Let the music touch you with a smile .
If you've ever thought that classical music is synonymous with seriousness and formality, if you've ever thought that great composers are always serious and precise, from their outward appearance to their inner world, from adhering to meter to ensuring absolute adherence to genre requirements in their compositions, then you'll surely change your mind after enjoying "Sassy Symphonic Outtakes"—a "mischievous" title formed from three "pieces" beginning with the initials SSO, the acronym of the Sun Symphony Orchestra.
Under the direction of Music Director and Conductor Olivier Ochanine, "The Playful Pieces" transformed the entire Ho Guom Opera House into a "lecture hall" without textbooks or lesson plans. Only delightful surprises beyond the imagination of classical music, with humorous stories gracefully conveyed by the conductor and orchestra members right on the stage of the Ho Guom Opera House.
Going beyond a typical chamber music concert, "Playful Pieces" offers a rare opportunity for the Hanoi audience – regardless of their musical background – to directly participate in a lively "lesson" led by the French conductor Olivier Ochanine. Throughout the two-hour duration, the works are not only performed but also interpreted, analyzed, and… humorously presented, eliciting frequent bursts of laughter from the audience.
Thanks to that innovative approach, classical music became accessible, understandable, and relatable, even for beginners. As the conductor had expressed before the performance, "let the music touch you with a smile," he and each member of the orchestra delivered a truly unforgettable evening.
Pleasant surprises
The highlight of the program lies in the opening piece, entitled Toy Symphony. Often attributed to Haydn or Leopold Mozart, Toy Symphony is actually the work of an Austrian monk – Edmund Angerer.
Originally composed for performances at small court parties or Christmas celebrations, Toy Symphony encapsulates a whimsical, joyful musical world of the 18th century, where children's toys rejoice equally alongside classical string and wind instruments. Audiences can enjoy everything from the clear chirping of various birds (doves, larks, quail) to the rattling of wooden shakers, or smile at the whistling, clicking, and even the sound of toy trumpets.
The remaining three works all belong to the great names of the world of classical music.
A Musical Joke is a bridge through which the genius Wolfgang Amadeus Mozart satirizes the clumsiness in composition through various "deliberately exaggerated" techniques such as clumsy counterpoint, off-key trumpet playing, poor transitions between parts, and an unconvincing ending. The genius composer's "joke" has been interpreted in many ways; some see it as a mockery of amateur composers and untalented local musicians, while others lean towards a sarcastic jab at overly self-important rivals. But however it is understood, the work remains a fascinating piece of music that combines deliberate "mistakes" with a distinct charm.
The Twelve Contredances were composed by Ludwig van Beethoven around 1791, specifically for the lively aristocratic balls in Vienna – the cradle of European classical music. Although each piece is very short, lasting only about a minute, when connected as a complete work, the Twelve Contredances paint a vivid overall picture of a ball, full of wit, charm, and sometimes deliberately slightly off-key moments.
Symphony No. 60 in C major , entitled Il Distratto (The Absent-minded Man) , is the perfect, delightful ending to the program. Inspired by the soundtrack of a comedy featuring a character with a memory that quickly fades, Joseph Haydn created a magnificent six-movement symphony – a fun rollercoaster of unprecedented antics such as abrupt pauses, confusing beginnings, chaotic moods, and erratic expressions. The renowned composer demonstrates his superb sense of humor by playfully parodying familiar musical motifs, teasing his own themes, leading the audience down illogical, unconventional paths, only to unexpectedly reverse everything.
A night filled with joy.
Accompanied by the playful, humorous, and charming antics of all four composers, the Hanoi audience enjoyed a truly relaxing evening of music. They burst into laughter at the amusing interludes from the "toy instruments" in Toy Symphony, and eagerly discovered that a work seemingly intended for children could be composed with such high technical skill.
They cringed at the off-key horn passages, chuckled at the discordant endings, and were surprised by the awkwardly drawn-out violin solos, then burst out laughing at the two musicians being rudely dismissed by the conductor. And they realized the genius Mozart's talent for "writing terribly well," as he could so charmingly and bitingly joke in A Joke Symphony.
They were also surprised by the unexpected emphasis and sudden changes in intensity, the playful melodies that easily caused the dancers to lose their rhythm, and the musical phrases that seemed like Beethoven's playful teasing. And they clearly felt that the 12 contredances, though modest in length, fully carried the hallmarks that would later make Beethoven famous: intelligence, boldness, and always unconventional.
The final piece elicited quite a few laughs from the audience, showcasing both the playful "tuning" in the final movement and the dramatic contrast between solemnity and the out-of-control chaos in the remaining movements. In a world where orchestras often opt for safe performances, Il Distratto reminds us that even the most solemn and refined works can be incredibly humorous, if they so choose.
A fresh and innovative repertoire, a creative bridge, will help bring classical music closer to a wider audience. Understanding and feeling are essential for loving music, and the efforts of many artistic organizations, including the SSO, are bringing them closer to achieving this goal!
Source: https://nhandan.vn/nhung-manh-ghep-tinh-nghich-post895098.html
