The Oberlin Chamber Orchestra, under the baton of Raphael Jiménez, is presenting its final concert this academic year at 7:30 pm on Friday, May 3 in the Finney Chapel. This concert features three pieces from three different eras, including Cashel Day-Lewis’s Black River Prelude, a world premiere, Frédéric Chopin’s Piano Concerto No. 1 with pianist Jiongli Wang, and Ludwig van Beethoven’s Symphony No. 7.
I recently met up with the conductor Raphael Jiménez in his studio and began our conversation by
asking him about Black River Prelude.
Raphael Jiménez: We were in communication with planners in Lorain County to find ways to celebrate its bicentennial. We talked about the idea of commissioning some of our students to write music for the occasion. We finally had four commission works. Three of them are for choir and orchestra and they are going to be premiered by the choral ensembles on May 5th. The opening piece, Black River Prelude, is going to be premiered in our concert. It is a way of demonstrating how Oberlin has been an integral part of this area.
Sicily Xiao: How do you feel about working with composers in the process of rehearsing new works? How was your experience working with Cashel Day-Lewis, a fourth-year conservatory student?
RJ: We are lucky to have composers around so we can always check to make sure that what they put on paper and what we interpret as we read it are exactly what they want. The orchestra is my instrument, I understand it well and I may think that there are better ways to achieve something. Not all the time composers are successful in translating what they want onto paper. We want to be part of the conversation and help them. I can talk to the composer about what they think about doing something in certain ways, but at the end we try to get into the mind of the composer. Most are receptive to the performer’s suggestions, because at the very end, the performers are the ones that are making the music.
Black River Prelude is a very festive and uplifting piece. We haven’t made big adjustments to the score, maybe just a couple of articulations and small details. It is a wonderful experience for the composer and for us to have the opportunity to bring a piece to life for the first time. I think it is going to be very successful.
SX: Could you tell me about the Chopin concerto?
RJ: This piece was chosen by the soloist, Jiongli Wang, the winner of this year’s senior concerto competition. This is always the time of the year that we get to support the winners. It feels great to work with the seniors before they leave. Chopin’s first piano concerto is a very special piece in the piano repertoire because it shows the instrument’s beauty. It is so romantic and sounds really good.
SX: What are the challenges working with student soloists?
RJ: The piano is an instantaneous instrument, but it takes the orchestra more time to react. The pianist needs to learn how to breathe with everybody else and understand that the reaction time of the entire group is slower than what they are used to. Fortunately, we have very talented pianists here and Jiongli is one of them. He is a good musician and has good ears. We may go through a period of adjustment, but by the end of rehearsals, that is always fine.
SX: You are concluding with Beethoven’s Symphony No.7. Why did you choose that symphony?
RJ: Oberlin has a tradition of being creative and innovative. It’s a place for new music and our students play contemporary music all the time. So I need to make sure that in the orchestra we take the opportunity to play traditional repertoire. Actually we do a Beethoven symphony every year and the 7th is one of the most energetic rhythmic pieces that he wrote, so we will end the school year on a very high note.
I also spoke to Jiongli Wang, the pianist featured in the Chopin piano concerto, to get his perspective.
Sicily Xiao: Why did you choose Chopin’s Piano Concerto No. 1?
Jiongli Wang: This piece has been one of the most popular piano concertos in the world. I’ve heard it since I was very young and I’m glad I finally get a chance to play it. Also, Chopin composed the Concerto at 20 — around my age — so it is relatively easy for me to relate.
SX: How do you interpret this piece?
JW: While working closely with the orchestra, I also want to maintain some subjective interpretation. I could feel there is not only beauty but also some deep and extreme emotions in it. I want to bring out its maturity and density.
SX: How was your experience working with Raphael Jiménez and the orchestra?
JW: It is actually the first time for me to collaborate with an orchestra. The conductor is helpful. He gives me valuable suggestions and respects my interpretation at the same time. I am very grateful to Raphael Jiménez and the orchestra.
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