The role of the first violinist in a professional symphony orchestra is rarely only to perform. The position of concertmaster, at the professional level, generally constitutes a wide range of responsibilities and activities, not necessarily restricted to the realm of music-making. The present research utilized interviews with five concertmasters of professional Brazilian symphony orchestras in order to respond to the following questions: What is the role of the professional concertmaster? What musical and educational experiences defined the paths of current professional concertmasters in Brazil? What is the scope of their responsibilities as concertmaster? Lastly, what are the expectations of these concertmasters for the future of their own careers, of their Orchestras and of professional Brazilian symphony orchestras in general? After a systematic categorization, twenty-eight professional Brazilian symphony orchestras were identified. The concertmasters of fifteen of these twenty-eight orchestras were contacted with an invitation to participate in a recorded interview. Ultimately, the invitation was accepted by two current and three former professional concertmasters. Analysis of the information gathered through the interviews was further expanded by an investigation into the careers of 16 additional professional concertmasters from various countries who were cited in the present research but not personally interviewed. Several trends were revealed within the life paths and professional perspectives of the concertmasters. Of the five concertmasters interviewed in Brazil, four received musical training outside of South America during their formative years. All five serve or served as music educators in addition to their orchestral work: three at the university level and two with younger students. Only one of the five interviewees passed through a strictly traditional audition process in order to assume the position of concertmaster. Of the 21 professional concertmasters about whom data was collected (including the five interviewees), at least sixteen held the position of concertmaster several times before assuming the role in a prominent orchestra. Five of the 21 concertmasters (including two of the five interviewees) eventually branched into the realm of symphonic conducting, while at least twelve of the 21 did not. Seventeen are or were employed as music professors at the university level. All 21 of the violinists cited within the present research performed solo and/or chamber music regularly throughout their orchestral careers. Ultimately, the interviewees emphasized the following four characteristics as the basic requirements of effective concertmastership at the professional level: (1) technical ability, (2) two-way respect of colleagues, (3) natural leadership/firmness, and (4) a supportive relationship with the conductor.

The role of the first violinist in a professional symphony orchestra is rarely only to perform. The position of concertmaster, at the professional level, generally constitutes a wide range of responsibilities and activities, not necessarily restricted to the realm of music-making. The present research utilized interviews with five concertmasters of professional Brazilian symphony orchestras in order to respond to the following questions: What is the role of the professional concertmaster? What musical and educational experiences defined the paths of current professional concertmasters in Brazil? What is the scope of their responsibilities as concertmaster? Lastly, what are the expectations of these concertmasters for the future of their own careers, of their Orchestras and of professional Brazilian symphony orchestras in general? After a systematic categorization, twenty-eight professional Brazilian symphony orchestras were identified. The concertmasters of fifteen of these twenty-eight orchestras were contacted with an invitation to participate in a recorded interview. Ultimately, the invitation was accepted by two current and three former professional concertmasters. Analysis of the information gathered through the interviews was further expanded by an investigation into the careers of 16 additional professional concertmasters from various countries who were cited in the present research but not personally interviewed. Several trends were revealed within the life paths and professional perspectives of the concertmasters. Of the five concertmasters interviewed in Brazil, four received musical training outside of South America during their formative years. All five serve or served as music educators in addition to their orchestral work: three at the university level and two with younger students. Only one of the five interviewees passed through a strictly traditional audition process in order to assume the position of concertmaster. Of the 21 professional concertmasters about whom data was collected (including the five interviewees), at least sixteen held the position of concertmaster several times before assuming the role in a prominent orchestra. Five of the 21 concertmasters (including two of the five interviewees) eventually branched into the realm of symphonic conducting, while at least twelve of the 21 did not. Seventeen are or were employed as music professors at the university level. All 21 of the violinists cited within the present research performed solo and/or chamber music regularly throughout their orchestral careers. Ultimately, the interviewees emphasized the following four characteristics as the basic requirements of effective concertmastership at the professional level: (1) technical ability, (2) two-way respect of colleagues, (3) natural leadership/firmness, and (4) a supportive relationship with the conductor.

The role of the first violinist in a professional symphony orchestra is rarely only to perform. The position of concertmaster, at the professional level, generally constitutes a wide range of responsibilities and activities, not necessarily restricted to the realm of music-making. The present research utilized interviews with five concertmasters of professional Brazilian symphony orchestras in order to respond to the following questions: What is the role of the professional concertmaster? What musical and educational experiences defined the paths of current professional concertmasters in Brazil? What is the scope of their responsibilities as concertmaster? Lastly, what are the expectations of these concertmasters for the future of their own careers, of their Orchestras and of professional Brazilian symphony orchestras in general? After a systematic categorization, twenty-eight professional Brazilian symphony orchestras were identified. The concertmasters of fifteen of these twenty-eight orchestras were contacted with an invitation to participate in a recorded interview. Ultimately, the invitation was accepted by two current and three former professional concertmasters. Analysis of the information gathered through the interviews was further expanded by an investigation into the careers of 16 additional professional concertmasters from various countries who were cited in the present research but not personally interviewed. Several trends were revealed within the life paths and professional perspectives of the concertmasters. Of the five concertmasters interviewed in Brazil, four received musical training outside of South America during their formative years. All five serve or served as music educators in addition to their orchestral work: three at the university level and two with younger students. Only one of the five interviewees passed through a strictly traditional audition process in order to assume the position of concertmaster. Of the 21 professional concertmasters about whom data was collected (including the five interviewees), at least sixteen held the position of concertmaster several times before assuming the role in a prominent orchestra. Five of the 21 concertmasters (including two of the five interviewees) eventually branched into the realm of symphonic conducting, while at least twelve of the 21 did not. Seventeen are or were employed as music professors at the university level. All 21 of the violinists cited within the present research performed solo and/or chamber music regularly throughout their orchestral careers. Ultimately, the interviewees emphasized the following four characteristics as the basic requirements of effective concertmastership at the professional level: (1) technical ability, (2) two-way respect of colleagues, (3) natural leadership/firmness, and (4) a supportive relationship with the conductor.