Libor Ondras: We are so excited to have this opportunity to perform this masterpiece that requires such a large performance force to align all these forces, all these singers and instrumentalists, over 120 of them, that include a mixed choir, children's choir and rather large orchestra with enhanced percussion section to create this soundscape that masterpiece offers. And so we are excited to present this after I think more than a decade, for the first time after I have taken over the leadership of the orchestra, to perform this as an opening number for the summer music program at Bay View.
Judy Wagley: Libor, Carmina Burana is one of those Classical works that everyone has heard, at least some of, even if they don't know what it is, and when folks hear that big choir, they may think, “Oh, this is certainly very sacred music!” But alas, it is not.
LO: It is not. It's a combination of texts that were discovered in the library just outside of Munich. That's a collection of texts-- Latin and French, and German texts-- that were written by monks that chose to leave the monasteries and sort of write about everything from the disappointment of some of the clergy, to the beauties of this spring and summer, and everything that brings along with that-- wine, songs, women, courts of love. And provide this very unique perspective of what Fortuna can bring along with it. One time you are all the way on the top and in a moment you can be on the bottom.
JW: Yes. We've been hearing about that for centuries, haven't we? So, Carmina Burana is one of the pieces on this big program. The other is the Symphony Number 3-- it's called the “Organ Symphony” by Camille Saint Saens. And that's also a very big piece of music.
LO: That's true. Yes, it also requires a large orchestra, and this is his final symphony, that is sort of autobiographical in a way. He is in a sense trying to reassert his position as a leading French composer. And when he got this commission from London Philharmonic society to compose a new piece, he knew exactly what he wanted to do. And that is to combine all of his skills and experiences. And those include everything. I mean, he was established composer, conductor, piano player as well as organist playing for the La Madeleine Church. And so we hear all of those aspects coming together in this two-section, four-movement symphony that features organ quite prominently in at least two of those movements. And it's, as I said before, kind of autobiographical and bringing all the emotions kind of coming out of darkness. This was the period in his life where his music wasn't as astutely listened to as earlier in his career, so he wanted to sort of reassure his position. There were friends that were sort of aging, and several of them died. His mother was aging, so there were those kind of dark thoughts, dark moments--similar to, say, Beethoven’s 5th. The symphony starts in those kind of a darker colors, but ends somewhat triumphantly. And we hear that in the final movement that begins with this big organ entrance and a beautiful piano filigree and chorale- like assurance at the end. He uses all sorts of techniques, you know everything from chorale to fugue riding. It's a beautiful collage of sounds and contrast, and tempi unified in thematic materials. So he uses this idea with continuous development. So we could recognize this thematic material. throughout the whole piece, as it reappears or in the same or slightly varied format. Most important thing is that we have a wonderful artist that's going to be featured in this symphony, Kelly Hale. He has played on this organ for over three decades, and when I talked to him last time, he said, “Libor, I think I know this instrument the best. I spent hours and hours practicing and performing on this instrument and it's truly magnificent instrument, and great hall and fantastic piece of music too.”
JW: Libor, this program that includes these two great big pieces just may be the conducting equivalent of running back-to-back marathons. So let's pretend that it's 7:00 PM on June 14th and you're on stage--on the podium with your baton and there's a large orchestra in front of you, including kids and a very excited audience in the hall behind you. How are you feeling?
LO: Well, I think I'll be excited with trepidation a little bit. I think that the Carmina piece is just so rhythmic driven that my heart is probably going to be jumping back and forth between the tempi and between the rhythms there. And in the second half, you know, I think I'll be focusing more into the thematic development and how the whole piece builds up-- and just sort of floating with that contrast in both the texture and the dynamics-- and just riding the wave! Because that piece sort of plays itself, I always want to say.
JW: Well, I know that you and everyone there are going to have a wonderful evening on June 14th with Carmina Burana and the Saint Saens Organ Symphony at Bay View at the John M. Hall Auditorium. Thanks so much for joining me today.
LO: Thank you, Judy. It's always pleasure talking with you.
JW: Libor, can you tell us how to get more information about the concert?
LO: Sure. One of the easiest ways would be to log on to Great Lakes Chamber Orchestra web page glcorchestra.org.
Learn more about the Great Lakes Chamber Orchestra here.
