Jennifer Hoy
About
Jennifer was appointed to a permanent position in the First Violin section of the Sydney Symphony Orchestra in 2001, after gaining a Bachelor of Music with 1st class Honours from the Sydney Conservatorium and a Masters of Music degree with distinction from the Australian Institute of Music.
She studied violin with Goetz Richter and Alice Waten. During her career with the SSO she also performed as guest principal with the Deutsche Radio Philharmonie Saarbrücken, the Western Australian and Adelaide Symphony Orchestras, and with the Australian Chamber Orchestra. Jennifer served on the Musician’s Executive of the SSO Management Committee for several years, most significantly during the period of divestment of the Orchestra from the Australian Broadcasting Corporation. She was also actively involved in mentoring and teaching young musicians as part of the SSO Artist Development, Fellowship and Playerlink programs.
Jennifer left the Sydney Symphony Orchestra in 2013 to accept the position of Legal Researcher/Associate to the Honourable Justice Mark Leeming at the NSW Court of Appeal, however she continued to serve on the Board of Directors of the SSO. Since then, Jennifer has practised as a solicitor in the areas of Child Protection, coronial law and criminal law. She currently works in the Appellate Litigation team at the NSW Office of the Director of Public Prosecutions. When time permits, Jennifer still plays chamber music and performs as a freelance violinist, most recently in the pit for The Australian Ballet’s performances of Romeo and Juliet. Jennifer also sits on the Board of Directors of the Australian Romantic and Classical Orchestra.
Q&A
Question: What was a highlight of your time in AYO programs?
Answer There are probably a few too many to mention! The touring was an obvious highlight, as it brought with it the opportunity to play in some of the best concert halls in the world, as well as around Australia. But the most revelatory experience was the opportunity to play so many of the major orchestral works with musicians of high calibre at that early stage of my development. I grew up in regional NSW, so AYO and AYO National Music Camp was my only ‘way in’ to this experience. It also enabled me to develop a network and relationships with professional musicians who became important mentors during my professional career.
Question: What skills, musical and otherwise, did you take away from your time at AYO?
Answer To have the privilege of being tutored in the repertoire by the best practitioners going around gave me a range of skills and a foundation that proved invaluable when I entered the profession. Orchestral playing teaches you so much without you even realising –preparedness, teamwork, awareness, and negotiation are some of the skills that I use today in a totally different profession, but one that has many parallels to the life of a performer.
Question: How did you find the experience of returning to AYO programs as a tutor or guest artist?
Answer It was always a thrill to be invited back and remain part of the AYO family. I loved sharing in the excitement and experiences of the students as they trod the same path I had –performing great repertoire for the first time and forging friendships that last for many years. I hope that I was able to pass on some of the ideas and skills that had been so important to my growth.
Question: What was your favourite piece or performance during your programs?
Answer The AYO performed Bartok's <i>Miraculous Mandarin</i> on the 1994 European Tour. I can recall feeling terrified and exhilarated all at the same time during those performances, especially the first bar which is basically a solo for the 2nd violin section!
Question: What pieces would you share with people who want to discover more about orchestral music?
Answer <i>Scheherazade</i> by Rimsky Korsakov, Sibelius symphonies, the orchestral works of Messiaen (which are more accessible than you might think), Nigel Westlake's Percussion Concerto, Shostakovich symphonies, Thomas Ades' Violin Concerto... I could go on...
Question: Is there a piece of advice you received from a music teacher/mentor that has always stayed with you?
Answer When I first started working in the SSO as a casual, Goetz Richter, who was my teacher at the time, and also the Associate Concertmaster of the SSO, instilled in me the importance of being prepared. It's served me well in music and life ever since. You can't rehearse or listen properly if you are still navigating your way around your own part. Being prepared and professional gets noticed and it opens doors.
Question: How or why did you choose your instrument?
Answer Apparently I asked to learn the violin, but given that I was only four years old when I started Suzuki violin I can't really recall the details of that conversation...
Question: What instrument would you play if you couldn’t play your primary instrument?
Answer I learnt the piano when I was young, but it fell by the wayside when violin practice got serious. I wish I'd kept it up a bit more as it would be nice to be able to sit down and noodle through some Bach.
Question: Where in the world would you most like to perform and why?
Answer In the pit at the Metropolitan Opera. It'll never happen but a girl can dream.
Question: Would you rather: that you sounded like a tuba when you sneezed, or sounded like a piccolo when you laughed?
Answer Can I choose Door 3?