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29 Jun 2017

Reaction: Pélleas et Mélisande at Garsington Opera 2017

29 Jun

2017


Andrea Carroll as Mélisande, credit Clive Barda

This June the Philharmonia made its Garsington Opera debut in a new production of Debussy's Pélleas et Mélisande. Here are some of the reactions from across the music world:


"The Philharmonia`s playing is glorious"

Tim Ashley, The Guardian



Andrea Carroll as Mélisande and Paul Gay as Golaud, credit Clive Barda


"Under Jac van Steen’s baton the Philharmonia created exquisite soundscapes in the orchestral interludes and punctuated the vocal lines adroitly"

Claire Seymour, Opera Today



"Rarely has this extraordinary score revealed such exquisite beauty and yet equally hit home with such devastating power"

George Hall, The Stage



Andrea Carroll as Mélisande and Jonathan McGovern as Pélleas, credit Clive Barda


"Even those far from being ‘Pelléastes’ would relish Jac van Steen’s direction of the Philharmonia Orchestra"

Melanie Eskenazi, Music OMH


26 May 2017

Discover the MMSF Instrumental Fellowship Programme

26 May

2017


The Martin Musical Scholarship Fund, administered by the Philharmonia Orchestra, has given invaluable support to countless young musicians since 1968.​ Ahead of the Young Artist Showcase Recital given by recipients of the Philharmonia MMSF String Fellowships on 1 June, cellist Yaroslava Trofymchuk describes her time spent as a member of the programme. 

Experience is one of the fundamental ways we learn. One can study the theory of how things work but nothing compares to the knowledge gained through a practical approach. This principle holds true for music just as much as in other aspects of life.

I feel incredibly privileged to have this opportunity to work with such an orchestra as the Philharmonia as part of my Fellowship scheme. There are so many things that you don’t learn at college and that are not written in books, things that you pick up just from being part of the ensemble - each orchestra has a different ‘set of rules’: a certain way of playing, of moving, even turning pages in a right way. As a result, with some groups you can feel restricted, worrying about following the rules rather than being free to enjoy the music.

What I find incredible about the Philharmonia Orchestra is that I don’t feel like this. It somehow works so naturally and all the energies from the different musicians flourish organically into a unique music making experience. As I am not currently a full-time member of an orchestra, it’s wonderful that I’m able to feel so comfortable here, playing side-by-side with such excellent musicians – I’m immensely grateful for all their support and for making me feel so welcome!

While the experience of being part of such an organisation is priceless, the Fellowship programme, in fact, goes even further. All of the Fellows have wonderful mentors from the orchestra and receive regular coaching sessions with them, with an emphasis on orchestral repertoire. This has been one of the most fascinating aspects of the programme, as it has given us the chance to gain in-depth knowledge on orchestral music, beyond the more soloist-oriented focus of typical instrumental teaching. We even had the chance to perform in a mock audition! It gave us both insights into the professional audition process at an orchestra, as well as giving us the chance to play through our audition pieces with immediate feedback from the panel.



As part of our Fellowship we perform in some fantastic recital opportunities as well as in chamber concerts. I’m really looking forward to our next performance, at the Royal Festival Hall, where we’ll be playing works by Kodály and Janáček - I’d like to give an introduction to one of my favourite works in the programme, 9 Epigrams by Zoltán Kodály. Originally written in 1954 for two voices (soprano and alto) and a piano, the composer wrote in the score that it could be performed on string or wind instruments, transposed an octave down or up and even performed in a different order, giving us lots of freedom to create our own interpretation of the music.

We transcribed seven of the Epigrams for cello and double bass with a piano and slightly changed the order, placing the lively fifth movement as an interlude between other movements.

Hazaszeretet (Love of my country)
Altató (Lullaby)
Tavasz (Spring)
Gyöngyvirág (Lily of the Valley)
Felho (Cloud)
Tavasz (Spring)
Bánat (Sadness)
Nyár elé (Approaching Summer)
Tavasz (Spring)

The rather unusual register of the lower instruments brings something very earthy and human into the sound. Each movement is about 1 minute long and has its name-character. In a very impressionistic manner the music draws pictures from someone’s very simple life in the countryside, with its dreams, love and sadness.  
 


31 Mar 2017

Principal Guest Conductors: Reaction

31 Mar

2017

Yesterday we announced our two new Principal Guest Conductors: Jakub Hrůša and Santtu-Matias Rouvali. Here is some of the reaction we received from across the music world:
 







 

Classic FM kindly made a splash, featuring Hrusa and Rouvali in last night's #FullWorksConcert:



 

Finnish publications picked up the news, and Finnish Music Quarterly published a feature on Santtu-Matias Rouvali:




30 Mar 2017

Meet Jakub Hrůša

30 Mar

2017


 

The Philharmonia Orchestra has appointed two internationally acclaimed conductors, Jakub Hrůša and Santtu-Matias Rouvali, as Principal Guest Conductors.

In this film, meet Czech conductor Jakub Hrůša, a regular guest conductor with the Philharmonia since 2011 and now part of our new-look artistic team.

Hrůša and Rouvali take up their roles at the beginning of the 2017/18 Season. Both artists will conduct several concerts a year – and contribute to the programming for the Orchestra’s major series – in the Philharmonia’s London Season at Southbank Centre’s Royal Festival Hall, as well as in concerts across the Orchestra’s UK programme and internationally.

Hrůša (35), hailed in a recent Arts Desk profile as “a leading light among the younger generation of conductors”, has a wide-ranging repertoire, with the music of Central Europe a particular focus. He describes the Philharmonia as "one of my absolutely favourite musical ensembles worldwide. Every single concert we have experienced together since my debut in 2011 has been special in all aspects – the programming, the atmosphere and, most of all, the quality of the music-making." 

He Continues: "I feel truly honoured that I can become a member of this remarkable artistic institution under the inspiring leadership of Esa-Pekka Salonen. To become Principal Guest Conductor and to be in regular touch with the Philharmonia Orchestra’s musicians, and the whole team around, as well as with its public, is definitely one of my dreams come true.”

Jakub Hrůša next conducts the Philharmonia on 6 and 7 April, in London and Basingstoke. See details of all his concerts with the Philharmonia here


30 Mar 2017

Introducing Santtu-Matias Rouvali

30 Mar

2017


 

The Philharmonia Orchestra has appointed two internationally acclaimed conductors, Santtu-Matias Rouvali and Jakub Hrůša, as Principal Guest Conductors.

In this film we introduce Finnish conductor Santtu-Matias Rouvali, whom we met during a trip to Finland in February, and who gives us his thoughts on joining the Philharmonia as Principal Guest Conductor.

Hrůša and Rouvali take up their roles at the beginning of the 2017/18 Season. Both artists will conduct several concerts a year – and contribute to the programming for the Orchestra’s major series – in the Philharmonia’s London Season at Southbank Centre’s Royal Festival Hall, as well as in concerts across the Orchestra’s UK programme and internationally.

Santtu-Matias Rouvali (31), is one of the most exciting young conductors working in the world today. He has conducted the Philharmonia in concerts across its UK residencies. In his debut with the Philharmonia at Southbank Centre’s Royal Festival Hall in January 2016, Rouvali conducted the Second Symphony of his Finnish compatriot, Sibelius, alongside Rolf Martinsson’s Trumpet Concerto, with Håkan Hardenberger as soloist. “He is the real thing: music unmistakably flows from him,” wrote The Sunday Times.  
 
Rouvali describes the Philharmonia as "a perfectly-shaped orchestra. Its players can pick up any music, are always prepared and technically very skilful. There are so few orchestras around the world who can get close to that. Now I can conduct them: what more could I wish for?"  

He is also looking forward to being a part of the Philharmonia's new-look artistic team: "To be in London with Esa-Pekka Salonen as Principal Conductor is something I can’t wait for. He is a very rich-minded artist, with lots of ideas, and I want to be a part of that. I am looking forward to many future adventures with the Philharmonia.”

Rouvali conducts the Philharmonia in a sold-out Sunday matinee on Sunday 23 April 2017. Following a pre-concert talk in which he speaks to the Philharmonia’s Principal Trumpet, Alistair Mackie, Rouvali conducts The Planets and Elgar’s Cello Concerto, with Alban Gerhardt the soloist. Looking ahead to 2017/18, Rouvali conducts Ravel’s arrangement of Mussorgsky’s Pictures at an Exhibition on 5 October 2017.


30 Aug 2016

Universal Notes

30 Aug

2016


Bangalore, India, December 2015. A blog by Digital Producer, Marina Vidor.  

Things are not going according to plan. Catastrophic flooding in Chennai forced the change of our destination at the last minute to Bangalore. We’re in a beautiful hotel that has also suffered minor flooding and the conference room they promised us isn’t available. All 10 of us have to pile into a hotel room.

They have moved the king-sized bed out. I’m not sure how they did this, but it’s done. I have just about managed to set up two cameras and some mics without tripping over anyone. We have all left our shoes, bags and other belongings in the small corridor. The elegant Jayanthi Kumaresh, unfazed, has settled comfortably on the floor and is tuning her elaborate stringed instrument, the saraswati veena, while her pupil sits beside her attentively, ready in case she needs anything. Jayanthi is dressed in a stunning sari, the colour of plum, garnet and strawberry, alternating with gold thread that shines. We all group around her in a semi-circle, and so another workshop begins. The crowded, unusual surroundings melt away as the music starts. Everyone plays for each other and Jayanthi teaches the group a composition she and her husband, the violinist, Kumaresh, have written. The tune gets passed around and improvised upon, the musicians becoming more and more fluid on each turn.

I’m here to document (as an equipment-laden fly-on-the-wall) a unique trip for our musicians, a crash course in Indian classical music. Over eight days, Philharmonia members Samantha (Sam) Reagan (2nd Violin) and Samuel (Sam) Burstin (Viola), along with cellist Matthew Barley and composer Fraser Trainer will take part in a series of workshops with a dozen of India’s great classical musicians. We’ll meet flutists, vocalists, percussionists and players of a vast array of stringed instruments.

Conversation ebbs and flows naturally as the session with Jayanthi wears on. Matthew asks her if she ever gets tired when playing long pieces often at a very quick tempo. Tentatively she replies, “Yes… I do,” and she laughs. “That’s the spiritual angle,” she continues, and describes that when she is playing she is actually breathing at a different, slower rate, almost as if she were meditating. It’s a technique she learned so young that she doesn’t remember when it became second nature. “You ask me if my hand hurts. In that statement we made clear that my hand is not me. So my hand may get hurt, but I shouldn’t. Now what is ‘I?’ It’s not my hand, it’s not my body. My mind tells me my hand hurts, it’s distracting me away from the music. But I shouldn’t get distracted, so my mind is not me. And my body is not me. So then what is ‘me?’ That is the supreme consciousness, which is the breath. And that is why we breath slowly when performing, so that supreme consciousness makes sure that it’s all fine.” Discussions like this continue into the night over dinner.

The Philharmonia has partnered with Darbar, the UK’s premier festival of Indian classical music, to make this extraordinary project happen, with funding from Arts Council England and the British Council as part of their Reimagine India fund. Darbar’s director, Sandeep Virdee, is leading our tour of the finest Indian classical music can offer, with stops in Bangalore and Mumbai. Our musicians will learn about the Carnatic tradition from South India and the Hindustani from North India and learn how pieces are constructed and improvised. It will be a lot to absorb and probably quite overwhelming, but this is also a huge privilege and everyone knows it.

The big struggle is of course improvisation. Western classical musicians are not usually encouraged to improvise during their studies, which is why many find it difficult and even terrifying to try it. Sam and Sam have come on board because they want to challenge themselves to work outside their normal comfort zone of the daily orchestra rehearsal and concert. They’re highly experienced musicians, but neither has pushed themselves this way before, especially not in front of a steady stream of virtuosic musicians from a tradition where improvisation is central. Matthew Barley, a cello soloist who has worked quite a bit in India and well beyond the normal remit of Western classical music, will help our musicians navigate this new path, sharing his knowledge and tips and acting as a bridge between the two traditions. Composer Fraser Trainer, who has worked closely with Matthew for years, will gather material on the trip, eventually putting together a piece that will be premiered at the 2016 Darbar Festival in September at Southbank Centre. They are hoping to create a new style of music that doesn’t compromise the strengths of Western and Indian classical music. It’s a goal to move away from jam sessions and fusion styles and really push to create something fresh and meaningful. I admire this courage and I feel privileged to be on this journey with such an ambitious team.


The big struggle is of course improvisation. Western classical musicians are not usually encouraged to improvise during their studies, which is why many find it difficult and even terrifying to try it.


30 August 2016

As we approach the Darbar Festival, which our Universal Notes ensemble will open in a few weeks, I relish looking back to our trip to India. The colours, traffic, noise, food, music and amazing musicians we met stand out vividly in my memory and are being brought back to life as I trawl through hours of footage. (Keep your eyes peeled for a short film on our trip coming out in early September.) As I watch, it’s clear that everyone understands each other on a deep, musical level, but there is also a real appreciation among the group that they come from distinct musical worlds and traditions. I see furrowed brows as our musicians struggle to remember a melody they just learned, and laughs of surprise and relief when a group improvisation comes together beautifully as people start finding their musical voice. In one session sitar player Niladri Kumar nods in approval as Sam Burstin plays a Bach extract on his viola, deeply moved. Everyone gets it, and they are working hard to meet somewhere in the middle, to find those universal notes.

For the final performance we have added two more Philharmonia musicians: Michael Fuller, bass, and Jennifer McLaren, clarinet. Coming over from India for more workshops ahead of the concert are three musicians we met back in December: Rakesh Chaurasia, bansuri, Niladri Kumar, sitar, and Jayanthi Kumaresh, saraswati veena. Workshops in London ahead of the concert will bring this new piece together. We’re all excited to see how the final piece will emerge and hope you will join us on 16 September at Darbar.

Universal Notes, Friday 16 September 2016, 6.30pm, Royal Festival Hall, Southbank Centre, London. http://www.philharmonia.co.uk/concerts/1632

Marina Vidor is the Digital Producer for the Philharmonia Orchestra. She looks after the Orchestra’s prolific film programme. Watch more on our YouTube channel, and subscribe for the latest films: https://www.youtube.com/user/PhilharmoniaLondon