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  • Oh my goodness!

  • - I feel like you're always there. - I'm sorry! - Wow...

  • (both) Whoa...!!

  • Hey, how's it going?

  • Welcome back to another episode of TwoSet Violin.

  • Today, we have a very special and different episode.

  • Many of you probably have seen these videos

  • where they get a group of people

  • from a certain field, or expertise,

  • and they will see

  • if they all felt the same way on certain topics.

  • And so what we decided to do

  • is to do a classical music version of that.

  • We invited four of our good friends

  • that are all professional musicians,

  • and we wanted to get together to find out,

  • do we all think the same way,

  • - regarding certain topics? - Oooh...

  • Controversy!

  • My name is Emma Di Marco,

  • I am a saxophonist and a woodwind specialist.

  • I play classical saxophone,

  • not jazz, and I also do a lot of contemporary music, so...

  • Yeah, I do some really, really weird noises on the saxophone.

  • Hey, my name is Tijana Kozarcic.

  • I'm a professional harpist.

  • I'm currently a freelancer, a teacher,

  • and a harp ensemble leader for the Harp Society of Queensland.

  • Hey guys, I'm Alex Raineri.

  • I'm a freelance classical piano player.

  • I am the artistic director of the Brisbane Music Festival.

  • I'm particularly passionate about

  • working with composers and collaborating on new works.

  • Hi guys, my name's Phoebe Russell.

  • I'm a professional double bass player.

  • I play in the Queensland Symphony Orchestra.

  • I enjoy teaching, and I'm particularly passionate about

  • playing as a soloist, and...

  • playing repertoire that's not usually played on double bass.

  • Hi, my name is Eddy.

  • I'm a violinist. I've been playing for 20 years.

  • Used to play in an orchestra, and now I just...

  • make videos.

  • Hi, my name is Brett. I play violin.

  • And I used to...

  • play professionally.

  • I don't know what happened.

  • Three, two, one.

  • Oh, wait a second, I see!

  • We all did the same!

  • Oh wait, we do have one, we have one.

  • No, you can't change!

  • - I did not expect that. - Wow!

  • I'm a sucker for Taylor Swift, okay?

  • - Yeah! - I like it! It's catchy!

  • - Dude, that was... - ♪ Shake it off

  • That was so...

  • I was expecting at least one person to be like, "Nah."

  • - "It's shallow." - Yeah.

  • I think we're just really cool, down-to-earth...

  • - open-minded people, you know? - Yeah.

  • Hey, maybe people don't...

  • have this like, idea of classical music.

  • And actually reality is,

  • most of us just enjoy music in general. Anything.

  • Classical music is just one form of it.

  • - That is very true. - Yes, we really do.

  • Eddy: Yeah.

  • - I listen to pop music. - Just save my one line.

  • Saving myself.

  • Brett, the question is, what pop music do you listen to?

  • BTS.

  • That's the safest answer.

  • Three, two, one.

  • - Oooh... - I love it. Here we go.

  • I think it's...

  • good to an extent.

  • For people like me, it makes me practice.

  • What if you get motivated to practice,

  • and then you don't come first place?

  • And now you don't get motivated in the future?

  • But I don't think that's the actual point of competitions.

  • In music, you're not first because you beat everyone else.

  • You're first because you did it really, really, really well.

  • Like, you're competing against this absolute.

  • But do you think that it is absolute, though?

  • Because I feel like

  • in reality, most music competitions, it's quite biased.

  • I see young kids that,

  • you know some of them, it is a good thing.

  • You know, they get that kind of,

  • "I want to practice harder because I want to get first."

  • But for a lot of them, they work their little butts off,

  • and then they go to the competition

  • and they feel like they're not enough

  • because they didn't place.

  • And I don't know if that's the right message

  • to send to younger musicians.

  • Well, it's playing the game,

  • and I think when you enter a competition,

  • you are entering a game.

  • It's, you know, the Olympics for...

  • instrumental playing.

  • And I think the psychological impacts of that aspect

  • of being competitive can be deeply problematic.

  • But, as we've all been saying,

  • it can have positive impacts if you're really clear about...

  • why you're there.

  • Three, two, one.

  • - Ooh! - Whoa!

  • - I see a... - I'm seeing a...

  • - I'm seeing a pattern here! - Yeah! I'm seeing a...

  • An Asian...

  • - Asian... - Asian situation right now.

  • Definitely my immediate family

  • were on board, but my big extended Italian family,

  • who are all lawyers, and like, high-in-power business people,

  • still are like, "Are you doing the music?"

  • I'm just neutral, because...

  • I don't actually know what they think.

  • - Oh...! - In case your mom is like, watching. - Yeah, I feel like it's...

  • Yeah, they're watching!

  • I know in the beginning,

  • my mom wanted me to become a doctor.

  • But I think, be like, continuing practicing.

  • It's like this conflict,

  • she wants to let the kid do what they want.

  • Chase their dreams, so to speak,

  • hoping they'll be a doctor.

  • But my brother has filled that void.

  • Yeah, but see, you have a younger brother

  • - to fill in the void. - Yeah.

  • My older sister already became a musician.

  • I was meant to be the backup plan,

  • and then I was like, "I want to be a musician too."

  • My dad was actually very supportive, um...

  • But my mom initially was very concerned.

  • She came from a background where

  • economic reality was a genuine concern,

  • and she wanted the best for me, I guess.

  • - Alex is off the chart! - Yeah...

  • He's way off the chart!

  • My family, they're awesome.

  • I'm really, really lucky to have, um...

  • I mean, not easy, but very smooth journey with...

  • my music.

  • It probably is quite tough from a parent's perspective,

  • if they're not musicians,

  • to even have a concept of what that means.

  • It's annoying 'cause I'm in the front,

  • - I can't see what people are doing. - Yeah.

  • - We're just judging you. - Yeah.

  • For professionals?

  • People that, I guess,

  • see themselves as musicians.

  • Divided answer.

  • Yeah!

  • I read this thing once and it was like,

  • "Why are you paying, like, a hundred dollars an hour

  • for a string quartet at a wedding?"

  • Or whatever the rate was, it's like,

  • "Why are you paying that big amount?" And it's like,

  • "Because you're not paying for that hour at a wedding,

  • you're paying for the ten years of study that they did."

  • "And the rehearsals that they did leading up to that,

  • and everything else."

  • We spend years and years training.

  • I think most of us probably started as young kids.

  • Most of us probably practiced several hours a day,

  • all the way through high school.

  • We can't expect to be

  • taken seriously, and we can't expect for people

  • to understand why music is so important

  • and share our music with everyone,

  • if we don't value ourselves enough

  • to ask for proper payment.

  • - Whoa. I think I'm just gonna go back here. - No no no...

  • - Brett, I want to hear your thoughts. - I was sold.

  • The reason why I was like, very hesitant on moving right...

  • Because I had, like you said, early stages,

  • so I was thinking of most situations.

  • When they're young, they can just do it, just for fun.

  • And just start getting people to know them,

  • within the community.

  • But also, I agree with all those points.

  • That's why I wanted to move there.

  • I guess playing for free as, you know,

  • university students, it kind of comes more to networking.

  • You will do one or two free things while you're a student.

  • It's kinda like a gateway.

  • Like, now I pretty much refuse all...

  • unpaid gigs.

  • Unless it's really something that I know that I wanna do.

  • As musicians, we need to know when to say no,

  • and also learn when the odd situations are

  • that the exposure is worth it.

  • I feel like it's a tool,

  • - and it's up to us to make good choices. - Yeah.

  • During our first tour...

  • - OHH!! - There was an agent that approached us.

  • And he tried to sell us on this whole idea that

  • he would manage the tour, but we would get like,

  • basically nothing from it.

  • "You guys are artists anyway, you do it for the art.

  • If you wanted money,

  • you wouldn't be doing music anyway, right?"

  • Yeah, that...

  • - That was... Yeah. - I'm so sick of that, it's very pathetic.

  • I'm like, "Look, I wanna eat, too."

  • - Yeah! - Like, sorry.

  • Agree or disagree. Three, two, one.

  • Whoa!

  • Alright, I wanna hear from Alex.

  • - Yeah, let's... - How do you do it?!

  • Teach me!

  • I'm in the middle.

  • So I do get nervous sometimes,

  • but it's very based on context for me.

  • Like, if I'm on my own onstage,

  • you're the one person in control of the entire product.

  • I get, I definitely get nervous sometimes,

  • but I feel like I've been playing piano a long time,

  • I think I can do it, like...

  • - Yeah. - It's fine.

  • I'm a bass player, so when a solo happens, it's very rare.

  • - And there's often like, - Yeah.

  • a very long build-up for a two-bar solo or something, so maybe.

  • As a kid, I was fine.

  • And then it started growing, growing,

  • and then I went to university,

  • and in the final year of my bachelor degree,

  • it just like, hit.

  • And I had this concerto opportunity

  • with the Conservatorium Wind Orchestra,

  • and thankfully I was wearing a long dress,

  • because I walked out onstage, and my knees were like,

  • going like this.

  • Like, not even kidding. And it just hit me.

  • When you're getting shaky bow,

  • and your legato's like, becoming ricochet...

  • It's no longer just like, "I'm nervous," it's like,

  • - "Oh crap everyone knows I'm nervous." - Yeah.

  • "How embarrassing."

  • - Yeah. - Mm. - And that always got to me psychologically.

  • It got really bad in uni, actually.

  • Every music student played the same repertoire.

  • I just remember I was like,

  • shaking throughout the entire...

  • Second movement, it was like,

  • - slow. - I was playing for you! I remember that.

  • That's what I mean!

  • Point... point proved.

  • I feel like there's a trigger. Like for me,