Courtesy of David Bazemore
Music is everywhere — there is not a day that goes by where you will not hear music over Instagram posts or blaring from cars driving in I.V. Even when you’re watching a show or movie, there’s almost always a soundtrack in the background, adding to the intensity of the scene. Despite our culture being surrounded by music, it is often underappreciated, being used as a secondary tool in order to invoke feelings from the audience. Even popular songs on the radio today are more so recognized by lyrics rather than their instrumentals. And while instrumental music is often used as an element to amplify parts of a story, we often forget the story that music without lyrics — like orchestral music — can tell. The London Philharmonic Orchestra is here to remind us of it.
On Oct. 12, the London Philharmonic Orchestra performed at the Granada Theatre — the first downtown event for the UCSB Arts & Lectures 65th anniversary. Established in 1932, the London Philharmonic Orchestra has been one of the most prevalent orchestras since its creation, and is credited for playing the soundtracks from “The Lord of the Rings” trilogy and “Lawrence of Arabia.”
In a way, this event was a celebration of music, art and passion. The orchestra played three pieces, “Raices (Origins)” by Tania León, Shostakovich’s “Violin Concerto No. 1” and Tchaikovsky’s “Symphony No. 4.” Conducted by award-winning composer Edward Gardner, the orchestra was joined by violinist Patricia Kopatchinskaja for the Shostakovich piece. Both of their performances were so filled with distinct personality and character, something that added magic to the 120 minutes the orchestra performed.
The music in the first half was incredibly unique in composition; culminating in a mesmerizing experience. It’s hard to not imagine a story unfold as the orchestra plays, and while each audience member may interpret a different story, the thematic core is evident in each piece being played. “Raices” is a piece that is wondrous, playing out like a hero’s story with alternating calms and swells of intensity, an enchanting symphony that draws you in from the first few notes. It is combined with Shostakovich’s eccentric and rapid work, perfectly executed by Kopatchinskaja.
As soon as one’s eyes hit Kopatchinskaja, they can clearly see there is a unique force within her. She commanded attention as soon as she walked out on stage, barefooted and dressed in a flowy jumpsuit. Her movement as she performed was a treat in itself: squatting, kicking, making faces. Kopatchinskaja’s gestures felt like a physical translation of the music she was performing, as if she was a character in Shostakovich’s piece. She was a star just as much as the music was, as her hair flounced as she quickly moved her fingers along the neck of the violin.
Kopatchinskaja performing Shostakovich’s “Violin Concerto No. 1.” (Courtesy of David Bazemore)
During intermissions, the theater filled with a different symphony: the sound of conversation. People mingled with the person sitting next to them, others got up from their seats and conversed with those outside of the theater. Whether these people were acquainted or strangers, the performance by the London Philharmonic Orchestra provided a bonding experience for every individual attending.
When the orchestra played, the crowd was just as lively in a respectful manner. There were audible reactions to Kopatchinskaja’s unconventional performance, such as chuckles from the audience. When each piece was complete, the audience praised Kopatchinskaja, Gardner and the orchestra with standing ovations and cheers. To say they were deserving of such praise is an understatement.
Symphonies are often associated with class, and in a way, that’s true. People were wearing formal outfits, and yes, most of the audience was more mature. But I think we often misconstrue these ideas as something that makes symphonies an event that is serious or uneventful. The London Philharmonic Orchestra proved to be anything but. The music transported the Granada Theatre away from Santa Barbara, away to a place where the only thing that mattered was the music, filling the audience’s hearts and heads with stories without words, characters or places but were compelling nonetheless.
This appeared in the October 24 print edition of the Daily Nexus
The most stunning part of the performance was that the ushers allowed a UCSB student who was in their symphony orchestra into the venue with her little dog. While it may not have barked during the performance, it was more than a mild distraction for everyone around her while the dog scratched itself, was allowed to wander around and even licked one man’s shoes.