Midori reaching beyond the concert stage
• A symphony season of classical music
By Wayne Harada
Advertiser Entertainment Writer
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| Acclaimed violinist Midori says some of her favorite work is in educational projects, such as the Midori and Friends program, which provides free music lessons to New York City children.
Lois Greenfield Midori With the Honolulu Symphony; first concert in the Halekulani MasterWorks Classical Series 8 p.m. today, 4 p.m. Sunday Blaisdell Concert Hall $16, $28, $33, $44, $59 792-2000 |
"I've never worked with her, so this will be the first time," Wong said of the internationally known artist, who joins the maestro in the lift-off of the Halekulani MasterWorks Classical Series tonight and Sunday at Blaisdell Concert Hall.
Wong said Midori's presence is an indication of the world-class mixed plate awaiting symphony patrons this year. "We often take the artists for granted, but ... (many are) superstars," said Wong, rattling off names: Deborah Voigt, Sir James Galway, Vladimir Feltsman, Misha Dichter. "We've become a regular stop for
international superstars; considering the landscape of symphony orchestras in general, I think we're doing quite well."
We caught up with Midori via e-mail:
Question: Clearly, you've made the transition from child prodigy to adult performer. Has it been a smooth journey so far?
Answer: How does one measure the smoothness of life? Is such a thing ever possible? I would think that some would call one's life easy, while others would not. ... My life is as I see it: an intricate interweaving of experiences. Experiences are branded either "good" or "bad," but eventually they become a part of life, and as such, dividing them into only two factions would be too simplistic and meaningless.
Q. Your success as an Asian violinist parallels that of many earlier kids-to-adults musicians who have emerged from Japan, China, Korea. Do western audiences overdo the fascination with young Asian troupers? Or is race not at all an issue — that great musicians are great no matter where they come from?
A. It is difficult, really impossible, to take away a part of a person and think about his/her life in "what if" terms. Everything of who I am is represented in every part of my life, and especially so in my creative persona, of which music is a very important component. Many Asian children play music, and many of them pursue a serious musical study. With this in mind, there is no surprise to have Asian professional musicians.
Q. Your work involves traveling. Are you a good traveler, in a time when airplanes and airports are jammed and security high?
A. I don't think twice about the hassles of traveling, as it is such an assumed part of my job. I like to be at home as much as possible, so flights are chosen accordingly. I also do not mix vacation travel (tourism) with work travel. Much of my time on the road is spent writing, studying and practicing, and whether I'm in Paris, Austin or Tokyo, the routine of getting my work done does not change.
Q. What aspect of your career do you most enjoy? The performances? The recording sessions? The traveling? The ability to launch projects?
A. I am particularly dedicated to working on projects, from conceptualization, outlining, planning, to finalization and follow-up. Many of my projects try to bring together efforts of various people, and teamwork and interaction play crucial roles. What I like specifically about more recent projects is that there are opportunities to go beyond the constraints of the hall walls. (She has several pet projects beyond her concert work, such as the educational programs Midori and Friends, Partners in Performance and Total Experience). I believe that music finds its natural place within people and should not be restricted to a specific physical place.
Q. How old were you when you first encountered the violin? What is your earliest recollection of the instrument?
A. I was attracted to the violin because I saw my mother playing it and wanted to play it myself. I think I was 3 at that time. It seemed natural to play, and I enjoyed practicing and did not feel that I was missing anything. Indeed, it was quite a bit later that I learned that not all children were learning the violin and practicing.
Q. Do you think it's necessary to pick up the violin at a very young age if you want to become a professional musician?
A. Everyone is different, and starting to practice the violin as the toddler crawls out of the crib is not necessarily a guarantee for a successful musical career. The "right" time to start lessons depends upon the individual and his/her environment and circumstances.
Q. Your career has crisscrossed paths with a number of greats in classical and symphony music. What impressions do you recall, or what lessons have you learned, in your encounters with Isaac Stern, Zubin Mehta, Yo-Yo Ma, Emanuel Ax, Vladimir Ashkenazy, Pinchas Zukerman or anyone else in your two decades of performances?
A. I have learned lessons from many, and I consider life a lesson. But it is not about where these lessons come from, or who you meet. Rather, it is what you do with the experiences gained through living.
Reach Wayne Harada at wharada@honoluluadvertiser.com, 525-8067 or fax 525-8055.
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A symphony season of classical music
Here's the schedule for the Halekulani MasterWorks Classical Season; all events are at 8 p.m. Fridays and 4 p.m. Sundays at Blaisdell Concert Hall. $16, $28, $33, $44, $59. 792-2000.
MIDORI, in season-launching concerts today and Sunday. The violinist will perform the Brahms Violin Concerto; Samuel Wong conducts. Program includes Beethoven's Symphony No. 8 in F major.
"RUSSIAN ROMANCE," Sept. 12, 14. Vladimir Feltsman, pianist; Tadaaki Otaka, guest maestro; program features Prokofiev's Piano Concerto No. 2 in G minor, Liadov's "The Enchanted Lake" and Rachmaninoff's Symphony No. 2.
"EAST/WEST SYNTHESIS," Sept. 19, 21. Wong conducts a program of Eastern music and instruments with Western symphonics, featuring Tang Jun Qiao on the dizi (bamboo flute); program includes Stravinsky's "Song of a Nightingale" and Hindemith's "Symphonic Metamorphosis."
"TSUTSUMI PLAYS TCHAIKOVSKY," Oct. 10, 12. Wong conducts; Tsuyoshi Tsutsumi performs Tchaikovsky's "Variations on a Rococo Theme" and Bruch's "Kol Nidrei." Program also includes Strauss' "Don Juan" and Shostakovich's Symphony No. 9 in E-flat major.
"BRAHMS' MAJESTIC REQUIEM," Oct. 17, 19. Wong conducts; featuring the Honolulu Symphony Chorus, conducted by Karen Kennedy; clarinet soloist Scott Anderson performs Busoni's Concertino for Clarinet and Chamber Orchestra, and Debussy's Rhapsody for Clarinet and Orchestra; program also includes Sisler's "Cosmic Divide" and Brahms' "Ein Deutsches Requiem (A German Requiem)."
"SYMPHONY'S OWN STARS," Oct. 24, 26. Naoto Otomo conducts, with soloists Mike Szabo, bass trombone, and Darel Stark, violin; program features Ewazen's Concerto for Bass Trombone, W. Schuman's Concerto for Violin and Orchestra, and Tchaikovsky's Symphony No. 6 ("Pathétique").
"EXOTIC NIGHTS," Nov. 7, 9. Chris Wilkins conducts an evening of Eastern exotica, topped by Rimsky-Korsakov's "Scheherazade" (Op. 35), featuring concertmaster Ignace "Iggy" Jang.
"VAN CLIBURN WINNER IOUDENITCH," Nov. 14, 16. Scott Yoo guest-conducts; pianist Stanislav Ioudenitch, gold medal winner of the Van Cliburn International Piano Competition, performs Saint Sa‘ns' Piano Concerto No. 2 in G minor; program also includes Coleman's "Focoso" and Schubert's Symphony No. 9 in C major, D. 944 ("The Great").
"DEBORAH VOIGT," Jan. 2, 4. Featuring Voigt, a dramatic soprano who has performed at the Metropolitan Opera and recently was named Musical America's Vocalist of the Year for 2003. Wong conducts; the program includes Straiss' "Vier Letzte Lieder (Four Last Songs)" and three Wagner works: "Tannhauser: Overture & Venusberg," "Dich Ture Halle" from "Tannhauser," and "Der Fliegende Hollander (The Flying Dutchman)."
SIR JAMES GALWAY, March 19, 21. Wong conducts Sir James Galway and Lady Jeanne Galway, who will share their classical flute performances on Cimarosa's Concerto in G major for Two Flutes, and Mercadante's Concerto for Flute and Strings; program also includes Mendelssohn's Symphony No. 4 in A major.
"KAWAKUBO RETURNS," March 26, 28. Violinist Tamaki Kawakubo, winner of the 2001 Pablo Sarasate International Violin Competition, will perform Dvor‡k's Violin Concerto in A minor; program includes Jan‡cek's "Taras Bulba" and Smetana's "M‡ Vlast Nos. 2, 3 & 6 (My Fatherland)."
"CARMINA BURANA," April 2, 4. Featuring the Honolulu Symphony Chorus, conducted by Karen Kennedy, on Orff's "Carmina Burana," the theatrical piece blending music, words and movement. Program also includes Haydn's Symphony No. 101 in D major ("The Clock").
"BRAHMS, BEETHOVEN & BERLIOZ," May 14, 16. Wong conducts; Canadian pianist Jane Coop performs Beethoven's Piano Concert No. 1 in C major, and Honolulu violist Mark Butin performs Berlioz's "Harold in Italy." Program also includes Brahms' "Haydn Variations."
"DUELING DICHTERS," May 28, 30. Pianists Misha Dichter and Cipa Dichter, a glamorous couple in the biz, bring their dual and duel talents to Honolulu, performing Mendelssohn's Concerto for Two Pianos in E major; Wong conducts. Program also includes Mahler's Symphony No. 7.
Season extra — special event:
"BEETHOVEN'S NINTH: THE TRADITION CONTINUES," at 7:30 p.m. Dec. 30. Featuring the Honolulu Symphony Orchestra and Chorus in an end-of-the-year tradition, featuring 100 voices, celebrating peace and brotherhood. Tickets: $28, $38, $53, $63, $73.
