I'm concertmaster (principal violin) of New York's Metropolitan Opera Orchestra and a professor at Juilliard. Next week, I'll be performing with the Mainly Mozart All-Star Orchestra in San Diego - the largest annual gathering of concertmasters and principal players in North America. AMA!

Submitted by MainlyMozartSD t3_xulwkm in IAmA

Hey Reddit! Excited for my second AMA! I'm David Chan, concertmaster of the MET. I graduated from Harvard and Juilliard and have taught violin at Juilliard for almost fifteen years now. I also love golf!

Next week, I'll be performing as concertmaster of the Mainly Mozart All-Star Orchestra in San Diego at the Del Mar Fairgrounds. It's a three concert festival at the Del Mar Fairgrounds, hosting principal players from 21 different major American orchestras including the MET, LA Phil, Dallas Symphony, National Symphony and more.

Check mainlymozart.org/rosters to view Mainly Mozart All-Star Orchestra rosters. Click here to learn more about the October festival.

Proof: https://imgur.com/a/RtQZ61K

Edit: I have to run, but thanks everyone for the great questions!

164

Comments

You must log in or register to comment.

weixb t1_iqwah8a wrote

Hi David! Thanks for taking the time to do the AMA. I’m curious what thoughts you have on the difference between a good conductor and a great conductor- and between one you enjoy working with, and one you might not want to have to collaborate with again? Toi toi toi for the concerts!

13

MainlyMozartSD OP t1_iqwcaqh wrote

That's a really good question, and one that's not at all easy to answer. Without resorting to "you know it when you see it," I would say that the good conductor has everything in place -- good technique, clarity, vision of the piece, rehearsal style, etc. The great conductor is able to go beyond that and inspire. The sum total is something that goes beyond the ordinary. What that is exactly or how one gets there is much harder to define.

22

mesoliteball t1_iqwai4x wrote

It’s been a real joy to watch the programming continue opening up & modernizing under YNS, to include more new & lesser-known rep. Are players’ opinions sought/considered at all in forming the programming approaches?

(Related: what new/unusual rep coming up in this or future seasons are you especially excited about?)

12

MainlyMozartSD OP t1_iqwbikl wrote

I wish I could say that players are consulted for artistic decisions, but we just aren't. I do agree it's been great to see a movement towards more modern and varied programming. Despite that, however, I'm most excited this season about Lohengrin, which has come up only once during my 23-year Met career, and Idomeneo, a profound Mozart work that we don't play often enough.

10

Jolech t1_iqw4l7o wrote

Hi David. Thanks for doing this AMA.

As a teacher at Juilliard, I'm sure you get to see a bunch of exciting student and alumni bands form. Are there any bands/groups/ensembles (of any genre) you've seen at Juilliard that you'd like to give a shoutout to? I'm always on the hunt for new music.

Thanks again!

8

MainlyMozartSD OP t1_iqw577n wrote

Hi there!

Good question, but at that level it's usually super talented individuals that catch my attention. Student-formed ensembles don't always show up on my radar screen right away.

11

basileiosd t1_iqw6mt6 wrote

What is your absolute favourite Mozart concerto? (It doesn't have to be violin!)

6

MainlyMozartSD OP t1_iqw6v9e wrote

Ah great question by expanding it beyond the violin!

Tough choice but it would have to be one of the last piano concertos -- nos. 21, 23, 24 and 27 all top the list but if I had to pick just one it would probably be the last one, K. 595 (#27)

9

basileiosd t1_iqw774w wrote

And do you have a favourite performance for this?

4

MainlyMozartSD OP t1_iqw7v47 wrote

Emil Gilels / Karl Böhm !

The modern taste for Mozart playing would be lighter and crisper than what Böhm gets here, but the poetry of Gilels is still unsurpassed.

9

basileiosd t1_iqw9yne wrote

I must say I did not expect an answer like Gilels! He is certainly one of my favourites as well (but mostly for Beethoven!) Thank you for your insight!

3

MainlyMozartSD OP t1_iqwarsm wrote

Hard to pick just one. Uchida, Brendel in no particular order are also favorites.

4

1SoftOpportunity9 t1_iqwdyk7 wrote

What's the difference between a really, really good classical violinist and a Hillary Hahn who's considered likely the best in the world. How different is their play, and what do they do differently?

5

MainlyMozartSD OP t1_iqwenej wrote

I think it's similar to any other human achievement (e.g. athletics) or even something like fine wines or instruments. Highly accomplished violinists are already an incredibly small subset of the population, but what separates the best of the best from the others is usually at once incredibly minute, yet just out of reach for almost everyone. With a violinist, it might be superhuman reflexes and coordination (in the case of a Hilary Hahn) or it might be the ability to turn and sustain a phrase.

In the world of collectibles (wine, instruments, etc.) you see a super premium being paid at the very highest end, often many times what the "next best" fetches in terms of price, even if the difference is only .01%

9

IHTFPhD t1_iqxhyel wrote

Do you believe the difference between Hillary Hahn and concertmasters from top tier orchestras is 0.01%?

2

Seb555 t1_iqyc0l5 wrote

They’re totally different skillsets; sure, some elite soloists could do a good job leading an orchestra and some concertmasters could do a great job performing concertos, but still, there’s quite a bit of specialization that muddies any possible comparison.

4

courtney2222 t1_iqw4mm8 wrote

What made you decide to play the violin? If you had to start over and learn/master a totally different instrument, which would you choose?

4

MainlyMozartSD OP t1_iqw59h9 wrote

My parents chose it for me! It just found its way into my hands haha.

8

MainlyMozartSD OP t1_iqw5sgk wrote

Oops just saw the second half of the question. If I had to start over, I'd play the cello.

8

mintymeerkat t1_iqxwcwh wrote

I’m a violinist too and I’d pick the same if I had to start over!

1

barakvesh t1_iqw5s59 wrote

In your time as a performer and teacher, have you noticed any demographic trends in leadership, performers or audiences?

4

MainlyMozartSD OP t1_iqw6cz2 wrote

With performers it's pretty clear. In the past few decades, Asian musicians (including myself) have come to dominate the ranks of string players (not so much with winds and brass). When I was in school, however, it was more Korean and Japanese players, whereas now it's trending more and more towards Chinese students.

With the new emphasis on Diversity, Equity, and Inclusion however, I expect that we'll see more and more trends towards minorities that traditionally haven't necessarily been a part of classical music.

11

seanslaysean t1_iqwurgu wrote

Why would that be off the top of your head? Any other examples from other instrument sections?

0

mintpomegranate t1_iqwb0i8 wrote

Just curious how often orchestras of your pedigree hire from outside North America. Is it normal to sponsor visas, or are your members typically already in the country or have other work authorization?

3

MainlyMozartSD OP t1_iqwbt52 wrote

I do believe organizations such as the Met are willing to sponsor visas, but the truth is we don't get a ton of applicants from outside the country for most auditions, though we did get a fair amount of interest for the concertmaster position (i.e. the equivalent position to mine) a few years ago.

3

thebace t1_iqwf0tx wrote

I know audition secrets are “take care of the basics” like pitch and rhythm, but what specifically do you think audition winners do differently in practice rooms than those who continually come up close but short?

3

MainlyMozartSD OP t1_iqwfrh9 wrote

One does indeed have to take care of the basics, to which I would add tone as well as pitch and rhythm. But the basics aren't enough; at the top professional level one takes those qualities for granted. The winner usually sounds like a winner, i.e. they're playing music (with brilliance, expression, emotion, etc.) and not just notes.

10

thebace t1_iqwg1v1 wrote

Thanks for the response.

How can one develop that winning sound as opposed to someone continually advancing to semis or finals without winning?

2

MainlyMozartSD OP t1_iqwh2ju wrote

The playing has to cohere as a performance and not sound like one is just taking a test.

8

BestCatEva t1_iqxm5i1 wrote

Remember, music happens between the notes. My mentor (who also taught at Jilliard) would take a lot of time communicating the ‘how’ of musicianship.

2

AutoModerator t1_iqw341h wrote

Users, please be wary of proof. You are welcome to ask for more proof if you find it insufficient.

OP, if you need any help, please message the mods here.

Thank you!

I am a bot, and this action was performed automatically. Please contact the moderators of this subreddit if you have any questions or concerns.

2

SleeplessInS t1_iqw5mbe wrote

Just saw that Leslie Nielsen movie where he plays a violinist (Wrongfully Accused). Can you play the violin with your nose or other parts of your body ?

2

OptimusSublime t1_iqw6uju wrote

How often do you or your colleagues lose timing/your place and have to catch up?

2

MainlyMozartSD OP t1_iqw79s5 wrote

Uh, never? ;)

Truthfully, at the top professional level it doesn't happen much. It can happen, but rarely in commonly played pieces; it would tend to happen in some sort of unfamiliar or extremely challenging work, and where there's some kind of extenuating circumstance (e.g. problem on stage in the opera, some kind of technical difficulty, etc.)

8

FImom t1_iqwjtlb wrote

Do you have perfect pitch?

2

BarenreiterBear t1_iqwxwr1 wrote

Hi David! How was it studying under Dorothy Delay, and how did you get into conducting?

2

lipiti t1_iqw76e0 wrote

Favorite film score? How do you think someone like John Williams would have done if he had been composing in the 1700s?

1

MainlyMozartSD OP t1_iqw7o6l wrote

John Williams is an amazing musician and likely would have written terrific Baroque music had he been composing in the 1700s!

As much as I recognize great classic film scores from early cinema (Korngold's Robin Hood, Hermann, etc.) I'll readily confess that my favorite film score is Star Wars.

5

IAmAModBot t1_iqwc8qk wrote

For more AMAs on this topic, subscribe to r/IAmA_Music, and check out our other topic-specific AMA subreddits here.

1

XomokyH t1_iqwg9yr wrote

  1. What have been the most difficult pieces of your career? Both in terms of violin performance and in terms of ensemble cohesion. I’ve been listening to a lot of Charles Ives and my mind boggles at the group coordination required to nail the timing on those intricate pieces.

  2. Are there pieces that you listen to specifically for one moment? For example the key change in the 2nd movement of the Ravel string quartet is always magical for me. The Barber violin concerto has a few of those moments as well. I want to hear yours!

1

MainlyMozartSD OP t1_iqwgwfd wrote

Difficulty is always an interesting question, because people typically expect some kind of staggering intellectual or technical difficulty. Pieces of that sort include Berg's Chamber Concerto (where arguably playing the trio version of the Adagio with clarinet and piano, conductorless, was more difficult than playing the complete work), the "Seven Trumpets" from Messaien's Quartet for the End of Time, and Brett Dean's "Hamlet" which we played at the Met last season.

In the end, however, apparently simple pieces of sheer poetry are always more difficult -- Bach, Mozart, Schubert.

5

MainlyMozartSD OP t1_iqwhbo9 wrote

In terms of your second question, I have had such moments in the past but I rarely listen just for one moment. I can think of one such example though: when the horn motif in the last movement of Sibelius 5 gets going .....

3

48ozs t1_iqwkfd4 wrote

Hi David.

What is your opinion on the modernization of directing in Opera? Do you prefer it, indifferent?

It is pretty strange seeing Rigoletto performed in the atmosphere of neon lights and rat pack Vegas.

1

SpuriousDiphthong t1_iqwkfj9 wrote

Thanks for your time and of course the wonderful collaboration of you and your colleagues in the pit. NYC is lucky to have you all.

To what degree is your work derived from your predecessors, and Met Orch traditions and conventions, and in what areas are you rethinking or bringing your own ideas about musicianship and performance? What's it like being a group leader in an institution that developed its unique character long before your arrival, and will continue to develop after your career ends?

1

Dinostra t1_iqwnpo9 wrote

Weird question, have you heard of twoset violin? And what's your opinion on what they do for concert/orchestra music and musicians? And how much joking around about violas is there?

1

charlesd11 t1_iqwrx7l wrote

Hi David!

I know you worked briefly with maestro Muti for Attila at The Met, just wanted to know how it is working with him and if he somehow brough something new about Verdi to you and the orchestra.

Also, what are you most excited to play at the Mainly Mozart?

1

flotiste t1_iqxlj4u wrote

People in the opera community have been talking about the James Levine scandal as if it was a completely well-known entity for at least 20 years. From your perspective, how much did the met, The company, the administration, and the organization at whole know about his indiscretions for the last 20 years?

1

Seb555 t1_iqyc8dx wrote

I don’t think he’d answer that even if he wanted to

5

ThomasJFooleryIII t1_iqy6cml wrote

I'm a young pianist in my DMA, been gigging for a few years and starting to concertize with my solo programs.

What were the first career moves you made out of conservatory, and how did you balance bill-paying gigs with career-advancing gigs?

1

THE_MANTELOPE t1_iqy7jba wrote

Hi David! I’ve played violin for about 18 and I really want to form a small string ensemble but not sure where I could look for more advanced players in the area. Would you happen to know any ways/ methods to look for intermediate~ advanced string players? I live in a pretty large city.

1

domdelaweez_ t1_iqzh9ob wrote

what is it like being so talented and handsome?

1

Greysstoics t1_ir0d21r wrote

In your experience what does it take to perform music at a very high level?

1

FlakyPineapple2843 t1_ir1e94g wrote

What are your views on elitism and gatekeeping in classical music? Any thoughts on how to balance music education, accessibility, diversity, inclusion of new works, and rethinking the very stiff way we consume this music in symphony halls?

1

jim-pickens69420666 t1_ir3v0jt wrote

Do you have any advice on what can be done as an aspiring (highschool) musician in a poorly funded/managed music program? I am willing to elaborate more on details if you would like, but for now I feel this should suffice.

1

fattyboyblue t1_irgc1wu wrote

Maybe I’m too late, but maybe you will still see this!

As a singer, I am always relieved to be able to come off stage and not have to be performing every second of an opera. However, the orchestra and conductor are there for the duration of every opera whether they like it or not. How to you manage on the long operas like Tristan or Rosenkavalier? Especially when you are performing 8 times a week…

Also, Mozart and Strauss keep the violins pretty busy, but I imagine in vastly different ways. Do you have a preference? Is one more taxing than the other?

1

a_happy_free_tree t1_isiagg7 wrote

What’s your trick with stage fright or preparing mentally for performances as a musician?

1