rudysmom

Can anyone tell me a little about CCM for strings (cello)? How competitive is admission, generous w/ money?

My son has a trial lesson scheduled with the cello instructor there, Yahuda Hanani, this fall. So far, he's the only one who has responded to meet & schedule a lesson and also offer an invitation to participate in a master class. Mr. Hanani has been very welcoming. We are still working on other trial lessons/visits, but CCM will be our first.

Any insight will be helpful.

violadad

CCM is near the top of high quality conservatory type programs. It is known specifically as being strong in voice, musical theater, and opera. The orchestra(s) have been described as among the best in the country, and they do a number of pit performances in support of the vocal programs.

I would expect a highly competitive field of auditioners, on a par of what you'd expect from other top schools. They do offer talent aid in amounts contingent on audition placements. I'm not sure of the $ ranges, and I don't know if academic scholarships might apply within the conservatory.

I don't recall much discussion here recently about the instrumental program at CCM, and scanning the Master List of Final Decisions, only one poster (voicestudent) had indicated they would be attending. I think there were a few others that auditioned... you might want to check the Master List of Acceptances.

lorelei2702

The problem about CCM for string players is that they wind up as service players for the opera program. The folks at CCM will tell you otherwise, but this is what some external string teachers report. Premiere string players tend to avoid that kind of role, cannot manage the technical requirement to have to hold back, tensions created. Scholarships are VERY generous, and strong academics enhance the $$ even more. It is a beautiful facility and the standards of the vocal program are very high. There will be opportunties for string players there, but perhaps the service requirements will limit other development. That being said, a terrific professional gig for orchestra members is the Metropolitan Opera Orchestra, and there is lots of great experience to be gained at a school like CCM. Note the size of the music program/number of opera productions versus how many cello teachers there are versus other schools, and it gives you an idea of what kind of demands there will be. Good luck.

violadad

lorelei wrote: "The problem about CCM for string players is that they wind up as service players for the opera program. The folks at CCM will tell you otherwise, but this is what some external string teachers report. Premiere string players tend to avoid that kind of role, cannot manage the technical requirement to have to hold back, tensions created. "

I've heard grumblings about this before, and if possible, would like a bit more detail. Looking at the CCM website, they actually field orchestras at three levels: the Philharmonia, one of the top college level orchestras in the country, the Concert orchestra (comprised largely of undergrads) and the UofC Orchestra, open to all majors. It seems that the first two act in support of the operatic productions, but to what extent is unclear.

If most of the orchestral presentations center around the vocal productions at the expense of performing the rest of the "standard" orchestral repetoire, I'd say it's a problem. If there is a rotational assignment allowing a mix of playing opportunities within the orchestral rep, I would not see an issue.

The comment about premier string players is both valid and questionable. Many violinists (and to some extent cellists and the occaisional violist) have a strong desire to develop high level skills within the solo and concerto rep, and might object to heavy support roles detracting from time for practice, refinement and rehearsal of that type of rep.The same issue could be a problem for those wanting heavy concentration and exposure to the vast chamber repetoire.

Some of these same people might also see a section seat as a support role, and therein lies the rub. In terms of "holding back" and "creating tension" I see this more of an individual issue between musicians. For example, a flashy, showy player, regardless of instrument often does not blend well in a group performance. I've seen more than one prima donna mentality create tension, destroy musical relationships, and drastically lower the standard of performance for the group. Those that I've encountered continually exhibiting that behavior are often the first that other musicians avoid playing with at all costs, regardless of the technical skill, virtuosity, and musical talent of the "squeaky wheel".

A question to ask when visiting is '"Is the program balanced?" Look at a few schools (Juilliard, Peabody, Indiana just for example, or pick from your own list) and check the websites for cello performance course requirements. You should see a similarity of credit hours across different performing ensembles, providing both exposure and some depth to the various ensemble mixes, music periods, etc. There should also be some room to allow elective exploration (musically or other wise) within the requirements. If CCM has an inordinate amount of orchestral requirements versus the others, it would have to be at the expense of some other area.

Like lorelei said, the Met Opera gig is one of the most highly sought after (and highest paying) orchestral jobs in the country. And for a lot of performance undergrads, winning an orchestral seat is the ultimate career goal.

rudysmom

Thank you. Good advice from both.