PREVIEW: STRINGS OF AUTUMN

Various Venues

September 26 – November 10

Jason Moran, Eric Harland, Charles Lloyd, Reuben Rogers

Can it really be seven years since Strings of Autumn got the boot from Prague Castle? It seemed like a disaster at the time, but the festival has gone on to become one of Pragueʼs best success stories, selling out a lively mix of classical, jazz, traditional and experimental concerts every fall in a variety of imaginative venues.

“It retrospect, Iʼm really glad it happened,” says Strings Artistic Director Marek Vrabek. “We wouldnʼt be the force we are now if we were still trying to explain to the Office of the President why we did this or chose that. Weʼre independent, and we can go anywhere and do anything. Thatʼs what I like most about the festival – our freedom.”

What audiences like most is the taste of international flavors that Strings of Autumn brings to Prague, and the boldness of its programming. This year, major singing stars open and close the festival: jazz diva Dee Dee Bridgewater and mezzo-soprano Vivica Genaux, respectively. In between thereʼs American hip-hop, Corsican polyphony, progressive jazz from Israel, a tribute to Paul Robeson, a multimedia update of traditional Finnish music and a special appearance by American sax legend Charles Lloyd, who made musical history with a seminal concert at Lucerna in 1967, during the brief flowering of Prague Spring.

And the festival continues to expand in new directions. Thereʼs a dedicated weekend for kids and families this year at Divadlo Minor that will offer music and theater performances along with art and dance workshops for the younger set. The “Spotlight” slot, reserved in prior years for a single band or performer on the rise, has been expanded to a one-night “mini-festival” at Roxy that will feature eight bands on three stages, plus DJs and a closing jam session. The latter is a combination of inspiration and smart marketing.

“I like the openness of the jazz clubs when I go to New York, the melting pot of different genres and ideas and influences, and I wanted to create that kind of atmosphere here,” Vrabek says. “Weʼre also trying to build an audience for the future, and a club night is a good way to draw in new, younger people who donʼt normally attend the main concerts.”

This yearʼs schedule leans a bit toward jazz, but thereʼs no arguing with the quality of the names. Dee Dee Bridgewater (State Opera, Sept. 26) has been a sensation on stages worldwide for more than 40 years, and was a big hit at the Strings of Autumn fundraising gala in April. This time sheʼs bringing her own band for a tribute to Billie Holiday, Ella Fitzgerald and Abbey Lincoln. Charles Lloyd (Rudolfinum, Oct. 30) has been an influential force in jazz since the 1960s, when he brought a band to Prague that included Keith Jarrett on piano and Jack DeJohnette on drums. His New Quartet features three A-list American players: pianist Jason Moran, bassist Reuben Rogers and drummer Eric Harland.

Avishai Cohen (Hybernia Theater, Oct. 12), the Israeli bass player, singer and composer known for constantly breaking fresh ground in jazz, comes with a trio and a new release, Seven Seas. Robert Glasper, an American piano player and composer who straddles the worlds of jazz and hip-hop, will headline the Spotlight night at Roxy (Nov. 5) and play a dedicated set with his trio (Roxy, Nov. 6).

Vivica Genaux

On the classical side, Vivica Genaux, a gifted interpreter of Baroque and bel canto, will be singing with Pragueʼs outstanding Collegium 1704 ensemble (Estates Theater, Nov. 10). She and Collegium 1704 Artistic Director Václav Luks are collaborating on a program of Vivaldi, Hasse and a relatively unknown 18th-century Czech composer, Josef Mysliveček. Earlier in the festival, Austrian violin virtuoso Thomas Zehetmair will give a solo recital of Paganini and Isaÿe (St. Anneʼs Church, Oct. 3).

Rounding out the mix are a musical tribute to American singer Paul Robeson by British opera singer Willard White (Vinohrady Theater, Oct. 20); a taste of Mediterranean polyphony from A Filetta, a Corsican male vocal quartet (Czech Museum of Music, Oct. 25); and an electronic take on traditional Finnish music by accordionists Kimmo Pohjonen and Samuli Kosminen and the Proton String Quartet (Trade Fair Palace, Nov. 2).

For all that, one of the most significant accomplishments of this yearʼs festival is the support of new patrons, Karel and Michaela Janečkovi. Strings of Autumn couldnʼt survive with corporate sponsors like O2, but this marks the first time that private individuals have stepped up to make a major financial commitment to the festival. Itʼs a moment that Vrabek has worked toward for a long time.

“Thereʼs no tradition of private support for the arts in this country, so this is an important step for us and I think a very good signal for the arts,” he says. “Government funding will continue to shrink, and you can only make so much from ticket sales. So itʼs critical to attract affluent, influential supporters who believe in the value of culture. We still have a long way to go, but itʼs good to see that our efforts are starting to pay off.”

For a complete Strings of Autumn schedule: http://www.strunypodzimu.cz/en/

ZHEJIANG SYMPHONY ORCHESTRA

Rudolfinum

September 21

Tangʼs tutoring has produced impressive results.

The latest Chinese juggernaut rolled through Prague yesterday in the form of the Zhejiang Symphony Orchestra, led by international man of mystery Muhai Tang. Or so one might have thought, given the snaky bodyguard in shades who was at Tangʼs side much of the day, whispering in his ear. But onstage the conductor was his usual ebullient self, and his orchestra put on quite a show.

The Zhejiang ensemble was until recently a “folk orchestra,” providing music for dance and theater performances and holiday celebrations. Under Tangʼs tutelage, it is being recast as a Western-style symphony orchestra with big ambitions. Though most of the players are strikingly young, and have yet to tour China, the orchestra is currently on a six-country tour of Europe sponsored by Geely, an even more ambitious Chinese automobile manufacturer. (Mission: “To make the safest, most environmentally friendly and energy-saving cars and see Geely cars go all over the world.”)

In deference to the Dvořákʼs Prague festival format, the orchestra performed two Western standards: Mozartʼs Piano concerto No. 23 in A major and Dvořákʼs Symphony No. 5. Both were smart, spirited and technically flawless, though noticeably lacking in character. Which isnʼt a criticism; itʼs simply what one can reasonably expect from an inexperienced group of Eastern musicians still learning their way around Western music. Local soloist Martin Kasík seemed to sleep through the Mozart concerto, but woke up the crowd with a witty and dexterous encore, Klement Slavickýʼs Toccata.

The Chinese pieces on the program were brilliant. The evening opened with Wanchun Shiʼs Festival Overture, an explosion of aural fireworks augmented by piercing solo lines from two traditional horns, which flew through the piece like chirping birds. Soloist Danhong Huang charmed the audience with BBK, a traditional piece for gaohu (a bowed string instrument); flute specialist Guoji Jiang turned in a dazzling mouth-flute performance on Whistle Ciocarlia Romania; and the orchestra brought the house to its feet with the final encore, Yuan Liuʼs Train Toccata, a cinematic work with cascading horns, train-on-track sound effects and a burst of singing at the end.

Tang showed the same masterful control and polish that he has with orchestras all over the world. He currently holds conducting or artistic director positions with ensembles in Hamburg, Belgrade and Brisbane, and four different orchestras in China. If last night was any indication, the lessons in Western music that heʼs bringing to his homeland are being well-learned by disciplined, enthusiastic young players. Earlier in the day, Tang graciously agreed to sit for a brief interview.

Did you always want to be a conductor?

No, I was in love with composition, and studied composing at the Shanghai Conservatory. But you couldnʼt choose your profession during the Cultural Revolution, and they decided that I should be a conductor. Then I didnʼt have any time for composing, even though I still love it.

In 1978, you received a scholarship to study in Munich. How hard was it to study abroad?

At that time it was very difficult. Chinaʼs door had opened just a little bit, not like today. It was a very hard time to do anything, and I was very lucky to get the scholarship. Then later, [Herbert von] Karajan helped me by giving me a chance to conduct the Berlin Philharmonic. Iʼve been fortunate – at important moments of my life I always got some help, like gifts from heaven.

How is classical music different in China?

European classical music is very welcome in China, millions of children are learning the piano and violin. And with Western orchestras now coming regularly to China, they are learning how a good orchestra sounds. But also very important for us is the spiritual side of the music; how can we connect over so much time and distance with the Old Masters of Europe? We are missing that foundation, which is one of the reasons we are doing this tour. If these young musicians play this music, they should see the countries, meet the people and learn about their lives, because the music reflects all this.

Youʼve worked in the West for a long time. Does that make you a cultural diplomat?

Yes, absolutely. And I think there should be respect from both sides. We respect the European music and traditions, but Europeans canʼt say “We are the best” anymore. That time is over. Iʼm sorry to say it; I donʼt want to offend anybody, but thatʼs the reality. So I think there should be a lot of respect for Chinese musicians, and I think we should work on building a common foundation, learning how to live together and play together. Itʼs not “I serve you.” We all serve the music.

What impression do you hope your orchestra makes on European audiences?

I think Europeans should be proud that their music is being played by these young musicians from China, and love them and support them. Weʼre not in competition with our colleagues in Europe. The Czech Philharmonic has been together for 100 years; the orchestra Iʼm conducting tonight has only two yearsʼ experience playing this music. So we are showing what we can do in two yearsʼ time, and we hope the audiences will enjoy it. Itʼs not about judging or comparing. Itʼs about happiness of the spirit, and I hope the audiences feel that.

For more on the Zhejiang Symphony Orchestra: http://www.zjso.org/en/tzzc.asp