Welcome. It’s a pleasure to introduce Issue 33: The Tone Poem – the first Notes issue to explore the music of Richard Strauss, as well as the first to include an in-depth interview with a professional brass player. Some legendary Debussy has also been thrown in for good measure!
I wondered when a conductor would finally suggest discussing Richard Strauss. What a treat it was to explore Don Juan with the brilliant Alexander Shelley back in March. Alexander is Music Director of the National Arts Centre Orchestra in Ottawa, and has been an advocate of the music of both Strauss and Mahler for many years. This piece in particular has been a regular in both his life and that of his NACO colleagues ever since his debut with the orchestra back in 2009. They are currently recording a Strauss cycle consisting of 4 CDs – each one includes a Strauss tone poem plus a new commission by a Canadian composer that is inspired by Strauss’ music. Alexander has a very clear narrative in mind for Don Juan throughout the piece, and has fun communicating this with the orchestra. It was fascinating to hear about this, as well as his inventive approach to many other aspects of the score!
After thoroughly enjoying my collaboration with Emer McDonough, Principal Flute of the Royal Philharmonic Orchestra, for the last issue, I was inspired to continue with the series of interviews with orchestral musicians. I was delighted when Britten Sinfonia’s recently appointed Principal Trumpet, Imogen Whitehead, agreed to speak with me about her role as well as her own debut solo album Connection. In our conversation Imogen covered many aspects of her varied career, including performing Peter Maxwell Davies’ Sonatina to the composer himself at the Royal Academy, appearing in Bradley Cooper’s Maestro, and climbing caves in the Peak District to make a video for her album! Imogen was so likable, natural and happy to share her insights and experience – the deeper a conductor’s understanding of each orchestral player’s role, the healthier our relationships with those musicians can be.
Finally, James Gaffigan, General Music Director of Komische Oper Berlin and Palau de les Arts Reina Sofía in Valencia, made a fantastic suggestion to discuss Debussy’s Prélude à l’après-midi d’un faune and its effect on conducting technique. This fitted perfectly with Alexander’s interview on Don Juan, both being tone poems. When I was researching Stravinsky’s effect on the conductor for my PhD many moons ago, the more I looked into the characteristics of Stravinsky’s music that are perceived as revolutionary, the more I saw that Debussy had beaten him to it (albeit in an often more subtle way). So it was wonderful to finally have the opportunity to dive into this topic with James for an hour! He was incredibly charismatic, entertaining and clearly knew this piece like the back of his hand. This era of music is James’ favourite to bring together with an orchestra, so if Debussy is a composer you’re keen to find out more about, James is sure to whet your appetite.
As ever, huge thanks to Alexander, Imogen and James for being such great company. I hope you are as enriched by our conversations as I was.
Happy Reading!
Dr. Hannah Baxter (Editor)