“Can I have a career as a cellist?” Adults, current musicians, and high school students getting ready for further education eventually ask themselves this question. I was listening to some professional cellists discuss this very point. It was a question posed in a forum chat and was a little odd to be asked because no one knew anything about the person asking the question. The individual that actually worked at a conservatory answered the question well. The fellow that did not work at a conservatory struggled with this question and just basically gave a blanket, feel-good statement. “If you want to become a cellist, then become a cellist.” He’s not wrong, but there are roadblocks that need to be considered. In the next few paragraphs, I’ll discuss this and some talking points from professional cellists on the subject.
Growing up in Western Wyoming without the Internet at the time (I just aged myself), I really didn’t know what one did to become a professional cellist. I knew that you had to be good, that you had to major in music when you went to college, and if you could get into a “special” music school (conservatory) then you would have it made. I think at the time I knew of Oberlin and Juillard. My knowledge was definitely limited. Having been to a university summer camp as an 8th grader and freshman, I knew that there were other cellists farther along than I was and quite frankly, I did not possess the drive, so I didn’t major in music. So why should I have anything to say on the matter? I have learned much since then and I remember some of the feelings I possessed during that time frame of deciding what my profession would be and if it would involve music or cello performance.
I want to get the elephant out of the room to begin with. Just because you didn’t audition/succeed in auditioning for a conservatory does not mean you cannot be a successful cellist at any level. This was a concern for me as I was comparing myself to other youth that I knew at the time. However, the reality is that during your undergraduate degrees, there are FANTASTIC teachers out there that work in state schools, private colleges, and public universities (sometimes as artists in residence). A recommendation from a good teacher for graduate studies or career has high-reaching effects. Cellist Leonard Rose often helped to place his students in major orchestras with his recommendations. I have had a professor of bassoon and retired LA Philharmonic member tell me that the undergraduate years of college are more flexible. In other words, going to any of these choices will not ruin your chances for a professional career. He seemed to think that where you attended graduate school was more important. The important thing is to find a school where there is a great teacher that you can learn from!! I first attended a religious junior college where I met an excellent student trumpet player. His father happened to be the director of bands, one of my favorite professors, and a long-time friend/colleague. I lost touch with this fellow student and learned recently that he completed a doctorate at the New England Conservatory of Music. He currently teaches trumpet (and probably other things as well) at a university level and plays professionally in several different groups and organizations.
One other individual to consider is a professor of violin by the name of Kenneth Goldsmith from Rice University Shepherd School of Music. He was a guest artist and conductor for a high school clinic in Wyoming when I was a senior. I remember a story that he related to the young orchestra students indicating that he actually started his violin studies relatively later in life having intended on becoming a singer. Even though he seemed to be “behind the pack” he made up the difference quickly and he went on to be a celebrated professor of violin as well as possessing an impressive biography of achievements. I cannot express how powerful growth mindset and deliberate practice is. If you want to achieve and achieve quickly, this is how you do it. Please visit my blog on mindset theory.
Let’s discuss auditioning. A lot of this information is a combination of my words and those of Daniel Levitov who is the coordinator of cello and chamber music at the Peabody Preparatory of the Johns Hopkins University and director of strings at the Bryn Mawr School in Baltimore.
Let’s say that you are a high school student wanting to audition for conservatory or university. It is important to be looking at potential schools in your early to mid junior year. The reason this is important is that each school is going to have audition requirements. Generally these requirements consist of a predetermined list of scales, orchestral excerpts, and a demonstration of a solo work. Even better if the schools you are interested in have similar audition requirements. Levitov says that if you’re trying to prepare too many different requirements, you run the risk of spreading yourself too thin and not playing anything to your best standard. He also recommends starting to prepare your audition material in the spring of your junior year and having it mastered by about November. It is unwise to cram your audition material and having it ready early allows for continued refinement and the ability to play it in a more relaxed manner. Generally auditions occur in the January/February months of the senior year. Levitov also recommends auditioning with your least favorite school choices first so that you will have had the chance to iron out problems as you approach your top picks. I will add that this may not be an option if your choices have set audition dates.
During the preparation of your audition material, I cannot recommend enough the book Practicing for Artistic Success by Burton Kaplan . This book can help you with problematic practicing, areas of improvement, and help you prepare for performance while reducing performance anxiety. Find what works best for you in the book. The book indicates not warming-up pre-performance on the piece you are about to do, but for me it was helpful to warm up on problematic passages. Then I wasn’t playing them “cold-turkey.” Another issue is the order in which you practice/perform your audition materials. Students have fallen apart during auditions in the past when the performance order was switched, ex. asked to play solo work BEFORE the scales. Be prepared to play audition material in any order.
Levitov also had some tips concerning audition materials and I agree with him completely. Young cellists often have a set idea that if they play these certain concertos, they will show the audition panel how wonderful they are…*cough* Dvorak Cello Concerto. First of all Levitov indicates that the best concerto or solo work is the one you do well; the one that shows off your skills and musicality. If you play Dvorak Cello Concerto badly or unmusically, that will adversely affect your audition. My thoughts about audition material...I have heard plenty of young cellists do the Dvorak. Some have played it technically well; almost none have played it musically or the musicality only appears in certain areas on the concerto. There is an immaturity to their sound. If a young cellist can play a different work more musically, I suggest that be their solo selection. Additionally, it is worrisome when a student skips precursory technique and foundation work to do a solo that is above their head. Usually it can be heard that they are not up to that level yet because of the sheer effort to perform it. Also, their technical deficits and immaturity reveal themselves in their other audition materials. Just be true to yourself and your abilities.
In a forum chat with Michael Haber, his accolades consisting of the Cleveland Orchestra and studying with Starker and Piatigorsky, he mentioned the importance of having the orchestral excerpts as masterful as the solo work. Let’s just say that no part of your audition materials should be weak ideally, but I agree that students expect their solo work to carry them through the university audition and they tend to be more careless about the orchestra excerpts. I auditioned for a community orchestra one year where I played the Chopin Nocturne Arranged for Cello and excerpts from Mendelssohn’s Scottish Symphony. My Chopin was having intonation issues because I was tense and my shifting was suffering because of that. However, when I played the excerpts from the Scottish Symphony, the audition panel gave me feedback that the way I played it was “a revelation.” What had I done? I had listened to the symphony and the excerpts played by major orchestras and made sure I played it the way that they did. I assume the audition panel had not heard the excerpts played correctly in earlier auditions perhaps? Yes, I got into the orchestra. Excerpts from Beethoven’s 5th Symphony seems to be a favorite audition choice for many institutions FYI.
When considering a career in music, be aware that it may be necessary for you to go on to graduate school of some sort. You need to do whatever it takes to achieve your goal, even if it means getting that doctorate at the New England Conservatory of Music. You might also consider that there are other jobs associated with music besides performance...composition, professorships, music education, etc. Expand your horizons to see what is out there. One acquaintance studied violin at Juilliard and along with soloing and teaching at summer music camps, he also works/worked in the fine instrument collection at Juilliard.
Lastly, I want to address mindset and attitudes of peers and fellow musicians. My niece was a ballroom dancer and she would tell stories of glares and basic cruelty of dancing couples trying to offset or shake down their competition. If you haven’t encountered peers and other musicians that practice the same petty behavior, you will at some point. It might happen while you are in the practice space or hallway waiting to go into your audition. Please reflect upon the professionals you have met or that you know about. When people speak of Lynn Harrell, Yo-Yo Ma and many others great cellists, you find that they are kind, caring individuals that do not practice derogatory behaviors. They are friends with their fellow colleagues and actively encourage cellists everywhere. Keep them in mind when you encounter the opposite. People with poor mindsets are toxic to others but primarily to themselves and have deep confidence and esteem issues if they are trying to drag others down. As you encounter those individuals, don’t let it affect your skills. Might I also add that as you move through schooling experiences, your attitude and collegiality becomes a part of your resume and references when applying to graduate school. No matter how good you are, nobody wants to work with someone who is difficult. This could limit your educational and career opportunities. Practice correct mindset!
Become a professional cellist! There isn’t any reason that you can’t. Be wise and consider the tips given above. I wish you happy auditions and a long life of music to come!