Interview: Grammy-Nominated Violinist Andres Cardenes Joins ROCO for Conductor-less Concert PEOPLE ARE PEOPLE
By: Natalie de la Garza Feb. 23, 2017
This weekend, Grammy-nominated violinist Andrés Cárdenes returns to Houston for ROCO's annual conductorless concert, PEOPLE ARE PEOPLE. The program features a world premiere violin concerto from composer Ricardo Lorenz, written specifically for Cárdenes, and works from Luigi Rodolfo Boccherini, Aaron Copland and Felix Mendelssohn.
Lorenz, Cárdenes and ROCO founder Alecia Lawyer took some time this week to talk to Broadway World Houston about the program, the origins of Lorenz's new work, and what it means to "be your own conductor."
Certainly, the highlight of the program is the world premiere of Baile Improbable/Dance Unlikely. What can you share about this piece? What can audiences expect?
Ricardo Lorenz: The title was inspired by a photo I bought in Havana some years ago. It shows the late Fidel Castro dining out with his government entourage, military guards and all, while a small band performs. It's an odd scene, especially because Mr. Castro looks like he is clearly not having a good time. The work is driven by the unlikely counterpoint show in the photo and by the way I translate it into music. In essence, the musical content of the solo and orchestra parts are continuously striving to break into a syncopated dance-able groove only to be met, equally continuously, by more abstract musical elements that resist and ultimately frustrate the endeavor.
Baile Improbable/Dance Unlikely was written specifically for Andrés Cárdenes. How does knowing that you're writing for such an accomplished, acclaimed violinist affect the creative process? Does it change your approach at all?
Ricardo Lorenz: Baile Improbable/Dance Unlikely, my second violin concerto, is the fifth composition that I've written over the years that was commissioned by, and in collaboration with, Andrés Cárdenes. By now, I feel I have a good sense of his attitude towards the violin and towards music in general. However, when I compose a work for Andrés, I don't necessarily tailor the work to what I interpret to be his style or abilities as a performer. Rather, I let my musical thoughts and creative impulses be guided by the enormous feeling of friendship and camaraderie I have held for Andrés since at least 30 years ago.
Aaron Copland said of Three Latin American Sketches: "The tunes, the rhythms, and the temperament of the pieces are folksy, while the orchestration is bright and snappy and the music sizzles along - or at least it seems to me that it does."
What does it seem like to you? How would you describe Three Latin American Sketches?
Alecia Lawyer: Reminds me of "Mambo!" from WEST SIDE STORY - lots of great rhythms and fun lines. The second movement is a beautiful, sweet, almost romantic section.
Mendelssohn wrote Sinfonia No. 8 in D major when he was only 13 years old. What can you tell us about this piece? Where does it fit in Mendelssohn's oeuvre?
Alecia Lawyer: He scored it almost immediately for the full orchestra with winds and brass, so it became his first full symphony. His youth is apparent and the movements sound so much like Mozart and Haydn. In particular the second movement could pass easily for a Haydn piece.
How do all of these works (along with Luigi Rodolfo Boccherini's Symphony No. 25 in A-Major) complement each other?
Alecia Lawyer: Dance is our body's response to rhythm in music, and all of these pieces make you want to move! Even though the new piece is called Dance Unlikely, I bet that everyone in the room will be at least tapping their toes. We always have a surprise, too, so just wait for the encore that Andrés will play. Nothing quite like it!
This program is conductorless, of course. How does the dynamic between musicians change without a conductor present?
Andrés Cárdenes: Intuitively, once there is no conductor on the podium, musicians in the orchestra focus on different senses to play together. Your aural acuity and reaction times become more acute and there is more collaborative than rhythmically precise playing. The sense of ownership of the performance can be very stimulating to the players.
Alecia Lawyer: All ROCO musicians always come not only prepared for their own part, but knowing the score and what everyone else has in the music. With our conductorless concert, this is intensified so that each musician becomes his or her own conductor. The challenge is weaving all of these opinions and strong personalities into one idea, which is where Andrés comes in leading from the concertmaster chair. We love this annual concert, because it removes one more layer between audience and musician!
Performance photo courtesy of ROCO. Additional photos by Eliezer Barros Photography and Julie Soefer.
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