Rebecca Tong, the Resident Conductor of the Jakarta Simfonia Orchestra, collaborates with the World Youth Symphony Orchestra this Sunday.
The program features both a new composition and a timeless classics. Rebecca Tong leads WYSO in the Michigan debut of Alex Berko’s “Condense Eternity” (a commission in collaboration with the New York Youth Symphony) alongside the "Enigma Variations" by Edward Elgar.
Rebecca Tong visited with IPR's Kate Botello after rehearsing "Condense Eternity" and discussed her upcoming concert at Kresge Auditorium.
"I think it's great for such young musicians, especially in the orchestra setting, to learn contemporary pieces," says Rebecca Tong. "We often forget that all of the composers, even those from the classical era, wrote new music. So the combination of this contemporary piece with Elgar’s 'Enigma Variations' is a joining of two forces."
Listen to the full interview or read the edited transcript below.
Attend the concerts in person or listen to the live broadcasts on Classical IPR.
The concert and live broadcast on Sunday begin at 7:30 p.m. ET.
Kate Botello: You've just returned from a rehearsal. How'd it go?
Rebecca Tong: Oh, it's great! Today was the first day we rehearsed the Alex Berko piece, “Condense Eternity.”
KB: Let's talk about this Berko piece right away, “Condense Eternity.” What is the important lesson for our musicians to learn from this piece?
RT: I think it's great for such young musicians, especially in the orchestra setting, to learn contemporary pieces. We often forget that all of the composers, even those from the classical era, wrote new music. So the combination of this contemporary piece with Elgar’s “Enigma Variations” is a joining of two forces.
KB: Is there a specific skill required for “Condense Eternity” from WYSO?
RT: It requires a different mindset to play a contemporary piece. Especially with Alex Berko's piece. He uses a lot of long lines, and it starts with this beautiful, serene sound. Then it goes to a very rhythmic middle section, and you have to switch between these two emotions right away. It ends with peaceful, different colors within the instrumental sections. It's a nice way of introducing young musicians to different types of colors and rhythms within 10 minutes.
KB: What do you think that does for them as young musicians?
RT: It's great because they get to learn about the different [musical] languages from different centuries. The WYSO musicians get to immerse themselves in this contemporary piece but also enjoy the moments of beauty. And then they have to change gears for the Elgar to get to that next level of conversation and understanding.
KB: What do they need to know to play the “Enigma Variations” by Elgar?
RT: It's interesting because some of them probably know many of the movements. For example, “Nimrod” is well-known with audiences and musicians. But there are certain movements that they're like, “oh, I've probably never heard of it.”
But the more you study the piece, the more you learn about the piece. You understand that each movement is characterized by different people and a different person who is special in Elgar’s life. Then they get to understand the different challenges within each movement.
Some movements are really fast and you have to be very articulate. Other movements you immediately have to switch to more beautiful melodic lines and connect the notes. It’s interesting… when you study your concertos or your solo pieces you're like, “Oh, I want these beautiful lines.”
And then when you go to orchestra rehearsal, some think that you have to forget about all that because “orchestral playing is different.” But it's not. Every musical language is the same. Whether you're playing an orchestra, chamber music, or solo pieces, the technique and the way you think about musical phrases are very similar.
KB: How do you get them to feel those different characters?
RT: Well, the good thing is we have rehearsals. That's the biggest help. Also, I think they just need to get comfortable with their own sound. WYSO sounds great and performs at such a high level given the musicians at that age, it's just really amazing. But you have to understand that these people are coming from different countries or different states in America and have only been here [at Interlochen] for a couple of weeks.
The one thing that I keep telling them is trust each other and listen to each other so you can create these beautiful moments within the music.
KB: That is such an important thing, that trust. What a huge lesson for them to take with them. Among all of the variations, do you have a favorite?
RT: That's very hard to say. I would say my favorite is “Nimrod” and then maybe “Dorabella.” Also, of course, the finale. It's about Elgar himself. It’s the embodiment of all the variations into this one huge-sounding ending.
KB: If you had one wish for this WYSO, what would it be?
RT: Have fun. You know, sometimes we musicians get depressed. Times are tough. We don't want to think about politics even, but music should be something that we're embracing in our lives. That's different. Music is passion. It's an emotion. It's about life. It's about everything that goes on within generations.
The musicians know they have the technique, they have everything that they need. They have the teachers, they have the mentors, and they have the facilities here. Just have fun and enjoy every moment, because, you know, moments pass so fast.
