Meet Our Musicians: Andrew L.
This post is part of our Meet Our Musicians collection, where we interview Continuo musicians about their experiences in music, performance, and their Continuo program.
Andrew Lee is in his fourth year at Northeastern University pursuing degrees in economics/mathematics and transportation engineering. He plays a variety of clarinets in several of the school's music ensembles. Outside Northeastern, he is a member of the Berklee Motion Picture Orchestra and is pursuing a piano performance certificate from New England Conservatory. Andrew's most interesting achievement is his growing collection of over 200 airline inflight magazines from around the world.
When did you start playing your instruments?
When I was four or five, my parents bought me one of those little toy pianos, and apparently I was soon playing little melodies by ear. I don’t remember if I asked for piano lessons or my parents suggested it, but I started lessons at age seven.
In middle school, we were forced to learn a new instrument in music class, and they let us try out a bunch before choosing one. Violin was painful on my neck. I couldn’t play the flute because it made me light headed. I’m pretty sure the trombone they gave me was broken. Clarinet, however, looked like a recorder, and I’d already played recorder before, so I was like why not. I was quite bad at clarinet for a long time, and thinking that piano was enough, I didn’t really care about it until high school. I am so thankful that I eventually came to my senses and began to take both instruments seriously, because they have each opened up such wonderfully different and complementary sets of musical opportunities
Piano will always be my first, and I guess “better” instrument for now, but it’s with clarinet that I’ve gotten to play at Symphony Hall and at an international jazz festival. Clarinet has also opened the door to the saxophone, and with these instruments I’ve been able to supplement the somewhat lonely life of a pianist by joining orchestras, bands, and countless other ensembles.
What drew you to Continuo?
Initially, I did CDAL with From the Top, and then Mai told me about Continuo. It was nice to play in places I usually wouldn't play and Continuo gave me an opportunity to continue to do that. With Continuo, you also meet a lot of new people. It’s one thing if you’re just playing with your friends, but with Continuo, you have the chance to get to know musicians of all ages from all over greater Boston; they're all very talented and pleasant to work with.
“When I first started, I would usually never volunteer to give a verbal introduction to a performance, but now, I’ve done it many times. And when I perform with new members, where it is their first time introducing, I can take the lead.”
Do you have a particular Continuo memory that sticks with you?
There is this one performance where we did an arrangement of the third movement of the Rach 2 symphony with the weirdest instrumentation of all time—clarinet, viola, and flute. One of the most beautiful movements ever, and someone had reduced it to these instruments, and the three of us played it in a senior center.
Any surprises that came out Continuo?
As a whole, Continuo is fun and quite laid back. It’s completely student-run, and that gives us a fulfilling sense of ownership over what we do. This is something we are doing ourselves with like-minded peers. Throughout my college career, I've done a lot of music and performed in many different settings. Continuo, however, has been unique, introducing me to audiences and communities that I would be unlikely to cross paths with otherwise. Also, as one of the oldest Continuo members, I’ve gotten to meet and collaborate with a lot of younger musicians in recent years, which has made me almost feel like I should be a mentor to them at times. It has helped me grow as a leader and given me opportunities to learn to take initiative and deal with that responsibility. I see it in the little things; for example, when I first started, I would usually never volunteer to give a verbal introduction to a performance, but now, I’ve done it many times. And when I perform with new members, where it is their first time introducing, I can take the lead.
“[Music] shouldn’t feel like a chore or something you have to do. It should be something you want to do, something you can speak through.”
Do you have any advice for young people in arts and leadership?
Involve yourself in things. Whatever it is you want to do, go ahead and do it. There's this quote often attributed to Mark Twain, “you will be more disappointed by the things you didn’t do than the things you did.” If you like music, never let it fall out of your life. For me, Continuo has been a great way to do that. It's not a huge commitment, but it provides performance opportunities. And keeps you honest about your practicing. And enables you to share music to new audiences. Another important thing is that music should remain fun. It shouldn’t feel like a chore or something you have to do. It should be something you want to do, something you can speak through. As an introverted person, music has been my opportunity to say things I wouldn't otherwise be able to say.
