In Part 2 of our conversation, Pasi talks about the reason he and his trumpet section in the Helsinki Philharmonic perform Sibelius on German trumpets, which sheds some light on Sibelius’ background and concepts of sound. In addition, we talk about interpreting Sibelius, the Finnish tradition of phrasing, how it can be different from the American approach, and what it is like for Pasi and Valtteri when playing Sibelius as substitutes in non-Finnish orchestras.

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Trumpeter Pasi Pirinen and trombonist Valtteri Malmivirta have had a long and enduring friendship ever since they met as students auditioning for the Sibelius Academy. They now both teach at the Academy and, in addition to being members of the Helsinki Philharmonic, perform and teach around the world. So who better to ask about the great Finnish composer Jean Sibelius than two players who have performed his music for most of their lives?

In Part 1 of our conversation, we talk about Sibelius and his influence on Finnish culture. Pasi and Valtteri also discuss how Sibelius used nature and silence in a number of his works, specifically in the Fifth Symphony.

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In the Bonus Room, Dan talks about the beginning of his career, how a chance audition for Cats got him into the field of musical theater, and the difference between acting for films, musicals and plays.

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I continue my conversation with Dan by asking about the job of a music supervisor, and from there Dan then talks about why he ultimately left classical music. Since Dan is now the head of Musical Theater at the Royal Academy of Music in London, we discuss some of his ideas about teaching, method acting, and end this part of our conversation talking about his book "Auditions Undressed", and the various ways to approach taking an audition.

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As the Head of Musical Theater at the Royal Academy of Music in London, Dan Bowling has worked with such musical luminaries as Andrew Lloyd Webber, Cameron Mackintosh, and Disney. He has several books to his credit and is sought after as a music supervisor, conductor and musical director. He has a vast and practical knowledge of musical theater and our conversation covers many areas of the musical theater scene.

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In the Bonus Room, Madeline talks about Baroque performance practices and how she can use them in a modern-day orchestra. We end our conversation by talking about several of her impressive projects, the Haitian Orchestral Institute... and how she's rescued over 100 kittens!

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Another aspect of being a concertmaster is the relationship with both a music director and guest conductors. Madeline talks about her beginnings as a student and her college experiences. She explains the "real struggle" of playing a pizzicato together, and we end by discussing the challenges of being a guest concertmaster.

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What is the role of a concertmaster? Who better to ask than Madeline Adkins? Madeline is concertmaster of the Utah Symphony and the Grand Teton Music Festival and has served as guest concertmaster with the Pittsburgh and Houston symphonies, among others. In addition, she has also appeared as soloist with orchestras throughout the U.S., Europe, Asia, and Africa, and is equally at home as a chamber musician.

In Part 1, I ask Madeline to discuss the role of concertmaster in an orchestra, first in terms of auditions - specifically what her audition for the position of concertmaster of the Utah Symphony was like - and then auditions for section players. We then dig deeply into the various aspects of bowing, and bowing assignments for the violin section.

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In the Bonus Room, Kevin talks about how social media has been a huge help for his career, and how posting a piece can sometimes immediately create a huge following. Kevin then talks about how he plans to give back in the future as a teacher.

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Kevin and I continue our conversation by talking about several of his pieces and how they came to be written, and several other topics including why a speech impediment at a young age may have actually helped him as a composer. We end this part of our conversation with my asking him what he thinks the most difficult aspect of composing is.

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