Even though I've been living the "college life" for about one and a half-years, I cannot help to look back at the experience of the Youth Orchestra's 2008 Germany and Czech Republic tour at least once a day. To say that tour was amazing is always going to be an understatement. To say that it was life-changing is a hint to it's significance on my life, both musically and emotionally, let alone physically. Ever since that tour, I have failed to identify my musicianship with anything less of what I've experienced, something which still goes on to this day.
Week 1 before tour: I was downstairs near the men's locker room relaxing on the couch (when it was still there). Upstairs, I heard the SFS rehearsing the 2nd movement of Dvorak's cello concerto. I knew that the soloist was Alicia Weilerstein, one of the newest superstars in classical music, ranking among Gustavo Dudamel and Lang Lang in their musical talents and age. Unfortunately, I did not know enough about Alicia to appreciate what was being played. She came here last month in Ann Arbor, and I'm still hitting my head against the wall for not seeing her perform, both here and in San Francisco.
Day 1 before tour: I cannot sleep. I'm still packing my red suitcase for what is going to be 3 weeks of concerts, walking tours, awkward conversations in German and English, and sleeping on the bus. I'm on Facebook chatting with fellow orchestra members about my excitement.
Rostock: Our first concert was in an old shipyard. Paint peels from the walls, dust piles on the floor, and pigeons lie on the rafters. Quite an exotic venue to perform in, but once we rehearsed, the sound was surprisingly warm and resonant. Let's hope the building doesn't (literally) fall down to Adam's Lollapalooza! Later that evening, after an enjoyable game of catch around our dinner venue, we start the concert. The audience seems to like us a lot, although the Adams might've been a tad loud for the small hall. What was the most surprising was our final encore, an Indian raga performed with spoken syllables. We get cheers and a standing ovation. We are looking forward to what this already rewarding tour can give us.
Berlin Philharmonie: Without dispute, the most important part of my musical career yet. I come early to the hall with another small group of friends to warm up and relax. A percussionist friend of mine and I take turns standing up at the conductor's podium (we are both aspiring conductors). We reflect back at all the Youtube videos we've seen of conductors and performers performing and recording in this concert hall: Karajan, Keibler, Barenboim, Kissen, MTT, Abbado, Dohnyani, Bernstein, Gergiev, Mutter, Perlman, the list goes on and on. The responsibility of maintaining such musical standards seems daunting, but once our concert is about to commence, we lose thoughts of intimidation and enjoy every moment of it. As I'm listening to the closing brass chorale of the 2nd movement of Dvorak, I think to myself, "I cannot believe that I am here, joining the legacy of great music."
As I write, I'm listening to the SFSYO recording or our concert in the Berlin Philharmonie, playing the closing chords of Dvorak's New World Symphony. As the orchestra gives their last powerful major chords, and as the winds and trumpet slowly and quietly withdraw the symphony to peace, I know that all great things, including Dvorak's New World Symphony, must come to an end. But perhaps that this 2008 tour is not the end of something great. Perhaps it's the start of a new beginning. I am looking forward to the day, that in 30 years, I will be back in the Philharmonie, as a section violist, or as the maestro. Only time, hard work, and fate can tell.
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