Benjamin Adler in rehearsal with ACO Collective. Photo: Jack Saltmiras.
In my last two years of high school, I was fortunate enough to participate in the ACO Parramatta Strings Program. My 15-year-old self knew very little about chamber music, and even less about the ACO, other than that I was improbably privileged to come into such close contact with it.
Benjamin Adler playing with the ACO Parramatta Strings in 2008. Photo: Mike Flokis.
What ensued was a steep but fun learning curve, during which I was mentored by the endlessly encouraging then Emerging Artist Peter Clark, and was even brought down to the Ministry of Magic for an open rehearsal, where I sat in the Studio, clutching the sides of my rickety wooden chair in thrilled disbelief, as I watched this charismatic Finnish wizard called Pekka Kuusisto inject more character into one bar of Bach’s Third Brandenburg Concerto than I’d imagined could be coaxed from the entire piece.
Experiences like these convinced me to pursue music, so I enrolled at the Sydney Con, where my love for chamber music in general and the ACO in particular was steadily nourished. Upon graduation, I auditioned for the 2016 Emerging Artists’ Program, and feel even more improbably privileged to have been welcomed back.
Artistic Director of ACO Collective, Pekka Kuusisto, leads a rehearsal. Photo: Jack Saltmiras.
Playing with Pekka and Peter in the ACO Collective tour to WA these last few weeks has been a humbling and exhilarating experience, and I am still pinching myself in thrilled disbelief.
ACO Collective. Photo: Ken Leanfore.
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