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By Julia Kim, Interlochen Arts Academy (Interlochen, MI) Junior Student
Photo Credit: Interlochen Arts Academy
Carnegie Hall. It is a name with such a powerful connotation that even those with no musical background will recognize it. Many musicians, especially those distant from Manhattan, view performing at Carnegie Hall as the ultimate honor and a fulfilling addition to their bucket list.
About two years ago, as the flute/piccolo player in the Reno Philharmonic Youth Symphony Orchestra, our director, Dr. Jason Altieri, announced that we would perform at Carnegie Hall the following year. The room burst with excited whispers from fellow young musicians. I, too, was ecstatic; I had never played at Carnegie Hall and looked forward to sharing the experience with close friends. I envisioned velvety red curtains and grand ceiling art. We learned we would play the entire Firebird Suite by Igor Stravinsky—a challenging yet beautiful piece renowned in the music community. As an ensemble, we needed to refine our craft and strive for musical excellence to deliver an unforgettable concert.
After a year of intense rehearsals, failed attempts, and conductor's lectures, we arrived in New York. For some orchestra members, it was their first journey beyond the west of the country; just being in Manhattan was life-changing. The first few days in New York City were spent touring and enjoying its entertainment and urban sights.
At last, the day came. The tour bus revealed flags with the familiar serif black font reading “Carnegie Hall.” In those first moments on stage, I tilted my head towards the ceiling, basking in the stage lights' warmth. Alongside final tuning tweaks and adjustments, anticipation and glee coursed through everyone. Our set of three pieces began, and the first two flew by. Then it was time for Firebird. I channeled all my energy, emotions, and musicianship into the last piece and utilized my musical training to share it with the world.
During the Finale's opening notes by our first horn player, who had struggled earlier, I felt tears rise in relief. I knew the rest of the movement would be extraordinary. In the last measures, as the brass unleashed powerful chords, we poured out the notes with immense vivacity. My tears stung my eyes. Throughout the months of perfecting this piece amid wrong notes, occasional tears, and cringe-worthy moments, I believe our Carnegie Hall performance was the first without regrets.
As the applause subsided and we exited the stage, I wanted to fully savor the hall's incredible acoustics. I played the highest note on the piccolo to hear its piercing sound resonate. It was satisfying. I do not know when I will return to that stage, but I hope it’s soon. My friends and I chuckled as we left the stage.
Julia is diligently practicing, looking forward to performing again at Carnegie Hall.
