Thirty years in the principal chair can look effortless from the audience, but it rarely feels that way from the stage. We’re joined by cellist Carter Brey as he steps back and takes stock of a remarkable run leading the New York Philharmonic cello section and why he’s choosing to retire at the end of the season while his playing still feels strong.
We get into what most people never see: how long it can take to truly feel “at home” in a top orchestra job, how you learn to handle pressure and politics without losing your musical center, and how the weekly reset of new programs forces you to stay sharp. Carter also shares how he keeps perspective when repertoire repeats, and why the best nights can be the quietest ones when the orchestra’s precision and trust are on full display.
Carter walks us through the very different worlds of Kurt Masur, Lorin Maazel, Alan Gilbert, Jaap van Zweden, and Gustavo Dudamel, and what adapting to each music director teaches you about musicianship, preparation, and leadership. We also talk about defining experiences, including the unforgettable 2008 Pyongyang concert, what he’ll miss most about his “second family,” his retirement plans for travel and sailing, and even the decision to sell his 1754 Guadagnini cello while viewing instruments and positions as things we steward for the next person.
If you care about orchestra life, principal string leadership, professional musician longevity, and the psychology of performing at a high level, this conversation is for you. Subscribe for more, share this with a musician friend, and leave a review so more players can find the show.

For more information on Carter: https://www.nyphil.org/about-us/artists/carter-brey/ 

You can also find Carter on Facebook

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