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[Music]

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good afternoon everyone welcome to the amici ensemble’s second pandemic video

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we are enjoying putting these together for you but really would we would rather be playing live concerts to a live audience today

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we’re going to do something a little different we would like you to stay on after we finish playing the music

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and listen to a chat a conversation amongst all the musicians that are going to be on this particular program

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and we’ll we will be talking about the music and about what it’s like to be a

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musician in this kind of pandemic that’s going on now

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and then we would like you to sign on to our youtube channel and

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subscribe to it and if you like please give a donation to amici

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now you’re probably wondering why we chose such a title as goulash music for this concert

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well if you have been to that part of europe where you’ll find prague and bratislava and budapest

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you’ll notice when you go into a restaurant there is one dish that is particularly easy to find and always taste good no

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matter where you are and that’s gula it looks the same on every menu no

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matter what language it’s in and the two composers that we are

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playing today were both from that area of europe so we just thought it was logical to call it

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goulash music now one person who would really have

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appreciated the humor in that is our dear good friend violinist

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johannes and beric he had a particularly good sense of humor and i can hear him laughing right

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now sadly johannatan passed away just a few weeks ago

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coincidentally he was the violinist on the recording we did of the duchenne auntie sextet that we

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are playing today and he was also the violinist when we played the fibush

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quintet for the first time so we would like to dedicate this performance to uhanathan barrack

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jonathan we are thinking of you when we play today

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[Music]

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so

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[Applause] [Music]

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foreign

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[Music]

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[Applause]

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um [Music]

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do

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[Music]

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[Applause]

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[Music]

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so

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[Applause]

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hmm

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[Music]

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[Applause]

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[Music]

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so [Music]

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you just heard the first movement of the quintet piano quintet by czech composer shtango fibich

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now phivitch was not as famous as metana or as dvorak but he made a name for

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himself in chamber music and he was very far thinking and especially in this piece he combined

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wind instruments with string instruments and the piano to create orchestral colors within

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uh chamber music uh also phoebic wasn’t exactly his music didn’t have the

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the particular bohemian or czech character only maybe because his one side of his

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parentage was was german so he was very influenced by by brahms and schubert and i think the

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movement you just heard is influenced very much by brahms now the second movement

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is a scherzo and he says that it should be performed with violent humor please enjoy

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so

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[Music]

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um [Music]

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um

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[Music]

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um [Music]

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um

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so

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[Music]

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so [Music]

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hey

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[Music]

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um

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[Music]

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foreign

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[Music]

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so

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so

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is [Music]

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while earth’s dog natney is considered one of the founders of musical life in hungary he was not so interested in

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studying hungarian folk melodies nor avangard 20th century techniques

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his music is more in the tradition of liszt mendelsohn and brahms we are going to

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play for you the dog nanya sexted in c major from 1935 the last two movements titled allegro

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consentimento and finale allegro vivace and they are played without interruption

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[Music]

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so

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[Music]

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foreign

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[Applause] [Music]

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me

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foreign

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hey

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[Music]

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so

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[Music]

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[Applause]

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foreign [Music]

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um

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[Music]

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foreign

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uh [Music]

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so [Music]

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so

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so [Music]

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do

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[Music]

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it

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[Music]

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so [Music]

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[Applause] [Music]

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do [Music]

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so [Music]

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so

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[Music]

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[Applause]

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[Music]

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[Applause]

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[Music]

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so [Music]

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[Laughter] thank you very much for listening and

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please join us after the concert for a chat with all the musicians

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hello and thank you for joining us for michi chamber ensemble’s post concert chat with our goulash music artists

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i’m kaya amichi’s executive director and it’s my privilege to welcome our phenomenal guest artists jonathan

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crowe neil deland alejandro valdepenas and of course

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amici’s court stick directors joaquin valdez david hetherington and suresh krajen for

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today’s chat now in the introduction today we heard a little from david

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about our inspiration for this concert title and how we chose this music

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but through perhaps could you elaborate a little bit for us on this and what you’d like the audience to know

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about the program today uh yes um why goulash music uh

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partly because uh amici always we always think outside of the box when

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we plan our programs when we think about program concepts and uh even the concert concert titles

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and uh we thought with such eclectic music uh that that we played

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uh at the concert uh which really diverts us from from uh one minute from

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from gypsy rhythms to to a waltz to uh bohemian feel to the music

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uh one thing that unites humanity is good music and the

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other thing is good food so we thought why not combine uh those two and uh let the title reflect

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that and i really hope uh you heeded uh amici’s advice

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to have a good delicious plate of gula soup ready uh before the

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concert to enjoy it i forgot to mention that the other thing you can always see on a menu

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in that part of europe is it’s jager schnitzel that’s another thing that i always like to order because it’s

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uh you know what it is and it’s always the same no matter what country in europe you are

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so everybody can enjoy that food and everybody can enjoy this music right yes i’m glad you didn’t suggest

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that for the title though no i don’t think okay good

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david maybe you could elaborate for us on the horn you you mentioned once that you love the sound of the horn

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in the dakiani piece can you share perhaps a little bit about amity’s history with these pieces and

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and why it’s meaningful for us now to be friends again i don’t know whether neil uh would

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realize that i loved the horn so much but having played so many years in the toronto symphony

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the uh the cellos and the horns are often sharing all the best tunes so it’s great that

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the horn can always be in the background supporting the cellos when they’re playing the major music

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and you better explain that david okay

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well yes that’s something that that comes up from time to time you know when we were are rehearsing whether in chamber music

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or in orchestral situations balance is always the big big thing and of course string players

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are always complaining that the brass players are too loud but in this case we’re equal aren’t we

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neil we’re equal in chamber music yeah but when we when we put together our uh

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i’ll let that one go uh when we put together our immediate programs we’re

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looking obviously for music that as sir said was his eclectic and also has many different kinds of

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instrumentation so uh there isn’t that much repertoire for clarinet cello and piano i think we’ve played and

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recorded just about all of it and uh so we uh we very early on

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thought well the horn would be great and the dhaknani sextet which we just played uh is one of the

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earliest recordings we did with horn and then later on we discovered the the fibush

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and neil has played that with us before and we thought great we’re going to get him in and get

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him to play the whole program so it was also great to uh you know we

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got the viola in there and we made this exciting discovery that uh there is another

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fabulous violist in our midst and the person of alejandro paul de penis who is a

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definitely related to our clarinet player so it was great having you alejandro

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thanks for having me there’s there’s a little danger here right i have lucky and you’ve got another sounding cello that’s right i have two songs

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the other one please uh he’s associate principal in the calgary philharmonic on channels so we sent him home mid-september to go

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back to work so he was with us for a while so we were all we were all living together during the pandemic

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which was most interesting good discussions at dinner and uh because we were all very vocal right so

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nobody stands down which is great in our family so i was and he’s a great cook so if you want a

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good steak jose is the one it was so good you could do lash we’re gonna have to drive actually

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in retrospect how does that work four of you in one house did you have to do anything

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special to in order to all of you practice at the same time how did that work

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we had to sort of um very quickly realize that we have to uh prioritize who practices when right

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so they get up late so that was my opportunity to do things two things in the morning

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but the most amazing thing with alejandro i have to say is that his work ethic is has been amazing we

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were really impressed in that uh because doing this kind of thing for myself i have to tell you

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i just didn’t want to do anything it was so hard but he was just kept going and the viola discovered him

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recently so it’s been really good to hear that so i mean i i always said i was gonna do it

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and i always kept putting it off because i would just give myself excuses like i don’t have enough time

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or there’s an addition coming up or some performance coming up but now there’s there’s no excuse to do it

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yep we’re all doing new jobs now

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what what’s your new job neil are you i want to know [Laughter]

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well come on up with us i’m teaching more and uh and then just trying to make concerts

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happen um i’ve never had to produce concerts uh before i’ve always just been asked to

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play and so now there’s uh there’s more of like you’ve got to make your own

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show rather than just wait for the phone to ring how about this can you share with us a

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little bit how life as the you know the principal horn at the tso has changed for you now and

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and how the orchestra is pivoting right now um well the tso is is

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seems to be cautious with uh wind and brass players um there’s coveted restrictions

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provincial and city-wide so it’s trying to navigate the rules which

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change week to week day to day so there are things that

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we have plans and the tso has plans for us and

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something happens in the province and they get canceled or shift repurposed we had a uh

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something happen last week we were going to have do some recordings with our new music

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director and um he could not get into the country

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so they repurposed these recordings into live streaming uh rehearsals for high school students

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and music students and i didn’t see it because i was playing but i heard it was very very successful

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well jonathan what have you been up to well a lot of the same things as neil we were just recording the beethoven septet for

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tso um which was a pleasure it’s always such such fun to play that piece but it was

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really interesting because i think we spent half of the recording session trying to figure out how to kind of

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place the plexi glass shield so we could hear each other that we could kind of react and i’m you know i feel i’ve never ever

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sat at the back of the stage right i’m probably the one person in the orchestra who always sits in the same place

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but getting used to kind of like oh this is what it’s like a little bit if you’re sitting at the back having to play behind these shields or

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even to have you know your colleagues behind the shields is really interesting all of the instincts that we’ve developed over the years all the kind of

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like good orchestra playing habits like listening things like that just kind of go out the window the minute you listen to somebody

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you’re just late and you’re like you think you’re exactly with them um and the joy of recording is that

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there’s a somebody that can tell you that you’re not right you go back and you listen to the recording but i guess i thought i was this and i

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was totally the other way so it’s been interesting to get used to kind of the new normal of of how we’re going to need to play and

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produce concerts and listen and react kind of in advance to one another um so that’s been nice like neil’s been

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saying producing your own stuff has been you know a little bit new for me you know figuring out ways to do

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recordings which are relevant in this day and age and something that people want to listen to i spent a lot of the summer making

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cutting boards in my shed because i’m i like to accomplish things i don’t do well with kind of

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long-term plans and you know preparing for something with no real goal so i went out to the shed every kind of

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day and i was like you know get really sweaty and it was very very hot and it came out at the end of the day with a cutting board

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it was kind of fun it looked cold for that now i tried to go out this morning and i’m not working so well so maybe it’s time

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to get back to practicing so ceruse have you been writing more music this this summer than you normally

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would well uh yes um i’ve been

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busy with that i’m usually busy with that but i’ve been busier even more uh i’m i’m composing my my first opera

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for the canadian children’s opera company it’s a commission from them and i’ve been doing a lot of

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online videos of my own arrangements of some of my own compositions

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so in that way this has been this has been you know a time of um

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a productive time in that way the only thing of course that has really affected me on a personal level

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uh is not seeing my kids who live in in the states and of course with the close borders that has been uh

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you know uh impossible to do for now but uh i’m hoping that that

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i will see them soon that’s the main challenge right now in my mind i think

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this summer for me anyway it’s been obviously a time when i can’t see my grandchildren

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and kids there’s a whole flock of them uh so we’ve spent a lot of time on zoom

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talking to each other and there and occasionally the ones that live nearby we can see each other in the

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park things like that but it has definitely changed one’s focus in life but uh

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also i’ve also spent more time with my students a lot of them of course go to summer

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camps and things which they haven’t been able to do so they continue to have lessons through the

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summer uh a lot of the stuff and this happened to all of us things that we did have

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planned for the summer got cancelled and uh but every support everybody was

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able to reform the programs to be able to do them

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online just just as we’re having this discussion today and the worst part about it is that you

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can’t play chamber music on zoom you can’t play at the same time everybody has to record everything

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separately and then some uh wizard uh engineer puts it all together

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and it sounds not too bad but the teaching works out pretty well i do the national youth orchestra every

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year for about a month in june and july and that was cancelled

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but we did master classes and we did lessons i have a music camp at the end of the summer

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and that of course was cancelled but we were able to send the kids that usually come to the camp

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some some recordings of the faculty playing and things like that so so that all worked

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and my my main project during the summer was learning a solo recital program which was uh

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broadcast about three three weeks ago and uh that was all

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all contemporary music anybody loves contemporary music just go on new music concerts website

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and you can see a couple of concerts that have been done and concerts that have been programmed to be solo

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concerts or duos usually duos with people who are married or living together

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so that you don’t have any of the problems with uh with the copen exposure and when you do a solar recital

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it’s great i can sit on the on the stage all by myself and i don’t have to wear a mask to play

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in general i think when we when i when i look around and and see uh

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artists musicians uh arts organization music organizations

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in this situation whoever accepts and adapts to these new realities

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and uh doesn’t stop the creativity flowing throughout this tricky time uh will come

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out stronger eventually uh i think it’s uh mainly uh keeping up adapt

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keeping up the the the energy as much as possible adjust to the new realities and uh

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keep the the relationship with our audiences even though we don’t uh

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you know see them anymore i think in the end um we will uh

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definitely come out uh stronger it just i mean it takes also a lot of patience yeah i think for sure you know

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i like david i’ve been doing a lot of teaching and it was interesting in march and april and may i was like oh there’s

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no way you can work on sound quality or nuance over zoom and i i just didn’t even really try so i worked on like hand frame and technique

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and everything and that went great and then i started my in-person teaching again in september

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and all my students came back and they’re like playing their paganini and vinoski and tchaikovsky sounds amazing they’re technically incredible

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but we were both playing in a room together and like my students that we kind of looked at each other and our sounds are kind of like

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a little bit small we sounded like we’d been recording for iphones for four months because we had been

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right so no bubbles but in a way we’d all lost a little bit of the

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the nuance the communication the interest that makes music so great um and i’ve kind of changed my tactic

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now i’m like i actually work that stuff more the idea of communication the idea of small nuance

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and my kind of philosophy is like look we’re all doing this over the internet now we’re all doing it over zoom

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and that’s just a reality but imagine if you can communicate something through your music

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through a microphone across you know kilometers of wires then up to a satellite then down through somebody

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else’s internet tv if you can communicate something through that imagine how great we’re going to feel

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when we go back to normal life and we have all of the skills of putting across what we want to

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say in our music it’s going to be incredible and serious like you said it’s exactly true like we

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we love our audiences and as much as they miss us we hope we miss them as well right it’s very sad

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for all of us to kind of sit here for you know coming up on six months and it’ll be a year at least

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and not have that interaction and to feel that everything that we can do to kind of like

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make that connection with our audiences even if we don’t get to see them but to know that we are somehow reaching people

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and that in return they are reaching us it’s really nice and i’m glad that we’re still doing stuff

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i have a question for kaya from your point of view administratively

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how how has that affected your life

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well you know at our heart we’re a performing arts organization so it’s it’s affected every aspect of

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our organization being in a concert hall with our patrons is is at the heart of what we do here and

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you know financially it’s also played a huge role in in the organization because we’re cut

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off from many of our traditional revenue sources so we’ve had to be very creative very

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strategic about what we do and we know that we it’s essential that we continue to

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make music and have a connection with our base it is it is essential for us to maintain that and continue to

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be creative and and and have something that we’re able to give back to the world in this time but

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it’s hard when you’re you’re you’re cut off from your traditional basis of support so we’re very lucky

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that we got a season sponsor this year with cibc we’re very lucky that we have a really strong base of supportive

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donors and patrons that are just looking and waiting for us to come back to the stage

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and um but it’s a tremendously difficult time and i’m just so glad that we’re able to

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have you come together in an unconventional way and although you’re performing behind

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sexy glass and with masks on we’re still able to create something that i hope is

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bringing beauty and joy to our audience several of you

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have echoed to me how much you miss the audience but i wonder if you could just share for us a little bit really what

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does that mean what what is so special about the role of the audience in that space that you’re you’re craving i have to say that

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the reaction of the audience or the feeling of the audience or my nerves with the audience are a very

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real experience and a very positive thing uh and so i i miss that a lot

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that’s probably the thing that i miss the most so um i do hope that uh

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that when all this is said and done that all of us in the entire world will feel more

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fortunate and we’ll look at the world a little differently and we’ll appreciate everything that

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that we have a little bit more uh i don’t know whether the audience

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members appreciate how much we can feel their response to the music that

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we’re playing and that’s not just in the the applause at the end uh sometimes in the softest passages you

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can you can feel that everybody in the audience is sitting there

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listening to what it is you’re trying to create and that is sort of what inspires us to do

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this yeah there’s something really special the moment in time concept of a live

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concert when you do a recording i love doing recordings but actually i get almost more nervous for recordings than for

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live concerts because there’s this kind of expectation that well once you’ve got what you think is the perfect interpretation

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it’s kind of there for all time and it will never change and what if you change your mind inside oh

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that’s not actually the way i would want to do it now it takes away the ability to change it’s creativity to

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think like well in one concert it can never be recreated you’re never going to get the

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exact same people on stage at the exact time with the exact same feeling in the audience and there is something amazing

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about having the opportunity in a live concert for something incredible to happen

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and i think that’s why we always go to live concerts because every time you go there’s the chance you’re going to

1:00:04

capture something amazing and just the kind of expectation of that for me is really exciting

1:00:10

you know it’s just like it’s i think it’s a our anniversary now of leonard bernstein’s first concert with the new york phil

1:00:16

replacing bruno walter like last minute and you know imagine that imagine going to the new york phil that night and being

1:00:22

like oh your conductor can’t come and said we get this 25 year old lenny and you’re at that moment the chance to

1:00:29

be kind of part of that moment in time um the joy of a live concert is that every time you go to the hall

1:00:34

something could happen there might be something amazing lightning in the bottle that you never forget uh until

1:00:42

you don’t have something that’s when you you feel it’s full uh worth

1:00:48

and i really feel perhaps i’ve been taking it for granted this this uh the the the the audience the

1:00:56

support the uh everything that i’ve experienced uh so far in my life

1:01:01

uh as a performer and this time uh i really re-evaluated as well

1:01:08

the way i see things and uh once we’re back and we will be back with

1:01:14

a bit of patience uh i will really truly truly uh

1:01:20

appreciate uh the presence of each one of our audience a member of

1:01:26

members of our audience and and create more magical moments

1:01:34

well there’s something we haven’t fully explored yet and that is and i’m sure our patrons haven’t missed

1:01:40

it that we have not won valdepena but two on this program

1:01:45

and i would just love to explore that topic just a little bit alejandra maybe you can share with us you know what it’s like to be a young

1:01:51

professional musician this time getting your start what is it like working with your father on the stage joaquin this this must be so special as

1:01:59

i’m sure it is for our patrons right now to see the two of you performing together i mean many of our patrons have been

1:02:05

with us over 30 years and this is this is a very special thing that happened today

1:02:10

i mean yeah it’s a very very special experience for me um i grew up going to tso concerts and

1:02:16

amici concerts my whole life so all the musicians here are people that i’ve looked up to

1:02:22

for the past 25 years um i never really thought this kind of experience would ever

1:02:28

happen to me and it was always a dream for me to be able to play with people that play at the highest

1:02:33

level like this so it’s been just a really special experience um

1:02:40

in the past summers i’ve played with my dad in like orchestra at basketball music festival

1:02:45

and just growing up since i was 12 years 12 years old i’ve been doing that but it’s not as intimate as playing

1:02:50

cheering music so this is actually our first chambris experience together um especially in a professional setting

1:02:57

in performance so it just feels a lot like all the lessons that he drove me to all

1:03:04

the instrument adjustments culminated to this one moment you know so um i’m really happy to be

1:03:11

able to have an experience like this especially when there aren’t many performances going on

1:03:16

and to produce something concrete like this um but as a young person

1:03:23

right now in my life i’ve already done two degrees and i’m looking towards

1:03:28

having a more permanent position uh professionally

1:03:34

um it’s a bit tough because you’re in the kind of in in between i’ve been taking auditions and i’ve had some success but

1:03:41

i just had a little bit of a switch is all like went south me and my friends we’ve

1:03:47

we’ve had a couple of uh like studio classes virtually and also

1:03:52

when there were less restrictions and there were less coven numbers we were able to play for each other in person

1:03:59

which was actually like very motivating for me and it made me realize that i’m very goal oriented

1:04:04

um at the start of the pandemic i was i was trying to learn as much rep as i wanted to learn that i didn’t have

1:04:11

time to before then it got to a point where i’ve been learning all this music but i haven’t played it for anybody so

1:04:19

it turned into like two weeks really working really really hard finishing like first movement of beta

1:04:24

and concerto and then and then i’m like now what it’s kind of like a

1:04:29

conversation you have to have with yourself like i’m not sure what i really have to do right now um i even started

1:04:34

practicing etudes which has never happened before um but i

1:04:50

as i said i liked it way more i like it way more than i thought it would and it’s it’s helps my violin playing

1:04:56

tenfold and i think violin playing simultaneously helps like yellow playing

1:05:02

so i’d love to bring us back a little bit just to the recording because i really only have one more question that i’m really interested

1:05:07

in hearing from and that’s each of your sort of experience of goulash music together

1:05:13

um at bathurst this time and was there a particular moment or something uh special that you’d like

1:05:19

to share that that happened in that space or working together or any little insights that you can you

1:05:24

can share with us well actually just to bring it back to what david was saying at the beginning

1:05:30

you know this is a really hard time for wind players because you know the restrictions behind

1:05:37

what win players can do and the the baffles and the plexiglas makes it really easy just to say well

1:05:43

why don’t we display string quartets and why don’t we just play little string orchestra and we’ll worry about those guys later and i

1:05:49

gotta say it was really nice to come back the bit at the end of the dakhneni where neil can just kind of open up and

1:05:56

all jokes aside it’s a place where he should probably obliterate everybody it’s like superman

1:06:02

coming to the it was so amazing for me to hear that sound and

1:06:08

the beginning of the pivots where joaquin just has this beautiful line um i love string quartets and i love

1:06:14

all the kind of solo bach that i’ve been hearing david’s cello recital was spectacular

1:06:20

but for me there was something really special about that mix about having you know it’s not an

1:06:25

orchestra but having six players on stage kind of representing you know sections of the orchestra it was it was really nice

1:06:34

i think for me uh missing uh playing together that was that was

1:06:40

the main thing but when i sat down at the piano and uh i could barely see joaquin and jonathan

1:06:47

at the end of the room because of the physical distancing i thought well that’s that’s a new thing

1:06:55

uh but uh and especially with a piece like uh which is very very challenging

1:07:01

uh uh ensemble-wise and it’s it’s not only two or three people it’s it’s six people

1:07:07

uh but uh we adjusted and uh and it was it was a it was a new

1:07:14

experience uh to play in that in that uh setting but i should also say the venue uh

1:07:21

helped a lot and we’re hoping to do many more uh concerts there uh but above all

1:07:29

it was uh seeing uh all my colleagues and making music

1:07:36

again uh together that was uh that was a true true joy for me because it’s like it’s like a

1:07:43

mini orchestra but it’s not an orchestra it’s jonathan says it’s it’s uh it’s in the repertoire for me

1:07:49

this is what i love to play this is really what i love the most i mean i like everything but this is this

1:07:54

is really the thing for me and so it was very special and uh you know if i looked at ceruse

1:08:00

this is the interesting thing through the plexiglass i saw three of him

1:08:05

in neo i saw two of him and jonathan i would say two sometimes three cut off for the head so it was really

1:08:12

interesting trying to play together joaquin you’re behind i said but which one

1:08:17

am i playing with two or three people it was very interesting besides the distance it was the glare was creating

1:08:24

this sort of very you know different picture

1:08:30

well obviously there’s a lot of care that has to go into it a performance like this to ensure that you’re all

1:08:35

you’re all safe and we’re still able to relate to the audience but you know you’re really to be commended

1:08:40

to make this work when it’s hard to hear each other and you’re far apart and your glasses are fogging up that you’ve

1:08:47

been able to pull off such a spectacular performance that’s right so this is the perfect moment for me to remind you to

1:08:53

subscribe to our youtube channel like this video forward it to all of your friends so that you make sure that you get the

1:08:59

notifications of when we have another uh video coming up and you don’t miss it

1:09:04

thank you all so much for joining us today this really was a very enjoyable conversation and and of

1:09:11

course thank you to our audience out there our virtual audience for joining us for this conversation

1:09:17

you know we’re we’re really doing this for you and we’re so delighted that you’ve stayed till the end to listen to all these insights and um

1:09:24

we’ll hope to see you very soon thanks everyone thank you bye everybody

1:09:55

you

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