Fascinating. I spent some time with Bramwell Tovey when he guided the Winnipeg Symphony Orchestra -- as complicated as the music was to orchestrate, he stressed that it must always be accessible "as much for the ripped jeans crowd as for those in tuxedo and gowns." Paul's piece delivers that same accessibility by deconstructing the process. It felt like I had a chance to hang out with accomplished musicians and conductors.
Great piece Paul and nice to feature the arts for a change of pace ! I met some of the mentees (of which there are over 40 from all over the world) at the reception last week and they are such an impressive young group - the future of classical music is in good hands. With thanks to the maestro for shaping the mentorship program.
> “I’m a deep believer in the fact that the only kind of happiness and fulfillment that anybody's ever going to have is in the integrity of their own decisions about the world. So, you know, whether you're famous or not, whether the orchestra is really well-known or not, ultimately is noise. The true satisfaction comes in the integrity of our work.”
A beautiful sentiment that applies much more widely than to music.
I subscribed to your substack for the political writing. As a member of a community orchestra here in Ottawa (and subscriber to NACO), your commentary on music has been a revelation, and deeply enjoyable. Shelley is doing a great job, both in directing and in programming.
I used to subscribe to the NAC. The musicianship is as good as you'll find anywhere, but Shelley lost my patronage when he began insisting on the inclusion of obscure Canadian pieces in the programme. I'll never forget the night they performed some atonal, dissonant crap written by someone in Nunavut that had everyone in the audience looking at each other in disbelief. All so we could get to Ravel's Bolero, which the NACO hit out of the park.
Shelley may run a smooth operation, but something is wrong with either his taste or his mandate.
I get that. It's good to be able to choose what you like. In recent years I've heard new compositions by Matthew Whittall, Daniel Bjarnason, Jocelyn Morlock and Jake Heggie that were as memorable as the older stuff. Which is saying something, because this orchestra has also played all the Brahms symphonies, all the Schumann symphonies, most of the Beethoven symphonies, several Sibelius symphonies, and — picking only the concerts with James Ehnes as soloist — concertos by Brahms, Korngold, Beethoven and Bach. Given that, when I find myself sitting through something I like less, I assume it won't last long.
I share Andrew Griffith’s sentiment. A very interesting post. Mr. Shelley is doing great things with and for the orchestra. Hope he stays in Ottawa for a long time.
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A good read Paul. Lessons on how we can conduct ourselves in other settings.
Exactly. Good advice for any one who manages people.
Such a good and pleasant read Paul. Indeed NACO is sounding superb under Maestro Shelley but so interesting to get
this view from you.
Fascinating. I spent some time with Bramwell Tovey when he guided the Winnipeg Symphony Orchestra -- as complicated as the music was to orchestrate, he stressed that it must always be accessible "as much for the ripped jeans crowd as for those in tuxedo and gowns." Paul's piece delivers that same accessibility by deconstructing the process. It felt like I had a chance to hang out with accomplished musicians and conductors.
Thanks for sharing. Really enjoy your non-political posts that broaden my knowledge
Great piece Paul and nice to feature the arts for a change of pace ! I met some of the mentees (of which there are over 40 from all over the world) at the reception last week and they are such an impressive young group - the future of classical music is in good hands. With thanks to the maestro for shaping the mentorship program.
An excellent piece about an orchestra that should be better known
> “I’m a deep believer in the fact that the only kind of happiness and fulfillment that anybody's ever going to have is in the integrity of their own decisions about the world. So, you know, whether you're famous or not, whether the orchestra is really well-known or not, ultimately is noise. The true satisfaction comes in the integrity of our work.”
A beautiful sentiment that applies much more widely than to music.
I subscribed to your substack for the political writing. As a member of a community orchestra here in Ottawa (and subscriber to NACO), your commentary on music has been a revelation, and deeply enjoyable. Shelley is doing a great job, both in directing and in programming.
I used to subscribe to the NAC. The musicianship is as good as you'll find anywhere, but Shelley lost my patronage when he began insisting on the inclusion of obscure Canadian pieces in the programme. I'll never forget the night they performed some atonal, dissonant crap written by someone in Nunavut that had everyone in the audience looking at each other in disbelief. All so we could get to Ravel's Bolero, which the NACO hit out of the park.
Shelley may run a smooth operation, but something is wrong with either his taste or his mandate.
I get that. It's good to be able to choose what you like. In recent years I've heard new compositions by Matthew Whittall, Daniel Bjarnason, Jocelyn Morlock and Jake Heggie that were as memorable as the older stuff. Which is saying something, because this orchestra has also played all the Brahms symphonies, all the Schumann symphonies, most of the Beethoven symphonies, several Sibelius symphonies, and — picking only the concerts with James Ehnes as soloist — concertos by Brahms, Korngold, Beethoven and Bach. Given that, when I find myself sitting through something I like less, I assume it won't last long.
I share Andrew Griffith’s sentiment. A very interesting post. Mr. Shelley is doing great things with and for the orchestra. Hope he stays in Ottawa for a long time.
Paul Wells, What a great column.
I think your broad interests and keen appreciation of the arts, imbue your political writing with wit and breadth.
Thank you,
Diana Leblanc
I subscribe because I value you political acumen and reflections.
But this column reminds me of how I am charmed and thrilled when you talk about the arts. Which you do with such enthusiasm and insight.
I loved this column.
Diana Leblanc
A refreshing piece, glad to see you have other pursuits to keep you sane. The images by Curtis really wonderful, almost like a nice magazine column.
I always love your musical work, so to speak. The back story of this or that artist or organization is always fascinating.
Yup! Thank you for doing that.