Joel Smirnoff is an artistic advisor who has worked with the Carmel Symphony Orchestra and several other groups during his career. A conductor for 30 years, his background is primarily in classical and jazz music.
He recently answered the following questions from Current about his work.
How did you become interested in music?
Both my parents were musicians. I was already performing by the time I was 11. I played the violin. My father was a violinist, my mother was a jazz singer.
What was your journey to becoming a conductor?
If you’re going to be a conductor, there is only one way, and that is to assist another conductor. If you’re going to be a performing musician, you have to start young. I started (violin) lessons when I was 6, theory lessons when I was 7. Basically, if you’re not well set in terms of musical understanding and playing by 15 years old, you’re not going to get a job. It starts very early.
It’s like sports, look at Tiger Woods. It comes from having a dream as a kid. If you can devote yourself and have the discipline to put it together at a young age, then that is going to stay with you. You’re going to apply for jobs, get endorsed over and over again by different people, and then gain a reputation.
What does a typical day look like for you?
Different days are different parts of the job. You’d have weeks of score study where you’re memorizing and gaining insight on what you want to do. Then, you have your first rehearsal. With that first rehearsal, you have to immediately communicate the musical concepts to follow and keep time. In a way, the most important interaction is the first interaction with the symphony. There has to be mutual respect.
What goes on behind the scenes that people might not realize?
The choice of music. The cool thing about Carmel is that we’re doing a lot of different kinds of music all at one time. It’s a mix that reflects the taste of the community and the time. What we’re trying to do here is be sensitive to what the community wants to hear.
What does rehearsal look like?
We have about three or four rehearsals with the orchestra, and everybody is focused on the two hours that you’re going to perform. We are working to get 90 people playing together. It’s an athletic event, in a way.
What are some of the best parts of your job?
Performing! The best part is to communicate with your audience. The interaction with the orchestra can be a wonderful thing. Great conductors have always encouraged musicians to interact with the music while guiding them.
What is the toughest part of the job?
That the two hours of the performance are at the height of your focus.
How did you connect with the Carmel Symphony Orchestra?
I’m a Carmel resident. I’ve had a long career, conducting internationally in Korea, Beijing, Japan, Europe. But this is my home, so it was inevitable. It’s a great pleasure to live in Carmel and be a part of one of the most important parts in this city.
You have worked with Antonia Bennett, daughter of legendary singer Tony Bennett. How did that connection come about?
I had a very long relationship with her dad (since the ‘70s). We’d rehearse every single day. Tony decided he wanted to stay two weeks to play at the Water Tower in Chicago, and we got to know each other, rehearsed, and I got to travel with him. We went to Vegas, be on TV, did a Midwest tour, he would call us off-and-on. Antonia and I started working with him.
Is your job fun?
It goes beyond fun, because music is such a thrilling enterprise. It drives people together, and that’s what it’s all about. And when that happens, you’re very grateful. It’s big fun.
