05/09/2026
Emeritus violinist Hernan Constantino was a member of our featured orchestra, the San Diego Symphony, for 35 years! We were able to ask him a few questions about the enormous growth he witnessed in the orchestra, and some memories he treasures from his time there.
- What is the biggest change you've seen in your orchestra over the course of your career?
Over the course of my career, the biggest change I’ve seen in the orchestra has been its evolution in both identity and connection to the community. When I first joined, the focus was very much on the traditional symphonic canon, performed at a high level, but within a fairly conventional framework.
The orchestra grew from a solid regional ensemble into a nationally recognized one. Expectations rose, from repertoire choices to guest artists to the level of polish demanded in every rehearsal. The musicianship deepened, and the collective sound matured into something unmistakably its own.
Over time, I’ve watched the orchestra become more versatile and outward-facing. The repertoire has expanded to include a wider range of composers and styles, from contemporary works to cross-genre collaborations. There’s also been a much stronger emphasis on engaging new audiences—through outdoor concerts, educational initiatives, and more accessible programming.
Another major shift has been in the culture within the orchestra itself. There’s greater collaboration, openness, and adaptability now. Musicians are not only performers but also ambassadors, educators, and advocates for the art form.
Perhaps most striking is how the orchestra has embraced innovation while still honoring its traditions. That balance, between preserving the past and staying relevant in the present, is something that has defined its growth, and it’s been incredibly rewarding to be part of that journey.
- What is your favorite piece or a piece you would have loved to play?
Any Mozart, Beethoven symphonies, new 20th century works as well as accompanying some of our great soloists today with whatever they are playing.
- What is it like to experience your orchestra from the audience perspective?Experiencing the San Diego Symphony from the audience side has been both strange and really special. It’s both familiar and completely new, like hearing a language you once spoke every day, now spoken back to you with a different kind of beauty.
What surprised me most is how different the balance and blend feel out in the hall. You spend a career trying to imagine what the audience hears, but it’s never quite the same as actually sitting there. Certain lines come through more clearly than I expected, and the overall sound has a depth and cohesion that you don’t fully experience on stage.
For so many years, my entire perspective was from inside the orchestra. When you’re on stage, you’re focused on details, accuracy, ensemble, the next entrance, counting rests, watching the conductor, listening across the ensemble, always thinking about how my part fit into the whole. Sitting in the audience, for the first time, I could just receive the music. I didn’t have to anticipate anything or prepare... I could simply listen. From the audience, you feel the arc of the piece, the energy of the room, the connection between the orchestra and the listeners. It reminds me why we do this in the first place.
It’s also emotional. I don’t just hear the music, I see the people. I know the musicians, their sound, their habits, even their personalities in the way they play. So it becomes this layered experience: part listener, part insider, part proud former colleague.
In a way, it’s given me a deeper appreciation for the orchestra than I had even while I was playing in it.
- Knowing what you know now, what’s something you would have told yourself in the early stages of your career?
Having retired from the San Diego Symphony after 35 years, I think one of the biggest things I would tell my younger self is: don’t be in such a hurry.
Early on, I was so focused on proving myself, playing everything perfectly, never missing an entrance, trying to meet every expectation. And while that drive is important, I think I missed some chances to enjoy where I was. A long orchestral career isn’t just about getting better, it’s about learning how to live inside the music over time.
If I could sit down with my younger self, perhaps backstage at the Jacobs Music Center before a rehearsal in the early days... and share what the next few decades would hold, the advice would be less about fingerings and more about the long game.
I would advise - protect your ears and your body early. Musicians are elite athletes, but we didn't always treat ourselves that way thirty years ago. My advice is to invest in a good high-fidelity earplug and a really good physical therapist now, not when it hurts. The transition to the Rady Shell and the renovated Jacobs Music Center brought a new level of "sonic power." To play into your 60s with the same vigor as your 20s requires a proactive approach to the "occupational hazards" of the stage.
I’d also remind myself to listen more broadly, not just to my own part or even my section, but to the entire orchestra. The more I learned to hear the full texture, the more meaningful and collaborative the experience became.
Another thing is, trust that your voice matters. When you’re younger, it’s easy to feel like you should just blend in and not take up too much space. But some of the most rewarding moments came when I leaned into the musical line and really contributed something personal.
And maybe most importantly, I’d say, take care of the relationships. The people around you ... those are the ones you grow with, struggle with, and celebrate with over decades. That sense of community ends up being just as important as the music itself.
In the end, I’d tell my younger self that it’s not just about building a career ..... it’s about building a life in music.
📸: Gary Payne
