Connecting Through Music
Wojciech Milewski
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Dear Wojciech,
Thank you for sharing some thoughts and your love for music with us and our HocTok audience. When did you decide you wanted to dedicate your life to classical music? I think a part of me knew I was going to become a musician ever since I started taking piano lessons at age 9. Shortly after that, I started playing clarinet in middle school, and both of those experiences led me to audition for LaGuardia HS in Manhattan. Now don’t get me wrong, it's not like I was practicing for endless hours without an end in sight, but there was always something about music that I just bonded with. I got in and didn’t end up going, but the desire to pursue music didn’t wane. |
Photo: courtesy of the artist |
That being said, it wasn’t always what I chose to pursue – that decision was product of years of experimenting with other choices and careers. After all, that was the sensible thing to do. Fast-forward to the end of my undergraduate experience – I actually was on pace to begin a career in international business shortly after graduating with my BA. I had just finished an internship with the US Department of State, and was accepted into NYU’s International Business program, so I thought - off we go! But, as we all know, life plays funny tricks on you sometimes (especially when you try to plan anything…) and it was at that point I discovered conducting. It was like finally learning the answer to a question or problem you’ve been trying to solve for twenty years. It all just clicked. This was back in the spring of 2011, so it has only been about 6 years since I decided to go all in to pursue this career.
What is the most fun part of being a conductor?
Fantastic question. One thing that may not be well known about conducting is how much of a “people-business” it is. Whether it's working with musicians in a rehearsal, being a part of the Board, performing outreach concerts, or even just simply talking to locals at a restaurant, my job is all about the people. In a rehearsal setting we are certainly working on the music, but my job is really to make that music relevant in each musician’s life in some way and engage them with it. If none of them show up to our rehearsal, we have no orchestra; as a follow-up, if no audience shows up to a concert, does anyone hear it? Is there a point? Music must be heard for it to live. I’ve always loved working with people and knew it needed to be a part of whatever career I ended up pursuing, so the fact that my job is basically interacting with anyone and everyone as a result of music is just…well, it is the best feeling there is.
Is there a recipe of successfully dealing with stress “behind the scenes” to ensure none of it is visible or felt by your audience?
I’m not sure how other conductors would answer this question, but for me personally, the most stress occurs in the preparation aspects of my job, a.k.a. all the things people don’t see (studying, planning, etc.), just because I try to account for everything and plan for everything that could and might happen leading up to a concert/performance. So, I would say the best recipe for dealing with it – do everything you can think of as early as you possibly can, and be prepared for anything after that. There are so many unexpected things that happen leading up to a concert, and all of those can add incredibly amounts of stress if one isn’t prepared for them. That’s a lesson I had to learn the hard way – be prepared for everything and anything to happen in the rehearsal process leading up to a concert.
Now, as far as stage fright - when I step out on stage and engage with my audience and orchestra I feel no stress at all. For me, it's really the fulfillment of our rehearsal process, so at that point, we may as well just enjoy it! For the orchestra, the concert should be a product of our rehearsals and growth together in the previous weeks, so ideally there almost shouldn’t be any stress at the performance except the nervous energy a performer needs to truly focus on what you’re performing. It's exciting to share what we’ve been doing with everyone!
What is your philosophy when selecting a program?
Programming is an extremely delicate balancing act – I must keep the composer, orchestra, audience, and the community all in mind. Of course, depending on the orchestra, there are practical matters to consider first and foremost – i.e. cost of rental, technical difficulty, length, etc. Once you solve those things, I try to make sure every piece on a program relates to every other piece in some way, usually a “theme”; every concert is an opportunity to educate and call attention to something that may be overlooked about a certain piece otherwise. Additionally, I try to incorporate at least one contemporary work on a program – music is always changing and being innovated, and it is essential to make sure today’s artistic voices are being heard as much as their predecessors. After all, the reason many famous classical pieces are still famous today is the reaction they registered from the society of the time, so it’s a trend we must continue to uphold for future generations. And so, once you’ve thought of logistics, what theme you wish to pursue, and taken into account contemporary music, we can dive into choosing certain pieces that speak to the goal of what we are trying to present on a given performance. It is a long process, but the more effort that is put into it is often rewarded with successful seasons and concerts – both for the orchestra and the audience.
Based on your experiences, what are the top five works that speak to a wide range of audience members everywhere?
Very good question. Every audience is different, as is every orchestra, so there may be some pieces that resonate with certain audiences more than others. However, in my experience, there are a few works that just attract people and seemingly leave an effect more than others (in no particular order): Beethoven’s Third, Fifth, and Ninth Symphony, Tchaikovsky’s…well, anything by him really…, Dvorak’s Eighth and Ninth Symphony (“New World”), Barber’s Adagio for Strings, Rachmaninoff’s Piano Concerto(s), Elgar’s Enigma Variations, etc. I must say, it feels almost criminal on my part to not list some others on here…the beautiful thing about a lot of these pieces is that even though a certain piece may be older, no one can tell you how it should effect you and often that is the strongest reaction. So…here are a few more that maybe aren’t as familiar to some but are some of my personal favorites in case anyone is curious: Sibelius Symphony #2, #5 and #7; Ravel Pavane pour une infante défunte and Ma mère l’oye (suite), Vaughan Williams’ Lark Ascending, Britten Peter Grimes: Four Sea Interludes, and anything by Mieczysław Karłowicz. Of course, this doesn’t even scratch the surface, as there is still opera, chamber music, solo music, and choral music to cover!
Who are some of your favorite conductors and what characteristics do you value the most in a music director?
This is a difficult question to answer. I strongly admire and respect my mentors and teachers – they have all opened my eyes to so much about this profession, about music, and just about people in general that its almost impossible to think of where I would be today without them. Beyond that, I have to put Leonard Bernstein down as one of my favorites simply because of how much he did not only for music, but also for education and the humanities. One could say he single-handedly nurtured and fostered an entire generation of music lovers through his positions in New York and Tanglewood, and I think that is incredible. There are so many characteristics and values that a music director should possess. We are all blessed with different gifts, both as people and as music directors – some have an amazing ability to educate, others to engage with a community, others are incredible fundraisers and participants in outreach activities, etc. That being said, a lesson I’ve been learning recently is something I’m growing to admire and value more and more not only in my own life, but in a music director – and that is balance. Especially balance in life. Without it, things are out of proportion and inevitably something will suffer as a result.
What are your favorite works to conduct? How about your go-to repertoire as a performer?
Goodness, so many…and so many ways to answer this. For example, we are currently rehearsing and getting ready to perform Dvorak’s 8th Symphony, which is one of my favorite pieces of all time, but then again I’ve been bitten by the “opera bug” several years ago, and have found a true passion in conducting opera. I think my favorite works though are the ones I can relate to the most. My go-to repertoire as a performer has two facets. There is the music I learn for the sheer joy of learning it, and the repertoire that I perform – ideally those two align and go together, but sometimes they differ. Of course there are also pieces that I perform on piano or clarinet as a soloist that I can’t perform with the orchestra and vice versa, so there are some differences there. As a pianist, I love performing French music and the music of my homeland, namely Chopin.
How was it performing for “The Book of Mormon,” “Wicked,” “Sound of Music” and more?
An incredible experience all around. Before those times, I had played in some pits, conducted a few musicals, and been around the scene, but I was never really in a pit situation quite like those shows – there were wires running everywhere; I was in control of so much technology that it could easily get overwhelming! But they were phenomenal experiences all around. I learned a lot about myself as a performer, but also got to experience and share music with some of the best musicians around the country, which always elevates you to a new level as a performer.
Concert performances, operas, musical theatre, what is our favorite genre and why?
It has to be opera. I consider myself well-versed in all three of the genres you mentioned, but there’s just nothing that compares to opera. I never really understood it until college and grad school, and I used to think it was this drawn out, unnecessarily long event. Plus, why would someone sing about one thought for like six minutes… seemed ridiculous! But, when I finally started understanding it, I realized that opera showcases any and all human emotion in the most extreme form. What we all feel on a daily basis (good or bad) elevated to unprecedented levels. Also, if you understand what is being sung/said, then to hear a singer sing about that particular thing you may resonate with as a listener is a sublime experience.
What musical events are you most looking forward to and preparing for?
I’m currently preparing two concerts here in Summerville (March & May), and also to Music Direct an educational tour with the Santa Fe Opera in April & May. I’m really looking forward to all of these events, particularly the educational tour where we will be performing for the youngest of audiences. It will be incredible to perform for them!
This summer, I will be returning as an assistant conductor at Opera NEO in San Diego, which is simply an amazing way to spend a summer. 12 hours a day surrounded by music, with access amazing food and the beach so close? Yes, please.
Do you have any quotes of famous composers or musicians you turn to for inspiration?
So many, so I hope you don’t mind if I give a few.
The one that sums up conducting and basically the whole music industry – “To achieve great things, two things are needed; a plan, and not quite enough time.” (L. Bernstein).
Of course, once you actually get to rehearsal and the performance itself, no quote is more necessary to keep in mind than: “To play a wrong note is insignificant, to play without meaning is unforgivable.” (L. Beethoven)
This last quote is certainly something I try to instill to all my orchestras and musicians that I work with. Something I read in a biography of Daniel Barenboim a few years back is that he never practices for a second once he loses the purpose behind it. He never just repeats things for the sake of mechanical facility. (I guess that’s sort of a quote? Right?) I’m of the same opinion: that anytime you play a note, it should always be seen as an opportunity rather than a duty. There’s a beauty and almost a responsibility to elevate every second you spend with music, and that’s pretty much the reason I love doing what I do for a living.
Thank you.
What is the most fun part of being a conductor?
Fantastic question. One thing that may not be well known about conducting is how much of a “people-business” it is. Whether it's working with musicians in a rehearsal, being a part of the Board, performing outreach concerts, or even just simply talking to locals at a restaurant, my job is all about the people. In a rehearsal setting we are certainly working on the music, but my job is really to make that music relevant in each musician’s life in some way and engage them with it. If none of them show up to our rehearsal, we have no orchestra; as a follow-up, if no audience shows up to a concert, does anyone hear it? Is there a point? Music must be heard for it to live. I’ve always loved working with people and knew it needed to be a part of whatever career I ended up pursuing, so the fact that my job is basically interacting with anyone and everyone as a result of music is just…well, it is the best feeling there is.
Is there a recipe of successfully dealing with stress “behind the scenes” to ensure none of it is visible or felt by your audience?
I’m not sure how other conductors would answer this question, but for me personally, the most stress occurs in the preparation aspects of my job, a.k.a. all the things people don’t see (studying, planning, etc.), just because I try to account for everything and plan for everything that could and might happen leading up to a concert/performance. So, I would say the best recipe for dealing with it – do everything you can think of as early as you possibly can, and be prepared for anything after that. There are so many unexpected things that happen leading up to a concert, and all of those can add incredibly amounts of stress if one isn’t prepared for them. That’s a lesson I had to learn the hard way – be prepared for everything and anything to happen in the rehearsal process leading up to a concert.
Now, as far as stage fright - when I step out on stage and engage with my audience and orchestra I feel no stress at all. For me, it's really the fulfillment of our rehearsal process, so at that point, we may as well just enjoy it! For the orchestra, the concert should be a product of our rehearsals and growth together in the previous weeks, so ideally there almost shouldn’t be any stress at the performance except the nervous energy a performer needs to truly focus on what you’re performing. It's exciting to share what we’ve been doing with everyone!
What is your philosophy when selecting a program?
Programming is an extremely delicate balancing act – I must keep the composer, orchestra, audience, and the community all in mind. Of course, depending on the orchestra, there are practical matters to consider first and foremost – i.e. cost of rental, technical difficulty, length, etc. Once you solve those things, I try to make sure every piece on a program relates to every other piece in some way, usually a “theme”; every concert is an opportunity to educate and call attention to something that may be overlooked about a certain piece otherwise. Additionally, I try to incorporate at least one contemporary work on a program – music is always changing and being innovated, and it is essential to make sure today’s artistic voices are being heard as much as their predecessors. After all, the reason many famous classical pieces are still famous today is the reaction they registered from the society of the time, so it’s a trend we must continue to uphold for future generations. And so, once you’ve thought of logistics, what theme you wish to pursue, and taken into account contemporary music, we can dive into choosing certain pieces that speak to the goal of what we are trying to present on a given performance. It is a long process, but the more effort that is put into it is often rewarded with successful seasons and concerts – both for the orchestra and the audience.
Based on your experiences, what are the top five works that speak to a wide range of audience members everywhere?
Very good question. Every audience is different, as is every orchestra, so there may be some pieces that resonate with certain audiences more than others. However, in my experience, there are a few works that just attract people and seemingly leave an effect more than others (in no particular order): Beethoven’s Third, Fifth, and Ninth Symphony, Tchaikovsky’s…well, anything by him really…, Dvorak’s Eighth and Ninth Symphony (“New World”), Barber’s Adagio for Strings, Rachmaninoff’s Piano Concerto(s), Elgar’s Enigma Variations, etc. I must say, it feels almost criminal on my part to not list some others on here…the beautiful thing about a lot of these pieces is that even though a certain piece may be older, no one can tell you how it should effect you and often that is the strongest reaction. So…here are a few more that maybe aren’t as familiar to some but are some of my personal favorites in case anyone is curious: Sibelius Symphony #2, #5 and #7; Ravel Pavane pour une infante défunte and Ma mère l’oye (suite), Vaughan Williams’ Lark Ascending, Britten Peter Grimes: Four Sea Interludes, and anything by Mieczysław Karłowicz. Of course, this doesn’t even scratch the surface, as there is still opera, chamber music, solo music, and choral music to cover!
Who are some of your favorite conductors and what characteristics do you value the most in a music director?
This is a difficult question to answer. I strongly admire and respect my mentors and teachers – they have all opened my eyes to so much about this profession, about music, and just about people in general that its almost impossible to think of where I would be today without them. Beyond that, I have to put Leonard Bernstein down as one of my favorites simply because of how much he did not only for music, but also for education and the humanities. One could say he single-handedly nurtured and fostered an entire generation of music lovers through his positions in New York and Tanglewood, and I think that is incredible. There are so many characteristics and values that a music director should possess. We are all blessed with different gifts, both as people and as music directors – some have an amazing ability to educate, others to engage with a community, others are incredible fundraisers and participants in outreach activities, etc. That being said, a lesson I’ve been learning recently is something I’m growing to admire and value more and more not only in my own life, but in a music director – and that is balance. Especially balance in life. Without it, things are out of proportion and inevitably something will suffer as a result.
What are your favorite works to conduct? How about your go-to repertoire as a performer?
Goodness, so many…and so many ways to answer this. For example, we are currently rehearsing and getting ready to perform Dvorak’s 8th Symphony, which is one of my favorite pieces of all time, but then again I’ve been bitten by the “opera bug” several years ago, and have found a true passion in conducting opera. I think my favorite works though are the ones I can relate to the most. My go-to repertoire as a performer has two facets. There is the music I learn for the sheer joy of learning it, and the repertoire that I perform – ideally those two align and go together, but sometimes they differ. Of course there are also pieces that I perform on piano or clarinet as a soloist that I can’t perform with the orchestra and vice versa, so there are some differences there. As a pianist, I love performing French music and the music of my homeland, namely Chopin.
How was it performing for “The Book of Mormon,” “Wicked,” “Sound of Music” and more?
An incredible experience all around. Before those times, I had played in some pits, conducted a few musicals, and been around the scene, but I was never really in a pit situation quite like those shows – there were wires running everywhere; I was in control of so much technology that it could easily get overwhelming! But they were phenomenal experiences all around. I learned a lot about myself as a performer, but also got to experience and share music with some of the best musicians around the country, which always elevates you to a new level as a performer.
Concert performances, operas, musical theatre, what is our favorite genre and why?
It has to be opera. I consider myself well-versed in all three of the genres you mentioned, but there’s just nothing that compares to opera. I never really understood it until college and grad school, and I used to think it was this drawn out, unnecessarily long event. Plus, why would someone sing about one thought for like six minutes… seemed ridiculous! But, when I finally started understanding it, I realized that opera showcases any and all human emotion in the most extreme form. What we all feel on a daily basis (good or bad) elevated to unprecedented levels. Also, if you understand what is being sung/said, then to hear a singer sing about that particular thing you may resonate with as a listener is a sublime experience.
What musical events are you most looking forward to and preparing for?
I’m currently preparing two concerts here in Summerville (March & May), and also to Music Direct an educational tour with the Santa Fe Opera in April & May. I’m really looking forward to all of these events, particularly the educational tour where we will be performing for the youngest of audiences. It will be incredible to perform for them!
This summer, I will be returning as an assistant conductor at Opera NEO in San Diego, which is simply an amazing way to spend a summer. 12 hours a day surrounded by music, with access amazing food and the beach so close? Yes, please.
Do you have any quotes of famous composers or musicians you turn to for inspiration?
So many, so I hope you don’t mind if I give a few.
The one that sums up conducting and basically the whole music industry – “To achieve great things, two things are needed; a plan, and not quite enough time.” (L. Bernstein).
Of course, once you actually get to rehearsal and the performance itself, no quote is more necessary to keep in mind than: “To play a wrong note is insignificant, to play without meaning is unforgivable.” (L. Beethoven)
This last quote is certainly something I try to instill to all my orchestras and musicians that I work with. Something I read in a biography of Daniel Barenboim a few years back is that he never practices for a second once he loses the purpose behind it. He never just repeats things for the sake of mechanical facility. (I guess that’s sort of a quote? Right?) I’m of the same opinion: that anytime you play a note, it should always be seen as an opportunity rather than a duty. There’s a beauty and almost a responsibility to elevate every second you spend with music, and that’s pretty much the reason I love doing what I do for a living.
Thank you.