You joined the ACO at a similar time and work very closely together. How will this influence the performance?
Glenn: I feel like Ike and I work really well together. We have full trust in one another as musicians, and I think we understand each other musically, so I know the end result will be great.
Ike: I totally agree. Obviously we spend a lot of time together as a group in the ACO, but I find that Glenn and I have very similar approaches to music. I think we feel it the same way, so I’m really excited to be playing with Glenn and taking the ‘young guns’ role that everybody’s been talking about.
On that note, how does it feel stepping up as the ‘young gun’ soloists for the ACO’s first national tour for the season?
Glenn: I think it’s amazing that the ACO and Richard Tognetti have put their trust in us. This is a huge opportunity, so it’s great to be in such a supportive environment. I think that’s really special for us both.
Ike: I absolutely agree. Within the ACO there’s a lot of trust involved whenever we play… so I guess we’d better rise to the challenge to not mess up the first notes of the season *laughs*.
Glenn: It's also very special for me to be playing this piece with Aiko in the ACO. She was my mentor as an ACO Emerging Artist, and though we’re colleagues now I still very much look up to her, so I’ll be feeling Prince of Clouds’ themes strongly through the performance. I also think it’s great that the ANAM students will be joining us for the Brahms Sextet. It completes the cycle nicely as Ike and I take on that mentor role.
What else can you tell us about the Tognetti Tchaikovsky Brahms program?
Ike: For me, this program really makes you think about the fact that every single one of these pieces was once brand new and fresh off the press. It's hard to imagine a time when Tchaikovsky’s Serenade had never been heard before, as with Brahms’ second string sextet.
So I’m hoping that audiences will come with open minds, because in reality, everything will be new. The Brahms Sextet won’t be like any performance you’ve heard before, because the instrumentation, environment and surrounds will be different. I also think it’s really interesting that the program ties together in so many ways, but every piece, player and composer has their own distinct voice. I think that’s what we strive to do at the ACO; bring all these threads together to create a cohesive, one-of-a-kind experience for our audiences.