What’s It Like to Be a From the Top Fellow? Sophia Shao Reflects

From the Top’s Fellowship made me acutely aware of how closely I am and always will be tethered to music, leaving me more appreciative of the infinite possibilities that come with the identity of an artist.

Sophia Shao is a From the Top Fellow and appeared on Show 456. Hailing from New York, New York, Sophia, 16, has been studying piano with Natela Mchedlishvili since enrolling in Kaufman Music Center’s Special Music School at the age of five. She generously agreed to reflect on her experiences in From the Top’s Learning and Media Lab Fellowship. Thank you to Sophia for sharing your insights.

“I have found that having an identity as an artist is more important than having an identity as a musician. You have that higher calling. You don’t just have the level of service to your instrument, but to the idea of art. That keeps me fulfilled.”

The grid of faces across my screen nodded. 16 teenagers, bright with understanding, absorbed Maestro Teddy Abrams’ closing remarks from our third session of From the Top’s Learning and Media Lab Fellowship. This session had been centered around Abrams’ journey as a clarinetist, conductor, composer, and community member—the embodiment of “an artist’s life.” Over the course of 90 minutes, he shared his philosophy on why conductors should live in the city of their current orchestra, how to navigate burnout, and his mission to make classical music accessible to all. His sincerity and enthusiasm left me inspired and with renewed clarity. Since then, my definition of being an artist has transformed into something far more liberating than I had previously considered.

Screenshot of From the Top Learning and Media Lab Session with Teddy Abrams

I learned that I had been selected as a From the Top Fellow in July. Leading up to our first meeting at the end of August, the only thing I knew about the program was that it prepared aspiring musicians like myself for the professional music world. Over six sessions, I got to know 15 other musicians who were part of my learning cohort. Together we discussed the necessity of vulnerability in storytelling, received an introduction to music technology and production, and spoke with mentors such as Abrams. In addition to recording our individual performances and podcast episodes, the program included a one-on-one community engagement project, in which each of us brought a “concert experience” to someone unfamiliar with our world of music.

Sophia during her one-on-one concert.

For my project, I approached my childhood friend’s mom, who is a public high school teacher in New York. She knew some of the “big names” of classical music—Mozart, Beethoven, Chopin—and was eager to learn more. Her curiosity was hampered, however, when her daughter announced that she didn’t want to take piano lessons at an early age. When I invited her to participate, she instantly agreed. I performed two pieces for her: Florence Price’s Song Without Words in A major and Nikolai Kapustin’s Concert Etude Op. 40, No. 8. Both defy traditional assumptions of classical music, which was precisely what I wanted to share—there is so much to explore and enjoy beyond the canon. My guest loved it, commenting on the peacefulness of the Price and the industrial feel of the Kapustin—“noisy, like the city,” she described. As our conversation came to an end, she suddenly turned to me.

“Could you come to my school and perform? My students are so interested in music, but we don’t offer formal music classes. I’m sure they would love to hear you and other musicians.”

I promised her that it would happen.

Shortly after, I recorded my Beethoven Sonata in the studio and sat for an interview with Peter Dugan, who was a beacon of kindness, humor, and wisdom throughout the entire program. Everything about the process—setting up microphones, doing multiple takes, answering thought-provoking questions—was both exhilarating and efficient. I found myself thinking, “Imagine if this was what being a musician is,” and then grounding myself with reality. Like many others in my cohort, I often evaluate my future through the lens of passion and practicality. No matter how much I love music, I sometimes struggle to see it as a viable career option—yet abandoning it for another one of my interests would feel like falling into a sunk cost fallacy.

Sameer Patel. Photo credit: Sam Zauscher.

Our second guest artist, Maestro Sameer Patel, understood this dilemma instantly. He spoke candidly about balancing music with life’s other demands, sharing how he manages to be a parent, leader, and artist.

“Nothing in my life is certain,” Patel said. “You don’t have to have everything figured out, and that’s something I wish I knew when I was your age.”

Now that the Fellowship is over, I have taken these words of reassurance to heart, and have begun projects that could spark something transformative. I reached out to my school’s Dean of Music with the idea of continuing my community engagement project. I want to bring concerts to neighboring schools, introducing music to students who may never have attended a live performance of Beethoven or Shostakovich. He was vocal in his support, even suggesting we extend the invitation to middle schools across the city. I have since scheduled a meeting with my school’s administration to explore this possibility even more—collaboration that extends beyond just one musician to another.

Abrams reminded us, “You’re not just the future of the world in general, you’re going to be the people who care for and steward this art form that we love. Whether you’re doing it from the administrative side, the stage side, or the side of just loving music, you’re going to define how music is preserved and shared.”

From the Top’s Fellowship made me acutely aware of how closely I am and always will be tethered to music, leaving me more appreciative of the infinite possibilities that come with the identity of an artist.

Written by: Sophia Shao