WHAT IS A CONCERTMASTER?

Lights dim. Chatter ends. And then, the stage door swings open. Out comes a presence, a force.

She gracefully bows and stands firmly in front of her orchestra awaiting the oboe that will tune the ensemble. The conductor acknowledges her with a firm handshake before the music comes to life. She is Madeline Adkins, concertmaster of the prestigious Utah Symphony and proud NOI+F alumna.

But, what is a concertmaster? A concertmaster is the principal violinist in a modern orchestra and the chief conduit of communication between a conductor and an orchestra. On stage, concertmasters work tirelessly to serve their orchestra, lead by example, play solos, tune the orchestra and create healthy working relationships between the ensemble and music director. Behind the scenes, concertmasters invest many hours in conversation with principal string players to synchronize the direction of bowings, and to coordinate other musical markings.

“It’s a multifaceted position. Sometimes, the work is practical and musicbased,” says Adkins. “Sometimes the work is philosophical and a matter of managing complex relationships between key stakeholders.”

The word “concertmaster” is rooted in 17th century European tradition of Baroque performance in which a violinist would lead the ensemble from their chair during the performance. The role of today’s baton-leading conductors rose in popularity throughout the 19th century. By mid-century, most conductors had assumed their new roles with concertmasters being auxiliary instead of principal leaders (Grove Music).

Winning this reinvented but still invaluable position is an arduous journey that requires decades of learning. Dallas Symphony Orchestra concertmaster and NOI+F ‘19 faculty member

Alexander Kerr shares of his experience: “developing my career took many small steps that were also incredible and invaluable learning experiences, starting with my first concertmaster position with Charleston Symphony Orchestra in South Carolina.” He adds, “when becoming a concertmaster you do a lot of work in the practice room, and then a very different kind of learning, no less important, in the chair itself.”

Preparing young artists to become a concertmaster is a modern shift in musical training. “When I was growing up, there simply weren’t many concertmasters that were also teachers,” shares Kerr, “so one rarely received mentorship in the most esoteric concepts of being a leader. You just had to experience it for yourself and use your intuition to learn on the fly.” Orchestral leadership education has evolved in recent years to include training in symphonic excerpts, orchestral blend and ensemble citizenship, all key competency areas of the job.

Among these, ensemble citizenship is perhaps the most difficult to teach in the studio or learn in the practice room. “Being sensitive to the orchestra’s culture, leading with effectiveness and camaraderie, public speaking and interpersonal skills at a one-on-one level are areas you don’t always learn in school,” says Adkins. “You have to make a commitment to strengthen these areas on your own and give 125% every day on the job.”

In speaking about their journey to concertmaster, both Adkins and Kerr highlight the importance of mentorship from more experienced musicians that now motivates them to give back to their students. Adkins grew up in an artistic home, most of her siblings being musicians. Her sister Elisabeth, retired Associate Concertmaster of the National Symphony Orchestra and on faculty at NOI+F 2019, was of particular inspiration to her. “Elisabeth helped me from the start,” she says “I would play my excerpts, concertos, chamber music, everything for her.” Anshel Brusilow, retired concertmaster of The Philadelphia Orchestra, was essential to her development when pursuing undergraduate studies. She went on to pursue graduate studies at New England Conservatory and won a position at the Baltimore Symphony Orchestra less than two years after being a student at NOI+F.

Kerr also acknowledges those who helped him along the way, including the late Irving Ludwig. Ludwig was a longtime violinist of The Philadelphia Orchestra who mentored Kerr during his studies at the Curtis Institute of Music. “Unlike the training received by students today, I had to seek someone outside school who would be willing to teach me the repertoire,” he says. “Irving helped me begin the process of finding the strength within myself to lead musicians who were sometimes twice my age!” Ludwig’s early teachings would go on to prepare Kerr to become the concertmaster of the Royal Concertgebouw Orchestra in the Netherlands, one of the world’s legendary orchestras.

“In Amsterdam, I had to assume a leadership role in an entirely different language” he exclaims. “I try to teach my students to embrace the unknown and let their inner strength shine through.”

Like Kerr, Adkins, encourages the next generation of concertmasters to go beyond their comfort zone and dive into challenges. “If you don’t want to practice an excerpt, that means you need to. If you’re afraid of a piece, program it. Facing artistic challenges head-on will take you far in your journey to being a concertmaster.”

I try to teach my students to embrace the unknown and let their inner strength shine through.

Alexander Kerr