By MICHELLE GOTT

My alarm went off at 7:30 on the gorgeous morning of March 4. Unlike other mornings, sleepily rolling over and hitting the snooze button was not an option. If I hoped to make the 10 a.m. bus from Juilliard to LaGuardia Airport with the rest of the orchestra, I had to fill my empty suitcase, dash to Commerce Bank, attend to several overdue business calls, and somehow make myself presentable for the first official day of the Juilliard Orchestra's centennial tour. Fortunately, I made the bus with not an item forgotten. Excitement bubbled in the air as my colleagues and I embarked on what was to be a most incredible journey.

The Juilliard Orchestra performed at the Morton H. Meyerson Symphony Center in Dallas on March 7. (Photo by RUDA Photography © 2006)

Our first stop was Chicago; our hotel, the Fairmont—as majestic as the city itself. We had the evening free, but were strongly advised to make the morning bus to Orchestra Hall for rehearsal. Arriving at the hall Sunday morning, I was overwhelmed with memories from my last visit to Chicago, when I was 13. When I sang in that hall as part of an American Choral Directors Association conference, I could never have predicted that, eight years later, I would be part of a historic celebration. The gravity of the term "centennial" was gradually revealed to me throughout the tour. During the concert that afternoon, I had to refrain from blatantly exhibiting the joy I felt in playing with such fine young musicians and Maestro James DePreist. The acoustics of Orchestra Hall are such that every sound is heard clearly, and every player is significant. Although our performance was solid and well received, the orchestra was just warming up.

We left a snowy Chicago for a shockingly warm Dallas. Coats and sweaters were peeled off like banana skins as we turned our faces to the sun. We had plenty of free time in Dallas, which allowed for both relaxation and a bit of harmless mischief. Our rehearsal at Meyerson Concert Hall was lighthearted albeit focused, with the maestro pulling a few conducting surprises. During the second movement of Bartok's Concerto for Orchestra, he took an extended breve (pause), catching a trumpet player off guard. Anticipating a much shorter breath, the player nearly choked in preparation and let out a loud "OOK!"—a sound that had the unusual effect of dissolving Mr. DePreist into a jiggling fit of silent laughter, inevitably bringing along the entire orchestra. We certainly had our fun, but when it came to performance, the orchestra continued a long tradition of excellence. Our concert in Dallas was warmly received, and we eagerly prepared for our California sojourn.

For the last leg of the tour, the orchestra was based in San Diego. Having a home base allowed me to feel grounded and to connect with my colleagues. I took advantage of the free time by visiting the Maritime Museum, Seaport Village, the San Diego Zoo, and many restaurants with newly found friends. Perhaps the most significant moments of the tour were those shared in a social context. Because orchestra personnel at Juilliard are constantly shifting, it is often difficult to develop relationships much beyond the superficial level of acquaintance. It is also impossible to feel fully satisfied by concerts during the year, because the orchestras only perform once before changing repertoire and musicians. The tour was a rare opportunity for the orchestra to deepen its experience, both musically and interpersonally.

Return to the Tour Index Page.

During our stay in California, we performed at the Irvine Barclay Theater, Copley Symphony Hall in San Diego, and the Walt Disney Concert Hall in Los Angeles. I had heard about the acoustical perfection of Disney Hall, but the performance confirmed all words of praise. The collective sound of the instruments resonated within the hall, enveloping the musicians and the audience in sublime beauty. The L.A. audience was the first to clap between movements of our pieces, their enthusiasm overriding concert tradition. After the last note soared through the hall, they sprang to their feet in a lengthy standing ovation. As I stood with my colleagues to receive the overwhelming response, I could not control my beaming smile or the joy I felt in being a musician and a part of Juilliard.

The success of the centennial tour is owed to a long list of talented and dedicated individuals. The level of organization was so high that the orchestra had only to be on time, stay out of jail, and play well when it was time. I am confident that we communicated the centennial message, which is both a confirmation of Juilliard's place in the world and a promise for a bright future.

Michelle Gott is a third-year harp student.