By THIRSTY
Violinist David Kim was named
concertmaster of The Philadelphia Orchestra in 1999. Born in Carbondale, Illinois,
he started playing the violin at the age of three, began studies at the age of
eight, and received his Bachelor’s and Master’s degrees from the Juilliard
School. He has been awarded honorary doctorates from Eastern University, the
University of Rhode Island and Dickinson College. His violins of choice are a
J.B. Guadagnini from Milan, (circa 1757) and a Michael Angelo Bergonzi from
Cremon (circa 1754).
Stay
Thirsty Magazine was very pleased to visit with David Kim at his home
in the Philadelphia suburbs for this Conversation about his life, his art and
his advice. He will be appearing with The Philadelphia Orchestra in the Summer
of 2018 at the Saratoga Performing Arts Center during the month of August.
STAY THIRSTY: What life lessons have you learned from playing the
violin? How has that instrument molded you as a musician, a husband and a
father?
DAVID KIM: When one has a job that is this prominent, everyone is
always tossing compliments your way. The hard part is not believing all of the praise.
When I go home I am definitely brought back to earth by my wife and two teenage
daughters. They are not impressed by anything that I can pull out of my “ego
hat.” I love that about my family though – keeping me grounded.
STAY THIRSTY: One of the violins you play was made by J.B.
Guadagnini, from Milan, around 1757. What does it mean to you to play an
instrument that was made over 260 years ago? Does that violin command a
special reverence from you?
DAVID KIM: The “Guad” is actually owned by The Philadelphia
Orchestra and I am given the use of it as long as I am a member of the
orchestra. My own instrument is also a mid-1700 violin from Cremona, Italy,
made by Michel Angelo Bergonzi. Both violins are incredible works of art, but
to be honest, most of the time I don't give the craftsmanship and value a
second thought. I am so used to handling such expensive tools of my trade that
I'm completely used to carrying them on the subway or stowing them in overhead
airplane bins.
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| David Kim (credit: Jessica Griffin) |
STAY THIRSTY: You have been the Concertmaster of The Philadelphia
Orchestra for almost twenty years. How have you grown during that time
both in your leadership role and as a principal musician?
DAVID KIM: I think the saying, “less is more” applies to me now –
light years beyond how I handled my job when I first started. I used to
over-lead, over-talk, over-try to be clever and funny, over-everything. Now,
(some of the time), I can see beyond my own foolishness and know that my
colleagues are supremely gifted, experienced artists who do not need their
concertmaster to try to be all things to all people.
STAY THIRSTY: How influential were your parents in choosing your
career? Are you replicating the process with your own children?
DAVID KIM: My parents, and especially my mother, are the reason I
am where I am. My mother was a pianist and put a one-eighth-sized violin in my
hands at age three. From that moment forward, it was a rapid ascent to child
prodigy status and studies at the Juilliard School of Music. Growing up in
Cleveland, my wife had the same kind of intense upbringing – in her case, with
a stage father who was pushing her to become a professional golfer. She began
at age five and eventually became a nationally-ranked collegiate player at The
Ohio State University. Jane almost made the jump to the professional ranks, but
finally realized a life as a pro athlete was not the one she wished for. She
stopped playing, earned her M.B.A. at Columbia University, then worked in
international tax for Price Waterhouse Coopers for many years, supporting me
while I tried to become a solo violinist.
When our girls were born, many
friends asked us which one would be the musician and the other the athlete. As
it turns out, neither Jane nor I had the determination to push our entire
family down that arduous and sometimes torturous path. Because without
ambitious and sacrificial parents, the nearly impossible task of trying to push
your kid to the top of the mountain becomes impossible. We are so fortunate,
however, that they both are musicians and will always share that language with
us as they proceed into adulthood with music as an avocation.
STAY THIRSTY: As a violinist, how does performing at the Saratoga
Performing Arts Center (SPAC) differ from performing at the Kimmel Center
in Philadelphia? Does the orchestra modify its presentation based on the
venue?
DAVID KIM: Performing at SPAC is one of the most unique
experiences one can enjoy as a member of The Philadelphia Orchestra. The beauty
of the amphitheater, the grounds, our thousands of fans enjoying the cool
evenings on the lawn with wine and cheese, it all comes together at the end of
each season for three magical weeks. Top soloists and conductors, Mrs. London's
for a croissant and coffee for breakfast, and a Champagne toast with patrons
backstage after the concert. These are things I look forward to each
August.
STAY THIRSTY: How important is exposing young people to classical music
and in meeting members of The Philadelphia Orchestra in person?
DAVID KIM: It can be everything to a young person. Going to see
and hear The Philadelphia Orchestra is a thrill and treat unto itself. But if
one can meet, speak to, and recognize an artist onstage, and maybe even call
them friend or mentor, the experience can be inspirational to the point of life
changing. Orchestra musicians are incredibly accessible and friendly. The
personal touch, relationships, that's what it is all about, not just in music, but
in life.
STAY THIRSTY: Apart from classical music, what genres do you listen
to when driving in your car?
DAVID KIM: I listen to a little bit of classical and some jazz
as well. I'm also flipping all over the dial from CNN to Christian radio to
ESPN.
STAY THIRSTY: What three pieces of advice do you have for young
musicians who aspire to join a major orchestra?
DAVID KIM: Start learning the basic orchestral repertoire as
early as possible – middle school? Listen to those works over and over and play
them in your lessons as often as possible. Seek out summer festivals where you
can learn the language of symphonic music-making and learn the art of taking an
orchestra audition. The competition is so tough out there. You just can't start
preparing too early.
Learn goodwill – both personally
and musically. I don't care how great you play your instrument, if you are dogmatic,
stubborn or difficult to work with, you're in for a long uphill climb. Be kind,
be warm, be flexible.
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