The first bars of Mozart’s “Così fan tutte” will be performed in the orchestra rehearsal room of the Frankfurt Opera on Willy-Brandt-Platz. You recognize them immediately, even though only a lone bassoon plays. Philipp Nadler has this afternoon individual lessons with Lola Descours. The solo bassoonist of the Frankfurt Opera and Museum orchestra, directs her young pupils. “Not too much Vibrato”, she warns him: “And thinking until the end of the Phrase.” Then she gesticulates, sings, and plays the bars in order to clarify the phrasing.
in An intensive care each of the young musicians don’t get. Nadler in August of Paul’s fellow-Hindemith orchestral Academy. The 26-year-old bassoonist from Schramberg with ten other Academic program in a two-year-long education for the profession of orchestral musician prepared. In addition to individual lessons, the Academy offers a whole bunch of other measures: the core is the participation in the orchestra, but also performed regularly in chamber music ensembles, mental training and the test game simulation on the program. “I would have done it,” says Descours.
Paul Hindemith is the name of the patron Saint of four years ago, founded the Academy. He had earned even as a nineteen year old the position of First concert master at the Frankfurt Opera and Museum orchestra. But the move from music student to professional musician, and orchestra member is no longer possible today, so smoothly as to his times. That is exactly where the it is named after Academy helps: a bridge between the University and the orchestra practice.
individuality is not asked in the orchestra
As in the orchestra of everyday life is suddenly very different skills are needed than in a solo study, in which individuality is taught. One has to quickly be from the lone fighters to team players, explains Christine Schwarzmayr. She is a member of the Academy Board and for 18 years one of the First violins of the Frankfurt orchestra. There, she helps the young musicians to master the step from theory to practice.
“I would not make this the first experience like in the sample year,” says Nadler. During the first year in a new orchestra of young instrumentalists are under constant observation: perception and Interaction in the collective are valued. “Since the first impression is very important,” says Schwarzmayr. He should be bad, can be filled after the sample year. In the Academy experience is intended to facilitate the entry into the professional world of the orchestral musician. The trainees can adapt without pressure to the particular circumstances in an orchestra. “You can’t learn in individual lessons at the University,” says Descours.
in Addition, be prepared for the Academy students thoroughly for the sample game that stands as a crucial Moment at the beginning of an orchestral career. In Frankfurt every two months, the case will be tested, under realistic conditions, Tutors, orchestra members, and other fellows. “The performance depends very much of the days form, it is always different,” says Hanna wood, which is since April of 2017, as a violin fellow, and many a trial game simulations.