February 2025InterviewsIssues

Egor Egorkin Artist Interview

Egor Egorkin is the Solo Piccolo of the Berlin Philharmonic and Second Prize winner, International Theobald Böhm Competition (2011).


How did you come to specialize in playing the piccolo, and what drew you to this instrument, especially in the context of a prestigious orchestra like the Berlin Philharmonic?

My first lessons in Weimar were with Benjamin Plag, who truly inspired me to pursue the piccolo. He even said, from his perspective, that I could one day play in the Berlin Philharmonic. His belief in me gave me the determination to follow this path. My first teacher Vladimir Ushakov, then Olga Cherniadjeva, Wally Hase, Michael Hasel, Jelka Weber, Andreas Blau, and Emmanuel Pahud, I am grateful for every moment of our lessons.

Being a piccolo player in such a renowned orchestra is a dream for many musicians. What was your journey to joining the Berlin Philharmonic like, and what does it mean to you personally and professionally?

Personally, I never dreamed of such an achievement. I simply practiced diligently, avoided bad habits, and steered clear of anything that could negatively impact my skill. Believe it or not, I have a strong belief in God, and practicing my faith has shaped my personality and, I believe, my destiny. I am deeply thankful to the people who supported me on this long journey: parents, teachers, colleagues, my wife. It is not an easiest job to do, so having a solid inner and outer support is vital.

The piccolo is often considered one of the most challenging instruments due to its small size and high pitch. What techniques and practices do you employ to maintain your proficiency and accuracy on the piccolo?

Playing the piccolo is undoubtedly challenging, especially when it comes to intonation. Due to its high-pitched tone, the tuning A is approximately 442 Hz, and in our working range, we reach up to 3520 Hz. A fluctuation of just 10 cents in lower A is about 44 Hz, but for a piccolo player, it becomes a drastic 352 Hz adjustment. This makes playing in tune with other instruments a daylight nightmare. However, I’ve developed my strategies to manage:  Intonation is reaction plus knowledge of focal point of tone, which can be found by playing whistle tone.
Nose breathing to maintain a focused embouchure helps tremendously!

Can you describe some of the unique challenges and opportunities that come with playing the piccolo in a large orchestra and how you ensure your instrument's sound stands out while blending harmoniously with the ensemble?

A unique challenge for me is adjusting to other players in ensemble settings. The piccolo naturally stands out because no one else is in our range, around 4 kHz. Hitting the focal point of a whistle tone helps achieve easy resonance, making sound production relatively trivial. The true challenge lies in finding the right mood, color, and articulation for the music, even with this small piece of wood.

The Berlin Philharmonic is known for its innovative and experimental approach to classical music. Could you share some experiences where you've had the chance to explore new and unconventional aspects of piccolo playing within the orchestra?

While rehearsing Mahler’s Symphony No. 1, I encountered a trill between A and H (A and B), which is typically played using trill keys but often sounds like A to B♭. I believed there had to be a better solution, and I discovered one. By using an unconventional fingering—placing the right-hand index finger (2) onto the key for the 4th finger of the left hand—I was able to synchronize the movement better. This resulted in a clearer A to H (B) trill. A small, unconventional detail, but it works.

Your role involves being in the spotlight for solos, but also blending seamlessly with the orchestra. Can you share your thoughts on the balance between being a soloist and a supportive ensemble player within the orchestra?

The most enjoyable part of playing in a large ensemble is listening and reacting. Whether doubling or soloing, I aim to enjoy the process as much as possible. I’ve recently realized how clear it becomes when someone is trying hard to impress versus genuinely enjoying the music. The latter involves more risk, as it requires letting go and immersing yourself fully in the music. This, I believe, is my current philosophy on performing.

Your role in the orchestra requires excellent teamwork and communication with other musicians. How do you build rapport with fellow orchestra members, and how important is collaboration in achieving musical excellence?

Communication is essential. We often adapt to each other’s playing during rehearsals, and most issues resolve themselves in that phase. If there’s any inconvenience, it’s easy to simply ask someone to play together or offer encouragement to those who need it. Supporting one another goes a long way.

Playing the piccolo requires immense breath control. Can you share some of your techniques for developing and maintaining your endurance, particularly during longer pieces or demanding performances?

I’ve recently started practicing nose breathing as much as I can, even during workouts at the gym. I think it’s an underrated tool that keeps us calm. Contrary to popular belief, deep breaths prepare the body for life-saving activities and raise adrenaline. A prolonged exhale, on the other hand, helps us stay calm and refreshed. It’s a great example of how less can be so much more.

Beyond your work with the orchestra, are there any personal or collaborative projects you're particularly excited about, or any educational initiatives you're involved in to inspire future piccolo players?

Our piccolo community has reached a critical mass over the last couple of years, and I’m grateful to everyone who follows me! I also enjoy creating electronic music as a part-time job. Over the years, I’ve made TV jingles, sound-designed shows, mixed songs, and composed music.

As a piccolo player in one of the world's leading orchestras, you're likely a source of inspiration for aspiring musicians. What advice would you give to young piccolo players aiming to achieve a similar level of success and recognition in their careers?

Be yourself. Find what you love and develop it—the energy will follow. Have your own opinions, and if you don’t yet, take the time to look inward. Your taste is unique and deserves exploration. Knowing yourself is the hardest work but the only path to happiness, in my opinion. Gratitude for what you have also helps maintain sanity in this overwhelming world of constant connection, perfect appearances, and an endless flood of information. I’ve recently started meditating again—just sitting for 10 minutes, observing my thoughts as they arise, and returning to the present. This simple act helps me reconnect with my mind, the only tool we have to perceive the outer world.

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