The Music in Me
Judy Amsel 1,140 words
613/9 Nerot Shabbat St.
Ramot, Jerusalem 97279
Tel: 0544267352
JudyAmsel@gmail.com
The Music in Me
by
Judy Amsel
“Make sure you’re all on stage at 5:45 pm. Dress rehearsal will go till 8:10. Then you’ll have 20 minutes to relax, grab a bite, go to the bathroom, and change. Our concert begins at 8:30 pm sharp!”
Those are the words I heard from my conductor, Anita Kamien, on the morning before our last concert. That final dress rehearsal was a source of embarrassment for me when a shrill “Judy!” was heard throughout the hall by every musician, as the conductor criticized me because I was off by a beat. I wanted to bury myself or run off the stage at that very moment but I just froze up and turned beet red instead.
The placement I have on stage in the orchestra is an enviable one. As head of the second violins, I sit close to the conductor’s stand and can easily see and feel the beat of Anita’s baton. It’s also a ‘hot seat’ in the orchestra. The conductor relies on me to be musical, in tune, alert, and above all, steady with the timing. When I sit in my seat I aim to lead my section with confidence, precise bowing and feeling, which takes years of practice. I often hear an inner voice in me saying, “When I go home I’m going to listen to this piece on You Tube.” I rationalize that if I hear the piece and remember how it’s supposed to be played, I’ll be better prepared for the next rehearsal. But the truth is nothing can replace practicing.
Before I was an orchestral musician I used my voice as a musical instrument. I sang solo in camp plays, recorded with a girls’ choir, and joined the Zamir Chorale on stage at Carnegie Hall during my first year of college. Studying voice came naturally to me because I was surrounded by uncles who are cantors and a father who taught me to sing liturgical selections from the Siddur from the time I could read. In addition, I have
613/9 Nerot Shabbat St.
Ramot, Jerusalem 97279
Tel: 0544267352
JudyAmsel@gmail.com
The Music in Me
by
Judy Amsel
“Make sure you’re all on stage at 5:45 pm. Dress rehearsal will go till 8:10. Then you’ll have 20 minutes to relax, grab a bite, go to the bathroom, and change. Our concert begins at 8:30 pm sharp!”
Those are the words I heard from my conductor, Anita Kamien, on the morning before our last concert. That final dress rehearsal was a source of embarrassment for me when a shrill “Judy!” was heard throughout the hall by every musician, as the conductor criticized me because I was off by a beat. I wanted to bury myself or run off the stage at that very moment but I just froze up and turned beet red instead.
The placement I have on stage in the orchestra is an enviable one. As head of the second violins, I sit close to the conductor’s stand and can easily see and feel the beat of Anita’s baton. It’s also a ‘hot seat’ in the orchestra. The conductor relies on me to be musical, in tune, alert, and above all, steady with the timing. When I sit in my seat I aim to lead my section with confidence, precise bowing and feeling, which takes years of practice. I often hear an inner voice in me saying, “When I go home I’m going to listen to this piece on You Tube.” I rationalize that if I hear the piece and remember how it’s supposed to be played, I’ll be better prepared for the next rehearsal. But the truth is nothing can replace practicing.
Before I was an orchestral musician I used my voice as a musical instrument. I sang solo in camp plays, recorded with a girls’ choir, and joined the Zamir Chorale on stage at Carnegie Hall during my first year of college. Studying voice came naturally to me because I was surrounded by uncles who are cantors and a father who taught me to sing liturgical selections from the Siddur from the time I could read. In addition, I have