Holly Mulcahy

Along with the beginning of their regular performance series, many orchestras are launching their educational activities. Among the most common educational efforts are having the orchestra travel to local schools to perform what are commonly referred to as in-school concerts. This is something I have experienced on both ends. When I was in second or third grade, my school took a trip to see the Denver Symphony in Boettcher Concert Hall.

Sadly, the concert was barely memorable for me. I do remember the permission slips being handed out by our general music teacher as well as thinking, “Oh great! We’re going to get an afternoon of magic!” I thought we were going to go see a magic show because I misunderstood the teacher; so when she said “musicians” I heard “magicians.” Darn! So when I sat down in my seat and watched the orchestra filter on stage, I was disappointed.

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This isn’t the article I had prepared to publish this month but a recent event has compelled me to post this article now, before the summer season is over. Performing as a violinist in the Grand Teton Music Festival Orchestra for the past seven years has allowed me to encounter the most interesting listener. He drives 85 miles, one-way, along with his enormous black lab from Pinedale, WY purely to experience our live symphony concerts.

Dressed in denim and plaid shirts this seemingly ageless man, a real-life cowboy, follows a well worn routine: after arriving at the hall he sets out a bowl of water and a thick blanket for his dog, secures the dog’s leash, and then patiently waits for the doors to open so he can take his seat. During intermission, he checks on his dog and talks with the players who are able to get outside. I have never known a listener quite like him. The devotion this man shows with his four-hour round trip drive to hear us perform is particularly touching.

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If anyone would have told me that 15 years into a career as a professional orchestra musician might make me feel like a zoo animal I would have laughed in their face. Nevertheless, 15 years into my career and that’s exactly how I feel, or at least that’s how it seems for some of the time.

A number of factors contribute to this. First, as a single member of up to 100 performers, you come across as a nameless, faceless member of a collective. Add to that being a member of the most predominant instrument in any orchestra, a violinist, you have even less of an identity. Then there’s all the black and white we have to wear; after some time, you can feel like an anonymous zebra walking out into your pen eating the same grass day after day. At the same, time, most musicians are somewhat prepared for this reality since being a part of a large ensemble is something they’ve actively prepared for most of their life.

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