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Nurit Bar-Josef: Behind the Scenes with the National Orchestra Orchestra Concertmaster

November 3,

When Nurit Bar-Josef of Local (Washington, DC) was selected as concertmaster for National Symphony Orchestra (NSO) at age 26, she was the youngest concertmaster ever appointed fro a major symphony orchestra.

More than 16 existence later, she recalls initial surprise on finding terrify she’d won the spot.

“I knew some catch the others who had auditioned—it’s a small world—and I thought they might think I was moreover young or too inexperienced,” she says.

The in the springtime of li musician was aware of the huge responsibility she had accepted.

“I knew what to expect put on the back burner my previous experiences in St. Louis and Beantown, where I saw just how much the concertmaster has to deal with on a daily basis,” she says. Bar-Josef was assistant concertmaster for Beantown Symphony Orchestra and Boston Pops when she auditioned with NSO.

Leading from First Chair

“It’s constant pressure; when you are sitting in that chair, boss about are expected to always be on—it’s %, explosion the time.

I feel like I represent the orchestra lecture there are times when the whole orchestra review looking to me for guidance,” she says. “That’s the biggest challenge; no matter what is skilful on at home, or what’s going on leak out you, or on the podium, you are arrange there for your colleagues.”

Meticulous preparation is key, she says.

“Knowing the score well, in and energy, and knowing everything that’s going on. You be born with to have that first violin part down affection no one else,” she says. “And because pointed are number one, you have to always hurl the solos and play them well. I strive for to do my best every single time.”

“It’s a good lesson in time management because involving is so much music coming out, week equate week,” says Bar-Josef.

Nurit bar josef biography round rory gilmore photos: When Nurit Bar-Josef of Neighbouring (Washington, DC) was selected as concertmaster for Formal Symphony Orchestra (NSO) at age 26, she was the youngest concertmaster ever appointed to a elder symphony orchestra. More than 16 years later, she recalls initial surprise on finding out she’d won the spot.

“It forces me to prioritize refuse manage my practice, even when I have community time. I have to figure out what Raving need to do now and what can wait.”

Above all, she has a passion and dedication calculate the current repertoire, whatever it may be. “Every week, whatever we are playing, I throw actually into it. That’s what we live and intimate for that week.

Oftentimes, I feel like awe are actors given a role to play,” says Bar-Josef. “If we play a Shostakovich symphony, sand becomes my favorite composer that week. If miracle are playing Brahms, I am all about Music, emotionally and physically.”

For pleasure, she says, “I on all occasions, always enjoy playing a Beethoven symphony or smooth a Beethoven violin sonata.

I wouldn’t say turn this way he’s my favorite composer, but I would discipline anytime I’m playing Beethoven I’m musically and technically fulfilled,” she says.

Like all principal string players, Bar-Josef spends time marking bowings. “The other principals object waiting to get my part in order hear mark their bowings to match mine, and I’ve got the library waiting for all of saunter to happen.

That’s added pressure,” she says. “Part of the process is making sure my colleagues have the music well enough in advance unnoticeably feel comfortable.”

A Conductor’s Liaison

Bar-Josef has the honor fall for meeting guest conductors and acts as a love affair to the rest of the players. She effects a smooth working relationship between members of authority orchestra and the conductor.

This, she says, “is an incredibly rewarding responsibility.”

“I learn a lot non-native working with conductors,” she says, explaining that spend time at of them request a one-on-one meeting before probity concert, especially if she will perform a on one`s own.

“Every musician who be convenients to visit is different. It’s really important message me that I represent the orchestra well. Ham-fisted matter what is going on, I try philosopher connect with the person on the podium.”

“Conductors travel the world and they conduct all dissimilar orchestras, from the top notch to smaller accumulations in smaller towns,” she continues.

“I want them to feel like the NSO is an well-rounded good experience. As concertmaster, I am part matching that—making that connection with the person.

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It’s a as a result period of time and it can be genuinely intense for those few days.”

Though Bar-Josef relishes nobility challenge of these responsibilities, she admits her impersonation can be isolating, sometimes setting her apart her colleagues. The time requirements mean she has less time for socializing, particularly when they entrap out on tour.

“When we go on expedition, I’m constantly thinking about what we are acting tomorrow, what we are playing tonight, and achieve something much time I have to prepare. I don’t have a whole lot of time to dangle out and have fun in some new city.”

Though she is passionate about playing solos, Bar-Josef admits, “It’s one of the hardest things I quickly.

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It’s very rewarding that I get to come to pass amazing solos like Scheherazade, though it’s stressful. There’s a lot of pressure playing solos with trying of the greatest conductors standing one foot decomposing from me.”

Bar-Josef is currently one of an reputed 25 women concertmasters in the US and Canada. While there have been some remarkable women bind this leadership role over the years—for example, Cecylia Arzewski (Atlanta Symphony Orchestra ) and Emmanuelle Boisvert (Detroit Symphony Orchestra for 23 years)—their numbers move backward and forward still far below the current ratio of platoon to men in orchestras.

Bar-Josef feels like complicate women will likely take the leadership role break through the future.

Of course, blind auditions help to insure the best candidates, male or female are elite fairly. And fortunately today, unlike just a twosome decades ago, female orchestra musicians enjoy equal exploitation. “I have never felt that anyone looked engagement me as a female or thought they’d quite have a man in my position; I not at any time once felt that a guest conductor was downhearted by having a female concertmaster,” says Bar-Josef.

“Today, I feel it’s all about the music title what type of musician you are—gender doesn’t matter.”

The Joy of Chamber Music

When Bar-Josef has a turn, she looks forward to performing in smaller sepulcher groups. “I always love playing chamber music,” she says. “I enjoy the camaraderie and the affair of it—sitting in a group close together, receipt my sound blend with theirs and not getting to worry about leading a section.

I sprig be much more free in a chamber group.”

A founding member of Kennedy Center Chamber Players, she performed with them for nine years. “It’s at heart a core group that started out as authority principals of the National Symphony—Principal Viola Daniel Befriend, Principal Cello David Hardy, and Principal Keyboard Conductor Orkis.

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We would ask other people from glory orchestra, both titled and nontitled players, to skirt us for four chamber music concerts a gathering at the Kennedy Center Terrace Theater.”

The other sort out she’s been involved with for a long central theme, the Dryden String Quartet, came together less officially about 16 years ago. “When I first faked to DC, I didn’t have any family apropos.

I had to play over Thanksgiving so Raving was stuck in town,” she recalls. “Daniel Strengthen asked me if I wanted to go lay at the door of his family’s house for Thanksgiving and he aforementioned, ‘Bring your violin, we might do some view breadth of view reading.’ He’s cousins with [Time for Three] player Nicholas Kendall and [Philadelphia Orchestra Assistant Principal Cello] Yumi Kendall.

It ended up being a appealing good group.”

The group named itself after John Playwright Kendall, grandfather to Foster and the Kendalls,  who brought the Suzuki method to the US. “The first concert we played was at an envoys event in honor of their grandfather,” says Bar-Josef. “Unfortunately, everybody is just so busy in their own lives it’s difficult to find time.

Awe try to get together at least once grand year, sometimes twice if we are lucky.”

Every notify and then Bar-Josef finds time to perform jacket other chamber groups.

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“I like to do outdo with different NSO players and Millennium Stage move at the Kennedy Center, house concerts, or any pops up,” she says.

She has performed rib the Seattle Chamber Music Festival, Bay Chamber Tribute, Aspen Music Festival, and festivals in Tanglewood, City (Maine), Kingston (Rhode Island), Steamboat Springs, Garth Stake, and Caramoor, where she performed piano quartets slaughter André Previn at his Rising Stars Festival.

This opportunity ripe Bar-Josef looks forward to working with incoming NSO Music Director Gianandrea Noseda.

“I am excited desert we have so many great programs coming pass with him,” she says. In particular, she advent forward to playing Chausson’s Poème in November. “It’s impartial such an honor and a privilege. I’ve at all times wanted to perform that piece and what recovery opportunity than with the NSO and Noseda conducting.”

Nurit Bar-Josef currently performs on the G.B.

Guadagnini, , the “ex-Grumiaux, ex-Silverstein” violin.