We recently connected with Evin Blomberg and have shared our conversation below.
Hi Evin, thanks for joining us today. What’s been the most meaningful project you’ve worked on?
One of the most meaningful projects I’ve worked on has been starting my organization, Soli Music Society. Performing has been a part of my life since I was very little, so I never even considered what life would be like without it until the COVID-19 pandemic. When the pandemic first hit, performance organizations shut down, and stages all around the world went dark. Surprisingly, it affected a much broader population than I could have ever imagined – people everywhere were struggling with this huge void in their lives that had previously been filled with culture, arts, and human connection in general. I don’t mean just the act of going to see a concert at a concert hall; I mean every little meaningful interaction from that experience that added tremendous value and meaning to our lives.
As performances and live events started up again, there was an overwhelming response from musicians and audiences worldwide. Music is a language that everyone can understand, but I realized that not everyone feels that classical music is accessible. I want to change that. Everyone should have the opportunity to be inspired by classical music regardless of age or background. I started the Soli Music Society because I wanted to create a platform for musicians to be able to play pieces they love for all kinds of audiences throughout the community, creating even more opportunities for classical music to reach people and impact their lives. I spent a lot of time talking to members of the community and figuring out ways to spread classical music throughout the community and reach more people with smaller performances, and in 2022, the Soli Music Society was born.
Soli Music Society is now in its second season, and the feedback from our first season has been incredibly positive. Listeners who have always wanted to experience Mozart or Bach for the first time but were too intimidated by the traditional concert experience finally had the opportunity to do so in the comfort of their own neighborhood. Most of our audiences attend performances on a regular basis now with friends in tow, eager to share their experience and connect over music. We’ve reached hundreds of kids in underserved neighborhoods, bringing classical music directly to them through fun and creative performances. It has given me great confidence that an artist’s passion CAN be enough, given the right tools and means to express themselves. In these times of confusing narratives and constant criticism, it is easy to feel insecure and unsure about our actions and words especially in an art form that relies on feelings much more than explanations. But I am positive that great music can always stand on its own – and when it’s made more accessible to all, it should require no explanation at all.
Awesome – so before we get into the rest of our questions, can you briefly introduce yourself to our readers.
My name is Evin Blomberg, and I am a violinist in the Cincinnati Symphony Orchestra and the Founder & Director of the Soli Music Society. I started playing the violin just before I turned three, and music has been a huge part of my life. I even dropped out of high school to have more time to practice the violin; thankfully it all worked out! I ended up passing the CHSPE (California High School Proficiency Exam) three years early and started my undergraduate studies at The Colburn School Conservatory of Music in Los Angeles, California at the age of 15. I studied there for six years, earning my Bachelor of Music degree and Artist Diploma.
After graduating from Colburn, I moved to New York to earn my Master’s degree from the Manhattan School of Music, where I studied with world-renowned violinist Pinchas Zukerman. Studying with Mr. Zukerman was incredible. His passion for music and violin playing inspired every single student, and he pushed every one of us to try to become the best version of ourselves. When my time in New York was finished, I was searching for the next step and found myself in London, England. I was freelancing in the London Philharmonic Orchestra, soaking in as much music and experience as I could, and eventually won an audition for both the London Philharmonic Orchestra and the Philharmonia Orchestra. But after two years I wanted to return to the U.S. and won an audition in 2019 for the Cincinnati Symphony Orchestra, which is where I currently work.
I am so thankful for the path that has led me to where I am today. I am very grateful that I get to do what I love, and it brings me so much joy to serve my community through music. In addition, I have the opportunity to explore other creative musical projects outside of my position with the symphony, and occasionally I also get to travel and perform as a soloist or chamber musician in other cities.
Is there something you think non-creatives will struggle to understand about your journey as a creative? Maybe you can provide some insight – you never know who might benefit from the enlightenment.
There is an incredible amount of sacrifice and work behind-the-scenes that is required throughout the life of a musician. The side that everyone else sees – the performance on stage – is just the tip of the iceberg. I know many professional classical musicians who begin preparing for performances months and sometimes years in advance, studying scores, researching composers, analyzing recordings, practicing difficult techniques, working on memory, keeping lungs/arms/hands/minds in shape… the list goes on. In most cases, the preparation begins years earlier even, if you take into account learning pieces for the first time with a trusted mentor, dissecting structure and harmony in theory classes, understanding historical and performance context, and spending thousands of hours in a practice room before even entering the professional world (where it doesn’t get any easier). But like anything, the challenges and difficulties are all worth it when it’s something you love. I spent my childhood listening to classical music all the time, I was absolutely in love with it. When I saw a performance of the Tchaikovsky Violin Concerto live for the first time as a little kid, I felt like my life was changed and I listened to the entire concerto on loop for weeks straight. When I saw Puccini’s ‘Madama Butterfly’ as a college student in New York, there were tears streaming down my face at the end of the performance after the experience of hearing Puccini’s music live for the very first time. Experiences like these helped keep me going through all the challenges, because I hoped to someday impact other people’s lives through music the same way.
How can we best help foster a strong, supportive environment for artists and creatives?
Listen to what artists have to say. Be shamelessly curious and learn about their craft. In order for society to be able to enjoy the fruits of creativity, artists and creatives have to have the space and autonomy to be able to create something special in the first place. Often in the arts world, artists are directed and managed down to rather than supported and encouraged to align themselves with missions and values in their own creative ways. Giving artists a voice is one way that society can help support artists.
Contact Info:
- Website: evinblomberg.com
- Instagram: evinblomberg
- Other: solimusicsociety.com
Image Credits
St.Blanc.Studios