WEBVTT 00:00:23.679 --> 00:00:25.600 Hi there and welcome to Notes from the Stage, 00:00:25.679 --> 00:00:27.739 a show from the musicians of the Calgary Philharmonic. 00:00:27.760 --> 00:00:29.579 We're the people playing our hearts out every 00:00:29.579 --> 00:00:33.000 week of the orchestra season. I'm Adam Zinatelli. 00:00:33.060 --> 00:00:35.219 Usually I play first trumpet in the Calgary Philharmonic, 00:00:35.259 --> 00:00:36.979 but today I'm your host and I'm here with our 00:00:36.979 --> 00:00:38.899 brand new second horn player in the orchestra, 00:00:39.039 --> 00:00:41.979 Peter Clark. Hi, Peter. Hello. How are you doing? 00:00:42.159 --> 00:00:46.280 I'm great, thank you. My heart is pounding. Oh, 00:00:46.280 --> 00:00:49.500 I don't bite. I don't think there's a reason 00:00:49.500 --> 00:00:51.820 to be nervous here. You're among friends, you 00:00:51.820 --> 00:00:54.100 know. I'm here so that we can get to know you 00:00:54.100 --> 00:00:56.280 a bit. And as one of the brand new players in 00:00:56.280 --> 00:00:57.960 the orchestra, I'm still getting to know you, 00:00:58.020 --> 00:00:59.840 too. You know, we've been working together for 00:00:59.840 --> 00:01:02.119 a few months now, but, you know, I feel like 00:01:02.119 --> 00:01:05.379 we've barely scratched the surface. Yeah, yeah. 00:01:06.159 --> 00:01:09.480 We're like strangers. But you know, like, when 00:01:09.480 --> 00:01:11.519 you move, well, we'll get into this. Calgary 00:01:11.519 --> 00:01:14.659 isn't such a far -flung place for you. No. But 00:01:14.659 --> 00:01:17.159 when you move to a new city to start an orchestra 00:01:17.159 --> 00:01:19.219 job, one of the great things about it is you 00:01:19.219 --> 00:01:23.079 sort of get this free family here. Yeah, and 00:01:23.079 --> 00:01:25.540 everybody's been very, very welcoming. It doesn't 00:01:25.540 --> 00:01:29.640 actually feel like it's been that new, which 00:01:29.640 --> 00:01:32.939 is, yeah, strange to say. Yeah, so you're an 00:01:32.939 --> 00:01:35.560 Alberta boy. I am. Yeah, tell us about that. 00:01:36.500 --> 00:01:39.700 Well, I'm from, I say I'm from Gunn, Alberta. 00:01:39.799 --> 00:01:42.459 It's kind of one of the closest municipalities 00:01:42.459 --> 00:01:45.280 to where I grew up. I grew up on an acreage. 00:01:46.060 --> 00:01:49.670 My dad built a house near Lac -Saint -Anne. which 00:01:49.670 --> 00:01:54.329 is about an hour west of Edmonton. Strangely 00:01:54.329 --> 00:01:57.569 enough, as luck would have it, I moved back out 00:01:57.569 --> 00:02:00.890 there during COVID. I bought a tiny little cabin 00:02:00.890 --> 00:02:07.530 under my mother's advice. And I've sort of been 00:02:07.530 --> 00:02:11.090 living in a cabin in the woods for the last five 00:02:11.090 --> 00:02:13.530 years. Wow, that's amazing. I didn't know that. 00:02:13.770 --> 00:02:15.889 I should ask, with this summer's fires, is everything 00:02:15.889 --> 00:02:19.699 okay at parents' home and your cabin? Yo, yeah, 00:02:19.780 --> 00:02:21.780 everybody's fine. We've had some, there's been 00:02:21.780 --> 00:02:25.400 fires close by. There's been some smoky, smoky 00:02:25.400 --> 00:02:27.620 weeks. Yeah, I think everyone in Calgary knows 00:02:27.620 --> 00:02:29.800 that as well. Yeah, I mean, it's everywhere. 00:02:30.120 --> 00:02:34.620 So I'm not the only one. But yes, everybody is 00:02:34.620 --> 00:02:37.699 fine. I have a bunch of family that lives in 00:02:37.699 --> 00:02:40.659 and around Edmonton for all intents and purposes. 00:02:41.439 --> 00:02:43.819 I usually tell people that Edmonton is where 00:02:43.819 --> 00:02:46.219 I'm from. Sure. Although being in Calgary, it's 00:02:46.219 --> 00:02:50.659 not so far away. People will understand some 00:02:50.659 --> 00:02:54.460 of the places outside of the city. Yeah. So growing 00:02:54.460 --> 00:02:57.479 up outside of Gunn, how did you find your way 00:02:57.479 --> 00:03:00.000 to the French Horn as something that you wanted 00:03:00.000 --> 00:03:03.919 to do for a living? That's really funny you ask. 00:03:04.020 --> 00:03:06.780 Somebody in the orchestra just yesterday asked 00:03:06.780 --> 00:03:10.409 me that same question. I don't know how unusual 00:03:10.409 --> 00:03:13.530 an answer it is, really. My parents, they're 00:03:13.530 --> 00:03:18.110 both musical. My dad used to play piano. One 00:03:18.110 --> 00:03:21.189 of my earliest memories actually is of him at 00:03:21.189 --> 00:03:25.129 his old electric keyboard in the house we lived 00:03:25.129 --> 00:03:27.949 in when I was a kid, playing Beethoven's Pathetique 00:03:27.949 --> 00:03:32.509 Sonata. And my mom is an absolutely fabulous 00:03:32.509 --> 00:03:35.310 singer, has sung in church every weekend my whole 00:03:35.310 --> 00:03:38.099 life growing up. and would always get asked to 00:03:38.099 --> 00:03:41.500 sing at funerals and weddings and things. Neither 00:03:41.500 --> 00:03:44.620 of them became professional musicians but come 00:03:44.620 --> 00:03:46.439 from a musical family and it was important to 00:03:46.439 --> 00:03:49.500 my parents that we took piano lessons and so 00:03:49.500 --> 00:03:53.419 we would drive sometimes half an hour there and 00:03:53.419 --> 00:03:57.740 back to a piano teacher's house in Carvel or 00:03:57.740 --> 00:04:00.080 before that in Alberta Beach. We had a piano 00:04:00.080 --> 00:04:03.000 teacher in elementary school at our at Ridge 00:04:03.000 --> 00:04:06.919 Valley Elementary School for a short time. And 00:04:06.919 --> 00:04:08.919 so that was important to them. And then we started 00:04:08.919 --> 00:04:13.520 taking band class in high school. And we had 00:04:13.520 --> 00:04:16.980 a really exceptional band teacher at our high 00:04:16.980 --> 00:04:21.279 school, which maybe is unusual for a rural setting. 00:04:21.600 --> 00:04:23.819 You know, there's something so special about 00:04:23.819 --> 00:04:27.879 a band teacher. I think they have such a unique 00:04:27.879 --> 00:04:31.959 opportunity to make a huge positive impact in 00:04:31.959 --> 00:04:34.980 a kid's life. It's sort of a special, impressionable 00:04:34.980 --> 00:04:37.040 time. you know, we're learning to play these 00:04:37.040 --> 00:04:38.720 instruments. We're sort of learning who we are 00:04:38.720 --> 00:04:42.180 as people growing up. And a great band teacher 00:04:42.180 --> 00:04:44.079 can make such an amazing difference. Who was 00:04:44.079 --> 00:04:45.660 your band teacher? Let's give your band teacher 00:04:45.660 --> 00:04:49.240 a shout out. My band teacher was Mr. Tom Sommer, 00:04:50.300 --> 00:04:54.600 and he unfortunately is no longer with us. But 00:04:54.600 --> 00:04:57.019 yeah, he was an exceptional band teacher. And 00:04:57.019 --> 00:05:00.579 we really took him for granted, actually. It 00:05:00.579 --> 00:05:03.839 wasn't until I was taking music classes at the 00:05:03.839 --> 00:05:09.139 U of A in Edmonton. when Mr. Sommer came, he 00:05:09.139 --> 00:05:12.160 took one of his PD days, one of those days to 00:05:12.160 --> 00:05:16.319 come to the university and sort of audit some 00:05:16.319 --> 00:05:19.100 of the music classes and ensembles there, which 00:05:19.100 --> 00:05:20.879 was not what he was supposed to be doing, but 00:05:20.879 --> 00:05:23.860 he sort of lobbied the school board to be able 00:05:23.860 --> 00:05:28.620 to do that, and he visited a couple of the classes 00:05:28.620 --> 00:05:32.379 that I was in and that's when it really struck 00:05:32.379 --> 00:05:35.459 me how special of a guy he was, how good of a 00:05:35.459 --> 00:05:38.199 teacher he was. And I never realized that when 00:05:38.199 --> 00:05:40.379 I was in high school. I feel sort of badly about 00:05:40.379 --> 00:05:42.779 that now. Yeah, I can think of teachers I worked 00:05:42.779 --> 00:05:45.160 with when I was younger and I did not understand 00:05:45.160 --> 00:05:47.060 the quality of instruction that I was getting 00:05:47.060 --> 00:05:50.920 at the time. Holy moly. For sure. Well, that's 00:05:50.920 --> 00:05:53.000 great. So you were playing the French horn in 00:05:53.000 --> 00:05:56.740 school band. Yes. You developed a love for it, 00:05:56.740 --> 00:06:00.259 obviously. Yes. And where did it take you after 00:06:00.259 --> 00:06:04.040 high school? Interestingly enough, Or maybe not, 00:06:04.300 --> 00:06:08.439 interestingly. Who am I to say that anything 00:06:08.439 --> 00:06:12.699 I'm saying is interesting? However, I didn't 00:06:12.699 --> 00:06:16.920 go into music when I started post -secondary. 00:06:16.959 --> 00:06:20.040 Okay, I didn't know that. I did take some horn 00:06:20.040 --> 00:06:22.579 lessons in high school with Mary Fearon, who 00:06:22.579 --> 00:06:25.180 was my first horn teacher and wonderful teacher 00:06:25.180 --> 00:06:28.480 in person in Edmonton. And I did all the things, 00:06:28.519 --> 00:06:31.139 like I went to band camp, music camp Alberta. 00:06:31.920 --> 00:06:34.319 But when I went to university, I was under the 00:06:34.319 --> 00:06:36.040 impression that music was something I should 00:06:36.040 --> 00:06:38.600 just do as a hobby. Like it wasn't a smart thing 00:06:38.600 --> 00:06:42.800 to choose as a career. I maybe didn't... I maybe 00:06:42.800 --> 00:06:47.139 naively thought that it wasn't something I could 00:06:47.139 --> 00:06:52.899 do or was available to me even. So I... Went 00:06:52.899 --> 00:06:56.339 to the U of T with a first year scholarship University 00:06:56.339 --> 00:06:59.420 of Toronto University of Toronto. Sorry I went 00:06:59.420 --> 00:07:01.879 to the University of Toronto for my first year 00:07:01.879 --> 00:07:05.560 of University to take intro to architecture Oh 00:07:05.560 --> 00:07:08.319 and Which was only a couple of classes I ended 00:07:08.319 --> 00:07:10.579 up taking a variety of different courses there 00:07:10.579 --> 00:07:13.180 in my first year before I transferred back to 00:07:13.180 --> 00:07:15.779 the U of A after that year I was kind of homesick 00:07:15.779 --> 00:07:19.480 and I didn't know what I was doing and I didn't 00:07:19.480 --> 00:07:21.680 think I could survive there after my first year 00:07:21.680 --> 00:07:25.259 without a scholarship, so I came back home and 00:07:25.259 --> 00:07:28.579 I switched into art and design. I wanted to keep 00:07:28.579 --> 00:07:32.620 that door open to architecture. I was on the 00:07:32.620 --> 00:07:35.439 wait list for math and engineering courses and 00:07:35.439 --> 00:07:39.120 art courses and didn't end up getting into most 00:07:39.120 --> 00:07:42.860 of them and ended up taking a lot of art history 00:07:42.860 --> 00:07:46.939 and worked my way into a music minor. I didn't 00:07:46.939 --> 00:07:50.560 fully switch into music until about my third 00:07:50.560 --> 00:07:53.920 year, I think, at the U of A. My fourth year 00:07:53.920 --> 00:07:57.379 of post -secondary. Sure. But you were always 00:07:57.379 --> 00:08:00.439 into design, art, aesthetics. You know, what 00:08:00.439 --> 00:08:03.180 I realized in those three years of university 00:08:03.180 --> 00:08:08.699 was that I wasn't good at anything. I'm lucky 00:08:08.699 --> 00:08:11.959 I realized that I wasn't good at anything except 00:08:11.959 --> 00:08:15.649 for music and except for horn playing. I was 00:08:15.649 --> 00:08:18.910 always in the ensembles. Even at the University 00:08:18.910 --> 00:08:20.910 of Toronto, I auditioned for the wind ensemble 00:08:20.910 --> 00:08:23.810 there and got in and I did the same thing at 00:08:23.810 --> 00:08:28.269 the U of A when I came back and started taking 00:08:28.269 --> 00:08:30.449 first and second year music courses, like year 00:08:30.449 --> 00:08:33.529 training and stuff like that, and was always 00:08:33.529 --> 00:08:36.929 excelled at those. And it feels good to be good 00:08:36.929 --> 00:08:40.230 at stuff, you know? Absolutely. And so that was 00:08:40.230 --> 00:08:43.830 always validating. I realized that the moments 00:08:43.830 --> 00:08:46.440 that I enjoyed the most out of anything that 00:08:46.440 --> 00:08:51.379 I ever did were in youth orchestra and in the 00:08:51.379 --> 00:08:54.639 university orchestra ensembles and stuff like 00:08:54.639 --> 00:08:57.399 that, and in chamber groups. And the fact that 00:08:57.399 --> 00:09:04.039 I was decently capable at those things was helpful, 00:09:04.159 --> 00:09:06.879 for sure. You know, I went from getting Cs and 00:09:06.879 --> 00:09:11.419 Ds in university to just getting As without having 00:09:11.419 --> 00:09:15.200 to try too hard. So yeah, that kind of made me 00:09:15.200 --> 00:09:17.759 realize that maybe that's what I should be doing 00:09:17.759 --> 00:09:20.340 instead. I didn't like doing any of the other 00:09:20.340 --> 00:09:22.919 stuff. Yeah. Yeah, I think we're really lucky 00:09:22.919 --> 00:09:26.220 being able to do what we love and, you know, 00:09:26.259 --> 00:09:28.940 obviously what we're good at. Definitely. You 00:09:28.940 --> 00:09:31.360 know, to make it our living, to make it, you 00:09:31.360 --> 00:09:33.519 know, sort of our life's work. You know, I always 00:09:33.519 --> 00:09:35.580 say you have to be really good and you have to 00:09:35.580 --> 00:09:38.559 be really lucky in order to find yourself in 00:09:38.559 --> 00:09:41.259 an orchestra job. So for sure. I thank my lucky 00:09:41.259 --> 00:09:44.179 stars every day. Yeah, I feel incredibly grateful. 00:09:44.320 --> 00:09:46.240 I've never felt more grateful actually than I 00:09:46.240 --> 00:09:50.860 have this year. And I've been a freelancer now 00:09:50.860 --> 00:09:54.720 for quite a while, and I've tampered, you know, 00:09:54.720 --> 00:09:57.820 I've put my foot into other domains. It's funny 00:09:57.820 --> 00:10:02.720 because I never really, for a while, as a freelance 00:10:02.720 --> 00:10:07.799 horn player, I almost haven't considered my whole 00:10:07.799 --> 00:10:11.399 identity to be... as a horn player. You know, 00:10:11.500 --> 00:10:14.899 I've had to contemplate it being other things 00:10:14.899 --> 00:10:18.279 and at times a horn player and this or a horn 00:10:18.279 --> 00:10:21.860 player or that. And I got to the point where 00:10:21.860 --> 00:10:25.159 I actually didn't expect to ever win a job with 00:10:25.159 --> 00:10:28.360 an orchestra. The funny thing is that you can't 00:10:28.360 --> 00:10:31.440 give it up. I just couldn't stop playing horn 00:10:31.440 --> 00:10:35.340 anytime that I think about trying to do something 00:10:35.340 --> 00:10:37.700 else. And I've known a lot of people who I went 00:10:37.700 --> 00:10:40.200 to school with who have gone into law or have 00:10:40.200 --> 00:10:45.419 gone into some other career path who were exceptional 00:10:45.419 --> 00:10:48.320 musicians. When I think about doing that for 00:10:48.320 --> 00:10:51.320 myself, I just can't imagine it. Or I imagine 00:10:51.320 --> 00:10:54.840 myself sitting in front of a book trying to study 00:10:54.840 --> 00:10:58.340 law or something and I can't see myself there. 00:10:58.460 --> 00:11:01.320 I see myself falling asleep at my desk, you know? 00:11:03.899 --> 00:11:06.139 a sense of identity, you know, being a horn player 00:11:06.139 --> 00:11:09.200 and something else. Maybe now you feel with a 00:11:09.200 --> 00:11:10.860 job, full -time job in an orchestra, you feel 00:11:10.860 --> 00:11:13.080 a little more, maybe you feel you have a little 00:11:13.080 --> 00:11:15.320 more permission to think of yourself as like 00:11:15.320 --> 00:11:19.019 a horn player as a more holistic thing, right? 00:11:19.039 --> 00:11:22.360 But I'm so fascinated by this because we as musicians 00:11:22.360 --> 00:11:25.820 can't help but identify with our instrument, 00:11:25.919 --> 00:11:28.659 with our role, with our art, right? Because it's 00:11:28.659 --> 00:11:32.090 not a job that you stumble into. You have to 00:11:32.090 --> 00:11:34.110 be very intentional about pursuing a career, 00:11:34.190 --> 00:11:36.789 doing what we're doing, and it's not something 00:11:36.789 --> 00:11:39.149 that you can, you know, leave at the office, 00:11:39.389 --> 00:11:41.090 right? You know, we do most of our work at home 00:11:41.090 --> 00:11:43.610 preparing, practicing, taking care of our playing, 00:11:43.809 --> 00:11:46.490 developing ourselves as, you know, thinking artists. 00:11:47.129 --> 00:11:49.169 I can't speak from any experience of what it's 00:11:49.169 --> 00:11:52.289 like for someone on the outside as far as their 00:11:52.289 --> 00:11:54.409 own personal identity and how that relates to 00:11:54.409 --> 00:11:57.690 their work. But for us, that's a very real thing. 00:11:58.269 --> 00:12:01.259 Definitely. For sure. I'm not sure if this is 00:12:01.259 --> 00:12:04.080 on topic, but I was reading one of your older 00:12:04.080 --> 00:12:08.539 blog posts yesterday. Oh no. Oh yeah, I'll skip 00:12:08.539 --> 00:12:11.200 all the really embarrassing, horrible things 00:12:11.200 --> 00:12:15.480 that you said. But you said something that I've 00:12:15.480 --> 00:12:18.720 maybe too late, but only recently begun to resonate 00:12:18.720 --> 00:12:22.299 with, which is about recovery as a brass player. 00:12:22.860 --> 00:12:26.340 Sort of chop management and managing your health 00:12:26.340 --> 00:12:29.230 and your sleep and all that kind of stuff. which 00:12:29.230 --> 00:12:31.289 is something I never really thought too much 00:12:31.289 --> 00:12:34.409 about in the past, but have recently just in 00:12:34.409 --> 00:12:36.789 the last year, year and a half, started taking 00:12:36.789 --> 00:12:39.110 better care of my physical health. You know, 00:12:39.269 --> 00:12:41.149 I'm not going to make you tell me how old you 00:12:41.149 --> 00:12:44.570 are, but I know for me, in my dotage of my late 00:12:44.570 --> 00:12:48.049 30s now, like my body does not behave like it 00:12:48.049 --> 00:12:50.610 did when I started my job here in Calgary, you 00:12:50.610 --> 00:12:52.070 know, like the workload hasn't changed a great 00:12:52.070 --> 00:12:54.100 deal. there were things that i could get away 00:12:54.100 --> 00:12:55.940 with when i was younger that i can't anymore 00:12:55.940 --> 00:12:59.019 and i have to take better care of my body and 00:12:59.019 --> 00:13:01.240 i certainly need to recover better i don't recover 00:13:01.240 --> 00:13:03.220 nearly as quickly as i used to right i used to 00:13:03.220 --> 00:13:05.779 be able to just like mistreat my chops all day 00:13:05.779 --> 00:13:08.179 long and then do it again the next day you know 00:13:08.179 --> 00:13:11.740 if i do that now i pay for it and you know that's 00:13:11.740 --> 00:13:14.360 day to day it's week over week that can really 00:13:14.360 --> 00:13:18.059 be like a year -long kind of problem to dig yourself 00:13:18.059 --> 00:13:21.620 out of like two seasons ago i recorded a cd and 00:13:21.620 --> 00:13:26.080 then last season I really needed to have a long 00:13:26.080 --> 00:13:29.500 -term chop management plan to kind of get myself 00:13:29.500 --> 00:13:31.759 out of that fatigue because that recording was 00:13:31.759 --> 00:13:34.179 over several months and the preparation and all 00:13:34.179 --> 00:13:36.200 that stuff. I really put myself in a hole and 00:13:36.200 --> 00:13:39.620 I'm really happy with the album but I knew that 00:13:39.620 --> 00:13:41.799 I needed to actually have a plan to recover from 00:13:41.799 --> 00:13:45.480 that and I'm glad I stuck with that because this 00:13:45.480 --> 00:13:48.220 season I'm feeling really energized. So what 00:13:48.220 --> 00:13:51.690 have you discovered about this? It's okay you 00:13:51.690 --> 00:13:55.929 ask how old I am, first of all. I am 21. I went 00:13:55.929 --> 00:13:58.029 through university really fast. I'm kidding. 00:13:58.029 --> 00:14:03.870 I'm 33. And what you said reminds me of a video 00:14:03.870 --> 00:14:06.909 I saw I think with Ryan Reynolds who said, it's 00:14:06.909 --> 00:14:09.190 a lot different to fall on concrete face first 00:14:09.190 --> 00:14:11.970 when you're 20 than it is when you're 30 or whatever. 00:14:12.549 --> 00:14:15.309 Yeah, I had a realization I think when I turned 00:14:15.309 --> 00:14:18.330 30, that I was getting out of bed every morning 00:14:18.330 --> 00:14:24.610 and my body felt... sore and stiff and I just 00:14:24.610 --> 00:14:27.730 thought like I'm too young to feel like this 00:14:27.730 --> 00:14:31.429 Yeah, right. I don't know and I could spend the 00:14:31.429 --> 00:14:33.830 rest of my life just feeling worse and worse 00:14:33.830 --> 00:14:37.070 or I could just start doing something about it 00:14:37.070 --> 00:14:40.070 and I started to wasn't long after that that 00:14:40.070 --> 00:14:44.129 I bought a bought a bike and Started to prepare 00:14:44.129 --> 00:14:47.059 to do the MS bike tour. I was kind of interested 00:14:47.059 --> 00:14:50.559 in doing that. My dad has multiple sclerosis 00:14:50.559 --> 00:14:53.220 and it seemed like also in addition to being 00:14:53.220 --> 00:14:57.059 a really meaningful pursuit to be a really worthwhile 00:14:57.059 --> 00:15:00.539 like physical challenge. So I did that and in 00:15:00.539 --> 00:15:04.340 last year I started lifting weights and going 00:15:04.340 --> 00:15:07.840 swimming and just trying to take care of my body 00:15:07.840 --> 00:15:11.220 more. And my horn playing actually has been benefiting 00:15:11.220 --> 00:15:14.279 from that quite a bit and not just Not just physically, 00:15:14.639 --> 00:15:19.700 but mentally. Because we're artists, yeah. We're 00:15:19.700 --> 00:15:23.120 also craftspeople. What we do has to exist in 00:15:23.120 --> 00:15:26.659 meat space, you know? And if you take care of 00:15:26.659 --> 00:15:29.840 your tools, as in your body, you're going to 00:15:29.840 --> 00:15:32.279 be able to get your ideas out of your head more 00:15:32.279 --> 00:15:34.759 effectively. That's for sure. For sure. That 00:15:34.759 --> 00:15:36.500 might be something that people who aren't in 00:15:36.500 --> 00:15:39.960 the music industry don't maybe realize. that's 00:15:39.960 --> 00:15:41.700 all part of it. It's something that people in 00:15:41.700 --> 00:15:44.500 the trades definitely understand. For sure. I've 00:15:44.500 --> 00:15:47.139 definitely started to think about like physical 00:15:47.139 --> 00:15:51.399 activity and exercise as part of my job, I suppose. 00:15:51.460 --> 00:15:53.200 Yeah. That's something you said in your blog, 00:15:53.299 --> 00:15:56.899 to go back to that, was just about giving yourself 00:15:56.899 --> 00:15:59.139 permission to take a day off once in a while 00:15:59.139 --> 00:16:02.580 or to, if you have a heavy week with the orchestra, 00:16:02.960 --> 00:16:06.059 to you know, to balance that out with with light 00:16:06.059 --> 00:16:09.039 practicing at home or vice versa. Yeah, these 00:16:09.039 --> 00:16:11.240 aren't my original ideas. No, of course not. 00:16:11.299 --> 00:16:12.899 I mean, I'm sure they've been thought of a million 00:16:12.899 --> 00:16:15.500 times by a million different people, but I'm 00:16:15.500 --> 00:16:19.259 not a huge like I'm not a huge reader. I may 00:16:19.259 --> 00:16:23.120 be lazy in the way that I don't look deeply into 00:16:23.120 --> 00:16:26.820 this stuff as much as I should until I've experienced 00:16:26.820 --> 00:16:30.019 it. Well, I mean, lazy, perhaps intuitive might 00:16:30.019 --> 00:16:32.899 be a better word, right? If there's a problem 00:16:32.899 --> 00:16:34.759 that some people have and they're playing or 00:16:34.759 --> 00:16:36.460 anything like that, if that's not a problem you're 00:16:36.460 --> 00:16:39.179 facing, you can only understand the solutions 00:16:39.179 --> 00:16:41.960 to that problem to a certain degree, right? That's 00:16:41.960 --> 00:16:43.779 a very kind way to put it. Thank you for giving 00:16:43.779 --> 00:16:45.139 me that credit. Oh, yeah. Oh, you're welcome. 00:16:45.580 --> 00:16:48.600 But I mean, obviously, you are finding solutions 00:16:48.600 --> 00:16:52.960 for problems for potential challenges as they 00:16:52.960 --> 00:16:55.139 arrive, right? We have access to so much information 00:16:55.139 --> 00:16:57.700 now on the Internet and with our colleagues. 00:16:57.720 --> 00:16:59.340 And now you've got a whole new pool of colleagues 00:16:59.340 --> 00:17:02.139 with a whole new bunch of ideas. about music 00:17:02.139 --> 00:17:05.160 and being a professional musician and taking 00:17:05.160 --> 00:17:07.480 care of yourselves and surviving through a long 00:17:07.480 --> 00:17:10.400 career when the information that we need is available 00:17:10.400 --> 00:17:13.160 to us, we're set up for success. Right. You know, 00:17:13.160 --> 00:17:14.859 there's another thought that I could add to this 00:17:14.859 --> 00:17:17.880 discussion, I suppose, which is that I had a 00:17:17.880 --> 00:17:21.539 teacher in Montreal who had told me once that 00:17:21.539 --> 00:17:24.940 I should start practicing like five hours a day, 00:17:24.960 --> 00:17:28.220 which to me, you know, I felt like I had been 00:17:28.220 --> 00:17:30.200 practicing a lot while I was in school already, 00:17:30.200 --> 00:17:33.440 but in and amongst your other tasks, you know, 00:17:33.539 --> 00:17:35.779 in your other classes and things. He told me 00:17:35.779 --> 00:17:38.200 this like a few days before my excerpt exam. 00:17:39.160 --> 00:17:43.420 And I took it to heart and I started to, I really 00:17:43.420 --> 00:17:45.500 burnt myself out for those few days and I went 00:17:45.500 --> 00:17:48.859 into my excerpt exam, thankfully passed, but, 00:17:49.059 --> 00:17:51.779 you know, really felt terrible. Like my face 00:17:51.779 --> 00:17:55.200 felt awful going into that exam. And obviously 00:17:55.200 --> 00:17:57.440 because I'd just been... Spent the last four 00:17:57.440 --> 00:17:59.940 days with the horn on my face five hours every 00:17:59.940 --> 00:18:02.720 day and not only that in absolute terms But an 00:18:02.720 --> 00:18:05.140 increase an increase. Yeah. Yeah. Yeah a huge 00:18:05.140 --> 00:18:08.500 increase. I Just think people should know that 00:18:08.500 --> 00:18:12.599 That is not necessary, you know Yeah, and one 00:18:12.599 --> 00:18:15.400 size doesn't fit all right for sure because that 00:18:15.400 --> 00:18:18.539 may have been a recipe for success for that teacher 00:18:18.539 --> 00:18:21.940 in their own practice room. But everyone's different, 00:18:22.200 --> 00:18:24.640 right? Our bodies are different, our brains are 00:18:24.640 --> 00:18:27.220 different, our personalities are different, we 00:18:27.220 --> 00:18:30.400 recover differently physically. What works for 00:18:30.400 --> 00:18:32.700 someone does not necessarily work for someone 00:18:32.700 --> 00:18:36.119 else. When someone's a real edge case on something 00:18:36.119 --> 00:18:39.299 like this, good for them, but that's not gonna 00:18:39.299 --> 00:18:41.500 work for the majority of people necessarily. 00:18:42.059 --> 00:18:44.460 And I think it's also important as a teacher, 00:18:44.599 --> 00:18:46.819 because we all do a bit of teaching, to realize 00:18:46.819 --> 00:18:49.220 the inverse of that, which is what worked for 00:18:49.220 --> 00:18:53.019 me is not going to work for you. There are multiple 00:18:53.019 --> 00:18:56.400 paths to get where we're all going for basically 00:18:56.400 --> 00:18:59.319 the same thing in terms of being able to play 00:18:59.319 --> 00:19:02.319 our instrument well so that we can express our 00:19:02.319 --> 00:19:06.000 artistic ideas uninhibited. Right. Well, that 00:19:06.000 --> 00:19:08.759 could be a lesson, too, for students as well 00:19:08.759 --> 00:19:11.579 to you take with a grain of salt anything you 00:19:11.579 --> 00:19:16.039 learn anywhere. Sure. Sure. And you know, try 00:19:16.039 --> 00:19:18.619 it. Yeah. Try it out. See if it works for you 00:19:18.619 --> 00:19:21.500 and take part of the lesson that does and leave 00:19:21.500 --> 00:19:23.480 part that doesn't. Yeah. But that's something 00:19:23.480 --> 00:19:26.039 that that having started to lift weights has 00:19:26.039 --> 00:19:28.579 taught me, I think, too. Yeah, like it's the 00:19:28.579 --> 00:19:30.720 importance of recovery, right? There's this obvious, 00:19:30.880 --> 00:19:32.559 you know, everyone who does any time in the gym 00:19:32.559 --> 00:19:34.240 knows, you know, you do legs, you do arms, you 00:19:34.240 --> 00:19:36.930 know, you're not hitting everything every day, 00:19:37.089 --> 00:19:38.589 because the recovery is when we get stronger. 00:19:38.670 --> 00:19:41.849 That's when our body rebuilds. So one thing I 00:19:41.849 --> 00:19:43.710 wanted to talk to you about was this idea of 00:19:43.710 --> 00:19:46.190 chop management. Because we've talked about this 00:19:46.190 --> 00:19:48.869 a little bit casually at work, but it's something 00:19:48.869 --> 00:19:51.490 that I don't think anyone who's not a brass player 00:19:51.490 --> 00:19:55.049 can really understand. Because I think more than 00:19:55.049 --> 00:19:58.309 other types of instruments, we have to prepare 00:19:58.309 --> 00:20:01.930 our bodies for the specific work that we're doing 00:20:01.930 --> 00:20:05.190 in a given week. Right? Like earlier this season, 00:20:05.289 --> 00:20:08.490 we played Bruckner 8. Holy moly. What a big lift 00:20:08.490 --> 00:20:10.910 that is for everyone, right? So leading up to 00:20:10.910 --> 00:20:14.450 that, I know for me, my preparation was very 00:20:14.450 --> 00:20:17.369 specific to that in that I needed to be able 00:20:17.369 --> 00:20:21.910 to play lots of loud, long notes while still 00:20:21.910 --> 00:20:24.269 maintaining the ability to be fast and flexible, 00:20:24.269 --> 00:20:25.930 right? But there was a lot of endurance work 00:20:25.930 --> 00:20:28.569 going into that for me. And that's really different 00:20:28.569 --> 00:20:30.490 from, you know, we're playing La Mer later this 00:20:30.490 --> 00:20:33.759 season and my preparation for that is gonna be 00:20:33.759 --> 00:20:35.579 very different and it's not because i have to 00:20:35.579 --> 00:20:37.319 learn this piece and i have to learn that piece 00:20:37.319 --> 00:20:43.359 but i need to effectively transform my body to 00:20:43.359 --> 00:20:46.519 be able to do what each of those pieces requires 00:20:46.519 --> 00:20:49.440 you know you see this in some athletes who change 00:20:49.440 --> 00:20:51.240 from one sport to another i think bradley wiggins 00:20:51.240 --> 00:20:53.140 remember bradley wiggins he won the tour de france 00:20:53.140 --> 00:20:57.029 in 20 11. Oh, of course. I think I have no idea. 00:20:57.170 --> 00:20:59.609 No idea who Bradley Wiggins is. But I do know. 00:20:59.750 --> 00:21:02.609 And then he ended up doing a bunch of professional 00:21:02.609 --> 00:21:06.970 rowing. Wow. And he well and even and he changed 00:21:06.970 --> 00:21:08.650 his body completely for that. That was sort of 00:21:08.650 --> 00:21:10.269 his superpower, right? Like he could train for 00:21:10.269 --> 00:21:12.309 a specific kind of thing. And he had been a track 00:21:12.309 --> 00:21:13.990 cyclist before that. He was, you know, really 00:21:13.990 --> 00:21:17.829 beefy kind of track time trial rider to win the 00:21:17.829 --> 00:21:19.549 Tour de France. You have to be light to climb 00:21:19.549 --> 00:21:21.230 up those mountains. And he totally transformed 00:21:21.230 --> 00:21:24.609 his body for that. And that's amazing. in a much 00:21:24.609 --> 00:21:27.369 very different scale, we have to do that same 00:21:27.369 --> 00:21:30.829 sort of thing with our chops. Right. You know, 00:21:31.250 --> 00:21:33.250 depending on the demands of a specific week. 00:21:33.369 --> 00:21:36.390 And it's challenging when you have to play Mozart 00:21:36.390 --> 00:21:40.289 one week and then, you know, an amplified Big 00:21:40.289 --> 00:21:43.289 Band Pops concert the next week, and then Bruckner 00:21:43.289 --> 00:21:45.130 the week after that. It becomes one of the real 00:21:45.130 --> 00:21:47.630 challenges of our job. For sure. I guess there's 00:21:47.630 --> 00:21:49.769 a bit of a choice. It's like, do you try to be 00:21:49.769 --> 00:21:54.349 an extremely versatile player all the time? or 00:21:54.349 --> 00:21:57.190 and when do you when do you just buckle down 00:21:57.190 --> 00:22:00.589 and focus on a particular skill? I think that's 00:22:00.589 --> 00:22:03.269 something I've actually left a huge gap in my 00:22:03.269 --> 00:22:05.950 playing as a horn player for a long time was 00:22:05.950 --> 00:22:10.190 not necessarily addressing being able to do the 00:22:10.190 --> 00:22:13.150 thing I'm going to have to do all in its entirety, 00:22:13.789 --> 00:22:17.390 but but just doing it in parts, you know, like 00:22:17.390 --> 00:22:20.069 playing something like a Bruckner symphony. What 00:22:20.069 --> 00:22:23.269 I would do is just periodize my practicing so 00:22:23.269 --> 00:22:25.589 I'm getting lots of heavy times in. So I know 00:22:25.589 --> 00:22:28.549 I can play the whole thing through and actually 00:22:28.549 --> 00:22:31.390 do that, not just know that I can play little 00:22:31.390 --> 00:22:33.730 parts of it or do all the technical passages. 00:22:34.470 --> 00:22:37.630 Yeah. Yeah, I know these are all, yeah, that's, 00:22:37.650 --> 00:22:40.450 this is the real nitty gritty of doing our jobs. 00:22:40.450 --> 00:22:43.430 For sure. Whenever I have a brass quintet performance 00:22:43.430 --> 00:22:46.670 coming up, that's always a huge, you know, a 00:22:46.670 --> 00:22:49.420 huge alarm goes off in my head. Like I can I 00:22:49.420 --> 00:22:52.579 get through this program? Yeah, brass quintet's 00:22:52.579 --> 00:22:54.599 a totally different kind of condition you have 00:22:54.599 --> 00:22:58.220 to be in, yeah. Yeah, and I just have to make 00:22:58.220 --> 00:23:01.299 sure I put the time aside to play through the 00:23:01.299 --> 00:23:04.759 program, or play through the program and some 00:23:04.759 --> 00:23:06.640 so that I know that I have a little bit left 00:23:06.640 --> 00:23:09.480 over. Yeah, I mean, I know that when I'm working 00:23:09.480 --> 00:23:11.779 on something like a brass quintet recital, when 00:23:11.779 --> 00:23:14.900 I'm scheduling that, I'm looking at the orchestra 00:23:14.900 --> 00:23:17.470 schedule And I'm thinking, okay, what's the week 00:23:17.470 --> 00:23:19.869 before? What's the same week? So that you can 00:23:19.869 --> 00:23:21.890 kind of figure out what's going to get me into 00:23:21.890 --> 00:23:25.589 good shape before the recital, but then something 00:23:25.589 --> 00:23:28.309 that's not going to kill me the week of the recital. 00:23:28.970 --> 00:23:32.250 That's the sweet spot, I find. All these things. 00:23:32.250 --> 00:23:34.970 Well, it's fascinating to hear you talk about 00:23:34.970 --> 00:23:36.970 it too, because I'm still figuring this stuff 00:23:36.970 --> 00:23:39.769 out, I think. And you know, I found it's a moving 00:23:39.769 --> 00:23:43.109 target, right? Like our bodies change, what we 00:23:43.109 --> 00:23:46.859 need. To build condition or recover changes, 00:23:46.859 --> 00:23:49.759 you know over the years So right a formula that 00:23:49.759 --> 00:23:51.900 works for me now might not work in five years, 00:23:52.119 --> 00:23:54.059 right, you know, and it's always a bit fuzzy. 00:23:54.059 --> 00:23:57.839 There's not You can't really quantify the load 00:23:57.839 --> 00:24:01.099 on these things. Yeah. Oh Something that could 00:24:01.099 --> 00:24:04.000 be interesting. I listened to your album the 00:24:04.000 --> 00:24:07.500 other day Oh that you very generously gave me 00:24:07.500 --> 00:24:11.740 a copy a CD of 15 feet closer to the sky. It's 00:24:11.740 --> 00:24:15.000 called And if anybody's listening and this is 00:24:15.000 --> 00:24:17.619 kept in, then you should go check it out because 00:24:17.619 --> 00:24:22.579 it's astounding. The playing is incredible. Yeah, 00:24:22.720 --> 00:24:25.160 it's such a great thing. But I also recorded 00:24:25.160 --> 00:24:27.960 an album once upon a time of a very different 00:24:27.960 --> 00:24:31.119 nature. I didn't know that. You got to send me 00:24:31.119 --> 00:24:33.160 all that info. Put it in the show notes. Sure, 00:24:33.839 --> 00:24:38.619 sure. Max, the third horn player here in Calgary. 00:24:39.799 --> 00:24:42.920 was delighted to find this out. It's not a secret 00:24:42.920 --> 00:24:49.900 or anything. But I recorded a rock album once 00:24:49.900 --> 00:24:52.740 upon a time. Oh, sweet! So if you want to talk 00:24:52.740 --> 00:24:53.819 about that, we could talk about that too. Yeah, 00:24:53.900 --> 00:24:54.920 we're talking about it right now. We're just 00:24:54.920 --> 00:24:57.599 talking about making the album. Let's keep this 00:24:57.599 --> 00:25:00.839 rolling. So, wait, what do you play? What instruments? 00:25:01.200 --> 00:25:04.039 Well, I once upon a time was in a rock band. 00:25:04.250 --> 00:25:07.289 a rock trio, I suppose, just drums, bass and 00:25:07.289 --> 00:25:09.230 guitar. Classic power trio, yeah, yeah. Yeah, 00:25:09.309 --> 00:25:12.670 I would, I suppose I would have been what you'd 00:25:12.670 --> 00:25:14.930 call the front man. I sang and played guitar. 00:25:15.009 --> 00:25:18.509 Sweet. And we wrote songs together and we were 00:25:18.509 --> 00:25:21.230 really proud of those songs. And so there was 00:25:21.230 --> 00:25:27.730 a time in post university life, pre winning a 00:25:27.730 --> 00:25:31.589 job life where things were very ambiguous for 00:25:31.589 --> 00:25:37.009 me. And I was, I suppose, a little obsessed with 00:25:37.009 --> 00:25:39.470 these songs we'd written, and I just, I really 00:25:39.470 --> 00:25:42.990 needed to record them. If there was a chance 00:25:42.990 --> 00:25:44.829 that anything happened with them, then great, 00:25:44.869 --> 00:25:47.670 but also just as a bit of closure to that experience 00:25:47.670 --> 00:25:50.109 of having played in a rock band with my friends, 00:25:50.269 --> 00:25:53.190 and that was, you know, it was kind of a formative 00:25:53.190 --> 00:25:56.109 time for me. So to record those songs and kind 00:25:56.109 --> 00:25:59.190 of put a button on that and create this tangible 00:25:59.190 --> 00:26:02.710 thing was... was meaningful to me at that time. 00:26:02.869 --> 00:26:04.349 That's awesome. What was the band called? What's 00:26:04.349 --> 00:26:05.990 the album called? The band was called Showbiz. 00:26:06.150 --> 00:26:09.509 We named it that after a Muse album, the band 00:26:09.509 --> 00:26:14.490 Muse. We were big fans of them. And our album 00:26:14.490 --> 00:26:16.730 was called Illusion, which is the title of one 00:26:16.730 --> 00:26:21.529 of the songs on the album. And it's just an alternative 00:26:21.529 --> 00:26:26.109 rock, indie rock album. That's great. Where can 00:26:26.109 --> 00:26:29.369 people find it? Oh, on digital platforms. On 00:26:29.369 --> 00:26:32.329 all the streamers. Yeah, for now. Yeah, and I 00:26:32.329 --> 00:26:35.049 wanted to ask you, actually, about your album. 00:26:35.069 --> 00:26:37.529 Oh, yeah, okay. And like what, because your album, 00:26:37.609 --> 00:26:40.009 you released it last year, right? Yeah, last 00:26:40.009 --> 00:26:44.769 November. Actually, it will be a year the day 00:26:44.769 --> 00:26:47.369 before this episode airs. Oh, congratulations. 00:26:47.369 --> 00:26:50.490 So we're like almost right on the anniversary 00:26:50.490 --> 00:26:53.650 of your album release. That's amazing. I wanted 00:26:53.650 --> 00:26:57.130 to ask you what made you make an album, first 00:26:57.130 --> 00:27:00.210 of all. Oh boy, so my album, 15 Feet Closer to 00:27:00.210 --> 00:27:04.349 the Sky, is comprised entirely of premiere recordings 00:27:04.349 --> 00:27:07.910 of new works written for me and my trumpet friends 00:27:07.910 --> 00:27:11.150 within the last 15 years or so. I remember the 00:27:11.150 --> 00:27:13.650 first time I commissioned a piece, it was the 00:27:13.650 --> 00:27:15.730 sonata by William Rousen. It's the opening track 00:27:15.730 --> 00:27:19.509 on my album. And I remember, you know, I had 00:27:19.509 --> 00:27:21.569 heard his violin sonata in a friend's recital, 00:27:22.029 --> 00:27:23.890 and I asked him to write this trumpet sonata 00:27:23.890 --> 00:27:26.450 because I had a concert coming up that I needed 00:27:26.450 --> 00:27:30.089 something to play at. And I remember the first 00:27:30.089 --> 00:27:33.130 rehearsal of that piece. I remember the very 00:27:33.130 --> 00:27:37.029 first time that, you know, this piece that existed 00:27:37.029 --> 00:27:39.930 because I bothered a composer became like a real 00:27:39.930 --> 00:27:42.309 physical thing that was happening in the air 00:27:42.309 --> 00:27:46.529 in the room. And it was a magical experience, 00:27:47.049 --> 00:27:49.230 you know, that creative moment. But also it's 00:27:49.230 --> 00:27:52.609 a great piece that certainly helps. And I realized 00:27:52.609 --> 00:27:56.130 like, oh, this is a very special experience. 00:27:56.639 --> 00:27:58.900 And it's a very special experience that I get 00:27:58.900 --> 00:28:01.940 to be the one to share with audiences, both at 00:28:01.940 --> 00:28:04.440 that concert and going forward because I've continued 00:28:04.440 --> 00:28:07.119 to play that piece because it's wonderful. The 00:28:07.119 --> 00:28:09.299 creative energy of a project like that was something 00:28:09.299 --> 00:28:11.160 that I wanted to keep rolling. So over the years 00:28:11.160 --> 00:28:14.119 I kept commissioning more and more music and 00:28:14.119 --> 00:28:16.420 some other trumpet friends of mine were also 00:28:16.420 --> 00:28:18.119 on the same page and we were commissioning things 00:28:18.119 --> 00:28:20.759 and playing pieces that the other ones had commissioned. 00:28:21.319 --> 00:28:23.299 So lots of performances out of all these commissions. 00:28:24.299 --> 00:28:27.079 And eventually I ended up with enough Enough 00:28:27.079 --> 00:28:29.839 new material to make an album that I felt was 00:28:29.839 --> 00:28:33.359 a truly worthwhile project So I did it, you know, 00:28:33.359 --> 00:28:35.680 I recorded that album with Miranda Cairns our 00:28:35.680 --> 00:28:37.900 second trumpet here at the at the CPO and Aaron 00:28:37.900 --> 00:28:41.200 Hodgson Who's the professor at Western University 00:28:41.200 --> 00:28:43.779 in London, Ontario was my oldest trumpet friend 00:28:43.779 --> 00:28:46.480 and we played all this stuff together and it 00:28:46.480 --> 00:28:50.900 was a joy to make and a really special document 00:28:50.900 --> 00:28:52.779 to have I think you know, like you like you were 00:28:52.779 --> 00:28:55.890 saying that your album was sort of this capstone 00:28:55.890 --> 00:28:58.289 of your time playing in this rock band yeah yeah 00:28:58.289 --> 00:29:00.690 it's like a it's almost like a time capsule yeah 00:29:00.690 --> 00:29:03.910 a really important time of my life yeah a meaningful 00:29:03.910 --> 00:29:06.529 time absolutely yeah i was gonna say actually 00:29:06.529 --> 00:29:09.470 that one of my favorite uh tracks was the trio 00:29:09.470 --> 00:29:13.029 lyrical yeah and with uh with aaron and miranda 00:29:13.029 --> 00:29:15.250 yeah that was a really cool piece thanks yeah 00:29:15.250 --> 00:29:17.549 that's a piece by uh victoria composer toben 00:29:17.549 --> 00:29:20.390 stokes and i really like what he said about that 00:29:20.390 --> 00:29:22.970 piece he said that like He was inspired by the 00:29:22.970 --> 00:29:26.049 fact that, like, on a brass instrument, the distance 00:29:26.049 --> 00:29:31.450 from brain to sound is very small. Which, that'll 00:29:31.450 --> 00:29:35.470 always stick with me. It's a very intuitive piece, 00:29:35.849 --> 00:29:38.789 and it uses the sonority of the trumpet incredibly 00:29:38.789 --> 00:29:41.809 beautifully. Yeah. Yeah. You guys all sounded 00:29:41.809 --> 00:29:45.890 so... Remarkably uniform and like no. Thanks. 00:29:45.970 --> 00:29:48.569 Yeah, it was it was really really great the other 00:29:48.569 --> 00:29:53.869 can I say what my other favorite sure? The in 00:29:53.869 --> 00:29:57.430 the piece all that glitters mm -hmm the is it 00:29:57.430 --> 00:30:01.970 the third movement waiting yeah Was just haunting 00:30:01.970 --> 00:30:04.569 and beautiful. Thank you. Yeah, that's all that 00:30:04.569 --> 00:30:07.069 glitters by Vancouver composer Dorothy Chang 00:30:07.069 --> 00:30:09.190 This piece was actually commissioned specifically 00:30:09.190 --> 00:30:11.920 for this recording project Oh yeah, that third 00:30:11.920 --> 00:30:16.539 movement is very special. Yeah. Yeah. Now, Peter, 00:30:16.559 --> 00:30:19.480 one of the joys of playing in the CPO is we're 00:30:19.480 --> 00:30:22.440 surrounded by so many great colleagues who make 00:30:22.440 --> 00:30:26.339 great music for us day in and day out. Who's 00:30:26.339 --> 00:30:28.920 someone in the orchestra who's playing you admire? 00:30:30.259 --> 00:30:32.140 Do I have to choose? Yeah, you have to choose. 00:30:33.039 --> 00:30:36.230 Just one person? Just one person. This isn't 00:30:36.230 --> 00:30:38.269 excluding other people, this is highlighting 00:30:38.269 --> 00:30:40.210 one person. Well, yeah, we have to emphasize 00:30:40.210 --> 00:30:44.349 that because I look up to everybody in the orchestra. 00:30:45.890 --> 00:30:48.230 Not having been in the orchestra for very long, 00:30:49.349 --> 00:30:53.690 I am truly learning so quickly and learning so 00:30:53.690 --> 00:30:56.109 much. Just being able to play in an orchestra 00:30:56.109 --> 00:31:02.009 as frequently as we do. But it's an unfair question 00:31:02.009 --> 00:31:06.130 So I have to say the horn the horn players in 00:31:06.130 --> 00:31:09.710 the horn section. It's hard not to say our principal 00:31:09.710 --> 00:31:14.329 horn Nikki because Just sitting right next to 00:31:14.329 --> 00:31:18.630 her leaves a big impression. Yeah, and I consider 00:31:18.630 --> 00:31:22.029 it one of my highest priorities when I'm there 00:31:22.029 --> 00:31:26.269 to listen to how she's playing yep, and to blend 00:31:26.269 --> 00:31:30.539 or support or compliment her how ever I can or 00:31:30.539 --> 00:31:33.339 to the best of my ability. It's your job to be 00:31:33.339 --> 00:31:36.220 a connoisseur of her playing. Yeah, I just I 00:31:36.220 --> 00:31:39.460 hope that I can do a good job doing that or and 00:31:39.460 --> 00:31:41.799 that I have been. Yeah, so I guess I would I 00:31:41.799 --> 00:31:44.279 guess I would say Nikki. OK, yeah, that's great. 00:31:44.339 --> 00:31:46.319 You know, like I said in the in the question, 00:31:46.359 --> 00:31:48.039 there are so many great players in the orchestra, 00:31:48.680 --> 00:31:52.839 but certain chairs, it is inescapably obvious 00:31:52.839 --> 00:31:55.900 when someone is playing great and. Principal 00:31:55.900 --> 00:31:57.900 horn is definitely one of those chairs, right? 00:31:58.119 --> 00:32:01.440 Well, I feel really privileged to be in the position. 00:32:01.539 --> 00:32:06.480 I'm in that I I never Never seen ever I don't 00:32:06.480 --> 00:32:10.200 consider myself to be much of a solo player But 00:32:10.200 --> 00:32:13.440 I I do think that I have I do think that I'm 00:32:13.440 --> 00:32:17.299 a strong section horn player and I'm a good teammate 00:32:17.299 --> 00:32:20.279 and so I feel like I'm in the perfect position 00:32:20.279 --> 00:32:23.519 to to be playing next to Nikki and do my best 00:32:23.519 --> 00:32:27.240 to to make her sound even better, hopefully. 00:32:27.599 --> 00:32:30.440 Fantastic. That's great. Well, Peter, thank you 00:32:30.440 --> 00:32:32.539 so much for sitting down. This has been a ton 00:32:32.539 --> 00:32:37.119 of fun. Thanks, Adam. Thanks for having me. Notes 00:32:37.119 --> 00:32:38.980 from the Stage is an independent production of 00:32:38.980 --> 00:32:40.819 the Calgary Philharmonic Players Association. 00:32:41.420 --> 00:32:43.279 The opinions expressed here are our own and do 00:32:43.279 --> 00:32:44.960 not reflect those of the Calgary Philharmonic 00:32:44.960 --> 00:32:47.519 Orchestra. Our thanks to Nathan Chandler for 00:32:47.519 --> 00:32:50.380 his technical expertise. The music you heard 00:32:50.380 --> 00:32:52.420 on this episode was The Log Driver's Waltz by 00:32:52.420 --> 00:32:54.359 Wade Hemsworth, arranged and performed by Peter 00:32:54.359 --> 00:32:57.599 Clarke, and Reckless, written and performed by 00:32:57.599 --> 00:33:00.599 the band Showbiz. Let us know what you think 00:33:00.599 --> 00:33:02.460 of the show and check out our concert calendar 00:33:02.460 --> 00:33:05.119 at CalgaryFilmmusicians .ca to see what we're 00:33:05.119 --> 00:33:07.140 all up to outside of our regular performances 00:33:07.140 --> 00:33:10.220 at the CPO. On our next episode in two weeks, 00:33:10.319 --> 00:33:12.279 I'll be talking with cellist Kathleen DeKane. 00:33:12.539 --> 00:33:19.250 Talk to you soon! I was reckless, took your love 00:33:19.250 --> 00:33:22.829 for granted What was it you said as I walked 00:33:22.829 --> 00:33:26.690 away on that fateful night? Now if I said I was 00:33:26.690 --> 00:33:31.890 sorry, would you just ignore me? And do me what 00:33:31.890 --> 00:33:36.990 I've done to you? Maybe I was reckless, took 00:33:36.990 --> 00:33:38.430 your love for granted