Against-the-odds Indian orchestra makes UK bow
With little formal classical training in India it’s a wonder that the young Symphony Orchestra of India is coming to Birmingham. CHRISTOPHER MORLEY reports
FOUNDED only as recently as 2006, the Symphony Orchestra of India makes its UK debut with a six-concert tour later this month. And the schedule begins here in Birmingham, at Symphony Hall.
“We know that Symphony Hall in Birmingham is one of the finest halls in the country,” says Khushroo N. Suntook, co-founder of the SOI , and co-founder and chairman of Mumbai’s National Centre for Performing Arts.
“To make a debut in a great hall is always a good way of displaying your strength, rather like batting on a good wicket when it is the first match of a cricket tour.”
SOI’s associate music director, Zane Dalal is even more enthusiastic about Symphony Hall.
“I am thrilled to be opening our tour in Birmingham. I was cover conductor for Andrew Litton in his Dallas days, and I am a true believer in the fact that Russell Johnson and ARTEC – who designed the acosutics of the Meyerson Hall in Dallas, and subsequently Symphony Hall in Birmingham – were hands down the only acousticians who knew that their formulae would give the musicians and the audience the pinnacle of concert experiences.
“I knew the Meyerson in Dallas very well, and if the hall that Birmingham built corrected the very few observations one could make about the Meyerson, then it is absolutely safe to say that the best concert hall in the world now stands in Birmingham.’’
He adds: “Richard Hawley, artistic director at Town Hall and Symphony Hall, instinctively realised, perhaps with the richly diverse population of Birmingham, that the SOI would make a good spot in the calendar, and we are delighted that he thought so.
“I have no doubt that expat Indians and for that matter Pakistanis who share absolutely everything with Indians – clothing, food, customs, heritage, history, and yes, a misguided, politically stoked, completely unnatural combativeness – will revel in the idea of an orchestra that comes from the subcontinent and brings with it Maestro Zakir Hussain, who needs no recommendation to them, or to anyone else.’’
Zakir Hussain is a noted exponent of the tabla, the Indian instrument whose timbres those of us who have grown up with the Beatles will easily remember. His tabla concerto Peshkar was commissioned by the orchestra for their 2016 Swiss tour and offers a powerful fusion of North Indian classical music with elements of the western solo concerto, standing as a tribute to the SOI’s commitment to crosscultural exchange., and it forms the centrepiece of SOI’s Birmingham programme.
Peshkar is framed between performances of Berlioz’ Roman Carnival Overture and RimskyKorsakov’s exotic symphonic suite Scheherazade.
“We are a conventional orchestra, and we bring with us on the same program music to prove it,” declares Zane.
“I find the rhythmic qualities of both western pieces to be in keeping with the Tabla Concerto. I also like the idea of beginning the concert with a carnival in Rome and ending it with a carnival in Baghdad.!”
It was on the advice of Ed Smith, the CBSO general manager who brought the young Simon Rattle to Birmingham, that the SOI brought to fruition the idea of a UK tour. Other important names in western classical music who have worked with the SOI include Carlo Rizzi, Rafael Payare, Maria João Pires, Simon O’Neill, Cédric Tiberghien, Alina Ibragimova, Stephen Hough and Barry Douglas.
To this illustrious roll-call we can add the name of Martyn Brabbins, music director of English National Opera, former artistic director of the Cheltenham International Music Festival, who will be conducting some of SOI’s concerts as the orchestra visits London, Edinburgh, Cardiff and Guildford during its busily-crammed tour.
Surprisingly, there is still little formal classical training in India at the highest level, and part of SOI’s mission is to remedy this by increasing awareness and by calling on western, particularly Russian, teaching methods for young performers.
The lack of provision has been particularly dire in the case of aspiring native conductors. “Apart from Zane, who is of course of Indian origin but trained abroad, we still do not have a sufficiently mature infrastructure to nurture future conductors,” Khushroo laments
“Zubin Mehta is an exception and I do not think any Indian musician in western music has achieved anything near his stature.”
Zane expands thoughtfully. “Zubin left India to study in Vienna – a move that shocked his local friends and a move that propelled him into the soundscape that he would make and master as his own.
“India does not have a single conservatory or professional music academy for western music, and the teaching that accompanies casual hobby playing is valiant, but against the odds in a country that for most of its independent governance has deliberately tried to put away western things.
“The Indian environment is filled with a soundscape that is distinctly Indian / non Western. If you study violin in Berlin, Los Angeles or even for that matter Beijing, you leave your lesson and the remnants of the same tonality stay with you in your daily life.
‘‘If you are a student of western music in India, you have your environment for the time of your private practice, or performance. When you resume life outside, your western tonalites are obliterated by a very alive, well regarded and ever-present opposite.”
I cannot help thinking of Alpesh Chauhan, born in Birmingham of Indian parentage, who trained as a cellist. He now has his own orchestra in Italy, the Filarmonica Arturo Toscanini based in Parma, and only two years older than the SOI. I wonder if some link could be established between these two orchestras on different sides of the globe, effected by this talented young man whose own culture straddles two continents.
The Symphony Orchestra of India performs at Symphony Hall on February 19 (7.30pm).
A buzzing audience of students and many mature ‘regulars’ greeted the Scottish Dunedin Consort for an all-Handel evening. Initially a daunting prospect, we soon became entranced by the variety on offer from this charismatic composer and truly skilled musicians.
Conducted from the harpsichord by
John Butt, it began with the familiar Water Music intended to cause a sensation. Lovely neat playing from all with a distinct impression of enjoyment throughout.
Soprano solo Rowan Pierce, has a most impressive roll call of appearances with a wide variety of accompanying orchestras in many interesting venues. Her pure voice and pleasant, communicating demeanour were joyful. Florid coloratura was smilingly effortless, interwoven with sparkle.
Matthew Brook, bass, joined in the second half and he was a total delight. No scores to get in the way, just seemingly effortless minimal acting – amusing and a definite wow factor. The soloists played the lovers Apollo and Dafne with wonderful support from numerous instrumental soloists. True baroque inclusions from single horns, wooden flutes, oboes and a lengthy violin solo, all supported by discreet harpsichord.
We valiantly followed the translation, being charmed by an evening of commitment and true musicality.