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Ensemble Connect: Professional Development Sessions

As Ensemble Connect begins its series of Professional Development sessions, a few of the fellows shared some of their most significant takeaways so far this fall.


Ha Young Jung, Bass

“The moment that I remember most vividly is when we had a conversation with Clive Gillinson, Executive and Artistic Director of Carnegie Hall, as part of the leadership series of Professional Development sessions. One of the pieces of advice that he gave was to be open-minded and take paths in a new direction as life unfolds. As someone who has moved around a lot growing up—performing and pursuing my career—I really wanted to plan my path and career the way I desired, but often the result was not something that I anticipated. Looking back, the greatest happiness and achievements in life came at moments when I expected it least. Clive’s advice was a great moment of affirmation for continuing my journey with excitement and enthusiasm for unexpected challenges.”


Leo Sussman, Flute

“The panel on inclusive programing with Rob Deemer, Rebekah Heller, Limor Tomer, and Carol Ann Cheung was a Professional Development highlight for me. While each panelist brought expertise about both the challenges and rewards of promoting the works of marginalized or underrepresented composers, I also found it fascinating and inspiring to hear about their diverging views on how best to do so in practice, and what that revealed about their visions for the future of classical music as a field.”  


Tomer Gewirtzman, Piano

“The Professional Development session with Eric Booth was amazing. He has an incredible talent for conveying his ideas in a compelling, interesting, and informative way. Not only did I learn a lot, but also I left the session inspired and excited about my future as a teaching artist.”


Gergana Haralampieva, Violin

“I very much enjoyed our Professional Development session with Eric Booth, specifically the moment he demonstrated how to bring an audience into a piece of art. He recited a Shakespeare sonnet twice: The first time, he did not give us any information at all and simply recited the sonnet; the second time, he asked us personal questions that we reflected on, which then gave us emotional connections to the sonnet. I have never been an audience member at an interactive performance, let alone one that involved a different genre of art. Experiencing an interactive performance without having any background experience in the art form—theater—was truly eye-opening because it gave me a clue to how an audience member at my own interactive performance might feel. Being able to put yourself in other people’s shoes is a priceless learning experience for how to be a true teaching artist.”

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