to thank Paul and Trish for inviting to perform with the group and congratulate them on what is a truly great incentive."
Nathan Greentree
Nathan Greentree
David Shaw, flute
David appeared in "A Musical Vision" on June 24, alongside an extraordinary team of professional wind players including Paul Dean, Huw Jones, David Mitchell and Malcolm Stewart. He performed in Paul Dean's "Jasper & Charlie" and Mahler Symphony No 4.
David Shaw is a music performer and educator based in Orange, NSW. In previous years, he studied flute at the Australian National University, under Virginia Taylor and Vernon Hill, then later in Melbourne at the Australian National Academy of Music, also under Virginia Taylor. He has been heavily involved in orchestral and chamber music performances, in recent times touring with the Australian Youth Orchestra as principal flute, and playing casually with the Canberra Symphony Orchestra, Orchestra Victoria and Tasmanian Symphony Orchestra. In Orange, he has recently been involved in the resurrection of the Orange Symphony Orchestra, a community-based organisation intent on providing the central west with more opportunities to perform and listen to orchestral music. He has also recently started his own chamber music series, entitled "House music", whereby musicians and caterers create an intimate setting for music to be performed for some of Orange's residents in their own homes. David's other passion lies in musical theatre, where his involvement in the Orange Theatre Company and school musicals have seen him perform regularly in his community.
David Shaw is a music performer and educator based in Orange, NSW. In previous years, he studied flute at the Australian National University, under Virginia Taylor and Vernon Hill, then later in Melbourne at the Australian National Academy of Music, also under Virginia Taylor. He has been heavily involved in orchestral and chamber music performances, in recent times touring with the Australian Youth Orchestra as principal flute, and playing casually with the Canberra Symphony Orchestra, Orchestra Victoria and Tasmanian Symphony Orchestra. In Orange, he has recently been involved in the resurrection of the Orange Symphony Orchestra, a community-based organisation intent on providing the central west with more opportunities to perform and listen to orchestral music. He has also recently started his own chamber music series, entitled "House music", whereby musicians and caterers create an intimate setting for music to be performed for some of Orange's residents in their own homes. David's other passion lies in musical theatre, where his involvement in the Orange Theatre Company and school musicals have seen him perform regularly in his community.
"My name is David Shaw, and I am a flautist and pianist currently living in Orange, NSW. I was fortunate enough to be asked to be mentored to participate in Paul Dean and Trish O’Brien’s ensemble program, Ensemble Q in Brisbane a few weeks ago, and thought it was one of the most fabulous, wonderful professional opportunities I have been involved with. I was able to play some truly wonder chamber music repertoire, not only a work by Paul Dean himself, which was amazing to work directly with the composer on, but also Mahler’s 4th symphony. That work, in chamber music form, placed a great deal more pressure on individual parts, but it was fantastic to see everyone more than capable of rising to the challenge, compounded even more-so without a conductor. To participate in that challenge really led me to further hone and develop my own chamber music skills. The calibre of musician that I was privileged to work with was also a standout feature of the weekend. Of the 15 musicians required for the Mahler, 12 were professionals with long careers and standing within Australia and internationally. The wind quintet, made up of several of the Queensland Symphony Orchestra principals, Paul Dean and myself, made me quite aware of the level that I was fortunate to play with. It has been a long-held aim of mine to regularly play with musicians far greater in skill and experience than me, and I certainly had my fill, and my work cut out for me here. The rehearsals, the performance, the repertoire and above all the people were all truly wonderful and made my experience one I will treasure for many years to come. If I were to be offered another project, I would once again jump at the chance to play with such amazing musicians, and I would strongly urge anyone who is given their opportunity to take it as well. There are precious few opportunities for emerging professionals to make contacts, play in wonderful venues and work with other leading artists in this country, and Ensemble Q fills that incredibly important void."
David Shaw
David Shaw
Jacob Enoka, percussion
Jacob appeared in "A Musical Vision" in Mahler's 4th Symphony, alongside his previous teacher, Brent Miller.
Currently in his final year at the Queensland Conservatorium, Jacob has had a successful start to his orchestral and solo percussion career. This year Jacob featured as soloist with the Queensland Conservatorium Wind Orchestra performing the Schwantner Percussion Concerto. His freelance engagements are plentiful having worked with the Camerata of St Johns, Australian Philharmonia, and the Queensland Symphony Orchestra on several occasions. As well as his love for orchestral music, Jacob also enjoys working in a chamber environment and has worked the Lunaire Collective, the Endeavour Trio, the American Horn Quartet, and the All Star Percussion Ensemble from the 2016 Australian Percussion Gathering to name a few. Learning from a number of Australia's finest percussionists including Tom O'Kelly, Francois Combermorel and Vanessa Tomlinson, Jacob has been able to gain knowledge in section and principal roles through programs such as the Australian Youth Orchestra, Conservatorium Ensembles and Queensland Youth Orchestras.
Currently in his final year at the Queensland Conservatorium, Jacob has had a successful start to his orchestral and solo percussion career. This year Jacob featured as soloist with the Queensland Conservatorium Wind Orchestra performing the Schwantner Percussion Concerto. His freelance engagements are plentiful having worked with the Camerata of St Johns, Australian Philharmonia, and the Queensland Symphony Orchestra on several occasions. As well as his love for orchestral music, Jacob also enjoys working in a chamber environment and has worked the Lunaire Collective, the Endeavour Trio, the American Horn Quartet, and the All Star Percussion Ensemble from the 2016 Australian Percussion Gathering to name a few. Learning from a number of Australia's finest percussionists including Tom O'Kelly, Francois Combermorel and Vanessa Tomlinson, Jacob has been able to gain knowledge in section and principal roles through programs such as the Australian Youth Orchestra, Conservatorium Ensembles and Queensland Youth Orchestras.
"Playing within Ensemble Q as a mentee was an unequivocally amazing experience. To be amongst the high caliber musicians was both nerve racking but rewarding and gratifying. The percussion part to Mahler’s 4th Symphony, that we played this year, is full of colour ranging from the lightest touch on the triangle accompanying the winds to the triumphant sound of timpani filling the Hall with an earthy and primal flavour. The exploration of sound as a percussionist is what is really the most exciting part of our discipline. The same triangle can produce an enormous range of sound dependent on the way we strike, what we strike it with and where. The depth of exploration in Mahler’s 4th would not have been possible with out the guidance of my amazing mentor, Brent Miller. Brent was in fact my first teacher back in 2012. Since then we have become close friends and have worked together on several occasions before his move to Melbourne. Thanks to Ensemble Q we were able to work with each other again and now into the future! The ensemble performs at an incredibly high standard with more energy than a neutron star. The sensation this creates within this ensemble is exerted out into the audience and this is why Ensemble Q is an incredible group. I am so glad to be apart of something as pure as that " Jacob Enoka
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Johnny van Gend: What I look for in a mentor
THE YOUNG VIOLINIST TELLS US WHAT HE NEEDS
November 9, 2017 Articles, Featured
BY STEPHANIE ESLAKE
Johnny van Gend started violin lessons as a five-year-old kid growing up in Toowoomba. Seven years later, he achieved both AMusA and LMusA – and he’s been in the education system ever since: he started his Bachelor of Music at the Queensland Conservatorium Griffith University in 2015 as a Sir Samuel Griffith scholar, and won a string of prestigious awards while he was there. Next up, he’ll continue his studies at the Australian National Academy of Music.
So what does all this mean for Johnny?
Well, aside from the obvious – that he is one talented young artist – it also indicates the experience Johnny has had being tutored, guided, mentored, lectured. And now that he’s worked through so many years of education, we want to know what he’s learnt about being a student. We want to know what emerging performers like Johnny expect to receive from teachers and mentors.
This month, he’s been working with Ensemble Q directors Paul Dean and Trish O’Brien as he undertakes a mentorship with the group. Here’s what he’s experienced, and what he thinks young musicians need from established artists in order to develop their craft.
Tell us how you got involved with Ensemble Q and the mentorship program.
I’ve been a rabid fan of Ensemble Q since its inception; a regular awestruck face in the audience of their concerts. Their ensemble line-up presents many of the absolute finest chamber musicians from around Australia, and I was consistently left inspired and invigorated by their world-class performances.
A big part of Ensemble Q’s vision is the mentoring of young musicians, so in each concert there is at least one lucky mentee who rehearses and performs with the ensemble. I remember dreamily thinking, ‘oh, wouldn’t that be nice!’, but never expected the co-directors Paul Dean and Trish O’Brien to ask little old me to join them for their last concert of 2017! But, they did, and so I excitedly evaded any other clashing commitments and now here I am.
Talk us through the mentoring program so far – how has it worked on a practical level?
The heart of the mentoring program lies in the rehearsal time with the whole group. Short of being thrown in the deep end, the ensemble conducts the rehearsal as if I too was a professional, which in itself is such an incredibly valuable experience for someone like me.
Initially, I must admit a big focus was on keeping up with them and not being a nuisance, but soon I plucked up courage to start asking some questions, which of course they were only too happy to help me with. This participation and observation is where the mentorship program really shines.
What have you gained from being mentored by Ensemble Q?
Perhaps the biggest thing I’ve gained from being mentored by Ensemble Q is learning what it’s like to be in a professional chamber ensemble, which is a career path that has always enticed me. Observing how they conduct rehearsals, how they interact (with a healthy balance of seriousness and banter), and how they arrive at musical decisions have all been enlightening.
Also, I’ve gained so much simply from working with the world-class musicians of the ensemble. As you might imagine, you learn a thing or two when you have the concertmaster of the Sydney Symphony Orchestra on your right and its principal violist on your left! I’ve learnt not only from watching their physical playing, but also from witnessing their incredible musicianship. Finally, I’ve gained a deeper appreciation for the moving power of chamber music; all seems good in the world when Paul is floating through the beautiful slow movement of the Mozart Clarinet Quintet.
You started learning your instrument at 5 years old – so you’ve experienced many different styles of teaching. As a musician now, what are the biggest things you’re looking for in a mentor?
Personally, I learn best by observing and imitating; more so than having a concept explained verbally. So a big thing I value in mentors is their ability to demonstrate. I also find it inspiring when a mentor has retained a true love and enthusiasm for music; when they are so excited to help you improve simply because making good music is an inherently good thing.
Perhaps a more fundamental thing that I look for in a mentor is that they’re easy to get along with. It’s hard to be motivated to serenade a cranky grouch! Of course, everyone in Ensemble Q gets a big fat tick for all these boxes, which is part of the reason why this mentorship program has been so fantastic for me.
How do you think mentors can better serve young musicians in a learning and development environment?
A lot depends on the context of the mentoring, be it a weekly lesson, a once-off masterclass session, a week-long music camp, or something like Ensemble Q’s mentoring program. But in whichever scenario, one thing I can say is that I think mentors should aim to recognise when particular pearls of wisdom or ways of explaining a concept really ‘click’ with young people, and remember these for future use.
Will you be performing alongside your mentor in concert? How are you feeling about this?
Yes, I will! Although the usual niggling worries about getting the dreaded ‘shaky bow’ or playing an absolute shocker of a wrong note will never quite disappear, I’m so excited to be able to perform with such an amazing group of musicians. So I think I’ll probably forget all about these and just enjoy making beautiful music with them!
Johnny performed with Ensemble Q at the Queensland Conservatorium Griffith University, 3pm November 12.
THE YOUNG VIOLINIST TELLS US WHAT HE NEEDS
November 9, 2017 Articles, Featured
BY STEPHANIE ESLAKE
Johnny van Gend started violin lessons as a five-year-old kid growing up in Toowoomba. Seven years later, he achieved both AMusA and LMusA – and he’s been in the education system ever since: he started his Bachelor of Music at the Queensland Conservatorium Griffith University in 2015 as a Sir Samuel Griffith scholar, and won a string of prestigious awards while he was there. Next up, he’ll continue his studies at the Australian National Academy of Music.
So what does all this mean for Johnny?
Well, aside from the obvious – that he is one talented young artist – it also indicates the experience Johnny has had being tutored, guided, mentored, lectured. And now that he’s worked through so many years of education, we want to know what he’s learnt about being a student. We want to know what emerging performers like Johnny expect to receive from teachers and mentors.
This month, he’s been working with Ensemble Q directors Paul Dean and Trish O’Brien as he undertakes a mentorship with the group. Here’s what he’s experienced, and what he thinks young musicians need from established artists in order to develop their craft.
Tell us how you got involved with Ensemble Q and the mentorship program.
I’ve been a rabid fan of Ensemble Q since its inception; a regular awestruck face in the audience of their concerts. Their ensemble line-up presents many of the absolute finest chamber musicians from around Australia, and I was consistently left inspired and invigorated by their world-class performances.
A big part of Ensemble Q’s vision is the mentoring of young musicians, so in each concert there is at least one lucky mentee who rehearses and performs with the ensemble. I remember dreamily thinking, ‘oh, wouldn’t that be nice!’, but never expected the co-directors Paul Dean and Trish O’Brien to ask little old me to join them for their last concert of 2017! But, they did, and so I excitedly evaded any other clashing commitments and now here I am.
Talk us through the mentoring program so far – how has it worked on a practical level?
The heart of the mentoring program lies in the rehearsal time with the whole group. Short of being thrown in the deep end, the ensemble conducts the rehearsal as if I too was a professional, which in itself is such an incredibly valuable experience for someone like me.
Initially, I must admit a big focus was on keeping up with them and not being a nuisance, but soon I plucked up courage to start asking some questions, which of course they were only too happy to help me with. This participation and observation is where the mentorship program really shines.
What have you gained from being mentored by Ensemble Q?
Perhaps the biggest thing I’ve gained from being mentored by Ensemble Q is learning what it’s like to be in a professional chamber ensemble, which is a career path that has always enticed me. Observing how they conduct rehearsals, how they interact (with a healthy balance of seriousness and banter), and how they arrive at musical decisions have all been enlightening.
Also, I’ve gained so much simply from working with the world-class musicians of the ensemble. As you might imagine, you learn a thing or two when you have the concertmaster of the Sydney Symphony Orchestra on your right and its principal violist on your left! I’ve learnt not only from watching their physical playing, but also from witnessing their incredible musicianship. Finally, I’ve gained a deeper appreciation for the moving power of chamber music; all seems good in the world when Paul is floating through the beautiful slow movement of the Mozart Clarinet Quintet.
You started learning your instrument at 5 years old – so you’ve experienced many different styles of teaching. As a musician now, what are the biggest things you’re looking for in a mentor?
Personally, I learn best by observing and imitating; more so than having a concept explained verbally. So a big thing I value in mentors is their ability to demonstrate. I also find it inspiring when a mentor has retained a true love and enthusiasm for music; when they are so excited to help you improve simply because making good music is an inherently good thing.
Perhaps a more fundamental thing that I look for in a mentor is that they’re easy to get along with. It’s hard to be motivated to serenade a cranky grouch! Of course, everyone in Ensemble Q gets a big fat tick for all these boxes, which is part of the reason why this mentorship program has been so fantastic for me.
How do you think mentors can better serve young musicians in a learning and development environment?
A lot depends on the context of the mentoring, be it a weekly lesson, a once-off masterclass session, a week-long music camp, or something like Ensemble Q’s mentoring program. But in whichever scenario, one thing I can say is that I think mentors should aim to recognise when particular pearls of wisdom or ways of explaining a concept really ‘click’ with young people, and remember these for future use.
Will you be performing alongside your mentor in concert? How are you feeling about this?
Yes, I will! Although the usual niggling worries about getting the dreaded ‘shaky bow’ or playing an absolute shocker of a wrong note will never quite disappear, I’m so excited to be able to perform with such an amazing group of musicians. So I think I’ll probably forget all about these and just enjoy making beautiful music with them!
Johnny performed with Ensemble Q at the Queensland Conservatorium Griffith University, 3pm November 12.