WEBVTT 00:00:35.149 --> 00:00:37.009 Hi there, and welcome to Notes from the Stage, 00:00:37.109 --> 00:00:39.289 a show from the musicians of the Calgary Philharmonic. 00:00:39.450 --> 00:00:41.090 We're the people playing our hearts out every 00:00:41.090 --> 00:00:44.229 week of the orchestra season. I'm Adam Zanatelli. 00:00:44.409 --> 00:00:46.250 Usually I play first trumpet in the Calgary Phil, 00:00:46.250 --> 00:00:48.609 but today I'm your host, and I'm here with Arthur 00:00:48.609 --> 00:00:51.490 Bachman, violist in the CPO. Hi Arthur! Hi Adam, 00:00:51.509 --> 00:00:53.369 how you doing today? Very well, thanks. Thanks 00:00:53.369 --> 00:00:55.710 for coming over and sitting down with me. Oh, 00:00:55.710 --> 00:00:58.329 no problem at all. How's this season been going 00:00:58.329 --> 00:01:01.130 for you so far? It's actually been great, and 00:01:01.130 --> 00:01:03.270 I was on Salt Spring Island for the entire month 00:01:03.270 --> 00:01:06.170 during Christmas, so... i'd say that's great 00:01:06.170 --> 00:01:08.370 as far as playing wise that's working really 00:01:08.370 --> 00:01:10.709 well too so i'm real happy about that so that's 00:01:10.709 --> 00:01:13.170 wonderful well i'll spill the beans a little 00:01:13.170 --> 00:01:15.810 early here arthur this is your last season playing 00:01:15.810 --> 00:01:20.209 with the cpo it is it is for clarity you're retiring 00:01:20.209 --> 00:01:24.769 yeah yeah no i'm retiring i haven't been fired 00:01:24.769 --> 00:01:27.150 and i'm just retiring and i just thought it was 00:01:27.150 --> 00:01:30.689 time to do it it's been 39 years here and uh 00:01:30.689 --> 00:01:33.950 i did play But for three, four years with another 00:01:33.950 --> 00:01:35.849 orchestra before and, uh, Oh, which orchestra 00:01:35.849 --> 00:01:38.709 was that? Uh, orchestra of London. Oh, great. 00:01:38.730 --> 00:01:40.370 Yeah. Yeah. When I was going to school there, 00:01:40.370 --> 00:01:42.790 I played there. I was part of their core group. 00:01:42.890 --> 00:01:45.250 It's as much smaller orchestra, obviously a much 00:01:45.250 --> 00:01:48.810 smaller season. I was able to actually play with 00:01:48.810 --> 00:01:52.230 their core group and go to university. Even though 00:01:52.230 --> 00:01:54.049 it was kind of funny because they, the university 00:01:54.049 --> 00:01:55.709 wasn't very happy about that. And they said, 00:01:55.950 --> 00:01:58.450 no, you're only supposed to do university here. 00:01:58.450 --> 00:02:02.200 And I'm sort of going, well, I, I'm. Trying to 00:02:02.200 --> 00:02:04.480 get into an orchestra here and here I've got 00:02:04.480 --> 00:02:06.599 a job and I need it because that's the only way 00:02:06.599 --> 00:02:09.919 I can afford to go to university So hey, I was 00:02:09.919 --> 00:02:12.680 it was actually a lot of fun to do that. Very 00:02:12.680 --> 00:02:15.919 very informative about the orchestral culture 00:02:15.919 --> 00:02:18.740 compared to youth orchestra culture, which was 00:02:18.740 --> 00:02:21.000 Perhaps the biggest thing that I did before that 00:02:21.000 --> 00:02:23.800 sure. Yeah. Yeah. Yeah, I think well at least 00:02:23.800 --> 00:02:25.539 in my experience I think schools have become 00:02:25.539 --> 00:02:29.229 a little more realistic as far as what What the 00:02:29.229 --> 00:02:31.310 students are trying to do and what sorts of experience 00:02:31.310 --> 00:02:33.990 actually will help them do the thing? Absolutely. 00:02:34.210 --> 00:02:36.270 Yeah, I think so and it was it was quite surprising 00:02:36.270 --> 00:02:38.270 that they were they had a problem with that and 00:02:38.270 --> 00:02:41.430 I'm and but I guess they were just Looking up 00:02:41.430 --> 00:02:43.849 for their number one, which is like I want this 00:02:43.849 --> 00:02:47.409 student to stay in this Program and give us tuition 00:02:47.409 --> 00:02:49.669 and blah blah blah. Yeah, but recruiting to write 00:02:49.669 --> 00:02:52.009 when you have successful students Yeah, that 00:02:52.009 --> 00:02:53.789 should be a good thing saying. Hey, look at this 00:02:53.789 --> 00:02:55.370 here. He's already where he's already working. 00:02:55.909 --> 00:02:58.580 Yeah So, yeah, when I was at Glenn Gould, the 00:02:58.580 --> 00:03:00.439 rule was that you could get out of school commitments 00:03:00.439 --> 00:03:03.539 for gigs with Oxum orchestras. That was sort 00:03:03.539 --> 00:03:07.020 of the threshold to pass. OK, well, that's the 00:03:07.020 --> 00:03:08.879 organization of Canadian symphony musicians. 00:03:08.919 --> 00:03:11.280 So those are those are sort of the more established 00:03:11.280 --> 00:03:13.419 orchestras in the country that have full time 00:03:13.419 --> 00:03:15.939 contracts and that sort of thing. Yeah, that's 00:03:15.939 --> 00:03:17.860 that's awesome. They actually did that. That's 00:03:17.860 --> 00:03:20.580 great. It's kind of what you want. So, yeah. 00:03:21.259 --> 00:03:24.080 Well, 39 years, that's a long time. That's a 00:03:24.080 --> 00:03:27.479 lot of Beethoven nines or whatever. Yeah, it's 00:03:27.479 --> 00:03:29.400 a lot of Beethoven nines, a lot of Beethoven 00:03:29.400 --> 00:03:32.740 fives. Yeah. There's a, there's a lot of repeats 00:03:32.740 --> 00:03:35.860 that, uh, surprised me actually when I, when, 00:03:36.020 --> 00:03:38.500 when they started happening. Uh, one of them 00:03:38.500 --> 00:03:41.419 was I obviously Beethoven nine, which, well, 00:03:41.620 --> 00:03:43.419 didn't expect to play that as many times as we 00:03:43.419 --> 00:03:46.099 did when, uh, some of our music directors decided 00:03:46.099 --> 00:03:49.460 to do it every year. And, uh, and it's like, 00:03:49.460 --> 00:03:51.960 Oh, okay. All right. Well, that's okay. And, 00:03:52.080 --> 00:03:54.250 you know, it's. You get to see what differences 00:03:54.250 --> 00:03:56.550 that they're going to do. And sometimes it's 00:03:56.550 --> 00:03:58.110 good differences. And sometimes you're sort of 00:03:58.110 --> 00:04:00.289 going, well, that kind of didn't work the way 00:04:00.289 --> 00:04:03.069 I think he wanted it. And I've always entertaining 00:04:03.069 --> 00:04:05.550 that way sometimes. I'm curious of all the pieces. 00:04:05.770 --> 00:04:07.750 OK, we're going to two part question here. First 00:04:07.750 --> 00:04:10.189 part of all the pieces you've played over and 00:04:10.189 --> 00:04:12.509 over and over and over again. Like which one 00:04:12.509 --> 00:04:15.090 or which handful of pieces have really stood 00:04:15.090 --> 00:04:16.810 the test of time for you? Which are the ones 00:04:16.810 --> 00:04:18.750 that even though you've played them and played 00:04:18.750 --> 00:04:20.449 them and you know them inside out, you always 00:04:20.449 --> 00:04:22.930 look forward to? That's a good question because 00:04:22.930 --> 00:04:25.750 I've never really thought of it that way. It's 00:04:25.750 --> 00:04:29.430 always the typical orchestra thing going, oh, 00:04:29.610 --> 00:04:32.870 we're doing this again. Sorry, that's not a very 00:04:32.870 --> 00:04:34.709 nice way to say about orchestras anyhow, but 00:04:34.709 --> 00:04:37.589 it's a, it is a realistic thing because we do 00:04:37.589 --> 00:04:40.750 play a lot of repertoire. I would kind of think 00:04:40.750 --> 00:04:43.810 that, uh, it probably is the Beethoven ninth 00:04:43.810 --> 00:04:48.230 is the one that it's, it's never failed to deliver. 00:04:48.459 --> 00:04:51.839 because it just has everything there that you 00:04:51.839 --> 00:04:56.879 want. It's got lovely orchestral bits and it's 00:04:56.879 --> 00:05:01.319 got lovely vocal bits and I love vocal music 00:05:01.319 --> 00:05:05.100 as well. And it ends with a real good bang. Sometimes 00:05:05.100 --> 00:05:09.350 it's interesting how fast it ends. I remember 00:05:09.350 --> 00:05:12.410 in the Minchuk years it was really really fly 00:05:12.410 --> 00:05:15.149 really fast and there's a bunch of notes there 00:05:15.149 --> 00:05:18.290 that were certainly flying everywhere but uh 00:05:18.290 --> 00:05:20.910 where they should have been but uh yeah it's 00:05:20.910 --> 00:05:23.250 always always fun to end that piece because uh 00:05:23.250 --> 00:05:25.490 it just seems to get the audience going it's 00:05:25.490 --> 00:05:28.750 it's it's quite quite spectacular that way so 00:05:28.750 --> 00:05:31.050 yeah for sure yeah second part of the question 00:05:31.050 --> 00:05:33.170 what are some pieces that you've only played 00:05:33.170 --> 00:05:38.129 once that you love that i love hmm Well, we didn't 00:05:38.129 --> 00:05:39.970 actually play it only once, but we only played 00:05:39.970 --> 00:05:42.649 it. We only played it a very, very few times 00:05:42.649 --> 00:05:45.170 as the Berg violin concerto. Oh, okay. I've never 00:05:45.170 --> 00:05:47.550 played that one. Yeah. We did it on tour when 00:05:47.550 --> 00:05:50.209 we were in Europe and, uh, that was one of the, 00:05:50.290 --> 00:05:53.769 we had two soloists and one was the Berg. The 00:05:53.769 --> 00:05:56.050 Berg was, was awesome. I just absolutely love 00:05:56.050 --> 00:05:58.509 playing that stuff and getting to know it. When 00:05:58.509 --> 00:06:01.050 you're on a tour thing, you get to know pieces 00:06:01.050 --> 00:06:05.490 really, really well. And, uh, I just, I just 00:06:05.490 --> 00:06:07.720 absolutely love that piece. sure so you know 00:06:07.720 --> 00:06:10.040 when you're saying that you get to know pieces 00:06:10.040 --> 00:06:13.259 really well when you're on tour we see some music 00:06:13.259 --> 00:06:15.120 over and over again like you know Beethoven 9 00:06:15.120 --> 00:06:17.339 like we were talking about but you know you sort 00:06:17.339 --> 00:06:21.019 of have you know five days at work with that 00:06:21.019 --> 00:06:23.379 every every couple of years right but when you're 00:06:23.379 --> 00:06:27.120 on tour you're playing the same program for you 00:06:27.120 --> 00:06:29.860 know two or three weeks yeah which is not something 00:06:29.860 --> 00:06:33.019 that we otherwise ever really get to do no so 00:06:33.019 --> 00:06:37.490 to have that sustained uh, sustained focus on 00:06:37.490 --> 00:06:40.069 a specific program or two programs. It's, it's, 00:06:40.069 --> 00:06:43.689 it's fairly exceptional. Yeah. And I, I, it's 00:06:43.689 --> 00:06:46.370 unfortunate that we can't do as much as, as we, 00:06:46.589 --> 00:06:48.850 we used to do. Cause I think that was one of 00:06:48.850 --> 00:06:51.629 the things that, uh, well, when in the, again, 00:06:51.670 --> 00:06:54.269 the Mario Bernardi years, I mean, he, he made 00:06:54.269 --> 00:06:57.230 us do a lot more touring, shall we say it was 00:06:57.230 --> 00:07:00.089 even though if it was, uh, uh, down to medicine 00:07:00.089 --> 00:07:05.060 hat or local places or smaller local places but 00:07:05.060 --> 00:07:10.540 we did go to the east of Canada one time but 00:07:10.540 --> 00:07:14.300 that was all I'm absolutely sure about this here 00:07:14.300 --> 00:07:16.860 that he was he was making this orchestra into 00:07:16.860 --> 00:07:19.079 a better orchestra by doing all these things 00:07:19.079 --> 00:07:22.379 and making us do these things making us do the 00:07:22.379 --> 00:07:25.040 if we had a concert series that was the 20th 00:07:25.040 --> 00:07:27.560 century music. That's where we did the Busoni. 00:07:27.639 --> 00:07:29.500 We did all sorts of Stravinsky. We did all sorts 00:07:29.500 --> 00:07:32.759 of... I just remember the interesting thing that 00:07:32.759 --> 00:07:36.079 happened is that the only time that we've ever 00:07:36.079 --> 00:07:39.319 had somebody actively really, really boo us. 00:07:39.759 --> 00:07:41.720 It was a flute concerto, brand new. We did the 00:07:41.720 --> 00:07:44.100 premiere of it with Bob Aiken playing it. Robert 00:07:44.100 --> 00:07:47.709 Aiken, who's a phenomenal flute player. And I'm 00:07:47.709 --> 00:07:49.269 trying to think if it was a Michael Colgrass 00:07:49.269 --> 00:07:52.110 or if it was a Schaeffer. But anyhow, I just 00:07:52.110 --> 00:07:53.910 remember at the end of that, somebody in the 00:07:53.910 --> 00:07:57.750 front row stood up and very loudly cupped his 00:07:57.750 --> 00:08:01.509 hands and went, boo. Wow. Clearly made an impression. 00:08:01.689 --> 00:08:03.870 Well, it did. And I think that's, that's really, 00:08:04.089 --> 00:08:06.550 I think that's a really good thing. That's not 00:08:06.550 --> 00:08:09.509 an encouragement. No, no, but for the audience 00:08:09.509 --> 00:08:13.129 out there. But what it does is it shows that 00:08:13.129 --> 00:08:14.670 you actually care about what you're listening 00:08:14.670 --> 00:08:18.629 to. And I think that's something that I don't 00:08:18.629 --> 00:08:23.110 think that's a complete negative. So I think 00:08:23.110 --> 00:08:26.310 doing those touring things, it's an awesome way 00:08:26.310 --> 00:08:28.269 for an orchestra to get better because what you 00:08:28.269 --> 00:08:32.490 do is you get to live with this repertoire for 00:08:32.490 --> 00:08:34.690 a little bit more than just one or two performances. 00:08:34.830 --> 00:08:37.090 You get to do it over a week or so. You get to 00:08:37.090 --> 00:08:40.350 get uh in different halls you have to adapt very 00:08:40.350 --> 00:08:42.850 very quickly to the acoustics of the hall and 00:08:42.850 --> 00:08:45.450 you've got the same conductor but maybe that 00:08:45.450 --> 00:08:48.450 day he's feeling a little bit friskier or a little 00:08:48.450 --> 00:08:51.529 less frisky a little more melancholy and uh that 00:08:51.529 --> 00:08:55.110 all comes into the music and uh and you respond 00:08:55.110 --> 00:08:57.789 and that's i think what started this orchestra 00:08:57.789 --> 00:09:01.529 off to become a really good orchestra is is the 00:09:01.529 --> 00:09:05.690 stuff that mario did for us, you know, as popular 00:09:05.690 --> 00:09:08.269 or unpopular as he might have been. He was, I 00:09:08.269 --> 00:09:10.570 think, a really, really good builder of orchestras. 00:09:11.049 --> 00:09:13.990 And then we got to work with Hans, Hans Graf, 00:09:14.490 --> 00:09:16.570 and he's the one where we went to the European 00:09:16.570 --> 00:09:19.529 tour. And again, there was it's absolutely made 00:09:19.529 --> 00:09:22.370 the orchestra. Absolutely. He took the orchestra 00:09:22.370 --> 00:09:26.029 and just put a superb shine on it. So it's too 00:09:26.029 --> 00:09:28.990 bad that we can't do more of that now because 00:09:29.839 --> 00:09:32.559 Obviously economically it's really really difficult, 00:09:32.559 --> 00:09:34.960 but it's really good for an orchestra to do that. 00:09:34.960 --> 00:09:38.679 I think I feel Yeah, I mean an orchestra is such 00:09:38.679 --> 00:09:42.259 a large operation that you know even even a quote 00:09:42.259 --> 00:09:44.159 -unquote tour That would be like one night in 00:09:44.159 --> 00:09:48.960 a hotel For everyone is so expensive and so complicated 00:09:48.960 --> 00:09:51.539 to organize that it's pretty prohibitive. Yeah, 00:09:51.539 --> 00:09:54.559 yeah, unfortunately Mm -hmm Arthur in addition 00:09:54.559 --> 00:09:57.019 to your work as a violist. You are also a composer 00:09:57.019 --> 00:10:01.820 I am And I've played some of your work and I've 00:10:01.820 --> 00:10:03.779 really enjoyed it so much in fact that I commissioned 00:10:03.779 --> 00:10:08.259 a piece from you, but a year ago. And that was 00:10:08.259 --> 00:10:11.059 really great. But tell us, where did that start 00:10:11.059 --> 00:10:14.700 for you? Were you playing a lot and then you 00:10:14.700 --> 00:10:16.620 decided at some point to dip into composition 00:10:16.620 --> 00:10:19.879 or are you always composing? Were you more interested 00:10:19.879 --> 00:10:22.299 in composing and that led you more towards performing 00:10:22.299 --> 00:10:26.679 as well? How did this all happen? Well, this 00:10:26.679 --> 00:10:31.879 goes way, way, way back. It started when I was 00:10:31.879 --> 00:10:36.980 very young, I think 10 or 12. I just, you know, 00:10:37.000 --> 00:10:39.539 I did those little exercise books where you say, 00:10:39.639 --> 00:10:41.240 here's the beginning of a tune and here's the 00:10:41.240 --> 00:10:43.080 end of a tune. You have to make the end of the 00:10:43.080 --> 00:10:45.580 tune kind of a thing. And I always loved doing 00:10:45.580 --> 00:10:48.279 those things because I thought it's, this is 00:10:48.279 --> 00:10:52.350 really cool. And then... It just grew from there 00:10:52.350 --> 00:10:54.649 because I would be in little chamber groups and 00:10:54.649 --> 00:10:56.389 I'd say, Oh, I got to write for this chamber 00:10:56.389 --> 00:10:59.490 group and see what happens. And, uh, I didn't 00:10:59.490 --> 00:11:02.029 actually have anybody tell me how to write or 00:11:02.029 --> 00:11:05.309 anything like that. So I basically had to learn 00:11:05.309 --> 00:11:08.250 it all by myself. And with basically looking 00:11:08.250 --> 00:11:11.570 at music that I liked and saying, well, why, 00:11:11.970 --> 00:11:14.070 why are those notes there in that particular 00:11:14.070 --> 00:11:18.610 order? And why does that note and that combination 00:11:18.610 --> 00:11:23.409 make me feel. This way, uh, thing, even in high 00:11:23.409 --> 00:11:27.129 school, we had a very, very progressive class 00:11:27.129 --> 00:11:32.029 called lit 31. And, uh, this was the entire. 00:11:32.870 --> 00:11:35.350 Your entire Mark was based on one project and 00:11:35.350 --> 00:11:38.750 it can be about anything as long as it has a 00:11:38.750 --> 00:11:41.929 remote connection to literature. And so I thought, 00:11:42.009 --> 00:11:44.149 Oh, great. I'm going to write a string quartet 00:11:44.149 --> 00:11:46.870 about Beowulf. I always loved Beowulf. Cool. 00:11:47.000 --> 00:11:50.179 So I did that and, uh, performed it in class 00:11:50.179 --> 00:11:53.139 and, uh, got a really good Mark, of course. And, 00:11:53.740 --> 00:11:55.860 uh, well, not of course, but yes, I got a really 00:11:55.860 --> 00:11:58.679 good Mark and, uh, thought, wow, this is really 00:11:58.679 --> 00:12:01.240 great. I really liked doing this year. Then I 00:12:01.240 --> 00:12:04.179 went to university and, uh, it's interesting. 00:12:04.200 --> 00:12:07.860 I don't know. I, I, I find university sometimes 00:12:07.860 --> 00:12:13.899 are, are not about learning. They're about, sometimes 00:12:13.899 --> 00:12:17.370 we have teachers who. want you to just learn 00:12:17.370 --> 00:12:21.210 it their way, as opposed to learning a lot of 00:12:21.210 --> 00:12:25.610 other things. And it's funny because it kind 00:12:25.610 --> 00:12:27.830 of killed the composition spirit in me. I did 00:12:27.830 --> 00:12:34.110 take a composition class there and I don't know 00:12:34.110 --> 00:12:37.330 what, anyhow, but I stopped writing for probably 00:12:37.330 --> 00:12:40.190 about 10 years after that. And then I was in 00:12:40.190 --> 00:12:43.769 a little chamber group and we were doing a recital 00:12:43.769 --> 00:12:45.789 and he needed another piece. And I thought, Oh, 00:12:46.730 --> 00:12:48.809 I'm gonna, I've been doing arranging and doing 00:12:48.809 --> 00:12:52.830 all sorts of stuff like that. And so still keeping 00:12:52.830 --> 00:12:55.750 kind of a hand in it. But I thought I'd just 00:12:55.750 --> 00:12:57.490 write for this thing. So I just wrote a little 00:12:57.490 --> 00:12:59.470 piece for that. And that's when it all started 00:12:59.470 --> 00:13:02.830 again, and kind of haven't looked back, thankfully, 00:13:02.870 --> 00:13:07.330 and kept getting bigger and bigger pieces. And 00:13:07.330 --> 00:13:10.870 yeah, it's been a lot, a lot of fun. Yeah, that's 00:13:10.870 --> 00:13:13.039 amazing. That's amazing, Arthur. I'm sorry you 00:13:13.039 --> 00:13:16.059 had that experience that kind of squashed it 00:13:16.059 --> 00:13:18.200 out for a while. Well, it's funny. I mean, it's, 00:13:18.200 --> 00:13:20.360 it could have been just me too, because I was, 00:13:20.360 --> 00:13:23.460 you know, your late teens, early twenties, and 00:13:23.460 --> 00:13:25.899 you have your own ideas about things and you 00:13:25.899 --> 00:13:29.659 just sort of, sometimes you just, you're an idiot 00:13:29.659 --> 00:13:32.379 to be honest. And you do stuff there that you 00:13:32.379 --> 00:13:35.059 think, oh, this is so great. And you're just 00:13:35.059 --> 00:13:37.580 all, you know, up in arms about stuff. I'm not 00:13:37.580 --> 00:13:40.620 going to do that work because it's stupid. And. 00:13:40.590 --> 00:13:42.590 Looking back on it now, it's probably wasn't 00:13:42.590 --> 00:13:44.389 the teacher's fault. It was probably more my 00:13:44.389 --> 00:13:47.629 fault. And I just sort of ended up hurting myself 00:13:47.629 --> 00:13:50.210 in that sense. Right. You know, I thought it 00:13:50.210 --> 00:13:51.889 was interesting. You were saying that when you 00:13:51.889 --> 00:13:55.009 were very young, how you were looking at pieces 00:13:55.009 --> 00:13:56.970 and thinking like, well, how does this work? 00:13:56.970 --> 00:13:58.750 And why is it this way? And why does this make 00:13:58.750 --> 00:14:01.769 me feel this certain thing? And it reminds me 00:14:01.769 --> 00:14:05.009 that when I was younger, music theory was sort 00:14:05.009 --> 00:14:07.389 of held up as this thing that you had to learn 00:14:07.389 --> 00:14:11.649 to be literate about music. But I don't think 00:14:11.649 --> 00:14:13.570 that's really the healthiest way to think about 00:14:13.570 --> 00:14:17.450 it, right? Isn't the understanding that I've 00:14:17.450 --> 00:14:19.629 grown into, and I'd love to hear if you have 00:14:19.629 --> 00:14:22.090 a similar understanding or a different one, is 00:14:22.090 --> 00:14:28.529 that music theory is a system of describing this 00:14:28.529 --> 00:14:32.309 human expression that is happening, right? Like, 00:14:32.590 --> 00:14:36.480 Palestrina did not have a rule book that You 00:14:36.480 --> 00:14:39.059 know, he painted by numbers from Bach was not 00:14:39.059 --> 00:14:41.899 consulting textbooks of rules. Bach was just 00:14:41.899 --> 00:14:46.480 being Bach. And sure, I'm sure came up with codified 00:14:46.480 --> 00:14:49.080 systems for himself. You can't work at that speed 00:14:49.080 --> 00:14:52.059 and that precision without having sort of either 00:14:52.059 --> 00:14:56.240 just going by feel. But the way that we talk 00:14:56.240 --> 00:14:59.240 about invertible counterpoint and all this stuff, 00:14:59.360 --> 00:15:02.379 like those aren't rules handed down from on high. 00:15:02.899 --> 00:15:05.539 Those systems are ways of describing things. 00:15:05.840 --> 00:15:09.460 that people have written to be expressive and 00:15:09.460 --> 00:15:12.039 creative. Yeah, actually, exactly what you think 00:15:12.039 --> 00:15:14.299 what you just said about describing it. I think 00:15:14.299 --> 00:15:19.179 my theory about theory is that it's people trying 00:15:19.179 --> 00:15:22.320 to figure out how these people wrote this stuff. 00:15:22.559 --> 00:15:25.200 And so they look at it and they see these patterns 00:15:25.200 --> 00:15:26.960 or they see these things and they go, oh, well, 00:15:27.059 --> 00:15:29.919 this pattern keeps recurring all the time. And 00:15:29.919 --> 00:15:33.129 so therefore is let's call it a rule. You know, 00:15:33.350 --> 00:15:35.990 one, four, five, one, right? Kind of thing. And, 00:15:35.990 --> 00:15:39.210 uh, but the people who originally did it didn't 00:15:39.210 --> 00:15:41.649 have those rules. They might've had a lot of 00:15:41.649 --> 00:15:44.850 stuff that they listened to before and went and 00:15:44.850 --> 00:15:47.570 had figured it out on their own. Yeah. It's, 00:15:47.570 --> 00:15:50.049 it's, I think a way of people to try and describe 00:15:50.049 --> 00:15:52.990 how to write music, but it doesn't work that 00:15:52.990 --> 00:15:55.090 way because it's way, way too rigid. And in fact, 00:15:55.610 --> 00:15:57.690 uh, like the Berg, the Berg Violin Concerto, 00:15:57.789 --> 00:16:01.289 it's a 12 tone piece, but. he breaks his own 00:16:01.289 --> 00:16:03.389 rules about 12 tones because at a certain point 00:16:03.389 --> 00:16:06.950 it gets to a point where this tone row just doesn't 00:16:06.950 --> 00:16:09.730 work anymore and so he just does something musical 00:16:09.730 --> 00:16:13.789 and that's the interesting thing is that because 00:16:13.789 --> 00:16:16.889 all the advances in music all the changes into 00:16:16.889 --> 00:16:20.289 different forms and different uh what we call 00:16:20.289 --> 00:16:23.710 styles classical baroque romantic and all that 00:16:23.710 --> 00:16:27.750 stuff it's all people going i want to do something 00:16:27.750 --> 00:16:30.889 slightly different because I'm different. And 00:16:30.889 --> 00:16:33.730 I think that this would be more interesting for 00:16:33.730 --> 00:16:39.470 me to hear. And so when, you know, Beethoven 00:16:39.470 --> 00:16:42.710 used a trombone in a symphony or Mozart used 00:16:42.710 --> 00:16:47.570 it in an opera, that was a new thing. But now, 00:16:47.570 --> 00:16:50.610 you know, trombones are always there. And so 00:16:50.610 --> 00:16:53.710 for us, it's not a new thing. But even some harmonies 00:16:53.710 --> 00:16:55.429 that they were they were doing, like, I mean, 00:16:55.429 --> 00:16:59.190 I remember Haydn String Quartet, where he was 00:16:59.320 --> 00:17:01.879 Playing away happily in G major and then suddenly 00:17:01.879 --> 00:17:06.880 there's an E flat chord. I'm going huh Where 00:17:06.880 --> 00:17:09.859 did that come from like and why and and I loved 00:17:09.859 --> 00:17:13.359 how it made me feel and that's really what? my 00:17:13.359 --> 00:17:18.440 whole entire thing about Listening to music and 00:17:18.440 --> 00:17:20.720 trying to learn from the stuff that I I like 00:17:20.720 --> 00:17:25.579 is it's that Why when you're in G major and suddenly 00:17:25.579 --> 00:17:29.259 you go into this E flat major? Why does that 00:17:29.259 --> 00:17:32.980 give you this kind of a feeling? And did Haydn 00:17:32.980 --> 00:17:36.740 know that when he was writing it? Or did he just 00:17:36.740 --> 00:17:40.099 stumble upon it and go, oh, I like that. Oh, 00:17:40.119 --> 00:17:42.680 I really like that. By the way, the guy wrote 00:17:42.680 --> 00:17:46.839 so much stuff. I didn't see it that often, actually, 00:17:46.980 --> 00:17:49.900 from the G major to A flat. So he could have 00:17:49.900 --> 00:17:51.400 been just experimenting at that point. He did 00:17:51.400 --> 00:17:54.240 a lot of experimenting with his quartets. He 00:17:54.240 --> 00:17:57.039 had a lot of stuff that he was writing for his... 00:17:57.480 --> 00:18:01.119 patron, the Prince of Astor Hazi. That's a real 00:18:01.119 --> 00:18:03.319 rambly answer, isn't it? No, no, that's great, 00:18:03.400 --> 00:18:06.359 right? Because like, we're talking about this 00:18:06.359 --> 00:18:09.380 idea that like, when you're writing, like when 00:18:09.380 --> 00:18:12.220 something takes you, that you can go with it. 00:18:12.500 --> 00:18:14.779 Right? Yeah. And so too was your rambly chat. 00:18:14.859 --> 00:18:18.579 Yeah. You were demonstrating the concept by getting 00:18:18.579 --> 00:18:20.799 into this particular bit, little bit of hiding. 00:18:20.940 --> 00:18:23.440 That's great. But it is true, though, and it's 00:18:23.440 --> 00:18:26.359 one of those things that I try to write not by 00:18:27.459 --> 00:18:30.160 rule and reason like that I try to write a little 00:18:30.160 --> 00:18:33.839 bit more like this will get me this will not 00:18:33.839 --> 00:18:36.220 get me or this will catch me this is something 00:18:36.220 --> 00:18:39.559 I'm interested in and so when I start a piece 00:18:39.559 --> 00:18:43.279 I generally generally sometimes I have an idea 00:18:43.279 --> 00:18:46.400 of where I want it to end and or what kind of 00:18:46.400 --> 00:18:49.619 a thing I want it to do but generally I start 00:18:49.619 --> 00:18:52.359 and if I go okay this is good and then it gets 00:18:52.359 --> 00:18:55.180 to a certain point and then it it may stop and 00:18:55.180 --> 00:18:58.430 then I have to Go in that direction. No go in 00:18:58.430 --> 00:19:00.789 that direction. No go in that. Oh, that's it. 00:19:00.829 --> 00:19:03.690 Okay go there and then it keeps going that way 00:19:03.690 --> 00:19:08.450 Yeah, so it's it's I go from beginning and to 00:19:08.450 --> 00:19:10.750 the end and I'm not quite sure always when the 00:19:10.750 --> 00:19:12.890 end is gonna be and how the end is gonna be there 00:19:12.890 --> 00:19:16.009 and Hopefully most the time it's successful. 00:19:16.009 --> 00:19:18.049 I know sometimes it hasn't been as successful 00:19:18.049 --> 00:19:22.609 for for myself about you know, how I organized 00:19:22.609 --> 00:19:26.200 it because it's but heck That's the whole thing. 00:19:26.299 --> 00:19:28.759 It's a learning curve. I always think if I stop 00:19:28.759 --> 00:19:33.240 learning, I'm probably dead. Yeah. And don't 00:19:33.240 --> 00:19:36.480 want to stop learning. Well, I remember when 00:19:36.480 --> 00:19:39.740 you were writing The Darkling Thrush for me. 00:19:40.119 --> 00:19:42.160 the piece that I commissioned from you and that 00:19:42.160 --> 00:19:45.099 I premiered at the Sound Atlas Festival last 00:19:45.099 --> 00:19:47.680 summer, the summer of 2024. We were sort of giving 00:19:47.680 --> 00:19:50.259 me running updates every once in a while at work 00:19:50.259 --> 00:19:52.819 about how things were going. You're like, I don't 00:19:52.819 --> 00:19:56.660 really know how it's going to end. I know that 00:19:56.660 --> 00:20:01.880 must not have been very reassuring for you, I'm 00:20:01.880 --> 00:20:07.819 sure. Well, the suspense was exciting. I know 00:20:07.819 --> 00:20:09.720 I gave you a lot of challenges in that one, that's 00:20:09.720 --> 00:20:11.539 for sure. Oh, sure. But that was like that was 00:20:11.539 --> 00:20:13.440 the first trumpet solo piece you ever wrote. 00:20:13.759 --> 00:20:16.500 True, it was. But, you know, now I know a heck 00:20:16.500 --> 00:20:19.019 of a lot more. And if I write another one, it's 00:20:19.019 --> 00:20:24.000 going to be absolutely a real awesome piece. 00:20:24.819 --> 00:20:27.480 But at the same time, it's great that like a 00:20:27.480 --> 00:20:32.039 lot of what you wrote was not accommodating the 00:20:32.039 --> 00:20:34.119 proclivities of the instrument. Right. And I 00:20:34.119 --> 00:20:36.829 think that that Sometimes things need a little 00:20:36.829 --> 00:20:40.690 tweaking, but I'd much rather do that than fall 00:20:40.690 --> 00:20:43.670 into the tropes and have something that feels 00:20:43.670 --> 00:20:48.069 very derivative. I always try to do that, is 00:20:48.069 --> 00:20:52.109 try and write something that is not necessarily 00:20:52.109 --> 00:20:55.109 idiomatic for the instrument, completely idiomatic 00:20:55.109 --> 00:20:56.589 for the instrument. Obviously there's always 00:20:56.589 --> 00:20:58.769 things that work better on certain instruments 00:20:58.769 --> 00:21:02.910 than on others. I know one of the things that 00:21:02.970 --> 00:21:06.769 uh, has gotten me into trouble is, is being a 00:21:06.769 --> 00:21:09.170 string player. I mean, I just have to change 00:21:09.170 --> 00:21:11.269 bow and I can make a really, really long note 00:21:11.269 --> 00:21:13.309 and really long thing. I don't have to breathe, 00:21:13.309 --> 00:21:16.289 right? Still being conscious of that. I still, 00:21:16.589 --> 00:21:21.089 I still tend to light, write really long phrases 00:21:21.089 --> 00:21:23.609 that are, I would love it if you didn't have 00:21:23.609 --> 00:21:25.569 to breathe in it, but of course that's not going 00:21:25.569 --> 00:21:28.500 to work. Yeah. But you know, like to, uh, to 00:21:28.500 --> 00:21:31.039 a singer or any wind player, I think we find 00:21:31.039 --> 00:21:34.099 ways. Our vocabulary is finding ways to make 00:21:34.099 --> 00:21:37.599 the breaths a feature, not a bug. Yeah. And that's 00:21:37.599 --> 00:21:39.779 part of the learning curve, I think, for me as 00:21:39.779 --> 00:21:43.559 a composer is to find out where I can make that 00:21:43.559 --> 00:21:47.420 more easy to figure out for the performer. Because, 00:21:47.779 --> 00:21:50.160 I mean, I wrote the flute concerto for Sarah. 00:21:50.400 --> 00:21:54.039 I know it's... It's a beautiful piece, Arthur. 00:21:54.519 --> 00:21:56.440 Thank you. I love that, hearing that piece is 00:21:56.440 --> 00:21:58.200 why I thought I'm going to commission a piece 00:21:58.200 --> 00:22:00.380 from Arthur. Well, thank you, Adam. That was, 00:22:00.819 --> 00:22:02.579 I really, really enjoyed writing that piece too. 00:22:02.579 --> 00:22:05.079 And that was one of those things that was for 00:22:05.079 --> 00:22:07.819 Sarah and I loved her playing and I know she 00:22:07.819 --> 00:22:12.640 could play very long legato phrases. And I know 00:22:12.640 --> 00:22:15.799 it's kind of, you know, a few times after when 00:22:15.799 --> 00:22:19.680 I gave her the final product and oh, it was still. 00:22:19.880 --> 00:22:22.960 maybe a month before our performance. And, uh, 00:22:22.960 --> 00:22:25.259 and she came back and she says, Arthur, I just 00:22:25.259 --> 00:22:27.960 need, I just need a rest here or there. And I 00:22:27.960 --> 00:22:32.000 just, just, just cause you know, I, I just can't 00:22:32.000 --> 00:22:34.619 do this without breathing. And so you just, and 00:22:34.619 --> 00:22:36.720 I need to recover. Right. And that's the thing 00:22:36.720 --> 00:22:39.519 you never think about as a string player is that 00:22:39.519 --> 00:22:41.400 you need to recover. Like, what do you mean? 00:22:41.460 --> 00:22:44.259 I just put the bow down and I play, right. But 00:22:44.259 --> 00:22:46.680 I mean, obviously I've learned a lot more about 00:22:46.680 --> 00:22:51.759 that. And that even, even. five seconds is sometimes 00:22:51.759 --> 00:22:55.160 enough for an instrumentals to reset. Yeah. And 00:22:55.160 --> 00:22:56.339 it's always interesting because then you sort 00:22:56.339 --> 00:22:59.440 of go, oh, okay, how do I make this work? And 00:22:59.440 --> 00:23:02.279 I think, okay, I still want this tune. I want 00:23:02.279 --> 00:23:04.920 this here. Oh, well, hey, let's put it into the 00:23:04.920 --> 00:23:09.019 violas. Yeah. And, you know, just for absolute 00:23:09.019 --> 00:23:10.799 clarity, we're talking about Sarah Hahn here, 00:23:10.859 --> 00:23:13.380 the principal flute of the CPO. And we're talking 00:23:13.380 --> 00:23:15.460 about your flute concerto, Daughter of Elysium, 00:23:15.519 --> 00:23:17.990 which was commissioned by the CPO. to be sort 00:23:17.990 --> 00:23:19.890 of a companion piece for Beethoven 9, of all 00:23:19.890 --> 00:23:23.450 things. Of all things to Beethoven 9, yeah. And 00:23:23.450 --> 00:23:26.650 it was interesting, so the way it became a companion 00:23:26.650 --> 00:23:30.710 piece, it's a very, very loose companion because 00:23:30.710 --> 00:23:33.990 daughter of Elysium is three of the words in 00:23:33.990 --> 00:23:37.049 the Schiller poem. He says, Joy is the daughter 00:23:37.049 --> 00:23:39.970 of Elysium, which is what the tenor sings when 00:23:39.970 --> 00:23:43.289 he first comes in. He goes, Freude, which is 00:23:43.289 --> 00:23:46.970 Joy, is the daughter of Elysium. And I just took 00:23:47.039 --> 00:23:49.480 daughter of Elysium because I thought that was 00:23:49.480 --> 00:23:51.920 very interesting to think of what a daughter 00:23:51.920 --> 00:23:56.079 of Elysium would be. And that's the way that 00:23:56.079 --> 00:24:00.240 whole piece sort of got started. I was lucky 00:24:00.240 --> 00:24:02.940 that they allowed me to use a full choir. Yeah, 00:24:03.019 --> 00:24:04.700 because the choir is there for Beethoven Nine 00:24:04.700 --> 00:24:06.660 anyway. Yeah, yeah. It's an interesting thing 00:24:06.660 --> 00:24:10.480 because I find when I... I'm trying to shop this 00:24:10.480 --> 00:24:13.359 piece around a lot of orchestras go oh my god 00:24:13.359 --> 00:24:17.880 you got a choir oh no oh can't do that and I 00:24:17.880 --> 00:24:19.220 try to say well you know it doesn't have to be 00:24:19.220 --> 00:24:21.299 with Beethoven I could be with the bronze requiem 00:24:21.299 --> 00:24:23.440 it could be with any of that or it could just 00:24:23.440 --> 00:24:27.079 be by itself and it was proven that we just did 00:24:27.079 --> 00:24:30.789 this last year and the choir was just there for 00:24:30.789 --> 00:24:34.349 this piece, and it worked fine, right? And there 00:24:34.349 --> 00:24:36.190 are no trumpets in this piece, just by chance. 00:24:36.309 --> 00:24:37.950 I remember you telling me that you just, you 00:24:37.950 --> 00:24:39.410 know, when you were writing it, there were trumpet 00:24:39.410 --> 00:24:40.970 parts there on the page for you to work with. 00:24:41.009 --> 00:24:42.809 You just didn't write anything in them. Yeah, 00:24:42.809 --> 00:24:44.950 and that's funny. I'm not sure exactly what that 00:24:44.950 --> 00:24:47.190 happened. And I think there was maybe something 00:24:47.190 --> 00:24:52.089 in my subconscious going, like, I wanted to have 00:24:52.089 --> 00:24:55.150 the whole orchestra playing with Sarah, and I 00:24:55.150 --> 00:24:57.839 was sort of thinking, well, the trumpet... Sound 00:24:57.839 --> 00:25:00.339 is very. distinctive sound, and I didn't want 00:25:00.339 --> 00:25:04.599 that to conflict or to compete with Sarah's sound. 00:25:04.839 --> 00:25:06.460 Yeah. You just carve out some acoustic space 00:25:06.460 --> 00:25:08.460 for that. Yeah. Yeah. And I just sort of thought, 00:25:08.480 --> 00:25:11.960 well, maybe that will help. And I'm sure Adam 00:25:11.960 --> 00:25:15.380 and Miranda would not be having a problem with 00:25:15.380 --> 00:25:17.519 that. Well, what it meant the last time around 00:25:17.519 --> 00:25:19.380 is I got to sing in the choir, which was good 00:25:19.380 --> 00:25:22.099 fun. I think that's so funny. That's great. It 00:25:22.099 --> 00:25:24.259 was a hoot. And if anyone's considering programming 00:25:24.259 --> 00:25:26.680 this, the choral parts are not difficult. Even 00:25:26.680 --> 00:25:29.339 I, a very untrained singer, could muddle my way 00:25:29.339 --> 00:25:32.819 through as a tenor. That's awesome. Thank you. 00:25:36.000 --> 00:25:37.900 Well, for those of you really excited to hear 00:25:37.900 --> 00:25:40.740 some of Arthur's music, I think you should be. 00:25:40.920 --> 00:25:43.220 And one great chance you have this season at 00:25:43.220 --> 00:25:46.259 the CPO is to hear a paintbrush for Piccolo, 00:25:46.660 --> 00:25:48.779 which is going to be part of our Symphony Sundays 00:25:48.779 --> 00:25:51.859 for Kids series on May 11th at three o 'clock 00:25:51.859 --> 00:25:54.279 at the Jacksingers Julianne Galant will be conducting. 00:25:55.220 --> 00:25:57.099 Tell us a little bit about paintbrush for Piccolo. 00:25:57.710 --> 00:26:03.589 Paintbrush for Piccolo is a well, it's basically 00:26:03.589 --> 00:26:09.950 almost an hour -long theatre musical piece and 00:26:09.950 --> 00:26:14.710 it's the story of a little boy in Renaissance 00:26:14.710 --> 00:26:19.390 Italy about the time that the Sistine Chapel 00:26:19.390 --> 00:26:23.690 was being painted by Michelangelo and this little 00:26:23.690 --> 00:26:27.859 boy whose name was Piccolo is a leather worker, 00:26:28.099 --> 00:26:30.480 or his father is a leather worker, but he's always, 00:26:30.599 --> 00:26:34.480 Piccolo has always wanted to be a painter, always 00:26:34.480 --> 00:26:38.380 loved painting, loved going into the little churches 00:26:38.380 --> 00:26:41.960 that were in his little village and seeing the 00:26:41.960 --> 00:26:45.619 artwork there. And at one point he goes with 00:26:45.619 --> 00:26:48.799 his father to Rome and they get beset by bandits 00:26:48.799 --> 00:26:52.900 and he gets hit on the head and loses his memory. 00:26:53.099 --> 00:26:57.779 This is a story that was originally by a Calgary 00:26:57.779 --> 00:27:01.279 author who was a teacher here in Calgary. Her 00:27:01.279 --> 00:27:04.200 name was Anne Gathe. She lives in Vancouver now 00:27:04.200 --> 00:27:07.619 and who is actually going to be coming for the 00:27:07.619 --> 00:27:11.359 show, which is awesome. And it features a young 00:27:11.359 --> 00:27:16.980 actor, actress, and actually we can, it's, Piccolo 00:27:16.980 --> 00:27:19.099 can be either male or female. It doesn't really 00:27:19.099 --> 00:27:23.630 matter. And And then there is a narrator and 00:27:23.630 --> 00:27:25.490 that's going to be Jonathan Love doing this, 00:27:25.650 --> 00:27:27.190 which he's an awesome guy. He's the one that 00:27:27.190 --> 00:27:29.390 did it very, very first way back. He was one 00:27:29.390 --> 00:27:33.230 of the, he was the first fellow and he does every 00:27:33.230 --> 00:27:35.950 character other than Bella the dog. And Bella 00:27:35.950 --> 00:27:40.750 the dog is done by Dean Barham and he is a puppeteer 00:27:40.750 --> 00:27:44.650 from Green Fools Theater. And, uh, he has a dog 00:27:44.650 --> 00:27:47.650 that he created especially for this called Bella, 00:27:47.890 --> 00:27:51.920 which is awesome. It's a very, very entertaining 00:27:51.920 --> 00:27:55.779 little story. The music in it just follows along 00:27:55.779 --> 00:28:01.259 with whatever is happening on stage. And I think 00:28:01.259 --> 00:28:03.759 everybody would absolutely love this. Wonderful. 00:28:03.880 --> 00:28:05.380 I'm really looking forward to it. I've never 00:28:05.380 --> 00:28:07.839 played this before. You haven't. I haven't. Somehow 00:28:07.839 --> 00:28:09.480 I missed it, and a couple of times it's happened 00:28:09.480 --> 00:28:12.839 since I started here at the CPO. But my colleagues 00:28:12.839 --> 00:28:16.690 just rave about this one. So I'm really looking 00:28:16.690 --> 00:28:19.309 forward to giving it a go myself. Oh, that's 00:28:19.309 --> 00:28:22.430 awesome. Yeah. No, it's a fun piece. I always 00:28:22.430 --> 00:28:25.609 enjoy hearing it. I actually, I've played it 00:28:25.609 --> 00:28:28.509 all the time, every time. Oh, the only time I 00:28:28.509 --> 00:28:31.329 didn't play it was when I was at NAC. So it did 00:28:31.329 --> 00:28:33.289 get played in NAC, which was really, really nice. 00:28:33.710 --> 00:28:36.150 They enjoyed it very much there. So that was 00:28:36.150 --> 00:28:39.859 awesome to do that. Great. Yeah. Great. Arthur 00:28:39.859 --> 00:28:42.859 in your 39 years at the CPO you have heard so 00:28:42.859 --> 00:28:46.019 much great music making on stage I want to ask 00:28:46.019 --> 00:28:49.359 you usually I try and contain my guests to a 00:28:49.359 --> 00:28:54.119 single a Single highlight, but for you as a retiring 00:28:54.119 --> 00:28:57.299 member of the orchestra I want to ask you to 00:28:57.299 --> 00:29:00.839 highlight some colleagues past and present whose 00:29:00.839 --> 00:29:07.960 playing has inspired you over the years Wow That's 00:29:07.960 --> 00:29:12.839 okay Let's just go through this here. Okay. So 00:29:12.839 --> 00:29:15.420 one of the ones obviously is Sarah. She's been 00:29:15.420 --> 00:29:18.920 a very good friend and I always have absolutely 00:29:18.920 --> 00:29:22.299 loved her playing. You as well, Adam, are one 00:29:22.299 --> 00:29:24.839 of these players that has always inspired me 00:29:24.839 --> 00:29:28.339 because you always come to, you're always supremely 00:29:28.339 --> 00:29:34.240 prepared and your legato stuff is just, that's 00:29:34.240 --> 00:29:35.960 the stuff I absolutely love about your playing. 00:29:37.000 --> 00:29:40.039 Yeah, and, uh, you know, after that, I mean, 00:29:40.140 --> 00:29:43.039 everybody's had their moment to shine. It's kind 00:29:43.039 --> 00:29:45.319 of tough to sort of single out more than, more 00:29:45.319 --> 00:29:49.799 than a few people there because, uh, some bass 00:29:49.799 --> 00:29:52.799 players that I, uh, really, really enjoyed. It 00:29:52.799 --> 00:29:56.180 was Graeme, Graeme Mudd, who's a very good friend 00:29:56.180 --> 00:29:58.359 of mine. And he's done a number of my little 00:29:58.359 --> 00:30:02.859 pieces, including, uh, with, uh, Chuck Garrett 00:30:02.859 --> 00:30:07.640 and Trish Beretti. Uh, they did the Bugler's 00:30:07.640 --> 00:30:11.859 holiday for three bases. Excellent. And, uh, 00:30:11.859 --> 00:30:14.180 so he did it for three bases string quartet and, 00:30:15.319 --> 00:30:17.980 uh, somewhere around in the world, there is, 00:30:18.339 --> 00:30:22.900 uh, there is a recording of that somewhere, but 00:30:22.900 --> 00:30:26.299 I would love to hear. Yeah. That might be the, 00:30:26.299 --> 00:30:28.819 that might be what we can use there. Other than 00:30:28.819 --> 00:30:31.099 that. I mean, I think just, just being in this 00:30:31.099 --> 00:30:35.430 orchestra and seeing how much great. orchestral 00:30:35.430 --> 00:30:37.269 playing that there has been going on which means 00:30:37.269 --> 00:30:42.529 it's egoless ensemble playing where everybody's 00:30:42.529 --> 00:30:44.829 really really all what they want to do is play 00:30:44.829 --> 00:30:48.650 great music with other great musicians that are 00:30:48.650 --> 00:30:51.329 around them and that that for me has been the 00:30:51.329 --> 00:30:53.789 best because when when that actually happens 00:30:53.789 --> 00:30:57.690 that is the the magic moment for me in and all 00:30:57.690 --> 00:31:01.130 that stuff it's everybody's playing and contributing 00:31:01.130 --> 00:31:06.109 and there is no There's no egos. It's just music. 00:31:06.250 --> 00:31:09.470 Yeah, and that's I think that is this most spectacular 00:31:09.470 --> 00:31:12.089 thing about orchestral music orchestral playing 00:31:12.089 --> 00:31:16.730 so they're wonderful Arthur we're gonna miss 00:31:16.730 --> 00:31:22.190 you. I'll still be there I'll be the one going 00:31:27.969 --> 00:31:29.930 Thanks for coming and sitting down with me and 00:31:29.930 --> 00:31:31.670 talking about this today. It was really great 00:31:31.670 --> 00:31:33.369 to chat with you. Thank you very much, Adam. 00:31:33.529 --> 00:31:37.990 It was a pleasure. Notes from the Stage is an 00:31:37.990 --> 00:31:40.029 independent production of the Calgary Philharmonic 00:31:40.029 --> 00:31:42.730 Players Association. The opinions expressed here 00:31:42.730 --> 00:31:45.009 are our own and do not reflect those of the Calgary 00:31:45.009 --> 00:31:47.910 Philharmonic Orchestra. Our thanks to Nathan 00:31:47.910 --> 00:31:51.450 Chandler for his technical expertise. The music 00:31:51.450 --> 00:31:53.750 you heard in this episode was two works by Arthur 00:31:53.750 --> 00:31:56.559 Bachmann. The Darkling Thrush performed by pianist 00:31:56.559 --> 00:31:59.319 Akiko Tominaga and me, Adams in Italy, on trumpet, 00:32:00.059 --> 00:32:03.000 and Nauthis performed by Kensington Sinfonia 00:32:03.000 --> 00:32:07.079 from their CD, Views from the Americas. On our 00:32:07.079 --> 00:32:09.140 next episode in two weeks, I'll be talking with 00:32:09.140 --> 00:32:11.279 the Calgary Phil's principal violist, Laurent 00:32:11.279 --> 00:32:13.359 Crier -Kim. Talk to you soon!