Harold In The Balcony
It's been an interesting week at Orchestra Hall, in part because we're working with one of my favorite guest conductors, in part because there was a 46-hour turkey-related gap between our first and second concerts of the week (always dangerous, since professional orchestras work by creating extremely fast muscle memory for each week's program, then discarding and starting again the next week,) but mostly because we're playing Berlioz's Harold in Italy, the world's strangest viola concerto.
In truth, Harold isn't a concerto at all. It's more of a symphonic tone poem which happens to feature a particular solo instrument. (Not unlike Strauss's Don Quixote, which features the cello and viola as the title character and his trusty sidekick.) For the bulk of the first movement of the piece, the viola is front and center, playing more or less as a soloist with the orchestra chiming in on several extended tutti passages. But in the second movement, the solo viola doesn't play a lot, and what he does play is mainly accompanying the melodic progression of the orchestra. In the third movement, the orchestra keeps playing the melodies, while the viola chimes in occasionally with a bit of an obligato over the top of things. And finally, the finale barely features the soloist at all, other than a few flourishes at the beginning that hearken back to earlier movements. In fact, some violists choose to either melt back into the orchestra at this point, or at least start playing the orchestral viola parts from the soloist's position, just to avoid having to spend ten minutes standing there looking like a dweeb while the orchestra finishes your concerto for you.
So while Harold is a very fun piece to play and listen to, it's a bit awkward to watch if you're used to the traditional interplay between orchestra and soloist. Our principal viola, Tom Turner, actually called a number of colleagues around the world before the week began to ask how they handle the odd semi-soloist role. He got a number of opinions, but nothing that really dealt with the problem. But on the second day of rehearsals, Tom and conductor Yan Pascal Tortelier hit on a bizarre but surprisingly effective solution.
(Spoiler Alert: I've waited to write about this until the end of the week, in case a bunch of you were planning to come to the concerts. But we've still got the Saturday night concert to come, so if you're holding tickets for tonight, or think you might want to stop by, you'll be wanting to wait to read the rest of this post. Trust me - the whole effect is much more fun if you don't know what's coming ahead of time...)
So, what happens in the Tortelier/Turner version of Harold is that, towards the end of the first movement, when the viola has played its last solo and the orchestra is crashing through our last tutti, Tom takes his instrument off his shoulder, turns a few pages in his score, and then walks briskly down a set of stairs attached to the front of the stage, and walks straight out one of the doors on the main floor to the right of the stage. He's gone before we finish the movement, as the audience stares and tries to figure out what's gone wrong. (Our audiences thus far have seemed about evenly divided between those who are utterly baffled by this, and those who figure out almost immediately what's going on.)
As we begin the second movement, a pilgrim's march led by the strings, Tom is nowhere to be seen. And it isn't until a minute or so later that he reappears, standing in the corner of the first balcony overhanging stage right. From that position, he plays nearly the entire second movement, which creates the effect of the accompanying viola hovering over the orchestra sonically - it's more clear to the audience that he is no longer in a traditional solo role than it would be were he still standing at the front of the stage playing arpeggios. As the movement ends, Tom again turns and leaves the concert hall, stopping outside the balcony door long enough to play his final phrase from out in the hallway, with the door held open by one of our crew.
The third movement begins with a sort of sea shanty in the violas and piccolo, after which a lyrical motion takes over. This time, Tom pops up in the opposite balcony, again overhanging the orchestra and using his position to sing his obligato lines over the top of the ensemble. Again, he leaves before the end of the movement, and this time, as he plays his closing cadence from outside the door, the crew actually lets the door swing slowly shut, creating a real-life fadeout.
At this point, while the orchestra and conductor catch our breath and the audience begins looking around for where else the soloist might materialize, Tom essentially has to run out the balcony door, down a flight of stairs, up a sloping hallway, and into the very back of the hall on the main floor. We give him roughly an extra 20 seconds to accomplish this, but he has no chance to reach his position before we start the finale, and the conductor would ruin the effect by looking back to see if he's there before giving our cue, so there's a fair amount of trust involved. Were Tom to trip and fall on the way down the stairs, things could get interesting.
As it is, we start the last movement, and almost immediately, Tom is singing out from behind everyone. As his first phrase finishes, and the orchestra takes over, he stalks down the aisle and takes up a new position about two-thirds of the way to the stage, where he plays his next solo entrance (while, it should be said, mugging for the crowd around him a bit.) Following that, he walks to a third position nearly right in front of the stairs he came down at the end of the first movement, and plays one more solo line, before bolting up the stairs, striking a bit of a pose, and launching into the last real solo passage he'll play before the orchestra takes us the rest of the way. By this time, a good percentage of the audience seems to be grinning back at Tom, and he's been tossing a few smirks the way of the viola section as he swashbuckles through this last bit.
For the remainder of the performance, Tom essentially becomes our principal viola again, albeit a principal standing apart from us. He plays most of the orchestral passages, and finishes the piece as part of the larger ensemble. But since he's already played so many different roles over the course of the performance, it doesn't seem in the least odd, and the ovation he's been getting would seem to indicate that the crowd approves of the theatrics. It's always dicey to add a non-traditional element to an orchestra concert (Will the critics approve? Will our more traditional-minded concertgoers tolerate it? Will anyone understand what we're trying to do?), but in this case, it's definitely been worth the effort. I'm now firmly of the belief that Harold should always be played this way.
(A funny moment happened following the first performance of the week, as the violas crowded backstage to congratulate Tom. As we all marveled at his calmness in such an unusual situation, and his smooth transitions between the movements, the most veteran member of our section, Tokyo-born Eiji Ikeda, came up to shake Tom's hand, but then shook his head and admonished our principal. "Tom," said Eiji, "why you no make costume changes between movements?")
So, if any of you were at the concerts, I'm curious to hear how you reacted. Were you shocked? Amused? Bemused? Let us know in the comments, and enjoy the rest of the holiday weekend...
In truth, Harold isn't a concerto at all. It's more of a symphonic tone poem which happens to feature a particular solo instrument. (Not unlike Strauss's Don Quixote, which features the cello and viola as the title character and his trusty sidekick.) For the bulk of the first movement of the piece, the viola is front and center, playing more or less as a soloist with the orchestra chiming in on several extended tutti passages. But in the second movement, the solo viola doesn't play a lot, and what he does play is mainly accompanying the melodic progression of the orchestra. In the third movement, the orchestra keeps playing the melodies, while the viola chimes in occasionally with a bit of an obligato over the top of things. And finally, the finale barely features the soloist at all, other than a few flourishes at the beginning that hearken back to earlier movements. In fact, some violists choose to either melt back into the orchestra at this point, or at least start playing the orchestral viola parts from the soloist's position, just to avoid having to spend ten minutes standing there looking like a dweeb while the orchestra finishes your concerto for you.
So while Harold is a very fun piece to play and listen to, it's a bit awkward to watch if you're used to the traditional interplay between orchestra and soloist. Our principal viola, Tom Turner, actually called a number of colleagues around the world before the week began to ask how they handle the odd semi-soloist role. He got a number of opinions, but nothing that really dealt with the problem. But on the second day of rehearsals, Tom and conductor Yan Pascal Tortelier hit on a bizarre but surprisingly effective solution.
(Spoiler Alert: I've waited to write about this until the end of the week, in case a bunch of you were planning to come to the concerts. But we've still got the Saturday night concert to come, so if you're holding tickets for tonight, or think you might want to stop by, you'll be wanting to wait to read the rest of this post. Trust me - the whole effect is much more fun if you don't know what's coming ahead of time...)
So, what happens in the Tortelier/Turner version of Harold is that, towards the end of the first movement, when the viola has played its last solo and the orchestra is crashing through our last tutti, Tom takes his instrument off his shoulder, turns a few pages in his score, and then walks briskly down a set of stairs attached to the front of the stage, and walks straight out one of the doors on the main floor to the right of the stage. He's gone before we finish the movement, as the audience stares and tries to figure out what's gone wrong. (Our audiences thus far have seemed about evenly divided between those who are utterly baffled by this, and those who figure out almost immediately what's going on.)
As we begin the second movement, a pilgrim's march led by the strings, Tom is nowhere to be seen. And it isn't until a minute or so later that he reappears, standing in the corner of the first balcony overhanging stage right. From that position, he plays nearly the entire second movement, which creates the effect of the accompanying viola hovering over the orchestra sonically - it's more clear to the audience that he is no longer in a traditional solo role than it would be were he still standing at the front of the stage playing arpeggios. As the movement ends, Tom again turns and leaves the concert hall, stopping outside the balcony door long enough to play his final phrase from out in the hallway, with the door held open by one of our crew.
The third movement begins with a sort of sea shanty in the violas and piccolo, after which a lyrical motion takes over. This time, Tom pops up in the opposite balcony, again overhanging the orchestra and using his position to sing his obligato lines over the top of the ensemble. Again, he leaves before the end of the movement, and this time, as he plays his closing cadence from outside the door, the crew actually lets the door swing slowly shut, creating a real-life fadeout.
At this point, while the orchestra and conductor catch our breath and the audience begins looking around for where else the soloist might materialize, Tom essentially has to run out the balcony door, down a flight of stairs, up a sloping hallway, and into the very back of the hall on the main floor. We give him roughly an extra 20 seconds to accomplish this, but he has no chance to reach his position before we start the finale, and the conductor would ruin the effect by looking back to see if he's there before giving our cue, so there's a fair amount of trust involved. Were Tom to trip and fall on the way down the stairs, things could get interesting.
As it is, we start the last movement, and almost immediately, Tom is singing out from behind everyone. As his first phrase finishes, and the orchestra takes over, he stalks down the aisle and takes up a new position about two-thirds of the way to the stage, where he plays his next solo entrance (while, it should be said, mugging for the crowd around him a bit.) Following that, he walks to a third position nearly right in front of the stairs he came down at the end of the first movement, and plays one more solo line, before bolting up the stairs, striking a bit of a pose, and launching into the last real solo passage he'll play before the orchestra takes us the rest of the way. By this time, a good percentage of the audience seems to be grinning back at Tom, and he's been tossing a few smirks the way of the viola section as he swashbuckles through this last bit.
For the remainder of the performance, Tom essentially becomes our principal viola again, albeit a principal standing apart from us. He plays most of the orchestral passages, and finishes the piece as part of the larger ensemble. But since he's already played so many different roles over the course of the performance, it doesn't seem in the least odd, and the ovation he's been getting would seem to indicate that the crowd approves of the theatrics. It's always dicey to add a non-traditional element to an orchestra concert (Will the critics approve? Will our more traditional-minded concertgoers tolerate it? Will anyone understand what we're trying to do?), but in this case, it's definitely been worth the effort. I'm now firmly of the belief that Harold should always be played this way.
(A funny moment happened following the first performance of the week, as the violas crowded backstage to congratulate Tom. As we all marveled at his calmness in such an unusual situation, and his smooth transitions between the movements, the most veteran member of our section, Tokyo-born Eiji Ikeda, came up to shake Tom's hand, but then shook his head and admonished our principal. "Tom," said Eiji, "why you no make costume changes between movements?")
So, if any of you were at the concerts, I'm curious to hear how you reacted. Were you shocked? Amused? Bemused? Let us know in the comments, and enjoy the rest of the holiday weekend...
Labels: fun, inside the orchestra, visual impact
posted by Sam at
9:41 AM
7 Comments:
I went last night, loved it...except for this consistent ringing in my ears during the Mozart, but that soon passed ;)
Harold was truly a unique experience. When I read the notes before and this having been written for Mr. Paganini, I was expecting some full out virtuosic piece. Not to say this piece didn't have its fair share.
When Tom left at the end of the 1st, my first thought was that something had happened to him or his viola. Yet nobody seemed to care in the Orchestra, so I assumed it planned.
When he appeared in the balcony I was thinking this is corny, but as the piece progressed I really enjoyed having, as you said, his sound just hovering over the top of the orchestra. The fade out at the end of the 3rd was also amusing.
So overall, excellent. Kudos to Tom and the Orchestra. I'll see all of you again at Bernstein's Mass!
I was at the Wednesday night show. When Thomas Turner turned those pages of music and walked away, I thought to myself, "he must have a problem with a string?". But when he flew down the stairs I then started to figure it out, as there normally wouldn't be stairs at the front (and oddly enough, I didn't notice them prior to the start). This was quite a bold move - I'd be willing to bet that a majority of players would have more than a few butterflies in their stomachs wondering whether they could pull this off.
I think the idea has legs (Thanksgiving pun), but may need just a tad more tweaking. For me anyway, it became a little harder to hear due to the huge difference in projection with the soloist in the tiers (I sometimes have to strain a bit harder than most anyway). Also, the audience did a bit more talking and pointing as they wondered where he would appear next...and being the traditionalist I am, I normally dislike these types of distractions. However, it really was a great idea, and everybody seemed to enjoy it greatly.
As you mention in a previous post, this program seemed a bit on the safe side, and would probably been one I would have avoided in previous years, but as I get older I am tending to take a chance a bit more often. It ended up being anything but safe and really was a great concert. The "Harold" craziness was part of it, but Tortelier's conducting was the other link to greatness. He brings so much color and personality to the music at hand, and along with his wonderful conducting technique he seems like quite a charming person. The Elgar was scrumptious.
If I remember correctly, Tortelier was last here in fall of '05 conducting one of my all-time favorite pieces, Ravel's Daphnis et Chloe (the complete version, not the suites), and naturally I went to hear that. There was a bit of a light show during that performance too! Three years is too long to wait for a reappearance...I'd be happier if he were here once or twice a season, but he certainly is much in demand.
I'm glad to hear that Tortelier comes across well from the audience - he's a real favorite of the orchestra, especially since Osmo became music director, because the ideal guest conductor tends to be one who contrasts greatly with the chief conductor. (Variety breeds creativity, and when we get a chance to play under someone wholly different from, but equally competent to Osmo, I think we play better for Osmo when he returns.)
Interesting also that you mention the last time Tortelier was with us. You're correct that we played Daphnis and Chloe, and if you were at the Saturday night concert that week, you caught my first-ever on-microphone appearance with the Minnesota Orchestra.
At the time, we had made a regular Saturday thing out of having someone - conductor, soloist, or member of the orchestra - speak from the stage at some point during the performance, and I was asked to do the honors before we played Daphnis. I was sort of uncertain of what I was supposed to to talk about, and what I ended up delivering was something like five minutes of stand-up comedy on the subject of Daphnis and Chloe. It was about seven months later that I was tapped to host Inside the Classics, based in large part, I'm told, on that night with Tortelier...
I attended on Saturday night and no I did not read the blog before I went. As a violist, I was eagerly anticipating what has been touted by those nasty "viola joke" sites as the "longest viola joke on record". I think Tom can thumb his nose at them because I think he did an outstanding job on a wonderful piece of music!. If the audience reaction was any indicator I would say it was thoroughly enjoyed by all. As a double major in college (music and theatre) I say bravo to the theatrics! Anything to heighten the audience's appreciation of the music is great in my book. Ahhh - the Minnesota Orchestra - what will they think of next! BRAVO!
I was there Sat night and I loved it! All the musicians seemed so animated and to be obviously enjoying themselves. I didn't realize the moving around was a first for this piece. It was perfect. I believe all violists are fun and playful people. (I've known this to be true ever since my daughter switched to viola in the second grade and we were introduced to their whacky unassuming world.)
And It was a delight when Tom (on the 4th time out) had all the violists stand up. I'm coming on Saturday more often.
Saturdays are almost always my favorite concerts of the week. The crowd is just different on Saturday - more animated, more diverse, and usually bigger than on other nights, as well!
(And just because I know Lois will enjoy my mentioning this, her daughter who switched to viola in second grade went to Oberlin with me, used to sub with the Minnesota Orchestra, and since 2001 has been a member of the Buffalo Philharmonic.)
Unrelated to the post but related to violists, I'm having an "it's a small world" moment because I now Lois' daughter too - I met her when she lived in Philly and stayed with her in Buffalo 5-6 years back.
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