Transcrição completa de Peter Askim on Conducting, Composing, and The Next Festival

while. 00:02:18.159 --> 00:02:20.000 But that's that was kind of my trajectory. 00:02:20.319 --> 00:02:29.360 So would you would you lean any specific way when it comes to feeling more like a conductor or a composer or a teacher or anything else? 00:02:29.759 --> 00:02:37.919 You know, that the my favorite two weeks of the year actually is when I'm doing all three at the festival that I run, um the next festival. 00:02:38.000 --> 00:02:49.520 So I'm conducting there, but also usually do some of my music and doing a lot of coaching and mentoring and and working with um younger musicians who are interested in contemporary music. 00:02:49.680 --> 00:02:52.000 So that's my that's that's my happy place. 00:02:52.719 --> 00:03:09.280 Is there anything from your career or or path as uh uh composer and conductor um that took you years to learn just about the world of music that uh a lot of these younger people still have yet to learn for themselves? 00:03:09.599 --> 00:03:14.719 Yeah, I think it's really so much about relationships. 00:03:15.360 --> 00:03:24.400 Um and I grew up kind of being allergic to the word networking, and I still get like crazy, creepy, weird feelings about that word. 00:03:24.960 --> 00:03:28.639 But on the other hand, um, who do I like to work with? 00:03:28.879 --> 00:03:38.240 You know, I like to work with people that have the same interests as me and that kind of have the same goals and that we get along and we like to make the same kind of music. 00:03:38.400 --> 00:03:47.199 Um, and a lot of the great things that have happened have been these kind of interconnections of of people that I met in strange, random ways. 00:03:47.439 --> 00:03:51.280 And here we are, you know, 15 years later working on a crazy project. 00:03:51.439 --> 00:03:54.719 And that's what I think I didn't really realize so much. 00:03:54.879 --> 00:03:57.199 I was kind of locked away in a practice room. 00:03:57.360 --> 00:04:08.400 Um, but I, you know, what in my bio now it's a collaborative connector or creative connector is one of one of the things that I that really resonates with me. 00:04:08.479 --> 00:04:26.639 Um so I think that's that's something that I've that I've learned and um not only become comfortable with, but that's that's what the fun part for me is like yeah, meeting the meeting the right person for this project and just coming up with something pretty crazy that'll probably fail but might not. 00:04:26.959 --> 00:04:27.360 Yeah. 00:04:27.600 --> 00:04:28.319 Well, definitely. 00:04:28.399 --> 00:04:31.839 And I uh I I've heard the word networking a a lot. 00:04:31.920 --> 00:04:34.959 Um I still I still break out. 00:04:36.079 --> 00:04:51.759 Yeah, I think in the world of music, especially, where uh sure you're meeting people who will probably advance your career, but also it's just these sort of genuine human relationships and and doing something very human and emotional, like music. 00:04:51.839 --> 00:04:53.360 Uh yeah. 00:04:54.000 --> 00:04:57.279 The word networking feels just very purely professional. 00:04:57.680 --> 00:04:57.920 Yeah. 00:04:58.079 --> 00:05:13.279 And you know, I just I guess I would just add that um the more kind of titles that I accumulate and the more groups that I run, the more uh totally random, unsolicited emails that I get. 00:05:13.839 --> 00:05:29.040 Um and you know, the one I it's easy pretty easy to tell the ones who were just blanket emailing and the ones that actually think, oh, like that there is some kind of connection there that might be something really interesting. 00:05:29.279 --> 00:05:31.120 Um you know. 00:05:31.600 --> 00:05:40.319 Yeah, I think it's about it's about finding the right match of people, not just like blanketing random people with stuff. 00:05:41.439 --> 00:05:54.480 We we've had guests in the past in composition who uh went on to be very successful and and early on um did things like that where they sent their music to like a bunch of different orchestras. 00:05:54.639 --> 00:06:01.360 Uh and for me as a young composer who's just looking for any opportunities uh myself, right? 00:06:01.519 --> 00:06:04.319 What do you think is the best way to actually make that happen? 00:06:04.480 --> 00:06:13.920 Is it to do the sort of blanket thing where you just ask like a thousand orchestras, or is it some other some other way to get those types of opportunities? 00:06:14.319 --> 00:06:14.800 I don't know. 00:06:14.959 --> 00:06:19.600 I would say it's probably different for every conductor and every orchestra. 00:06:19.839 --> 00:06:32.319 But for me, the thing that resonates most with my life is, you know, I I was working with my peers growing up, you know, coming up as a composer, like, hey, I've got this new piece, would you play it? 00:06:32.560 --> 00:06:40.639 Um, and kind of working with the people that I knew, and then eventually the people that you know will get bigger and bigger jobs. 00:06:40.879 --> 00:06:47.199 Um but I, you know, that's just the my particular path and the thing that feels resonant to me. 00:06:47.360 --> 00:06:52.879 You know, definitely going to shows, um, like engaging with people. 00:06:53.600 --> 00:06:58.160 Uh, you know, if you send somebody a message, like know who they are and what they do. 00:06:58.240 --> 00:07:08.399 And that's like one of the things that I love about you is like, you know, you're not just like, hey, random dude uh who does some kind of job that I don't know what it is. 00:07:08.560 --> 00:07:09.920 You want to be on my podcast? 00:07:10.079 --> 00:07:13.680 Like, no, you you did your research and I was like, oh, okay. 00:07:13.920 --> 00:07:14.879 This this feels good. 00:07:14.959 --> 00:07:17.439 Yeah, we could have a good time, if that makes sense. 00:07:17.759 --> 00:07:18.079 Yeah. 00:07:18.160 --> 00:07:18.319 Yeah. 00:07:18.639 --> 00:07:19.120 Absolutely. 00:07:19.360 --> 00:07:19.519 Yeah. 00:07:19.680 --> 00:07:21.680 Uh yeah, and it it feels

like definition. 00:07:22.000 --> 00:07:22.160 Yeah. 00:07:22.319 --> 00:07:22.879 Right, right. 00:07:23.120 --> 00:07:30.160 With those, with those types, that type of approach, it's easier to get sort of a higher hit rate, if that's the way to look at it in general. 00:07:30.480 --> 00:07:30.639 Right. 00:07:30.879 --> 00:07:34.240 Um Do you do you have any other thoughts? 00:07:34.399 --> 00:07:45.759 Um, especially when it comes to the conducting side about uh just broader wisdom on orchestral music and and what you've learned as a conductor over the years. 00:07:46.319 --> 00:07:53.759 Uh in terms of in terms of for composers or just in terms of well, both, both in general and and for composers. 00:07:54.160 --> 00:07:54.399 Sure. 00:07:54.560 --> 00:08:06.959 Well, I I guess I'll start as a composer because I feel like my particular background, I'm a sort of at this intersection, like I'm part composer brain and part performer brain and part conductor brain. 00:08:07.120 --> 00:08:14.720 Um and so I'm kind of on a mission to connect all three of those and to to help composers connect all three of those. 00:08:14.800 --> 00:08:20.000 I see kind of myself as kind of like a composer sherpa in a way. 00:08:20.639 --> 00:08:35.279 Um you know, I just think a lot about how you show up as a composer and how you um show the musicians that you're serious and and you respect them. 00:08:35.440 --> 00:08:47.840 So for instance, um parts and scores, you know, um really trying to show the musicians that you respect them by show giving them good materials, you know. 00:08:48.000 --> 00:08:48.159 Yeah. 00:08:48.399 --> 00:09:02.159 In a way it seems to a young composer might maybe kind of superficial, but um if you are, let's say you're an orchestra bassoonist, you've been practicing five hours a day for 15 years, right? 00:09:03.759 --> 00:09:10.639 When you're writing for somebody at that level, the way to show them that you respect them and value them is to do your homework. 00:09:10.720 --> 00:09:25.600 You know, if they've played their scales every day, you know, you figure out 11 by 17 formatting, you know, and and uh, you know, how to most clearly notate what it's in your head. 00:09:25.840 --> 00:09:34.799 Um and I, you know, there's a there's a world in which, you know, as a younger composer, you think, oh, well, I just somebody should discover me and want to spend the time. 00:09:35.120 --> 00:09:50.399 But um if you show up and you you've done your homework and you what you present to them is kind of showing them that you value their time, you know, I think you'll get a lot higher um hit rate, like you said. 00:09:50.639 --> 00:09:50.879 Yeah. 00:09:51.360 --> 00:10:02.639 So I think I think just coming with an attitude of respect and like they've done their homework, you've done yours, and you know, you show that you their time is valuable to you. 00:10:02.799 --> 00:10:05.039 Um with conductors too. 00:10:05.279 --> 00:10:05.519 Right. 00:10:05.759 --> 00:10:06.320 Of course. 00:10:06.559 --> 00:10:39.840 And I think beyond parts and scores in the the full score, uh almost the the human aspect aspect more deeply of I've I've been taught in the past that uh like sort of first impressions as a composer to to to be really friendly right off the bat and and uh because as a composer you really establish the sort of mood and and positive energy when an orchestra is working on a new uh on your piece. 00:10:40.000 --> 00:10:45.360 So what are your what are your thoughts on on that and how to approach that side of things? 00:10:45.840 --> 00:10:50.799 Yeah, I mean it's a it's a interesting relationship. 00:10:50.960 --> 00:11:01.600 I mean, and it depends very much on is this a chamber piece you're writing, is this a chamber orchestra piece with one on the part, or is this like a symphony orchestra piece and what is the conductor like? 00:11:01.919 --> 00:11:23.360 Um you know, is the conductor very into very much into inviting you into the orchestra space, or does the orchestra does he he or she want to talk to you and then talk to the orchestra, you know, and just trying to suss that out, um being, you know, caring desperately about your music but not being annoying. 00:11:23.759 --> 00:11:26.399 That's that's always a tight road to walk, you know. 00:11:26.639 --> 00:11:27.039 Yeah. 00:11:27.200 --> 00:11:27.679 Yeah. 00:11:28.159 --> 00:11:36.639 And trusting trusting the conductor and the musicians to do their best with your music and showing appreciation. 00:11:37.360 --> 00:11:37.600 Yeah. 00:11:37.840 --> 00:11:39.600 If that all if that all makes sense. 00:11:40.080 --> 00:11:41.279 Yeah, absolutely. 00:11:41.440 --> 00:11:59.120 But um I think sorry, I I just one other thing is that I think people can sort of sense when you're not being yourself, you know, um and when you're trying to be nice because somebody told you to be nice versus whether you're just nice and excited. 00:11:59.200 --> 00:12:05.519 And um, you know, I I think I think orchestras in particular with conductors and composers. 00:12:05.600 --> 00:12:13.360 I remember when I was playing, you know, maybe even before the conductor got up on the podium, I was like, oh, this is gonna be a long week. 00:12:14.080 --> 00:12:15.759 Or like, oh, okay. 00:12:16.720 --> 00:12:20.480 You know, it's just how you show up and those first impressions. 00:12:20.960 --> 00:12:21.360 Yeah. 00:12:21.600 --> 00:12:36.080 I guess I guess many people have experienced the the tyrant conductor, um, but it maybe there's something to be said about not being the tyrant composer too when it comes to to to new work is uh is always helpful. 00:12:36.240 --> 00:12:39.120 Um I think both are both are kind of going away. 00:12:39.279 --> 00:12:41.360 I don't really believe that's true. 00:12:41.600 --> 00:12:44.159 Yeah, um that's not the way forward in my mind. 00:12:44.480 --> 00:12:44.720 Yeah. 00:12:45.759 --> 00:13:06.960 So when you um

when you work with an orchestra, I I have a whole a whole lot of questions around what what what that feels like, first of all, and and what it feels like just to to uh kind of control the orchestra and and see how they feel about the music. 00:13:07.120 --> 00:13:17.200 So first of all, when it when a new orchestra piece really works and takes off when you're conducting, do you usually notice that and and how does that feel from your end? 00:13:18.320 --> 00:13:34.559 Yeah, I think it every piece feels different and you know, depending on level of difficulty and notation and how the orchestra, you know, the whole background of the orchestra and the relationship with the orchestra. 00:13:34.799 --> 00:13:47.519 Um again, I think my job as a conductor is to sell it to the orchestra and the audience um and to believe in it deeply. 00:13:47.679 --> 00:13:57.919 So the first thing I would say is like I don't program things that I don't believe in because I want really want to build trust with the orchestra. 00:13:58.000 --> 00:14:00.320 I really want to build trust with the audience. 00:14:00.559 --> 00:14:05.919 And if I'm if I don't believe in it, then I can't get it behind it a thousand percent. 00:14:06.080 --> 00:14:15.200 So I think about programming a lot, and I think about picking those pieces that will work for that orchestra, for that audience, for that occasion. 00:14:15.360 --> 00:14:20.399 And there's a whole kind of sense of puzzle making um around that. 00:14:20.559 --> 00:14:22.639 So that's what the first thing that I would say. 00:14:23.039 --> 00:14:47.200 Then when it gets in front of the orchestra, um presenting it in the right way, um, rehearsing it in the right way, and just encouraging that everybody withholds judgment until we're actually playing what the composer wrote, um, which happens at a different phase for different levels of orchestra, different difficulties of orchestra piece and different notations. 00:14:47.840 --> 00:15:13.600 Um kind of a long-winded answer of saying that when all of those things come together, when the notation is clear, when I really believe in the music and can convey that, and the orchestra musicians trust me enough to rehearse it enough so that it starts sounding like something uh when it really hits, it's just like wow. 00:15:13.840 --> 00:15:21.600 You know, I can really sense the the change in the room when people go, Oh, okay, it's okay, it's not just notes on a page. 00:15:21.759 --> 00:15:24.480 Um, this is coming from a real person, you know. 00:15:24.639 --> 00:15:39.279 And I I love to involve the composers as much as possible when a player sees that this is a real person and not just some random notes that are being put on their stand, you know, then they're like, oh, okay. 00:15:39.440 --> 00:15:40.480 Yeah, that's interesting. 00:15:40.639 --> 00:15:43.039 I want to find out who this person is through their music. 00:15:43.279 --> 00:15:43.679 Uh-huh. 00:15:44.320 --> 00:15:49.759 Do you what what do you think makes musicians genuinely excited to learn a new piece? 00:15:50.240 --> 00:15:53.759 I think it's, you know, it's a combination of all of those things. 00:15:53.840 --> 00:16:01.679 You know, everybody's bringing their own self and their own day that they had and their own car problems. 00:16:01.840 --> 00:16:16.399 And um but when those relationships feel right, where they feel respected and they feel trusted by both the composer and the conductor, and they feel like their time is valued. 00:16:17.039 --> 00:16:21.600 Um they feel more open, I think. 00:16:21.919 --> 00:16:31.039 You know, and every orchestra is different in that way, and every orchestra sort of has its own DNA of how they've been treated for the last 25 years. 00:16:31.360 --> 00:16:31.679 Yeah. 00:16:31.919 --> 00:16:40.960 Um But I think, you know, real people trying to make real music uh goes a long way. 00:16:41.840 --> 00:16:49.519 You know, and they can sni they can sniff out the the things that aren't genuine, I think. 00:16:51.679 --> 00:17:07.440 Do you approach composition from that perspective as a composer in a different way or uh in a particular way, like especially in an orchestral context from from what you've learned as a conductor? 00:17:08.079 --> 00:17:08.960 Yeah, I think so. 00:17:09.119 --> 00:17:35.119 I mean, I think as a less experienced composer or a composer that was trying to be established or trying to become successful, trying to write what I thought people wanted to hear, or trying to in a way show off or be very complicated, or you know, those are not really my successful pieces. 00:17:35.359 --> 00:17:41.119 Um and, you know, again, I'm just talking about myself and my own trajectory. 00:17:41.440 --> 00:17:55.119 But when I write the music without kind of pretense and just try to be real, you know, there's a piece that I won't wrote in a weekend for a youth orchestra. 00:17:55.279 --> 00:17:57.680 That's like my most performed piece. 00:17:57.920 --> 00:18:08.000 Um and actually I've found that some of the works that I write for less experienced orchestras are super clear because they have to be. 00:18:08.640 --> 00:18:13.440 And those end up being really taken up by professional groups a lot. 00:18:13.759 --> 00:18:23.680 And the places where I was trying to like be super cool or super complex, they haven't hit as much, you know. 00:18:24.640 --> 00:18:29.039 So I don't have that secret sauce of being fancy. 00:18:29.440 --> 00:18:29.839 Yeah. 00:18:30.319 --> 00:18:33.680 When you say clear, what exactly do you mean? 00:18:35.279 --> 00:18:39.279 So not unnecessarily complicated. 00:18:39.839 --> 00:19:06.559 Complicated can be great if it's you know in in search of something, but if it's complicated musically or notationally, or just trying to be something it's not, um, you know, when you write for less experienced players, it kind of makes you distill what you're saying into like the most easily

comprehensible emotionally and notationally and technically. 00:19:06.880 --> 00:19:09.599 Um at least it has for me. 00:19:09.680 --> 00:19:13.839 You know, it's got it makes me kind of get to the core of what it is I'm trying to say. 00:19:14.240 --> 00:19:16.559 Do you do you have any advice? 00:19:16.720 --> 00:19:31.359 Uh I I've been in the position a lot of times of giving during the rehearsal process, giving musicians commentary or thoughts about what to change and and how to improve um what they're doing. 00:19:31.519 --> 00:19:41.039 So do you have any advice on navigating that process from again the the perspective as of a conductor and a composer yourself and also a performer? 00:19:41.680 --> 00:19:42.000 Sure. 00:19:42.160 --> 00:19:42.559 Yeah. 00:19:42.799 --> 00:19:46.720 I mean, I think it also depends on the situation, right? 00:19:46.880 --> 00:19:51.440 So is there a conductor and is it better to go through the conductor to talk to the orchestra? 00:19:51.599 --> 00:20:03.680 Or you know, whereas in a chamber group of people who are your peers um or who've invited you in, you know, you you can speak to them. 00:20:03.839 --> 00:20:11.519 And again, like the more that you can be clear about what you want and what you hear, you know, that's a whole art, right? 00:20:11.599 --> 00:20:20.079 Like, how can you hear your 20-minute orchestra piece or your 10-minute orchestra piece and know like the four things that you can say that'll make a difference? 00:20:20.960 --> 00:20:22.000 That's hard. 00:20:22.240 --> 00:20:24.160 And that takes practice, I think. 00:20:24.319 --> 00:20:34.480 Um, you know, comes up with like how how are you gonna take the notes to find that like if you're talking to an orchestra, like literally you can probably say three or four things. 00:20:34.799 --> 00:20:36.319 Like, what are those things gonna be? 00:20:36.480 --> 00:20:38.000 How are you gonna remember them? 00:20:38.240 --> 00:20:41.440 Um you know, what's gonna make the most difference? 00:20:41.599 --> 00:20:44.960 Some of this you just learn through experience, I think. 00:20:45.039 --> 00:20:52.880 You know, just hearing like this is what I'm hearing, or this is what um I recommend, you know. 00:20:53.039 --> 00:21:04.400 It's just that's part of being a composer too, is being able to quickly and quickly come up with those three gems that really are real, right? 00:21:04.640 --> 00:21:07.839 Like actually in Measure 73, that was a B flat. 00:21:08.000 --> 00:21:10.240 Um you know, those kind of things. 00:21:10.799 --> 00:21:13.440 Yeah, it's it's it's challenging. 00:21:13.599 --> 00:21:14.000 Yeah. 00:21:14.400 --> 00:21:18.240 Um, but again, you know, showing up and showing appreciation. 00:21:18.559 --> 00:21:22.799 Um, but also having your your end of the deal put together, right? 00:21:22.880 --> 00:21:24.400 Like knowing what you wrote. 00:21:24.640 --> 00:21:24.960 Yeah. 00:21:25.119 --> 00:21:31.119 Um, it seems like it should go without saying, but like, yeah, knowing your score and like just kind of going like, yeah, yeah. 00:21:31.279 --> 00:21:36.000 Being able to answer questions as they come up and not being threatened by it. 00:21:36.079 --> 00:21:38.720 Just be like, oh yeah, yeah, I guess, well, that is unclear. 00:21:38.880 --> 00:21:41.200 Like it no, actually it is a B flat kind of thing. 00:21:42.319 --> 00:21:42.640 Yeah. 00:21:43.119 --> 00:21:43.599 Of course. 00:21:43.920 --> 00:21:45.680 Beyond note Well, yeah. 00:21:46.000 --> 00:21:59.759 So I I was gonna say, beyond notation, are there any like especially among young composers, common mistakes that as a conductor you've found just happen a lot that um just make everything more difficult? 00:22:00.240 --> 00:22:01.920 In the rehearsal process? 00:22:02.480 --> 00:22:11.519 Well, I'll say, I'll just say what I a friend of mine who's a very successful conductor told me about being a conductor, but I think it can be applied to being a composer too. 00:22:11.839 --> 00:22:17.680 He said there's like literally no one in the world who is the ideal conductor. 00:22:18.079 --> 00:22:20.400 Because you have to do so many things, right? 00:22:20.480 --> 00:22:39.279 There's people who are great technicians who maybe are not great raising money, or you know, like people who really are super musical but can't conduct, you know, they don't have the tools or you know, or don't know how to program or talk to audiences, or like there's just so many variables. 00:22:39.440 --> 00:22:42.559 And so I think the same thing is true with composers. 00:22:42.640 --> 00:22:45.359 There's so many different skills. 00:22:45.920 --> 00:22:50.640 Um, you have to really know your instrumentation cold, you know. 00:22:50.799 --> 00:22:57.440 Like if you write a low B for the viola, it'll come up, you know. 00:22:57.519 --> 00:23:05.440 Either, either it'll come up or they'll just say, okay, this person doesn't know what they're doing, and then they won't, you know, put that extra 10% in. 00:23:06.000 --> 00:23:10.400 Um, so I it's I guess it's knowing the the the tricks of the trade. 00:23:10.720 --> 00:23:19.920 Um one thing that makes every live musician crazy is like when somebody says, and well, it it didn't sound like that on the MIDI. 00:23:21.920 --> 00:23:35.279 Uh I can guarantee you that like if if you come in and somebody's complaining that something's too hard and you say, Well, the the the the MIDI could do it, um they're gonna just tune out and phone it in for the rest of the whole session. 00:23:35.519 --> 00:23:42.720 Um I don't know if those are the kind of things that you're thinking about, but those are the kind of things that I that I see is Yeah, yeah. 00:23:42.880 --> 00:23:43.200 Yeah. 00:23:43.839 --> 00:23:55.440 So you've worked with musicians from uh a wide array of different levels of experience, uh, from very seasoned players to just people starting out. 00:23:55.759 --> 00:24:03.599 Um first of all,

what what's different uh A about teaching and about the players themselves at those different levels? 00:24:03.759 --> 00:24:12.960 And um is there any sort of unifying factor among them, any any anything that happens or or works for all of them? 00:24:13.359 --> 00:24:18.480 You know, I think even even among different groups of the same level, they need different things. 00:24:18.720 --> 00:24:27.279 Um so there may be a group that needs X but doesn't need Y, and a comparable group needs Y but doesn't need X. 00:24:27.519 --> 00:24:37.359 Um the younger the players are, the more kind of pedagogical knowledge you need to have. 00:24:37.519 --> 00:24:44.319 You know, I mean there are some like great professional conductors who I just don't think would be successful with younger players. 00:24:45.279 --> 00:24:51.359 I mean, if you're working with string players at a certain level, you need to know how to tell them how to play harmonics, you know. 00:24:51.920 --> 00:25:00.160 If we're talking about, you know, educate in the educational, um, you need to learn how to teach them how to play rhythms. 00:25:00.319 --> 00:25:06.799 Now you don't need to do that with um you know progressively more professional groups. 00:25:07.359 --> 00:25:21.920 Um but I think in any group that is genuine, like you know, that hasn't been abused, I think in the past, they want they wanna they want to sound good. 00:25:22.240 --> 00:25:31.039 You know, so that anything that you can do to help them to sound good, um I think you know conductors are facilitators. 00:25:31.200 --> 00:25:36.319 The you mentioned the conductor tyrant, and I I don't know. 00:25:36.480 --> 00:25:38.960 I I they're they're still there. 00:25:39.119 --> 00:25:47.119 I that doesn't resonate with me, and I really had a hard time calling myself a conductor because I just didn't buy into that thing. 00:25:47.440 --> 00:25:51.599 But what I do like is like, oh okay, I can I think I can help you with that. 00:25:51.759 --> 00:25:59.839 Like here, if you listen to this and you think this and I give you a good cue, I think we can make it work. 00:26:00.000 --> 00:26:02.240 And that's how I try to think, you know. 00:26:02.960 --> 00:26:19.839 Um so for me coming in with a like really clear vision of what the music the goal of the music sounding like and serving the music, I think that's that's the thing that each group tends to respond to. 00:26:20.079 --> 00:26:25.599 Like really I'm there to make it them sound better, and I know how to do that. 00:26:26.000 --> 00:26:26.319 Yeah. 00:26:26.559 --> 00:26:30.960 Um I think a group, whatever level, responds to that, you know. 00:26:31.759 --> 00:26:32.079 Right. 00:26:32.559 --> 00:26:38.799 They're they're there for a reason too, and they're they're in many cases doing it because they want to. 00:26:39.200 --> 00:26:39.440 Right. 00:26:39.519 --> 00:26:50.720 Yeah, and even if they're just you know, here's a here's a anecdote is I was conducting a a session um out in Hollywood, a Capitol Records, like a film session. 00:26:51.039 --> 00:26:55.359 And the players came in and they were like, Yeah, yeah, yeah, dude, it's another gig. 00:26:55.440 --> 00:26:58.799 And like, can we have the click track on the 16th note so we don't have to look up? 00:26:58.960 --> 00:27:04.720 And I was like, well, let's give this a try because I think this is great music. 00:27:04.960 --> 00:27:08.240 And um they're like, What do we have to match the MIDI? 00:27:08.400 --> 00:27:10.720 And you know, what are the pre-records and all this kind of stuff? 00:27:10.799 --> 00:27:13.119 And they were just like, Yeah, yeah, yeah, yeah, whatever, whatever, whatever. 00:27:13.279 --> 00:27:19.359 And I said, Well, you know, before we go there, let's just make some music. 00:27:19.519 --> 00:27:31.759 And then I could see like progressively their eyes would open, and then they kind of they sat in a different way because it was it was actually real, real music that asked asked them to be musical. 00:27:31.920 --> 00:27:43.759 So that for me was proof that like the most jaded musician on a gig can find their earlier love for music if it's if the situation is right. 00:27:45.039 --> 00:27:45.359 Yeah. 00:27:45.599 --> 00:27:46.000 Yeah. 00:27:46.079 --> 00:27:46.240 Yeah. 00:27:46.559 --> 00:28:00.559 Does do you feel like that happens a lot to professional musicians where just eventually just because it's over and over and over again, and if you do it for 20 years, let's say it it just feels like another piece rather than something that needs to be. 00:28:00.880 --> 00:28:02.319 Yeah, I mean, that happened to me. 00:28:02.640 --> 00:28:07.519 You know, I I think I mentioned I was I was a professional player in an orchestra. 00:28:07.759 --> 00:28:26.720 Um, and I just I grew to hate music, you know, because if you have five programs a week, you know, we had a Pops concert, we had two kids' shows, we got, you know, the the Christmas show, and we got two masterworks, you know, going on at the same time. 00:28:26.799 --> 00:28:39.599 It's like that's I mean, I could play all those notes, but it just got to be um, especially for me as a section string player, it just felt like, well, I could I'm totally replaceable. 00:28:40.000 --> 00:28:44.000 I'm not, you know, somebody else is telling me when and how to play my music. 00:28:44.240 --> 00:28:49.200 Um I don't have any agency about like even when I start my note. 00:28:49.920 --> 00:28:55.920 Um, and you know, there's a lot of really mediocre conductors because it's hard to do. 00:28:56.000 --> 00:28:59.759 And yeah, I I just grew to really not like it anymore. 00:29:00.240 --> 00:29:05.359 It was only when I stepped back from that that I realized that I still love music. 00:29:05.680 --> 00:29:12.160 Um yeah, doing it, doing it day in and day out in kind of less than ideal circumstances. 00:29:13.119 --> 00:29:21.680 And part of what what I grew to not like was just it

sounded fine, but it wasn't it didn't sound good most of the time. 00:29:21.839 --> 00:29:23.680 It was fine, it was totally fine. 00:29:23.920 --> 00:29:26.319 And that just kind of killed me after a little while. 00:29:26.480 --> 00:29:34.960 Well, everybody wants to sound great, you know, and have that experience they had in youth orchestra growing up, you know, from the player's side. 00:29:35.119 --> 00:29:39.200 Yeah, so I I totally get how people get jaded because that that was me. 00:29:39.599 --> 00:29:54.559 So to to on a on a different note, um, as we start to wrap up here, um you're obviously someone with a lot of uh different experiences in the in the world of music. 00:29:55.200 --> 00:30:13.519 Um what what do you think musically uh and just sort of uh I don't know as a person uh just beyond the the technical aspects of being a musician, should I be doing right now to to improve and and grow my mind in that regard? 00:30:15.920 --> 00:30:21.039 Lots of listening, um, lots of studying scores, going to lots of concerts. 00:30:21.119 --> 00:30:27.119 I don't know if you're still in Jackson or how many concerts are out there, but in the summer that's pretty great. 00:30:27.359 --> 00:30:42.160 Um just being kind of omnivorous, you know, uh read, go to movies, go to museums, go to dance performances, listen to all kinds of music, try to figure out how it works. 00:30:42.400 --> 00:30:50.960 You know, all of the all of the stuff you feed yourself is gonna come out in one way or another, you know, eventually. 00:30:51.200 --> 00:30:51.440 Right. 00:30:51.680 --> 00:30:55.440 So like they say with with computers, you know, garbage in, garbage out. 00:30:55.519 --> 00:30:59.200 Like whatever goes in is what you're feeding yourself. 00:30:59.359 --> 00:31:04.720 Um and I'm saying this as much to my to myself as I am to to you, you know. 00:31:04.880 --> 00:31:09.279 I mean, at the end of the day, I'm tired and I end up doom scrolling too much, right? 00:31:09.359 --> 00:31:15.920 But that's not that's not uh that's not looking at the the big picture and the long game there. 00:31:16.720 --> 00:31:46.160 That's that's what I that's what I personally think is like reading and a lot of my ideas for music come from other art forms, you know, and a lot of my context for working with an orchestra is telling an anecdote, you know, whether it's about um, you know, some German conductor that I worked with, or whether it's about K-pop demon hunters, you know, it's just having a broad range of stuff to to draw from. 00:31:46.880 --> 00:31:48.960 Um yeah. 00:31:49.680 --> 00:31:50.480 Absolutely. 00:31:50.720 --> 00:31:59.039 Do you have any upcoming concerts or events that you're doing that you're really excited about that are you know keeping it fresh for you? 00:31:59.440 --> 00:32:02.079 Yeah, there's there's a bunch that's coming up. 00:32:02.319 --> 00:32:12.960 So in June, the festival that I run, the next festival of emerging artists, we are doing uh, as always, a program of all living composers. 00:32:13.200 --> 00:32:29.119 Um we're doing kind of as a kind of commemoration of the 250th anniversary of the signing of the Declaration of Independence, we're doing a program of all women immigrant composers that I'm really excited about. 00:32:29.200 --> 00:32:33.599 We're commissioning a new double concerto from Andrea Casarubios. 00:32:33.920 --> 00:32:45.680 Uh we're commissioning um a new uh orchestration from Nilafar Nurbosch, and then also Adele Feitsulina, who's uh an alum of our festival. 00:32:45.920 --> 00:32:48.559 Um so that's really that's really fun. 00:32:48.720 --> 00:32:54.240 That's that's giving me a giving me a real focal point to work towards. 00:32:54.319 --> 00:32:59.759 And that'll be on June 5th and 6th in Hudson Valley in New York City. 00:33:00.319 --> 00:33:02.880 Well, Peter, it's it's been a it's been a blast. 00:33:03.119 --> 00:33:11.359 Is there um how how should people best contact you or find your information is that or in your your work? 00:33:11.839 --> 00:33:12.079 Sure. 00:33:12.240 --> 00:33:21.519 Yeah, so I'm kind of easy to find, but um my personal website is www.peteraskim.com. 00:33:22.319 --> 00:33:25.680 Um also easily google googlable. 00:33:26.000 --> 00:33:31.519 I'm on Facebook and Instagram as much as I can be and still get work done. 00:33:32.160 --> 00:33:45.440 Um and the website for the festival that I run, uh, the next festival of emerging artists is www.next-fest.org. 00:33:45.920 --> 00:33:48.559 Next-fest.org. 00:33:48.880 --> 00:33:54.720 So there's a lot of a lot of stuff is coming up on then on those sites. 00:33:54.960 --> 00:34:06.720 Um, you know, lots of stuff coming up with Wilmington Symphony, um and uh and also with uh the Raleigh orchestras too, Raleigh Civic Orchestras. 00:34:07.119 --> 00:34:14.239 Um yeah, it's I'm easy to find and happy to hear from people if they have comments or questions or want to reach out. 00:34:14.639 --> 00:34:16.159 Well, thank you so much again. 00:34:16.239 --> 00:34:22.079 It was it was great to hear your insights about the world of orchestra and composition today. 00:34:22.239 --> 00:34:24.960 Uh and and thank you just so much for for being on with us today. 00:34:25.280 --> 00:34:26.159 Yeah, it's been a blast. 00:34:26.239 --> 00:34:27.360 Thanks so much for having me on. 00:34:27.440 --> 00:34:28.320 I really appreciate it.