This week is the realization of a dream to bring opera back to the stage of the Centre in the Square. I adore conducting operas. The teamwork, the combination of words and music, text and subtext, and most of all, the glory of the human voice are things that draw me into this world. Die Fledermaus is the perfect work to “bring opera back” to the KWS because it’s one of the most beautiful and perfect operas ever written. Its succession of beautiful and memorable tunes is like listening to a greatest-hits record; the way the music provides subtext and emotions to the deceptions and flirtations happening in the plot is second to none; the colors of the orchestra provide a glow to the voices that has been imitated by countless composers after Strauss.
During this cold winter week, there is also another reason to perform Die Fledermaus, and that has to do with the subject matter. Many operas tackle huge and weighty subjects, such as love and death. Die Fledermaus unashamedly is about pleasure and delight. It’s about those smiles, jokes, flirtations, dances, and parties that make us happy day to day, and here they’re elevated to art. So we hope you can join us this week, and indulge.
- Edwin Outwater
Bruckner and Bruch
November 2015: Every season I plan one concert for the orchestra that is an amazing exploration of great music rarely played be the KWS. These are the concerts the musicians wait the entire year to play, the music they practice for months in preparation. When we take the stage, we will be thrilled to fill the Centre in the Square with and spectacular we love, music never heard live by most of our audience.
This year, we present Anton Bruckner’s monumental Fourth Symphony. Written in the era of Brahms and Wagner, this Symphony is subtitled “The Romantic.” It evokes, according to Bruckner himself, ancient castles, forest scenes, and noble knights riding off to battle. It is full of gorgeous melodies, epic climaxes, and moments of total awe and absolute mystery. It is one of the most beautiful and original symphonies ever written.
The reason it is rarely performed here, is that it calls for a large orchestra, so we have taken special efforts to expand our orchestra to the forces necessary to create Bruckner’s “Cathedrals of Sound.” We know this symphony will sound especially spectacular in our own Cathedral of Sound, the Centre in the Square, a concert hall with the best acoustics in all of Canada. This is a concert you really shouldn’t miss, and a great way to introduce friends to the unmatchable power and beauty of orchestral sound and expression. We hope you can join us.
- Edwin Outwater
September 2015: We open our 70th Anniversary Season with a musical marathon. This first weekend of concerts is really a mini-festival, exploring all five of Beethoven’s piano concertos, played by the great Canadian pianist (and my old friend) Stewart Goodyear. Stewart is a pianist of astonishing technical ability and deep focus, and in recent years he has turned his attention to Beethoven, playing marathon performances of all his piano sonatas. I asked him to continue this “deep immersion” experience with the concertos and our orchestra, and he quickly agreed. You’ll hear completely different music on all three programs, and I hope you will join us for the complete journey!
The first two piano concertos are clear descendants of Mozart and Haydn, full of wit and charm, but there are hints of what is to come. The minimal, ultra-simple theme that opens the first piano concerto is a hint of how Beethoven will use motivic “building blocks” in the future. The second movement is meditative and contemplative, and hints at Beethoven’s increasing desire to share his inner life in music. By the 3rd concerto, Beethoven’s ambitions increase, and from here on out these pieces feel completely new and original: the expansive minor-key humor of the 3rd, the absolute sublime and intimate quality of the 4th, and the epic scope of the 5th, the “Emperor” concerto. The orchestra and I have performed all of these works many times, but never at the same time! We’re excited, and know we’re going to learn a lot along the way.
Along with the concertos, we play the famous Coriolan and King Stephen overtures. They couldn’t be more different. Coriolan has a tremendous amount in common with the first movement of the 5th Symphony, with it’s unrelenting focus, and sense of battle. The King Stephen Overture is full of humor and allusions to folk music. The humor streak continues this weekend with Beethoven’s compact and witty 8th Symphony. This is a work of unbridled creativity, and somehow Beethoven packs an amazing amount of material into this relatively brief work. It is full of humor, but the musical jokes are rough, almost manic, at times. There’s an undercurrent of violent energy in this work that is both peculiar and mysterious.
To open the festival, we are joined by the Grand Philharmonic Choir for Calm Seas and Prosperous Voyage, as we set sail on our anniversary season. It’s only fitting that they sing these first notes with us, for it was from this choir that the KW Symphony emerged as an independent entity seventy years ago.
- Edwin Outwater