Aaron Schwebel: Transcript
Video, Podcast and Bonus Links
Leah Roseman:
Hi, welcome to Conversations With Musicians with Leah Roseman. In episode 10, season one, I spoke with a wonderful violinist Aaron Schwebel. He currently holds the positions of concertmaster with the National Ballet of Canada Orchestra and associate concertmaster with the Canadian Opera Company. He's also a member of the Lark Ensemble and the Rosebud String Quartet, and is a founder artistic director of Echo Chamber Toronto, a series that merges chamber music and contemporary dance.
Leah Roseman:
In this conversation, we talked about a lot of his experiences growing up in terms of his development and his career and his reflections on this pandemic time. In separate bonus episodes, you can hear him play solo Bach, and we also do a little improv as well as a bonus episode. All of these episodes are available in video format and the link is in the description. Good morning, Aaron Schwebel thanks for joining me.
Aaron Schwebel:
Hi Leah. Thanks for having me.
Leah Roseman:
So the jobs that you have that pay the bills is that you're concertmaster of the National Ballet Orchestra of Canada and associate concertmaster of the Canadian Opera Company Orchestra. So you spend a lot of time in the pit in a normal year, but not during this pandemic.
Aaron Schwebel:
Exactly. I've come up for air. I spent a lot of time at the Four Seasons Center. We're really lucky, we have an absolutely beautiful hall. And I've been there for probably seven years now. Maybe even eight at the ballet, at least.
Leah Roseman:
And this summer, I believe you have some live chamber music coming up or maybe not live, but -
Aaron Schwebel:
I do. It's something I'm really looking forward to. We've all been waiting for these kind of opportunities, performers, and audience, and whether or not we'll actually be able to have a live audience is still to be determined. Everyone's keeping their fingers crossed, but the Ottawa Chamberfest invited my little series called Echo Chamber Toronto to give a performance as well as my string quartet, the Rosebud Quartet. So we're coming to Ottawa, August 3rd and fourth. We're really excited. We're going to play the Enescu Octet with the Ironwood Quartet with three dancers choreographed by Hannah Kiel. And then my quartet's going to play some Haydn and Beethoven the next day. We're also playing a fantastic piece by Carmen Braden called the Raven Conspiracy also choreographed. So we're really looking forward to all that.
Leah Roseman:
So the performance with the Rosebud Quartet is also with the dancers.
Aaron Schwebel:
No, it's actually just us standalone. Two dimensional performance. No, I'm kidding.
Leah Roseman:
And you were very involved as a string quartet player in university, more than most people.
Aaron Schwebel:
Yeah, I loved string quartet. I thought that it would be my career. My future it's as much of my future as my current positions allow. But I played in a quartet at McGill university called the Roddick Quartet named after the gates, not the tennis player. But we actually went to the London competition, the London Quartet Competition in 2009, which was sort of like the big leagues for us because we were still teenagers at that point.
Aaron Schwebel:
And so we worked furiously and prepared some repertoire for the competition. And I think it was our first kind of real foray into the world of professional string quartets. And we met people who've been doing this for many more years than we had. And we got a glimpse into what kind of life it was both the good and the bad. Both how incredibly exciting it is and performing in some of the world's greatest halls and with some of the world's greatest musicians. And obviously the repertoire, everyone loves the string quartet repertoire. I mean, we're spoiled for choice. But also like the life of a touring musician can be really challenging.
Aaron Schwebel:
So we learned a lot from that experience. And then at Indiana, I played in a group called the Kutner Quartet, which it's sort of a rotating door quartet position, where quartets auditioned. And so we did that. And so I felt like I could kind of exercise my quartet muscles a lot in university, which was great.
Leah Roseman:
Did you have experience as a teenager with chamber music before you went to university?
Aaron Schwebel:
None.
Leah Roseman:
Wow. Really?
Aaron Schwebel:
None. My first quartet was my first year at McGill university.
Leah Roseman:
Me too, but I thought maybe you were...
Aaron Schwebel:
No, I was a late bloomer. But I fell in love with it so quickly. It was Opus 18, No. 3 was my very first... Beethoven was my very first string quartet.
Leah Roseman:
When I was at McGill. I remember our... It must have still been Marcel Saint-Cyr who was the main coach when you were there.
Aaron Schwebel:
He was still coaching a little bit at McGill, but he was not the main coach. We coached with a few different people. My very first quartet coached with Andrew Dawes, actually. He was the guest faculty at McGill and we did a lot of coaching with Andre Roy. He was sort of our main coach eventually of the Roddick Quartet. And, but I mean, there was such a great faculty at McGill. Anyone who we wanted to play for, we could, and we got a lot out of all the various faculty.
Leah Roseman:
It's just when I was there. So it was my first string quartet experience. And he insisted that all of us only play Haydn string quartets for two years. I mean. Which was great training.
Aaron Schwebel:
Did you get through all of them?
Leah Roseman:
No, no, no, but you weren't allowed to move on. No, it was very slow progression.
Aaron Schwebel:
Yeah, of course.
Leah Roseman:
But it was just an incredible education.
Aaron Schwebel:
It really is. I still love playing Haydn in the quartet that I play in now, we do a lot of Haydn. And I think people love hearing Haydn, it's kind of got everything. But I remember at McGill the process was really different. We really, really took it apart and really kind of got deep into it. And nowadays you just don't really have time. You have so many other things to do. But for better and for worse it's... I think in certain senses, it's great to just kind of not overthink that kind of process, also.
Leah Roseman:
I want to ask more about the Rosebud Quartet, but I just wanted to circle back to this string quartet competition. I know it was a long time ago, but I'm wondering what you remember of it. How many quartets, how many days, a little bit about the process.
Aaron Schwebel:
Do you mean when we started?
Leah Roseman:
No at the competition.
Aaron Schwebel:
Oh, it was the Roddick Quartet.
Leah Roseman:
Yeah, I know.
Aaron Schwebel:
Oh, sorry I thought you said Rosebud.
Leah Roseman:
I wanted to ask you about the Rosebud Quartet, but first I just wanted to circle back to London a long time ago.
Aaron Schwebel:
Yeah, yeah. We put so many hours into it. I think none of us were really expecting to get in. And when we did, it was sort of like this immense excitement and also like, okay, we have our work cut out for us. We knew the kind of level of the groups that were going in there. And again, we were 18, 19 years old. So we just kind of put our noses to the grindstone and worked and tried to get the repertoire up to a professional level. And for me, it was my second year playing string quartet. So there was a steep learning curve, but for all of us, there was that steep learning curve. And so we were like a family back then we lived breathed, ate, played together. It was, our lives were about that for about six months.
Leah Roseman:
And you were still balancing school or did you lighten your load?
Aaron Schwebel:
Yeah, no, we were balancing school. I mean, I don't know if we were balancing it well, but we were doing our best. I think it was just an opportunity that none of us wanted to turn down. And it was intense. I think that we got an awful lot out of it. I think we also came away from it knowing that we wanted to have a little bit more balance in our lives. We don't want our lives to be entirely about rehearsing string quartets, as much as we love the music we were playing. It can become like quite unilateral. And I think even as students, we realized we needed balance. And I mean, that's also... I mean, this is a whole segue into another conversation topic, but the subject of competitions in general for people at a young age. And we were not that young, but as a string quartet we were young. As a string quartet, we were only a year old.
Aaron Schwebel:
And so I like, I think that it's great to have those goals, but framing them in the context of relativity, which is the nature of a competition can be difficult for organic growth if you know what I mean? And so that's something I took with me also was just what kind of environment is the healthiest for growth and learning. And I think in certain ways seeing other groups who were five years ahead of us in that profession was incredibly useful. And there was a lot of good that came out of it. But competitions can reorient your brain in a way that you have to kind of just unravel afterwards or just remember why you're a musician, remember why you're doing these things. Just kind of have your sight set on your own goals rather than on a jury's.
Leah Roseman:
And with your quartet now, the Rosebud Quartet, do you all live in Toronto?
Aaron Schwebel:
Not currently. We've kind of taken turns living outside of Toronto. Right now, our Violist, Keith, lives in Edmonton he's accepted a job as principal Viola of Edmonton's Symphony, but he's taken some leave from his position at the COC. And so we might end up being a long distance quartet, which other groups have done before. In certain ways it's challenging, but we also have another city to go perform in, so that's sort of nice. And besides we all have orchestral positions, so we're not rehearsing every day anyway.
Leah Roseman:
Yeah. So let's talk about balance. So during this pandemic, everything shut down. So suddenly such a shock. So how did that affect you as a musician?
Aaron Schwebel:
I think all of us were unsure when this was going to end. The ambiguity of the timeline really was the thing that was sort of on the top of my mind. What I mean is that if I had known that it was going to last three weeks, my activity would've been one thing. If I had known it was going to last a year. I think that because in the beginning it was so unknown, I tried to just kind of occupy my time in a way that was less goal oriented and more just kind of maintenance oriented. I practiced, I didn't really immediately undertake big projects learning a concerto or anything like that.
Aaron Schwebel:
And then as we saw that this was going to be taking longer and longer to overcome. Then I started to think more about, oh, what are those things that I've always wanted to do, but haven't done yet. And then there were the moments where you wondered if we'd ever return back to the hall. And so I like many other musicians started to kind of get my wheels turning about other career possibilities and whatnot.
Aaron Schwebel:
And so I feel like the pandemic kind of unfolded in three different stages. The first one was just this sort of imposed hiatus. And so it was a time to cook fancy meals, a time to binge watch your favorite show, a time to catch up with old friends, play some video games, things like that and obviously practice. But without practicing goals, it was just sort of this like aimless practice where you just played for the sake of playing. And it was really enjoyable.
Leah Roseman:
Would you say... Obviously practice, but I don't think all musicians... I think some people stopped for a while. I didn't.
Aaron Schwebel:
I thought that I was going to have to... I originally thought this was going to be three weeks completely naively. And so I wanted to keep my chops up. And when it looked like it was going to be, I think... I think it looked like it was going to be six to eight months for some time. I mean, again, this is my naïve, completely nonscientific world. And so then the goalpost changed a little bit.
Leah Roseman:
And in terms of maintenance, as a violinist, do you have go to routines or did that get changed up?
Aaron Schwebel:
I am not a typical violinist. I don't have etudes or scales that I really do. I sort of spend my time practicing thinking about the concepts and principles of violin playing. I'll think about technique and posture while I'm playing, but I don't really isolate those principles in an exercise. I think there are certain pieces that I practice that just sort of necessitate thinking technically. And so I devote that time while I'm practicing it. But when I've sort of achieve when I want to achieve, I just try and let that go and just be a musician.
Leah Roseman:
Do you have favorite pieces you like to practice for fun?
Aaron Schwebel:
If I'm practicing for fun, probably Bach or just some quartet parts. Actually I might pick up a Beethoven and quartet and just fiddle around with the violin part.
Leah Roseman:
Yeah. And in your life as a Concertmaster, you have, of course at the beginning, especially there must have been so many notes to learn with all these unfamiliar scores.
Aaron Schwebel:
Yeah. I mean, the ballet repertoire is huge, especially for concertmaster solos. And I kind of had to get my fingers around the Swan Lake, Sleeping Beauty. We also do like Vivaldi, Four Seasons, Prokofiev, first concerto and things like that. And I mean, the sky's the limit with dance because choreographers can choreograph anything they want to. And that's sort of what led me to start Echo Chamber actually was just imagining certain pieces of music with a physical component, but you never know what's going to pop up in the ballet repertoire. Sometimes it's something you would never expect. And that's one of the perks.
Leah Roseman:
So that piece with the Prokofiev, because we did that in Ottawa with James Ehnes, a pretty young soloist at the time, in the pit playing the solo. You've done that in the National-
Aaron Schwebel:
Well, I haven't done it with the ballet. I did it with another orchestra just sort of to prepare myself. Because sometimes the repertoire can come sort of short notice. I mean, obviously there's a period which we won't get it in a shorter period than 60 days. But with concertos, I want to have them under my fingers before the season is announced. And so I just learned it before and it hasn't come up since I've been there, but I hope it does.
Leah Roseman:
Yeah. And the Vivaldi Four Seasons you've played as the soloist.
Aaron Schwebel:
Yeah. We did that a few years ago. That's at James Kudelka Ballet. It's fantastic.
Leah Roseman:
Wow. I'd love to see that.
Aaron Schwebel:
Yeah. It's really beautiful.
Leah Roseman:
And you played with our National Arts Centre Orchestra many times in many different capacities because when you first started playing with us, I believe you were part of our apprentice program.
Aaron Schwebel:
Yep. Yeah, I was. That was in 2012 and I sat next to Eddie Skerjanc. And it was great. And then I started subbing and then I auditioned and was a member for like a couple months before I joined the COC. I mean I have an absolute huge fondness for the NAC and anytime I can, I love coming back.
Leah Roseman:
Yeah. And I mean, you've also played guest concertmaster and guest principal second with us. So you've really sat all over the violin section.
Aaron Schwebel:
Yeah. I took the full tour.
Leah Roseman:
And I wanted to ask about your upbringing a little bit. I think you were a singer as well.
Aaron Schwebel:
Oh I would never call myself a singer, but I took singing lessons. I was part of a choir. I sang until I was about 13 when my body sort of plunged me into a new register and I couldn't really do it anymore and I just gave up, but I loved singing. I sang in the Toronto Children's Chorus and I had a great singing teacher, Brenda Burch who encouraged different styles of music also. And so that was really fun.
Leah Roseman:
And I believe you have been pretty serious about a couple of martial arts in your life as well.
Aaron Schwebel:
I don't know. I mean, relative to people who do this, full-time not serious at all. But it's sort of like a hobby sport. I guess I also haven't done it for a year and a half because of the pandemic, but I was taking Muay Thai classes for about a year and a half or two years before the pandemic started.
Aaron Schwebel:
And it was a great... Speaking of balance that was a great balance mechanism in my life, both physically and mentally. It was great to show up somewhere where you have to be more disciplined than in music. It was all about discipline. But learning how to move your body in different ways. It sort of also related to music that way or to violin, it was great exercise. So I felt more kind of on top of my own life doing that. And it was a really nice community at that gym also, it's called Krudar, and I met a lot of wonderful people there. The coaches were all first rate and yeah, I really enjoyed it. I miss it a lot. And as soon as we can gather again indoors, I'm going to go. I'm very careful with my hands though, just for the record.
Leah Roseman:
It's hard as musicians, most musicians I know don't have hobbies and most of us... It's hard to maintain friendships outside the music world because we have weird schedules. There's a lot of things that are like different, but then we have this wonderful companionship with musicians all over the place. We have this commonality, for sure.
Aaron Schwebel:
We're really lucky. I mean, I don't know other people who go to work and share an office space with some of the people that they're closest to. I mean, some of the people I work with, I've known for most of my life. And I've been through a lot with, and I've shared very meaningful experiences with. And so on one hand, I mean it is also your workplace. So it can become like a double dipping where it's your social life and also your workplace. And so that's another layer of challenge, I suppose, just to try and compartmentalize. But being able to go to work and see some of those faces is really a luxury I think.
Leah Roseman:
So in terms of the pandemic experience for you and reassessing priorities, how has that affected you?
Aaron Schwebel:
That's a big question. I think everybody's priorities have shifted. I think I can answer that in two different ways. Personally and professionally. I think professionally music as my career, as a means of giving people meaningful experiences or... Either as a tour guide through these pieces of music or as an entertainer. I mean, there's so many roles that musicians play. But I think the most important thing is that you connect with the people you're playing for. And I think that it's... Now we sort of have to really think more about how that's done. I think the concert experience is going to change. And I think the music that people want to hear is going to change. And so I've been trying to keep my radar open, my ears open and just sort of think a little bit about what kind of experience I can proctor as a musician. Is that sort of what you're asking about?
Leah Roseman:
These are open questions.
Aaron Schwebel:
Very open ended... Personally I've felt really... I feel like in this pandemic, it's been an opportunity to become closer with the people who I care about. Not that I wasn't before, but it was sort of a fill in the crack sort of thing. And not by design either. It's sort of like when you're in the prime of your career, you say yes to everything and you can become a little bit narrow minded about... Not narrow minded, but like with blinders on, just about sort of diving head first into every project you can. At least I dive head first into a lot of things. And I think being able to have time to spend with my family, my partner, my dog, just unscheduled time has been something I really want to prioritize more. Also just to... We haven't been able to travel at all, but I've been able to travel in my own city and that's been really nice because I didn't do as much of that before the pandemic.
Leah Roseman:
Yeah. Just appreciating.
Aaron Schwebel:
Yeah.
Leah Roseman:
Yeah.
Aaron Schwebel:
Yeah, exactly. We live in a very work oriented society, which that's not a criticism. I mean, people have to work. But I think that there's also this fear that if you kind of stop doing things you're going to be forgotten about. And I think that's sort of a little bit universal in the music world. Relevance is important to all of us. And I think that being able to let go of that is a good thing. And it's like a gift to yourself. I think that sounds really cheesy, but it's true.
Leah Roseman:
During the last few months I've been in contact with a lot of adult amateurs, some of them new to violin and some of them coming back to it or who kept playing through other careers. And it's very inspiring because I think music has meant so much to many of us during this time when we can't hear music live, but to be able to make music yourself is so great. And I believe you've been involved with a couple of festivals, which combine professionals and amateurs together.
Aaron Schwebel:
Yeah. The Toronto Summer Music festival has a community academy. People who play... They use the word amateur or maybe... Anyway, the word amateur is sort of like a coverall. Some people play at a very high level. Some people are not as advanced, but it's a space for people whose main career is not in music to come.
Leah Roseman:
Yeah. That's what I mean by amateur. They're not-
Aaron Schwebel:
But I mean, some of these guys can really, really play. It's amazing. It's really impressive and very humbling. And also I went, I went to the St. Lawrence Academy, the St. Lawrence String Quartet Academy once and they had a component also for adult amateurs. And it's wonderful. It's a really great environment to connect with people who have music in their life and who share that common upbringing, I guess, but who've gone in different directions.
Aaron Schwebel:
And I think one of the things that is really still prevalent in the music world is this idea that you have to be only a musician. And I think these people show us that that's not true. You can be whatever you want to be. And also a musician just because it's not the thing that is paying the bills does not make you less of a musician.
Aaron Schwebel:
And so that's really neat to be able to interface with people who've gone down those paths. I think a lot of people in the pandemic have done that also. I think that right now we're redefining what it means to be a professional musician. It doesn't mean it's your single professional activity, especially for people who... I mean, as orchestral musicians, we have the luxury of a full-time job or a position that's stable. But if you're a freelancer, if you don't belong to an institution or an organization, then you're not tethered to anything. So why not take on more? And it doesn't make you any less of a musician to have multiple vocations.
Leah Roseman:
And when you were a student, were there summer festivals you attended that really had an impact on your growth?
Aaron Schwebel:
Yeah, I would say probably the two that come to mind are NYO and Domaine Forget's Chamber Music session. I think those really defined me as a musician and also what I love, what I strive to have in my life. NYO was such a powerful social experience, and also just like the grander of orchestra. NYO was my first orchestra actually. So it was my first time sitting among so many other musicians. And it was a rush. It was constantly buzzing. I mean, the music was amazing. The experience was so intense and exciting that the music kind of like became about that experience. And so it made me really enjoy orchestra.
Aaron Schwebel:
Also just being able to connect with so many people at once. And Domaine Forget's Chamber Music session was just really all about the music. And it's such a beautiful place in Charlevoix, Quebec. And again late nights, reading quartets and drinking whiskey in the barn, it's really fun. And it's some of the most joyous memories I have playing music. And so those really stayed with me. And realized like how great a life as a musician can be.
Aaron Schwebel:
I mean, obviously as you get older, you're no longer a student, your life has more responsibilities and such like it becomes a job like any other. And I think the challenge is to retain the thing that makes you love it. And that makes you feel alive. Because that's why we go music. That's why I went into music.
Leah Roseman:
Of course. And actually, I mean, coming back to the pit, people may not realize like how often do you play the Nutcracker Ballet let's say every Christmas season.
Aaron Schwebel:
26 is I think the number. It's a lot.
Leah Roseman:
It's a lot.
Aaron Schwebel:
It's a workout. And I think the Nutcracker season is very challenging. In some ways it's very easy because you know the piece by memory after a few years. But it's challenging to show up in the pit with a fresh conscience and a fresh attitude, and not just treat it like okay, I'm brushing my teeth or something that you do every day. Because you want to give people the experience that like maybe it's their first Nutcracker, and maybe it's their first time ever hearing an orchestra. And I mean, we're also not necessarily the main event. Everyone knows the music and it's in inextricable part of the... Is that the right word? Part of the production, but we're not on stage. So it's even easier to kind of lose sight of the audience and why they're there. But yeah, it's tough. I usually try and take a few off just to stay fresh.
Leah Roseman:
Yeah. I was also curious, we have just a couple parallels in our lives because we both went to McGill University. Then we both went to Indiana University for our Masters. I found it a real culture shock coming from this vibrant city of Montreal going to Bloomington. And it was such a different music school as well. How did you find that transition?
Aaron Schwebel:
Good question. I think I... The environments were certainly different. I think when I was a student at McGill, I felt like I was really living in Montreal and when I was a student in Indiana, I didn't really feel like I was living in Bloomington. I felt like I was at a boarding school. It was a just a huge university. And my day to day was just being surrounded by other students and teachers. And when I was at McGill, my day to day often was just as a civilian of the city. I don't know. I mean, they were both really pivotal, I'd say for different reasons.
Leah Roseman:
Well, when I was at McGill, I mean things that might have changed because we're different generations, but like the orchestra had a real sense of camaraderie. It was like McGill Symphony was like big deal. Everyone was in it. But then when I went to Indiana, there were like seven orchestras and it seemed kind of random.
Aaron Schwebel:
Yeah. That's true. It's sort of like a bit more of a factory that way. But yeah, I played in the Chamber Orchestra Indiana, so I escaped a little bit of the big factory orchestras. But yeah, I don't know. I only played in the orchestra for a year actually, because we did the quartet after. But there were a lot of violinists in Indiana. I don't think I met all of them.
Leah Roseman:
I think there was 270 or so when I was there.
Aaron Schwebel:
Yeah.
Leah Roseman:
And speaking of students, so you do a little bit of adjudication and master classes and that sort of thing. Do you also teach regularly private students? I can't imagine you have time.
Aaron Schwebel:
I do actually. I've never had more than two students at a time, but I love teaching and I'd actually love to teach more. But I don't think I'll ever teach a ton of students. Unless I make some career changes, it does take a ton of focus and currently I have one student and he's a very talented young violinist and I dedicate a lot of energy and thought and time to it. So it's beyond the time... Teaching it goes beyond the time that you actually spend with a student.
Leah Roseman:
That's right.
Aaron Schwebel:
As you know. But I give master classes when I'm asked to or adjudicate and it's really nice to connect with musicians of that age, of that generation. And to be able to offer them something from my life, from my experience. It means a lot to me to be able to send the elevator back down.
Leah Roseman:
Definitely. And do you find there's some pieces of advice that keep coming back whenever you're doing these master classes or adjudications?
Aaron Schwebel:
I think that it really depends on the students. Some students need to hear different things. Some students need to focus more. Some students need to zoom out a bit and try to enjoy what they're doing a little bit more. It's really hard to just kind of streamline advice to young people. I think everyone is different. Everyone's needs are different. I mean, just thinking back to my own education. I remember when I was 15 or 16, I definitely needed to focus more. But when I was 22, I needed to chill out more and just... And so it's always shifting when you're a student and also as a professional. I mean this pandemic definitely did that to me and other people. Just, it definitely reorients your priorities. And for students, sometimes you don't even know if it's what you want to do full time.
Aaron Schwebel:
And so I think the big question is what role do these young people want music to take in their lives? And so I try to guide them towards that. Towards being able to make their own decisions about that, and also offer any advice along the way. And I mean, that's just about the life end of it. Not the actual violin end of it.
Aaron Schwebel:
But yeah, I mean, I learned a lot from playing with other people. So usually that comes up a lot in masterclass. Just learning how to listen is a huge skill. It's something that you don't really learn until you play with other people. How can you know? And so I mean learning how to learning, how to listen to other people while giving your best is I think what chamber music or any ensemble is really all about. And knowing what your role is within that ensemble. Sometimes you have to lead, sometimes you have to be led. And so that's something that I think you really learn from experience. And so I usually spend a lot of time encouraging people to have those experiences.
Leah Roseman:
Well, and very soon people can hear your chamber music.
Aaron Schwebel:
Yeah.
Leah Roseman:
So thanks so much for joining me today. It was really interesting talking to you.
Aaron Schwebel:
My pleasure. I'm happy to talk with you Leah.
Leah Roseman:
Hope to see you again in person soon.
Aaron Schwebel:
Yeah, definitely. Have a great summer.
Leah Roseman:
Season one of this podcast had 20 episodes and season two continues with a really interesting mix of musicians talking about their lives and careers with perspectives on overcoming challenges, finding inspiration and connection through a life so enriched with music. Please follow this podcast wherever you listen to podcasts, to be informed about each new episode.
