facebook
twitter
linkedin
Dillon Scott (PYO ’22, current Curtis Institute of Music student, previous PMAY student) joins Philadelphia Youth Orchestra on March 1 at 3p.m. at the Kimmel Center’s Marian Anderson Hall as soloist for Bartók’s expressive Viola Concerto. The program concludes with Rachmaninoff’s Second Symphony, celebrated for its sweeping melodies and emotional depth.
Philadelphia Youth Orchestra
Sunday, March 1 at 3 p.m.
Marian Anderson Hall
Bartók: Viola Concerto
Rachmaninoff: Symphony No. 2
Tickets
Dillon Scott: A Young Artist’s Return to the Orchestra That Helped Shape Him
Why do programs like PMAY and PYO matter?
These programs have so many beneficial aspects to them that I couldn’t possibly list them all, but I think there are a few key ones that are worth noting. Firstly, I think that youth arts organizations and ensembles help to support the next generation of artists, audience members, and donors. I think that’s very special because whether they end up doing it professionally or not, they will take that appreciation for the art form with them, and together they will carry the torch forward into the coming decades.
I find pathway organizations like PMAY to be vital to the cultural and artistic life of America. The programs help support students to go out as ambassadors of their communities and their unique ethnic heritage, so that they may weave it into the vibrant tapestry of this art form
Now that you’re studying at Curtis, how did your time with PYO build on your musical foundation and prepare you for the next level?
Playing in PYO was the first time that I regularly had exposure to the symphony orchestra. It was a magical experience. I always loved listening to symphony orchestras, and so playing in one was truly a wonder to me. I always thought of an orchestra like a living breathing organism. Each musician contributes to their section, and each section contributes to the group as a whole. I think that analogy is really great when it comes to learning about leadership and collaboration.
How did studying and performing in Philly help shape you into the artist you are today?
It is so wonderful to have grown up and studied in Philly. Each of these organizations has a special place in my heart because I have such a wealth of memories from each. It’s wonderful to be studying close by because I can continue to strengthen these relationships and continue to build connections. In the last few years, I’ve returned regularly to lead workshops, teach lessons, give performances, and mentor young artists. It has been wonderful to be able to give back to these organizations in a special and unique way, but it has also been equally wonderful to have their continued support in these early stages of my career.
What does it feel like to come back and perform with PYO now as a guest soloist?
It’s quite surreal. I remember being in the orchestra watching the soloists play back when I was still a student in PYO. It was truly inspiring to see their conviction and their superb sense of artistry. I am so honored to be back again as a soloist and thrilled to be playing the Bartok concerto, which is a piece that is very special to me.
What do you hope current PYO musicians feel or learn when they see you perform with them?
I want to remind them that I was sitting where they were at one point, and I like them, experienced the same ups and downs of high school, college applications, and audition prep. I know that there is a lot of angst at that time because it is a time of great transition. But I encourage them to take it one day at a time and know that in the end, things have a way of working themselves out if you trust yourself and work with the opportunities that you are given and that you make for yourself.
What makes the Bartok Concerto special to you?
There are a few. Firstly, I remember discovering it when I was 11. I remember especially being entranced by the second movement. There was a special purity and spirituality to it that I had never heard before. It is also special because the violist who commissioned the concerto from Bartok, William Primrose, was one of the first viola professors at Curtis. In fact, he was my teacher’s teacher’s teacher. I really love the variety of sounds and cultural influence that the piece contains. There are elements of Western classical tradition that he was trying to adopt, then there are little references to Scottish music in honor of Primrose’s Scottish heritage, and most importantly, there is an unapologetic embracing of Bartoks hungarian musical voice. From the first phrase of the first movement to the calamity of the village dance in the last, he fiddles away festively and thrillingly. It makes you want to lean it at the times and tap your toes a few seconds later. It’s a brilliant work, and I can’t wait to play it with PYO.
