BY STEPHANIE ESLAKE
Should you stay in Australia to build your music career, or travel overseas in search of bigger things? What even are those bigger things? This new interview series aims to educate you about the best of both worlds.
And we’ll give you a hint: there’s no right answer.
Throughout 2019, we’re teaming up with the Australian Youth Orchestra to bring you stories about those who have started to forge their industry path in Australia. But some have remained in the country, while others have stationed themselves across the world.
No matter where you choose to live and work, there is plenty for you to learn. In this interview, we meet Stephanie Sheridan. Stephanie attended the AYO’s National Music Camp earlier this year, and now writes to us from her Adelaide Symphony Orchestra Fellowship experience. The bassoonist is here to prove that all the world’s a stage — even when it’s in our own backyard.
Hey there. So where are you right now?
Hey! Me and eight other participants have just landed in Adelaide, South Australia to undertake a fellowship with the Adelaide Symphony Orchestra.
Tell us how you got to be in this city.
If there has ever been an example of ‘right time at the right place’, it would have to be my bassoon career.
I began playing bassoon quite late into high school and, after taking to it quickly, decided to seek playing opportunities outside of my high school. At this time, there had been a drought of bassoonists in Perth and when invited to perform in a week-long band program outside of my school, I met the conductor of the Western Australian Academy of Performing Arts’ Symphonic Wind Ensemble. In a stroke of luck, he saw something in my playing and invited me to join the ensemble the following year.
Due to this network, everything seemed to take off. In 2015, my grade 12, I was invited to play in the WAAPA Orchestra, the University of Western Australia’s Symphony Orchestra, the WA Youth Orchestra and the WA Charity Orchestra.
It seemed only natural to study bassoon into university at WAAPA. It was here that I co-founded the Opus Reed Quintet and began freelancing around Perth.
Encouraged by my teachers, I auditioned for the Australian Youth Orchestra, and here we are!
How have you found this experience of working to build your career in Australia?
One of the best things about Australia is that it’s small – everybody knows everybody. If you’re friendly and consistent, your name gets around. I’m about to graduate from WAAPA, where I’ve not only gained invaluable orchestral, solo, and chamber experiences but also networks I’ll keep for the rest of my life.
I’ve had opportunities to perform in the pit orchestras of operas and musicals, and dip my toes into early music and even new music. I’ve been really lucky to build my career in such a well-rounded musical country.
Talk us through your daily life.
My current daily life involves rehearsals, classes, writing my Honours thesis, working at the Perth Concert Hall and then returning to my university to practise until all hours of the night. Amongst this, I make reeds, teach, and make time for my voluntary job, the Western Australian representative for the Australasian Double Reed Society, which includes organising and hosting events for the double reed players of WA.
Any spare time is devoted to some sort of social life, assignments, and reruns of Friends episodes.
How has studying, training, and working in Australia contributed to or helped shape your identity as a musician?
I’m about to graduate from a Bassoon Performance degree from WAAPA and I’ve been a part of some incredible projects, ensembles and experiences, whether on stage or off.
There isn’t a lot of chamber music for wind musicians in Perth, and co-founding the Opus Reed Quintet with four of my closest friends in 2017 has been, and continues to be, a pleasure.
Being a part of WAYO and now the Australian Youth Orchestra are the two opportunities I equate a lot of my successes to. There is nothing that makes you improve quicker than sitting next to players better than you and, in this week with the Adelaide Symphony, that proved true again.
I still have plenty to learn about myself as a musician, but these are experiences that I feel have shaped me the most as a musician so far.
There’s a perception that Australian artists need to go overseas to ‘make it’. But what are some of the benefits you think Australia has to offer you as an emerging artist? And are there any of these benefits that might not be as accessible if you moved overseas?
One of the best parts, and perhaps worst parts, about having grown up in Perth is that the music community isn’t huge. There isn’t a lot of competition, so you have to be self-motivated.
Once the best player moves on to something bigger, you’re forced to improve rapidly as a musician to fill their shoes. Starting so late in my bassoon career, I’m not sure I would’ve made it as far as I have if I were living outside of Australia. A lot of the highlights of my career have been being thrown into the deep end and seeing if I sink or swim.
I’m sure I’ll eventually feel the need to travel overseas to study, but I don’t think this should be a reflection on Australia and the opportunities it has to offer. Opportunities like WAYO, AYO, and fellowships like the ASO fellowship have been crucial in my bassoon career and, as an emerging artist, I’m grateful for these experiences.
One of the most inspiring parts of being a musician in Australia is that I’ve seen plenty of Australian musicians succeed in Australia, then overseas, and then return home to Australia to pass on that knowledge. It’s what makes Australia such a richly diverse musical country.
How has your local community supported you as a young musician, and what are your biggest needs from this community?
I’ve been lucky to grow up in Perth where there have been so many bassoonists who are willing to listen to an excerpt or explain why your reed isn’t quite doing what you want. It’s now reached the point where I’m able to do the same for younger students, and the sense of community among the Perth bassoons really warms my heart.
As an emerging musician, one of the gaps in Perth’s musical scene is there are few stepping stones between youth and professional. There aren’t many opportunities for collaboration or to play in ensembles with professionals unless hired. I thoroughly believe playing with people better than you is the quickest way to improve as a musician, and have had to make my own opportunities to overcome this.
You’ve trained with the AYO to build your professional experiences as you enter the industry. What was the key message from your training that remains with you now — and that you’ll take with you anywhere in the world?
As cheesy as it is, being a part of the AYO this year has taught me a lot about self-trust and seeing the bigger picture in an orchestral setting. I’m a very nervous, glass-half-empty kind of person in general. And when I was offered so many wonderful opportunities, I found it hard to believe that I was a good enough musician to deserve them. It took a few days to realise that the orchestra wasn’t sitting on the edge of its seat, waiting for me to play poorly and that, in the end, we were all there for the same reason: to bring a piece of music to life.
What advice would you give to young people who are undertaking this sort of training, or who have recently completed it, and are looking to build their career in Australia?
One of my main pieces of advice for all musicians is to be adaptable. Rehearsals change, and programs change. Sometimes, you need to cover an entire Beethoven symphony on the day because a player is sick. Sometimes, you find out you’ll be performing one of the biggest solos for your instrument in just a few short weeks. Be ready to take those opportunities.
And finally, where are you off to next?
Home! I haven’t stayed in Perth for longer than a couple of weeks since June so I’m looking forward to some quality time in a practice room in preparation for my graduation recital.
Apply to take part in the Australian Youth Orchestra programs online.
READ NEXT: All the world’s a stage | Caleb Wong, cello
We’re teaming up with the Australian Youth Orchestra to bring you real-world stories that explore the benefits of a music career in the country or across the globe. Stay tuned for our next interview in All the world’s a stage. In what country would you like to make music?
Images supplied. Featured image credit Stephen Heath Photography.
