What's a concertmaster? Nashville Symphony just got a new one

Nashville Symphony audiences see musician Peter Otto playing the violin onstage at the Schermerhorn Symphony Center. But it's what they can't see that earned him the title of concertmaster.

Otto, a German-born, Juilliard-trained musician, joined the symphony in January to not only play the violin, but set the tone for the entire string section.

"The concertmaster role is a hybrid role because you are a leader, but also part of the group," Otto told The Tennessean. "There are things the audience sees about it and things they don’t see."

The visible parts include a special bow at the beginning of every concert and a violin solo. Initially, Otto's seat is empty among the rest of the seated orchestra. The house lights go down, he walks out and takes a bow, which is the orchestra's cue to tune. The conductor takes the stage and the two shake hands before the orchestra begins to play.

"The behind-the-scenes part is a little bit different," Otto said. "Basically as concertmaster, you are kind of a liaison. A go-between for the conductor and the orchestra. It's especially important when it’s a guest conductor. Important to have an experienced concertmaster who can in a friendly diplomatic way, convey suggestions from the orchestra. It can be a delicate thing sometimes."

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The concertmaster is part of the first violin section (14 players) and is charged with ensuring the first and second violins (12 players) play as one.

"The goal is that each section plays as one unified whole and all sections play as one big instrument," he said. "We are playing at the same time and phrasing the same way and we all know where we're going with the music."

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In addition to keeping his group in sync, he also spends a good bit of time on bowings, which in this case, tell violin players which way their bow is supposed to go. Where it starts. Where it changes. So all their bows are in sync.

He starts working on bowings about two months before the first rehearsal.

"We'd quite literally poke each other's eyes out if I didn't do this," he said.

He said while the bows playing in unison are aesthetically beautiful to watch, there are musical reasons for it beyond looks. Otto said instruments sound different if musicians start on an up or down bow.

Another important member of the orchestra: the audience

Otto, who came to Nashville from The Cleveland Orchestra, says one thing he loves about Nashville is the audience. While outside the Schermerhorn Symphony doors on lower Broadway may seem like a more appropriate area for a party vibe, Otto says Nashville brings that energy to the performances.

"In Nashville what I really liked when I came here is it seems like a party," he said. "I saw nuns, giant men in cowboy hats, so much diversity… I loved it. It's a totally different vibe. It's as if people were coming in from the street to hear live music.

"It makes it a little bit more electrifying in a way."

He rejects the belief that classical music is as stuffy as old museums. So Otto said don't be afraid to clap during symphony performances. Enyoy yourelf. And remember: Audiences are crucial to memorable performances.

"The energy of so many people coming together and focusing; we react to the energy we are getting from the audience," he said. There’s a certain kind of interaction. You get a vibe. Certain energies you just feel."

Melonee Hurt covers music and music business at The Tennessean, part of the USA TODAY NETWORK — Tennessee. Reach Melonee at mhurt@tennessean.com, on X @HurtMelonee or Instagram at @MelHurtWrites.

This article originally appeared on Nashville Tennessean: Nashville Symphony's new concertmaster is in charge of this