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  Lucas Stratmann - Violin

  Lucas Stratmann is a violinist from New York City and graduated from The Juilliard School in 2020. He entered the Vienna Philharmonic Orchestra Academy in Fall of 2021 and won an audition to join the 2nd violin section of the Vienna State Opera/Vienna Philharmonic Orchestra in March of 2022.
  
  
  
  
  

  Marifé: Tell me about this last year. What has it been like for you?

  Lucas: It goes without saying that this past year has completely changed my life. I think about where I was mentally and musically before finding out I would be studying in Vienna last May, and I can’t believe how much change has occurred since then. In just a year, I now have the opportunity to work, perform and travel the world with one of the greatest orchestras in existence. Thank you so much for creating this portal to another musical life that I would’ve never even have dreamt for myself.

  Marifé: Do they bring you along slowly at the Academy or do they involve you right away?

  Lucas: Practically a week after arriving to Vienna last September, I started playing in the Philharmonic which was a shock to me as I thought that there was going be a training period before the academists would have the chance to do that. From that very first performance in the Sagrada Familia in Barcelona, I have learned and experienced so much from playing in the orchestra. Before moving to Vienna, I had this belief that playing in an orchestra meant holding back personal expression for the unity of the group. I quickly realized that that was untrue as I started seeing how every single musician in the orchestra brings themselves and their unique musical personality to the creation of a whole that is always full of life while still in harmony. I am constantly inspired by the dedication and passion to create music that everyone in the orchestra plays with, and it has shown me that I can have self-confidence in my musical voice being able to contribute to the group as well.

  Marifé: How have your teachers, who are members of the Vienna Philharmonic Orchestra, influenced the way you play?

  Lucas: The teachers that I’ve studied with in the Academy have completely changed the way that I approach violin playing too. The teachers I’ve been lucky to take lessons from are Tibor Kovac, Josef Hell, Patricia Hood-Koll, and Christoph Koncz, along with several other members and retirees of the Philharmonic. They’ve taught me how to express what I desire through a detailed exploration of technique and have also expanded my imagination for what I can create. The combination of the way that they teach, and their support has reignited my passion for the violin along with my desire to discover and put in the work to improve. Apart from blowing the roof off in terms of violin playing, they helped me approach the biggest thing that was holding me back, my self-doubt. If I want to play with full expression or to hit a difficult shift in the music, I should have complete confidence that I absolutely will. Why wouldn’t I? I’ve dedicated practically my whole life to learning this instrument and am continually trying to improve, I should toss any doubt out of the window and just enjoy every moment of playing.
  This mentality also makes it much easier to discover what went wrong if I do miss something as I am more aware of what is happening instead of what has or might happen.

  Marifé: How do the VPO musicians view the Academists? Are they supportive?

  Lucas: My mentors and colleagues have also shown so much belief in me and have been incredible supporters in my growth as a person as well. Immediately after the first tutti audition in February, several people recommended I take the principal audition coming up the following month. I didn’t take it too seriously though as I thought I didn’t have a chance and I was also already in disbelief that I had won the tutti position in the first place. Following the US tour, I started casually preparing for the audition but decided I wouldn’t take it. A day after deciding that, one of my mentors called me asking how my preparation for the audition was going. After telling him I wasn’t going to take it, he expressed his disagreement and told me to reconsider. The following day, another colleague talked to me during the rehearsal break after hearing the news from my mentor and said that I should absolutely go for it. This is the perfect example of how all of my teachers/mentors and many members of the orchestra have supported me, and I am indebted to them for everything that has happened in this past year. Not only have they helped me discover a new depth of love for music while making the techniques of violin playing extremely clear and descriptive, they’ve also helped me instill more self-respect and belief in myself through their constant actions and words of support.

  Marifé: Which such a small group of Academists are you competitive with one another or are you more a group of friends cheering for each other’s success?

  Lucas: My fellow Academists have become some of my closest friends and I feel lucky to be part of such a closely-knit group of like-minded people. Whether it be Robert inspiring me with his desire and actions to improve in everything he does, Jannis’ curiosity and consistent search for answers to whatever he seeks, Theresia’s confidence and passion for life, or Traian’s giving heart, every single person in the Academy has touched and inspired me to grow in my own life. They’ve also been there for me in all of my highs and lows, extending their friendship and kindness no matter what, and I know I wouldn’t have had the year that I had without them.

  Marifé: What was most challenging about this first year at the Academy?

  Lucas: One might wonder if there was anything that didn’t go well during this year for me, and to be honest, nothing really did as everything that happened contributed to my growth in one way or another. That being said, I can share that the biggest challenge during this year was performing a different opera every day after I began playing nearly full time in the Vienna State Opera Orchestra (VSO) from the beginning of May. It felt as if there was never enough time to learn each one and I was constantly feeling disappointed with myself after rehearsals and performances. This was another eye-opening moment though as I realized how unreasonable my expectations for myself were after talking to several of my colleagues. I had this mentality that I needed to present a finished product at all times, or something as close to perfection in every single performance.

  Marifé: How do you strive for perfection and excellence with so much repertoire and frequent opportunities to perform?

  Lucas: When having anywhere from 1-3 rehearsals or performances on a daily basis, things may not go as I want them to and that’s okay. While I still desire the best in every concert or rehearsal for myself, I see that I also need to put trust in my daily work and be patient in learning all of the operatic repertoire as I gain experience playing in the VSO.

  Marifé: How is playing for operas different than playing as part of an orchestra?

  Lucas: I’ve learned several things in orchestral playing after starting to play operas. Two of the most important things are listening and being aware of the singers or other instruments and playing with rhythmic clarity and integrity. The first point speaks for itself but to expand on my second point, I need to focus on presenting the rhythm clearly for the rest of the orchestra. This is especially crucial as a leader of the 2nd violins as our section often plays the role as the heartbeat of the orchestra.

  Marifé: When you look back on the past year, what are your thoughts?

  Lucas: Words only scratch the surface for what this year has meant to me. I have had the perfect environment and people that have helped me grow tremendously as a person, violinist and musician. I still have to pinch myself when I think about the possibilities that this year has created, and I will forever be grateful to the Vienna Philharmonic Academy and Society. We haven’t even discussed the incredible tours that I’ve been a part of, traveling all over Europe and to the US, which made it possible for me to visit my family and home in New York during the middle of the season. I seriously don’t know how I got so lucky and how everything seems to have fallen into place perfectly.
   
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  Robert Sanders - Violin

  Robert Sanders is a violinist from Skokie, Illinois, outside of Chicago, and a 2021 graduate of the Eastman School Music. He will graduate from the Vienna Philharmonic Orchestra Academy in May of 2023.
  
  
  
  
  
  

  Marifé: Traveling to Vienna to enter the Academy was your first time traveling out of the U.S., correct? How has it been?

  Robert: The past ten months have been personally very meaningful for me as this was my first experience traveling outside of the United States. I have been immersed in a new culture, language and society for the first time, and I have seen how people around the world communicate and live their lives in different ways, with different values and sets of expectations. Participating in the tours further expanded my cultural exposure- with the orchestra I have already performed in Barcelona, Bratislava, Budapest, Prague, Frankfurt, Essen, Hamburg, Cologne, Berlin, Dresden, Brussels, Luxembourg, Paris, Naples (Florida) and New York City. Every city has such a unique flow and atmosphere, but I must say that I'm already trying to find a few days free to get back to Paris!

  Marifé: Tell us about meeting the other Academists and where all of you are living

  Hannah: Our first meeting was in Salzburg 2019, where I got to meet everyone associated with the Academy, and also attend a General Probe with the Vienna Philharmonic of Bruckner’s 7th Symphony conducted by Bernard Haitink and Beethoven’s 4th Piano Concerto with Emanuel Ax as soloist. Some of us live in the student dorm provided through the program and some live in apartments in Vienna. Each Philharmonic project has a different roster, so it’s a rather individualized daily lifestyle. Our group meetings consist of the Academy Lectures, which cover a wide range of topics from the scientific to the political, as well as the “Meet and Greets” with the conductors. These are great opportunities to engage with some of the world’s best conductors offstage through hearing their insight into the musical program and personal stories.

  Marifé: What is something you have learned at the academy that has really impacted your playing?

  Robert: Musically speaking, the Vienna Philharmonic has taught me how to listen- both to myself and to the others I am playing with. More specifically, I am more aware of the musical line- where is the top of the phrase, the goal or climax of the notes that I am playing right now? How can I manage to keep that climax in mind over the next 20 or 30 seconds of music, so that the audience is engaged and is as excited to reach that special moment as I am?

  Marifé: The Vienna Philharmonic is unique in they don’t have just one conductor but play with many world-renowned conductors each season. How has the Meet-and-greet program with the conductors influenced your playing and your view of life as a musician?

  Robert: The Meet-and-Greet program is one of the most unique and inspiring aspects of the Orchestra Academy. What we do as musicians is so focused and tailored to our instrument, so specific to our set of skills such that we can play our part with the utmost intention and precision. The conductor's job is to take what we do as individuals, and through physical gestures and verbal explanations in rehearsal give the orchestra an overarching vision of the music, an interpretation that keeps in mind all the contrasting parts and sections. I was able to discuss European philosophy with Franz Welser-Möst and the ways in which it influenced Mahler's compositional techniques in his 9th Symphony. I had that opportunity to ask Kirill Petrenko how he knows what he can get out of each unique orchestra he conducts, being aware of their personal strengths and describing his job as being to focus on bringing those great qualities out even more. These interactions inspire me to be a more intellectual and intentional musician- which historical and cultural contexts I can use to influence my performances, as well as how I can focus on highlighting those qualities that make my violin playing unique and worth listening to.

  Marifé: What was one of the biggest challenges you faced this year?

  Robert: This year has not been without its challenges- adapting to a new culture and language, leaving my family and friends in America, and the pressures of playing professional concerts in world-class venues have all forced me to do more self-reflection than ever before, and I have become a more flexible and resilient individual as a result. I look forward to traveling home to Chicago for a couple of weeks this summer to see my family and friends as the person I have grown into thanks to this experience. Moreover, I look forward to performing with the orchestra at the Salzburg Festival throughout August, and I can't wait to see what my second year in the academy will bring now that my German is passable, and I am able to consider Vienna a second home.

  Marifé: What else would like to say about your Academy experience?

  Robert: I would like to express my gratitude to the Society as well as the individual donors who have made my participation in the Orchestra Academy of the Vienna Philharmonic a reality. I often avoid this qualifier as I find it to be cheesy and superfluous, but it is certainly neither of those things to call this a life-changing experience. My only hope is that I can use what I am learning from this incredible journey in order to make some difference in others' lives, trying to give back a small percentage of the generosity that has been bestowed on me.
   

In the Fall of 2020, Vienna Philharmonic Society Chairman, Marifé Hernández, interviewed the two American Academists in the inaugural Academy Class (2019-2021) - Hannah Cho and Kelton Koch about their experience at the Academy. Both have won auditions to join the Vienna State Opera/Vienna Philharmonic Orchestra.

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  Hannah Cho - Violin

  Hannah Cho grew up in California and New Hampshire and received her Bachelor of Music and Master of Music degrees from the Juilliard School. Prior to joining the Academy, she was enrolled in the Professional Studies program at the Manhattan School of Music. Hannah is a top prize winner of multiple international string competitions and has performed as a soloist with several orchestras. She performed with the Vienna Philharmonic Orchestra in Rome and on their Asia tour in 2019 and in Japan in November 2020.

  Marifé: What is a typical day in the life of an Academist?

  Hannah: There are actually many versions of a typical day in the life of an Academist, as the schedules and routines vary depending on the project assignments. Usually, there are only two to four days of rehearsals before a Philharmonic concert so a good chunk of time outside of the orchestra blocks are dedicated to score studying and practicing. For chamber music, most of our scheduled live concerts were cancelled due to the pandemic so we have been meeting a few times per month for rehearsals and coaching sessions to enjoy the learning process and playing together. Then on the individual scale, I try to have lessons once a week and have found the physio and mental coaching sessions to be helpful in strengthening and maintaining a healthy body and mind!

  Marifé: Tell us about meeting the other Academists and where all of you are living

  Hannah: Our first meeting was in Salzburg 2019, where I got to meet everyone associated with the Academy, and also attend a General Probe with the Vienna Philharmonic of Bruckner’s 7th Symphony conducted by Bernard Haitink and Beethoven’s 4th Piano Concerto with Emanuel Ax as soloist. Some of us live in the student dorm provided through the program and some live in apartments in Vienna. Each Philharmonic project has a different roster, so it’s a rather individualized daily lifestyle. Our group meetings consist of the Academy Lectures, which cover a wide range of topics from the scientific to the political, as well as the “Meet and Greets” with the conductors. These are great opportunities to engage with some of the world’s best conductors offstage through hearing their insight into the musical program and personal stories.

  Marifé: In October 2019, you toured and played with the Vienna Philharmonic in Asia - tell us about that experience.

  Hannah: The 2019 Asia Tour will be one of the most memorable times of my life! I had never experienced a tour with an orchestra before, nevertheless for one month performing in eleven different cities with a rotating concert program ranging from Bruckner's monumental 8th Symphony to an all-Strauss evening. It's a really unique feeling to be a part of a stage that gets thunderous applause almost every night and I think being totally immersed in the "concert life" greatly influenced my own music making. After a month of near nightly concerts having the signature Vienna Philharmonic sound in my ears, my concept of artistry elevated from what I had experienced thus far. I think there is a particularly thrilling energy that connects everyone onstage - a sense of "getting lost in the music". I was also so happy I could see my extended family while we were in Korea - my grandmother has been a huge supporter of my music career, and it was such a special evening for her to see me as part of the legendary Vienna Philharmonic Orchestra at the Seoul Arts Center!

  Marifé: In November 2020 you travelled with the orchestra to Japan for 7 concerts. The Vienna Philharmonic was the only major orchestra in the world to consistently perform during the pandemic. Tell us about that tour and the precautions the Orchestra has taken to be able to continue to perform safely.

  Hannah: I was honored to be an active participant in the Vienna Philharmonic’s brave endeavor to continue with live performances (and even travel!) through this pandemic. We had many tests leading up to and during the tour to maintain our “safety bubble” and had very restricted movements while in Japan. One of the pieces we performed on the tour was Tchaikovsky’s 6th Symphony, and I was so overwhelmed by the special atmosphere of playing the heavily emotionally charged work in these difficult times, I almost cried! Despite the challenges of limited fresh air and contact with the outside world, being able to perform and look out into a hall with a live audience was incredible

  Marifé: Share your experience in the Academy. What are some unique experiences you’ve had, some unexpected challenges and wonderful opportunities from your time in the Academy?

  Hannah: Looking back at the past two years, I think my experience in the Academy can be summed up as one of many “firsts”! Being a member of the inaugural class gave me the opportunity to move abroad to a city, rich with musical history and culture, for my first time playing within a professional orchestra. There are two methods of learning - by studying and by doing, and I think the latter is especially important for musicians. There is so much of what we do onstage that is elusive, therefore we need to be able to listen well, react quickly, while executing everything written in the score - these skills have to be honed while "doing," since most of it is like reflex training. In addition to learning these skills for better performance and musicianship “in action”, I’ve made so much progress in my sound imagination, through being immersed in the famed VPO golden tone onstage and enlightening lessons on how to effectively depict that imagined sound on the violin. The Schubert Trout Quintet has been on my repertoire bucket list for quite some time, and I feel very lucky to add onto my list of “firsts” having studied it in this golden opportune Viennese environment, with my wonderful fellow Academists and a recorded performance in the beautiful Brahms Saal! https://www.viennaphilharmonicsociety.org/vpo-academy/concerts-by-the-academists With any new endeavor, there are some challenges in beginning while one gets acclimated but the sense of pride, accomplishment, and enjoyment that comes with playing in the Vienna Philharmonic makes the challenges feel gratifying. I am fortunate to have a kind and encouraging support system here with our coordinator, my mentors and colleagues to help with the transition into a foreign city and guide my musical development!
   
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  Kelton Koch - Trombone

  Kelton Koch is from Lake Jackson, Texas, (Houston) and is Second Trombone with the Vienna State Opera. Prior to this appointment, he was a member of the Vienna Philharmonic Orchestra Academy (2019-2020) and the Zurich Opera Academy (2017-2018). He was a fellow of the New World Symphony in Miami Beach under the direction of Michael Tilson Thomas from 2014 to 2017. He has been recognized in many national and international solo competitions. Most recently, he was awarded a “Special Prize” at the XVI International Tchaikovsky Competition in St. Petersburg (2019). He enjoys a multifaceted career playing jazz and many other musical genres and his jazz playing has received acclaim from several national competitions. As a teacher with a strong interest in pedagogy, he has given masterclasses in the United States, Colombia, Switzerland, and China. He is the son of a high school band director and began piano lessons at age six and trombone when he was eleven years old. He has a Bachelor of Music in Trombone Performance, Mathematics, and a minor in Economics from Northwestern University.

  Marifé: What did you find most unique and inspiring about the Academy?

  Kelton: My most inspiring moment as an academist was probably my first rehearsal and concert, Bruckner’s Eighth Symphony conducted by Christian Thielemann in the Musikverein. There’s really nothing educationally comparable to getting to sit in one of the greatest orchestras in the world, with one of the greatest conductors in the world, and to get to learn and be inspired by these life-changing musical experiences.
  
  Orchestra academies in Europe typically offer younger musicians the chance to gain professional experience with great orchestras/operas, but often academists understandably play on smaller projects. However, the nature of the Vienna Philharmonic programming is that every project is led by one of the best conductors in the world, and many of the projects occur on tour. So, for example, the opportunity to tour a month with the orchestra in Asia would be extremely rare for an academist to do elsewhere but is almost expected here.

  Marifé: What do you like most about the trombone, the music it makes and its influence on the synergy of an orchestra?

  Kelton: My favorite aspect of the trombone is its vocal quality, its natural range of the tenor voice, and its warm, golden sound. Our lips vibrate into the instrument similarly to vocal cords vibrating in the body; thus, the sensation of playing is somewhat like singing, and the trombone has a very “human” quality.
  
  Because the trombone was used in churches for masses, there is often a religious element to its role in later symphonic literature as well. Some of the best moments for trombone in the orchestral repertoire are section chorales together, such as in Wagner operas or Brahms symphonies. The trombone doesn’t often have the melody in orchestral music, so much of what we do is about playing the simplest things at a high level or adding a warmth/richness to the texture.

  Marifé: Tell us about your audition and selection to join the Vienna State Opera.

  Kelton: I spent four very focused weeks before the audition where I essentially was either playing in a Vienna Philharmonic rehearsal/concert or preparing for the audition. It was pretty easy to stay motivated at the time, since playing in the orchestra was giving me plenty of inspiration to try to stay with this orchestra for the rest of my life!
  
  I had many lessons with my mentor in the Academy, Enzo Turriziani, who helped me improve the audition repertoire and understand how to make my playing fit the orchestra stylistically. I also had lessons with my teacher in Bern, a former principal trombone of Vienna Philharmonic, and one of the current bass trombonists. I was in a very lucky position to have so many musicians with great ears helping me prepare!
  
  The audition lasted three rounds: a concerto with piano for the first round, and excerpts from the symphonic and operatic literature for the last two rounds. The first two rounds of the audition are “blind”, followed by a final round where the screen is removed so that the 30 members for the orchestra listening can watch the finalists play. The auditions for the Wiener Staatsoper are always held in the Mahler Saal, a beautiful and resonant room to play in!

  Marifé: You’ve played with the London Symphony, London Philharmonia, the Chicago Symphony, the Boston Symphony and the San Francisco Symphony - how is playing with the Vienna Philharmonic different?

  Kelton: The two most distinctive qualities of this orchestra to me are its sound and stylistic tradition. The strings use a heavy amount of vibrato, which creates this incredible richness and golden sound. The unique timbre of the orchestra is additionally manifested by its use of instruments that are exclusive to Austria, such as the Viennese horn (my new favorite instrument!) and the Viennese oboe. There’s also particularly strong emphasis on clarity of articulation in the brass. In general, the Vienna Philharmonic has this ability to blend sounds together in a chamber music-like way, and these new tonal colors created are particularly highlighted in the Musikverein.
  
  I also find that the orchestra plays many of the Germanic/Austrian composers in a distinct way. When I was living in America, I would often study the Vienna Philharmonic‘s recordings to gain insight on how to stylistically approach Austro-Germanic repertoire, such as Mahler, Strauss, Beethoven, Brahms, Mozart, etc. There’s a certain authenticity hearing them play this repertoire, almost like eating pizza in Napoli or sushi in Tokyo. When we played Bruckner’s Eighth Symphony, it felt almost as if the original intent of the music was passed down from generation to generation, and you could really hear what Bruckner imagined.
  
  Before joining the Orchestra Academy, I was occasionally able to travel to hear the Vienna Philharmonic play live, including one of their Carnegie Hall residencies. What stood out to me then was just their unanimity and conviction of playing, perhaps stemming from their reverence for their hallmarked tradition. The Vienna Philharmonic is not just an orchestra of all-star musicians, but there’s an incredible synergy and a real collective vision for how the music should go.
  
  The uniqueness of the orchestra is on full display with the charming elegance of the waltzes and polkas in their New Year’s Concerts. In general, rhythm is less of a mathematical equation to be “correct” in Vienna, but rather more of stylistic language that can be flexible. The net effect is that the orchestra seems to be speaking to you through a distinct musical language. The technical excellence is of course still there, but the sound and emotion of the music is more at forefront of Vienna Philharmonic Orchestra’s approach.