AN INTERVIEW WITH ROBERT DEMAINE
For our first interview this season I put some questions to Robert deMaine, Principal Cello of the Detroit Symphony (and all-around excellent musician). Robert has quite a career as a soloist, chamber musician, and educator, and we look forward to our opening concerts with him and pianist Andrew Armstrong.
1. At what age did you start playing, and who were some of your earliest artistic influences?
I come from a really musical family on both sides. My dad’s family had a lot of professional and amateur string and woodwind/brass players in Montreal, and my mom’s family (from Chicago) were mainly cellists.
When I was about 3 or 4 years old, I would wander into my sister’s practice room (she was, and still is, a very accomplished cellist and my first idol) and imitate her. My mother and aunt, both excellent cellists, were my other immediate influences. I have to say that when I raided my mom’s LP collection around the age of 8, I truly fell in love with the cello when I heard Leonard Rose’s recording of Bloch’s “Schelomo,” and I was totally hooked. I’ve been chasing after those initial goosebumps ever since.
My very favorite cellist from the time I was 10 years old has been the great French cellist, Pierre Fournier, whose entire discography I now proudly own. At that tender age I sent him a fan letter (having gotten his mailing address from the International Who’s Who in Music in our local public library), and he actually took the time to write back to me. That alone speaks volumes about the man. I always regret not having the opportunity to study with him, but I feel as though I have extensively, because of the rich legacy of his recordings, many of which I know every nuance by heart.
2. What advice would you give a young musician thinking of entering the classical music field?
Expect the unexpected. Opportunity seldom knocks where and when one expects, and it’s a really good idea to be truly open-minded and flexible about career options. As a cellist, for instance, one needs to develop ALL of the (orthodox) dimensions of his/her profession; it would be irresponsible to not gain experience playing as much orchestra music, chamber music, developing teaching skills, etc., in addition to practicing the standard solo repertoire in order to remain competitive. It’s all money in the bank, and makes one “marketable.” In other words, we must be ready to wear whatever hat comes our way, and make it work. Let your career take shape and evolve around the wealth of experiences that mold you, and not some preconceived notion of how you think it ought to pan out. Additionally, I would also urge anyone who is possessed by the desire to have a musical career to always strive to improve and never have a sense that you have “arrived.” You will never stay the same – either you get better, or you get worse. Always search for the inspiration to better yourself. Start with that little voice deep inside – and let that be your guide. And, save as much money as you can! Be smart. This is not a profession that will make you rich and famous – at least not overnight!
3. You are the principal cello of the Detroit Symphony, which has been in the news quite a bit over the last year. How has the upheaval there impacted your mindset and career?
I’d like to start by saying that I drew much inspiration and strength from my amazingly tenacious, intrepid colleagues in the Detroit Symphony Orchestra. They are not only among the most intelligent, skilled instrumentalists playing at the top of their game, but the type of people who would unhesitatingly give you the shirt off their backs. Difficult times not only bring out negativity, but also can reveal the very best in human character. I am blessed and humbled to be surrounded by them.
Ah, the things we don’t learn at Juilliard, Eastman, etc…The 2010-11 season was a test of character in so many ways that it would take me forever to describe. I’ve always held the very cautious but prudent notion that there is no such thing as “job security” in any business; there are simply no guarantees, no matter how bulletproof one’s contract might seem. I would apply the same philosophy I direct towards my playing to my livelihood: stay open-minded, flexible, and keep your eye on the ball, because opportunities will present themselves in the most unexpected (and wonderful) ways. As musicians, we cannot afford to pigeonhole ourselves. Personally, things worked out very well for me during the infamous 2010-11 Detroit Symphony Orchestra strike, because I was able to accept much of the “outside” work (e.g. concerto appearances, recitals, chamber music, guest principal spots in various orchestras and teaching engagements) that I normally have to refuse due to my obligations to the orchestra. It was, to say the least, an interesting year, because so many wonderful, unexpected doors opened. The past season has proved my point that if one is flexible and keeps many irons on the fire, it’s not so traumatic to switch gears and still make a living doing what you love to do. In fact, I already look back on this past year as a huge turning point in my life and career, and definitely a positive one.
4. On average, how much do you practice each day?
Probably not as much as I should. About eleven minutes a day. Kind of like those crazy $14,249 fitness contraptions in flight magazines that promise a full-body workout and six-pack abs in 4 minutes a day.
Seriously, I don’t know how to answer this question in any short way, but I’ll try to be somewhat brief. The answer is: it depends. I play all the time. But practicing for me, these days, is done mainly mentally, away from the instrument (often at the piano instead, if I’m learning new repertoire.) I will often visualize exactly how I want something to be played, and my fingers usually obey. But, I have to retain a certain degree of being “in shape” on the instrument, which means I have to have a balance of activity and rest. But my active phase is super-organized, and high-quality practice – not a motion wasted.
One can practice badly, which will reinforce negative habits and eccentricities. It’s not just time-wasting – it’s damaging! As uncomfortable as it may seem, uncompromisingly “facing oneself” is the most effective way to improve, and the key to successful practicing, under the guidance of a good teacher, of course, depending on your stage of development. Remember, we’re not striving to just maintain (there’s no such thing!), but to constantly improve.
When I was a kid, I loved playing the cello so much that “practicing” never seemed like a chore. I really dug it, and practiced all the time, sometimes up to 8 or 9 hours a day. Unfortunately (or fortunately), my love of scales, arpeggios, and etudes eventually vanished (and even turned into outright hatred), but my foundation was solid. At some point (I don’t remember exactly when), I stopped thinking things were “difficult,” and chose to adopt the idea that string technique was “inconvenient” in varying degrees. This helped my development immensely! What we call something is very valid, very crucial! “Difficult” is such a prohibitive word; I could live with “inconvenient.”
5. You’ve been playing a lot of principal work in Europe. What’s the biggest contrast from an American orchestra?
I found broader similarities than differences, in general. One example would be the personnel makeup; these organizations tend to be “leagues of nations” everywhere I go, with much nationality diversity. And, not trying to be too much of a Pollyanna, I have to say that these musicians are united towards that common goal of creation with real communicative spirit and great enthusiasm, everywhere I’ve played. There’s a tremendous pride in what we all do, and that is carried wherever we go.
The main difference is where the support comes from. A state-subsidized arts institution is much more culturally embedded, generally reflective of that society’s commitment to the custodianship, preservation, and advancement of creativity for creativity’s sake.
This is often reflected in the general activity of an orchestra. In the Bergen Philharmonic Orchestra, I was delighted to see the commitment to contemporary Norwegian composers, and each week I was there, a new work was not only performed, but commercially recorded.
Not that there’s a lack of commitment to American music here in the States, of course! This is a bit of a Pandora’s box…Is there a perfect system? Absolutely not! But, I believe the art of compromise is more successfully negotiated in European orchestras.
6. Are you a sports fan? Packers?
I’m a big Detroit Tigers fan, and also love the Habs (Montreal Canadiens). Shhhh…don’t tell anyone….I used to be a HUGE Yankees fan….
7. What’s the most difficult thing about being a classical musician, and what’s the most enjoyable?
The most difficult thing about being a Classical musician, for me, is the constant uncompromising nature one must cultivate in order to improve. As accustomed to this philosophy that I am, it is uncomfortable! But it is ultimately very rewarding to really dig deeply and know you are enriching your abilities. I suppose that’s also one of the most enjoyable things – the personal, profound gratification (not satisfaction – I’m never satisfied). In my opinion the other most rewarding thing is making music with my colleagues, particularly chamber music, being united towards a common communicative goal. Plus, it’s really fun when it’s really “on.” Nothing else compares – nothing.
8. What’s your view on the classical music field right now? Is there a “crisis”?
I’m trying hard to answer this….really hard.
Where isn’t there a crisis? Isn’t it human nature to think of the glass as half empty? I strongly, emphatically believe there will always be an audience for the “finer things,” especially classical music. Global and local events and their associated anxieties tend to run in cycles, and just because something is not profitable money-wise does not indicate its ultimate value. The finest “things” in life never have price tags.
There may be a temporary crisis in the “business side” of Classical Music (everything in life is temporary), but on the flip side there are those who do not believe that something’s value is strictly defined by the bottom line. There is an amazing – simultaneously exciting and disturbing – paradigm shift going on in the world right now, created by the Internet, making both the worldly good and bad instantly available to anyone with computer or smartphone access. Willy-nilly, our world of Classical Music is adapting to it, and it’s best for us to roll with the punches, to be flexible and always ready for the new opportunities it affords. We simply can’t wallow and wax sentimental about the “Glory Days” of our art (every generation has a different idea of where those occurred, of course), but be optimistic and continue to build and promote our art, no matter what.
9. What kind of cello do you play on?
My main instrument was made by Jean Baptiste Vuillaume, Paris, 1841, and was a gift from an extraordinary patron. I also own two Italian cellos by Joseph Gagliano, Naples, 1775, and Antonio Gragnani, Livorno, 1790. My wife calls our house a “foster home for cellos,” as I have a pathological urge to collect instruments and bows (13 cellos, 40 bows, every cello-related doohickey known to mankind plus a few failed inventions). I hope the producers of A and E’s “Hoarders” won’t darken our doorstep anytime soon…
10. Do you have any unusual or offbeat repertory or projects coming up?
I am working on the John Williams Cello Concerto for an upcoming Naxos recording with the Detroit Symphony Orchestra and Leonard Slatkin, and am so excited to play for the composer when I visit him in Los Angeles this spring. I’m also working on preparing my own 12 Etudes-Caprices for performance in one concert; they take about an hour, and are rather, how shall we say, “inconvenient,” on the instrument. I’ve got solo recitals coming up in November and December that involve some really challenging repertoire by Kodaly, Rozsa, Veress, and Ligeti – all great 20th-century Hungarian composers who wrote real knuckle-busters.
11. What makes a great live performance, as opposed to sitting at home and listening to a CD?
There is no substitute for the transcendent experience of being there the moment something special is created. It is a singular, exciting event – a birth, of sorts – not a dissection – not about artificial “perfection,” and without any barriers or in-betweens. Its power is immediate, and the magic unmistakable and inimitable. It is a unique experience without any hindrances.