Julia Wedman

  

Originally from Saskatoon, Saskatchewan, violinist Julia Wedman joined Tafelmusik in 2005 and quickly developed a reputation for her solo performances. She is regularly showcased on the orchestra’s home series and on tours throughout Canada, the U.S.A., Mexico, Puerto Rico, Europe, China and Korea. The Globe and Maildescribes her playing as “extraordinarily intuitive,” “highly communicative,” and, her personal favourite, “zesty”! As a student, she developed a passion for period performance, inspired by her work at Indiana University with baroque violinist Stanley Ritchie, as well as studies at the University of Western Ontario and the University of Toronto.

Julia is a member of the innovative young baroque ensemble I FURIOSI. In addition to their successful Toronto concert series, IF has performed at music festivals in Canada, the U.S.A, Germany, England and Ireland. In September of 2008 the group released their first commercial CD, Crazy (Dorian Sonoluminus). She is also one quarter of the Eybler Quartet, a period instrument group who specialize in excellent and underrated Classical works. Their debut CD of string quartets by Joseph Leopold Edler von Eybler is available on Analekta, as is their latest recording of Mozart and Backofen clarinet quintets with Jane Booth.

Julia is also becoming known for her imaginative programming. Her interactive education concert A Water Music Adventure was featured on Tafelmusik’s 2008 education series and Ontario tour, as well as the Carnegie Kids series at Carnegie Hall (New York) in 2009. She was the creative force behind both a main series and an education concert for Tafelmusik celebrating Earth Day 2010, called Forces of Nature. Over the past few years, Julia has become increasingly sought after as a teacher, and in 2011 was invited for short-term residencies at Fredonia University (New York), the Guildhall School for Music and Drama (London, England), the University of Saskatchewan (Saskatoon) and the University of Western Ontario (London).

Julia's debut solo recording of Biber's Mystery Sonatas(Sonoluminus) was released in the spring of 2011 and has received rave reviews. The CD was featured in the July 2011 issue of Gramophone magazine, saying “Rather exceptionally, one suspects, Wedman has approached Biber's music as a true pilgrim, interpreting key moments in the life of Christ thoughtfully, vividly and with evident personal humility and warmth. Her performances exude humanity and have about them a radiance that somehow transcends the sound of her lovely 1694 instrument.”

She spoke with artsHub ahead of The Galileo Project: Music of the Spheres at Adelaide Festival.

What did you want to be when you grew up?
I wanted to a violinist of course! Well, actually first I wanted to be a conductor, but I quickly changed my mind.

When did you know you would work in the arts?
I think I knew around age 6. Honestly, I don't remember ever wanting to seriously do anything other than play music for my life.

How would you describe your work to a complete stranger?
Usually I say that I am one of the lucky people who get to do exactly what they want to all day every day and get paid for it - play music with my friends!

Is there a mission to your work?
It has always been really important to me to learn how to communicate- how to communicate a composers intentions, how to express myself and how to connect with my students, my colleagues, and the audience.

What's your background – what did you study to get to where you are?
I started taking violin lessons when I was 4 years old. I grew up in Saskatoon, Saskatchewan and I think I started playing in the Junior Orchestra when I was about 7 or 8. I started playing professionally in the Saskatoon Symphony at age 15.
I took my university degrees in Music Performance (Bachelors at the University of Western Ontario, Masters at Indiana University and the University of Toronto). As a student I always went to summer programs, and played in as many orchestras and chamber groups as I had time for. When I stopped officially being a student, I started learning from my colleagues. I always try to pay attention to and absorb the great qualities of the people I play with. I am very fortunate in that I am surrounded by great musicians and I am still learning every day!

What's the first thing career related you usually do each day?
I check my email - doesn't everyone? (Editor’s note: Yes, everyone answers that to this question.)
Although recently I moved to a new house, and there is a pool a block away so I have been swimming first thing in the morning. It is a great way to loosen up the body and get the brain working, especially the morning after an intense concert!

Can you describe an "average" working day for you?
One of the best (and sometimes worst) things about my career, is that every day is different. One of my favourite kinds of days is a rehearsal day with my string quartet. Our violist is an amazing chef, so often we will start rehearsal at 10 or 11 in the the morning, rehearse for a few hours, then take a long yummy lunch break, devouring an amazing meal he somehow concocted before rehearsal, then rehearse for a few more hours. String quartets are usually known for how much they argue, but after being in a group with our violist, I think that it's because they don't eat enough! My acupuncturist lives nearby so I often like to end a long rehearsal day with an appointment. Nothing works better to take away all of the excess adrenaline that builds up in my system from playing so many concerts.

What's the one thing - piece of equipment, toy, security blanket, – you can't work without?

What gets you fired up?
Great music, great art, an audience, passionate musicians, a great hall, being creative, coming up with solutions for problems - a lot of things!

Who in the industry most inspires you?

The thoughtful, intelligent, open, creative, passionate, risk-taking musicians that love music and know they have something unique and important to contribute to the world.

What in the industry do you despair about?
The musicians that seem to have lost their way, who are unhappy, nervous, closed, who are obsessed with playing "perfectly", and have forgotten that they became a musician because music brought them joy and comfort.

What is the best thing about your job?
My colleagues.

What’s the most challenging aspect?
Finding a way to do everything I want to do without burning out physically or emotionally.

What are the top three skills you need in this industry?
I think it is different for each person, but I think the top three things that have helped me are optimism, perseverence, and being open to learning.

What advice would you give anyone looking to break into your field?
You have to want to be a musician more than anything in the world. You have to be willing to be poor, have a completely crazy schedule (including rarely having 2 days off in a row), spend hours alone practising, and be able to weather criticism and set-backs. I think if you would be happy doing something else, you should do it. This lifestyle is not for everyone, but if you love it, there is nothing better.

How do you know when you missed the mark?
This is a good question - I used to think if the response from my audience wasn't strong, then they didn't like the concert, But after talking to people after concerts, I have come to understand that every audience reacts differently. And because of the subjective nature of music, someone in the audience will inevitably like every performance we give. For me, if I have made one person's day better, I have done my job. What I like most about looking out into the audience is catching glimpses of people smiling, looking peaceful, or concentrating intently - I love seeing people engaged. I think I will miss my mark only when I stop sharing music with other people.

Which of the below phrases best suits your career development to date and why?
"The road to success is always under construction. "
"Opportunity dances with those who are already on the dance floor."
"Success is best measured by how far you've come with the talents you've been given. "
"No one can cheat you out of ultimate success but yourself."

Opportunity dances with those who are already on the dance floor.
I think that we have to create our own opportunities. I have always thought that if I worked as hard as I could, and created my own opportunities that other people would eventually notice, and they do!

When do you know you’ve made it?
When your career is better than you ever dreamed it would be.