Anne Mischakoff Heiles has written a book exploring the training, traits, desires, and often interesting anecdotes of over 180 concertmasters and a dozen orchestras, from Boston to Toronoto.
After a brief prologue explaining the concertinaster selection and interview process, and an excellent introduction of how the concermaster role evolved, Heiles takes us on a wonderful journey exploring the lives of concertmasters from ten of the major performing orchestras in North America: Boston.
Among the issues Heiles seeks to probe are the traits that distinguish concertmasters from section players and soloists, the musical training concertmasters receive, how power is shared between conductor and concertmaster, how authority develops between concertmaster and section players, the range of musical interests today's concertmasters have and whether their musical activities differ from their predecessors, and their tips for those aspiring to orchestral careers.
Heiles follows the evolution of the role of the concertmaster
, and then describes the history of concertmasters
in 12 North American orchestras, such as those in Boston, Chicago, Cleveland, Los Angeles, New York, and Toronto, as well as the Metropolitan Opera Orchestra and the Chautauqua Symphony Orchestra.
De Pue was one of 12 violinists who performed as guest concertmasters
during a 15-month search.
The members of the violin section were concertmasters and soloists in their own right but came together under Mischakoff.
They were all led by concertmaster Mischa Mischakoff at one point during his seventy-year career.
This is due in large part to the fact that even though he also had an extensive career as soloist and chamber musician, "Mischakoff personified the concertmaster as specialist .
Among his disciples are the well-known cello teacher George Neikrug and the late violist, William Primrose and among his students were concertmasters
of major orchestras, including Joseph Silverstein.