Concerto, Experimental, folklore, Music, Symphony Orchestra, Tango, Uncategorized, violin

Composer Profile: Esteban Benzecry in Conversation with Christian Baldini

On May 4, 2019, I will have the pleasure of conducting the symphonic triptych “Rituales Amerindios” by Argentinean composer Esteban Benzecry, with the UC Davis Symphony Orchestra in the beautiful Mondavi Center for the Performing Arts. On the same program we will include the Double Concerto for violin, cello and orchestra by Johannes Brahms, with violinist Stephanie Zyzak and cellist Eunghee Cho, and the work “phôsphors (. . . of ether)” by Irish composer Ann Cleare.

Christian Baldini: Esteban, first of all, it is a pleasure for me as an Argentine to be conducting your beautiful and captivating music in the US. Thank you very much for taking the time to answer these questions. Tell me, how were your first few steps in music? You have been living in Paris for many, many years, but your path started in Argentina. How was your childhood, and when did you first feel attracted to music composition? 

Esteban Benzecry: I am the one who is grateful, and I am delighted to know that my music will be heard in Davis, and that it is in such great hands. 

I became close to music when I was already a teenager. Before then, I was always more attracted to painting. When I was 10 I had an attempt to learn the piano, but I quit after a few months because I found it boring, perhaps because I was not mature enough for it at the time.

While I was attending elementary school and high school, I also went to the Fine Arts Institute Manuel José de Labardén (Instituto Vocacional de Arte Manuel José de Labardén) in Buenos Aires, where we were taught fine arts, theatre, photography, theatre, indigenous instruments and folkloric dances.  It was then that in a self-taught fashion, and kind of ‘playing’ I became closer to music. When I was 15 I started playing the guitar and learning songs. My first private teacher was María Concepción Patrón. I loved improvising and I wanted to learn to write what I improvised. 

After a few months she urged me to learn the piano and composition, so I continued my studies with Sergio Hualpa and with Haydee Gerardi, all of this simultaneously while I was studying Fine Arts at University, at the Prilidiano Pueyrredón.

There was a very important moment in my life which was when the Argentine violinist Alberto Lysy listened to a piece that I had written for violin and piano. He got very excited and encouraged me to write a piece for solo violin, a capriccio. He told me that if he liked it, upon his return from Switzerland he would play it as an encore in one of his concerts for the youth. My big surprise came when, upon his return, he got so excited and liked it so much that he decided it to include it on a concert but not as an encore, but as part of the program, and in no other place than in the Main Hall of the Teatro Colón. This was in May 1991, when I was 21. 

My piece received very good reviews and other musicians and orchestras started to ask me for new works. It was all rather strange, but it seemed very natural, because I was not looking for musicians, they were rather looking for me for new works. 

That is how specific projects made me spend more and more time with music and I then felt that I no longer needed to express myself through painting. On the other hand, in 1994 the National Symphony Orchestra of Argentina premiered my first symphony “El compendio de la vida” under the leadership of their Music Director Pedro Ignacio Calderón. In this piece I tried to fuse these two worlds: each of the four movements was inspired in paintings of mine that were exhibited in the foyer of the Auditorio de Belgrano.

My becoming close to music was very intuitive, and something that took place as a necessity. I started writing for orchestra without having received lessons in music theory or orchestration, I loved looking at scores and following them with recordings, and that was a big learning moment for me. 

After the first few works of mine had been premiered, when my career choice was already defined by music, I went to Paris, in 1997, to study composition with Jacques Charpentier and “musical civilization” at the National Conservatory of the Paris Region, and I received my degree “Premier prix à l’unanimité”, then I continued my studies in courses with Paul Mefano, and although I was older than the age limit, he encouraged me to attend his classes at the National Conservatory of Paris as an auditing student. 

CB: Your father is one of the most influential orchestra conductors of Argentina. I never had the pleasure of meeting him, but I know that he has taught and educated many generations of conductors and orchestra musicians through his wonderful (which he founded) National Youth Orchestra of Argentina (Orquesta Sinfónica Juvenil Nacional José de San Martín), which has been an incredible “barn of talent” in Buenos Aires. How was it for you growing up in such a musical family? Did you ever consider following your father’s footsteps as a conductor?

EB: Musical interpretation is a different world from the creation. I was fortunate enough to be born with a family that loves art, and who always supported me and stimulated me with a blind faith in everything that I was set out to do. The pressure of having a father that is renowned in the musical environment in the country where I grew up could have nullified me due to the high expectations that some people might have had, to see if it is true that “the apple doesn’t fall far from the tree”, and the pressure to have to develop my own merits regardless of those expectations…. but luckily it was not like that: I continue to do what I love the most and I am very grateful of the childhood I had where I was never pressured into becoming a musician, but rather I alone, like in a game, chose it.

As a little boy it was very common for me to come to rehearsals and concerts, so I absorbed a lot of things like a sponge. 

Curiously so far I am not interested in being a performer, I don’t know if I have the charisma, the capacity to communicate something that I do in such an intuitive manner as a creator. 

CB: Which are the composers that have influenced you the most? Stravinsky seems to have had an obvious influence on you, but perhaps there are others that have equally had a great influence in your music? 

EB: Also the music by Latin American composers that have integrated into their musical language folklore, such as Ginastera, Villalobos, Revueltas.

The colorful orchestral palette of French composers, as much the impressionists as that by Dutilleux and Messiaen, and the timbres in contemporary spectral French music, my brief passage with electroacoustic music as a student in Paris were very influential. Even if I ended up as a symphonist, electroacoustic music opened my ears to look for other sonorities with the orchestra. 

My past with fine arts, somehow left a mark in my music in the sense that it is very visual and based in colors, it is as if I was coloring with my music, like building sonic sceneries. 

CB: What is the most important goal for you as a composer? What do you try to communicate with every new piece? 

EB: I suppose with my musical language I exteriorize my internal world. I don’t know if I attempt to do anything, it simply flows without being able to explain why I do it, I don’t know if it belongs to me. 

One can theorize about the musical grammar but once can’t have the answer about where that image came from (that image that covered the empty canvas), or where those notes came from within the silence. 

There is no autopsy or scientist who could give an explanation about where the art we create comes from, or whether we simply communicate it, or whether it already existed in a different dimension of the universe. 

Michelangelo Buonarroti said something like “The sculpture already existed, I only took the excess out of the block of marble.”

CB: In your opinion, what is the role of symphonic music (and/or art in general) in the world we live in nowadays?

EB: Art is like a force of nature that must be allowed to flow, we are only a vehicle of its transmission, it contributes to the universal collective memory, it is the hieroglyphs which will live on as opposed to our physical body, which will disappear; it is the “black box” which will reflect in the future what the human of the past felt. 

There is a role of current entertainment and also that of eternity. 

I always have the impression of that I am planting trees that will remain here for the future generations, as opposed to the performers that live in them now. 

There is much art that is created with new technologies, which contributes to its evolution, but with time it turns obsolete or not very practical, while symphonic music is a classic that will last just like oil on a canvas, where what evolves is the language itself, the image, the sound that one stamps on it, but using the same matter.  

The symphony orchestra is also the highest expression of the result of collective work, an example of a society. 

With these topics nobody “owns the truth”, it is just a viewpoint. 

CB: Please tell me, what was the initial seed behind the genesis of your work “Rituales Amerindios”? Was it your own initiative, or due to the commission that you received? Is the musical material ever influenced by commissions that you receive?

EB: Very few times I have received commissions in which a theme had been imposed upon me, normally it is me who chooses a theme. 

This piece was a commission by the Gothenburg Symphony (National Symphony of Sweden), whose music director was Gustavo Dudamel. It was premiered by this orchestra in Gothenburg in January 2010, and that same week it was taken on a tour to the Festival Internacional de Música de las Islas Canarias in Las Palmas de Gran Canarias and in Tenerife. This symphonic triptych is dedicated to Gustavo Dudamel, which motivated me to write a work that, in my humble way, could be a musical homage to Latin America through its three main pre-columbian cultures, which are the Aztecs (Mexico), Mayas (south of Mexico and central America), and Incas (South America, primarily in Peru).  

Each of the movements, then, carries the name of a divinity from each of those cultures:  I  – Ehécatl (Aztec God of Wind) II  – Chaac (Maya God of Water) III – Illapa (Inca God of Thunder)

Gustavo Dudamel has subsequently programmed it with the Los Angeles Philharmonic in subscriptions at Walt Disney Concert Hall and on tour to San Francisco in Davies Symphony Hall on the Centennial of the San Francisco Symphony. He also conducted it in Carnegie Hall in New York with the Simon Bolivar Symphony Orchestra from Venezuela, and he took it on tour to Berkeley, Royal Festival Hall in Londo y the Concertgebouw in Amsterdam. Other orchestras such as the Philharmonique de Radio France and the Buenos Aires Philharmonic (Teatro Colon) have programmed this work as well.

CB: With regards to the musical materials, it is incredible how you can accomplish such memorable and simple motives like that one that starts “Rituales Amerindios.” How do you find such a subtle balance between complex elements (of which there is a lot in your work as well) and simple elements? Do you have a constant quest to find something memorable and transcendent? 

EB: If I said I’m on a constant quest to create something memorable and transcendent it would sound too pretentious. How does one find that? 

I thank you for your point of view about my music, and it is very difficult to describe with words what I do with my music in a very intuitive way.

When I compose I like to create themes that can be melodic or rhythmic motives which pop up in my music like characters that come in and out of a musical scenery. My music is very pictorial, as if it was about sonic sceneries that serve as a background to those characters which at different moments reappear with variations, thus giving unity to the work. 

Rituales amerindios is a symphonic “mural” (a large painting that has been painted onto a wall, like a fresco) which is loaded with simple and recognizable elements that call your attention, on top of complex textures that serve as background. 

CB: Rhythmic force, evocations to nature, moments of a very beautiful lyricism are a very natural part of “Rituales Amerindios” (and maybe a signature of you as a composer). Have you looked for inspiration in the concept of a neo-nationalism or a sort of imaginary folklore, to call it by some name? (I personally imagine that Alberto Ginastera would have liked your music very much) 

EB: I thank you for your comment. 

Defining my music is very difficult because I would run the risk of labeling myself with the description that I might do and I do not have any strict dogmas.
In works like “Rituales Amerindios” I feel a bit in line with Latin American composers such as Revueltas, Villa-Lobos and Ginastera of the “imaginary folklore”, what I mean is that I do not attempt to do ethnomusicology, but rather, in many of my works I have taken roots, rhythms, mythology or melodic turns of our continent as the source of inspiration, but in order to develop my own language, which could be described as a fusion of these roots and the new techniques of the contemporary western music.
Even if I have things in common with the aforementioned composers (we use these same roots as a source of inspiration), since I am a composer of the 21st Century my aesthetic influences are different.
In my first few works this happened unconsciously, maybe due to the contact that I had since a young age with folklore and indigenous instruments in the arts institute “Labarden” in Buenos Aires, and also due to my passion for certain South American composers. Today, I think that this has been vindicated and I do it more consciously with a very exploratory attitude, even though not all the works in my catalogue have this thematic material.
In my works I like to recreate the sonorities of indigenous instruments such as the “quena” or the “sikus” but utilizing instruments from the traditional orchestra, through contemporary procedures such as the use of multiphonics, harmonics, different kinds of air blows, extended techniques in the wind instruments, and I try to recreate the sound of the strummed “charango” through the use of pizzicato with arpeggios in the violins, etc.

 

I also love sounds of nature, the singing of imaginary birds, the sounds of mineral elements, vegetables, woods, water ambiences, the fauna: “Rituales Amerindios” is also a chant to nature in the Americas. 

CB: Esteban, I thank you so very much for your time and wonderful answers. We are truly honored to share your beautiful music with your audience. 

EB: I am the one who is grateful, to count on performers as enthusiastic as you who bring life to my music. The work that you are doing with the UC Davis Symphony Orchestra making so much music of our time known through your concerts is truly remarkable. 

Esteban Benzecry 2019 Alita Baldi 12
Esteban Benzecry – Photo by Alita Baldi (2019)

 

Argentinean composer born in 1970. Esteban Benzecry is one of South America’s most renowned young composers. His music is programmed by the world’s leading conductors, performing organisations and festivals. Interpreters and commissions include the Carnegie Hall, New York Philharmonic, Los Angeles Philharmonic, Royal Concertgebouw Orchestra, Atlanta Symphony, Seattle Symphony, Fort Worth Symphony, Gothenburg Symphony, Hamburg Philharmoniker Orchester, Deutsche Radio Philharmonie, Sydney Symphony, Helsinki Philharmonic, Tampere Philharmonic, Stavanger Symfoniorkester, Orchestre National de France, Orchestre Philharmonique de Radio France, Orquestra Gulbenkian, Orquesta Nacional de España, ORCAM Orquesta y Coro de la Comunidad de Madrid, Orquesta Sinfonica de RTVE. His most recent works attempt a fusion between rhythms with Latin American roots and the diverse aesthetic currents of European contemporary music creating, a personal language, an imaginary folklore. Benzecry lives in Paris since 1997.

Cello, Concerto, Music, Symphony Orchestra, Uncategorized, violin

Soloist Profile: Eunghee Cho in Conversation with Christian Baldini

As we get ready to perform Brahms’s Double Concerto for Violin, Cello and Orchestra, it is my pleasure to ask our soloist Eunghee Cho some questions about this piece, about music in general, and about his role as Artistic Director of the recently founded Mellon Music Festival in Davis, California.

Christian Baldini: Eunghee, it is a pleasure to welcome you back to your hometown to showcase you as our soloist for this marvelous piece of music. Tell us why you chose to perform this piece? What is so special to you about it? 

Eunghee Cho: I’ve found that collaborating with inspiring musicians on an incredible piece of music motivates new dimensions in my perception of sound and musicality. The double concerto allows for the creation of a sonic über-instrument from the cello-violin combo simultaneously manifesting alongside their unfolding conquest with the full orchestra. I can’t wait!

CB: And tell us about your soloist partner, violinist Stephanie Zyzak. How did the two of you meet, and would you say you have much in common with regards to music making?

EC: We first met in the context of a conductorless chamber orchestra. During our first cycle, we were both principals for Shostakovich’s C minor Chamber Symphony – a transcription of his 8th string quartet for string orchestra. I was absolutely floored by the anguish she vocalized in that opening movement solo. Within those first few minutes, I knew that it could only ever be a privilege to work with such a powerful artist.


CB: Tell us about how you decided to found the Mellon Music Festival in Davis. I had the pleasure of attending some of your events, and it gives me great comfort to see so many talented young people working together and offering high quality music performances. How did you come up with this idea, and where would you like to go with it?

EC: In a nutshell, Davis was missing an international chamber music festival and I had some buddies who loved performing chamber music! More specifically though, so much of the current climate of classical music appreciation is predicated on a snobby, elitist stereotype of the genre when in fact it can be one of the most inclusive and accessible media of expression. To combat the stigmas, our programming and outreach efforts actively exploit the inherent beauty and expressive potential of the classical genre. Beyond nurturing a community around dedicated festival engagement, we’ll make classical music in vogue once again!

CB: What are your choices for programming music? I noticed that in future concerts you will be performing more recent repertoire (works by Ligeti and Golijov), which seems like a welcome development. Are you planning on commissioning works in the future perhaps too?


EC: Of course you can’t go wrong when programming the classics, but we are also advocates of an evolving music tradition that embraces musical innovation, especially when we have the chance to pick the brains of living composers. I can only imagine how bummed I’d be if I found out after I died that I could’ve asked the 21st century edition Beethoven how to perform precisely his hugely varying dynamic and articulation varieties. In the past, we commissioned, with support from a Boston-based grant, two new works for the festival in our Spring 2018 preview concerts with the Holes in the Floor cello quartet. Commissions are certainly in our future!

CB: What is your ideal job? Where would you like to see yourself in 10 years?


EC: My ideal job would be spending my weeks alternating between intensive musical collaborations and work as a professional dog walker.

CB: If you had to give advice to a very young musician starting out, what would you say to them? What should they do in order to become a successful musician?


EC: A lot of the time it will feel like the music is kicking your butt, but if you can push through the temporary grind, the product is one of the greatest imaginable rewards. Also, find inspiration in as many of the oldies (i.e. Kreisler, Piatigorsky, Szigeti, Casals, Tertis) as your 24-hr days will allow.

CB: Do you enjoy reading? Sports? What other activities do you enjoy outside music (and besides dogs!)?


EC: Mostly resulting from a general paranoia, I tend to arrive at airports hours before my flight’s scheduled departure so I’ve adopted another hobby that can aptly be described as “people watching.” Also, I have hardly ever said no to a game of pick-up soccer.

CB: Thank you very much for taking the time to answer these questions. We look forward to a beautiful performance together! And maybe we’ll play soccer together someday (another passion of mine!)
EC: Absolutely my pleasure! See you soon!

eunghee Cho2W
Born in Davis, California, Korean-American cellist Eunghee Cho was awarded Second Prize and the special award for Outstanding Chinese New Piece Performance at the Alice & Eleonore Schoenfeld International String Competition in Harbin, China. He has also earned First Prize in the USC Solo Bach Competition, the Borromeo String Quartet Guest Artist Award, New England Conservatory’s Honors Ensemble Competition, Sacramento Philharmonic League JAMMIES Concerto Competition, and was awarded top prize in the Classical Soloist category by Downbeat Student Music Awards.
He has appeared as soloist with numerous orchestras around the country including the Sacramento Philharmonic, Cape Symphony, Atlantic Symphony, Symphony by the Sea, Davis Symphony, and Sacramento State Symphony Orchestras. He currently holds the Joyce & Donald Steele Chair as Principal Cello of the Atlantic Symphony Orchestra, and frequently performs as Principal Cello with Cape Symphony, Unitas Ensemble, and Symphony by the Sea. Eunghee has actively participated in classes at the Piatigorsky International Cello Festival and Académie Musicale de Villecroze in France and has worked closely with distinguished professors such as Steven Doane, Colin Carr, Myung-Wha Chung, Jean-Guihen Queyras, and members of the Guarneri, Emerson, Tokyo, Orion, Brentano, Borromeo, and Shanghai Quartets. 

 

As an avid chamber musician, Eunghee has collaborated in performances with artists such as Midori Goto, David Shifrin, Elton John, François Salque, and the Borromeo String Quartet, and has performed as a guest artist with A Far Cry, Da Camera Society, and the Chamber Music Society of Sacramento. Previous festival engagements include the Norfolk Chamber Music Festival, Taos School of Music, Bowdoin International Music Festival, Rheingau Musik Festival, Festival International d’Echternach, and Rencontres Franco Américaines de Musique Chambre in Missillac, France. He is Artistic Director and Founder of the Mellon Music Festival in Davis, CA.

Eunghee graduated magna cum laude and as a Steven & Kathryn Sample Renaissance Scholar from the Thornton School of Music at the University of Southern California with a Bachelor of Music in Cello Performance and a Minor in Biology. Following his completion of a Master’s degree at the New England Conservatory of Music he is currently enrolled in the conservatory’s Doctor of Musical Arts Program under the tutelage of distinguished pedagogue Laurence Lesser. His previous instructors include Paul Katz, Andrew Shulman, Andrew Luchansky, Richard Andaya, and Julie Hochman. He plays on a 1930 Anselmo Gotti cello on generous loan by Colburn Foundation. Away from the cello, Eunghee enjoys neighborhood pick-up soccer, everything about dogs, and dawdling in local coffee shops.