Considering my fond memories and experiences from the very first project I played with the MCO last July in Baden-Baden, I had been looking forward to re-joining the orchestra in Ferrara pretty much since that project ended. The program could not have been more enticing, as well. The Second Piano Concerto of Brahms and Beethoven’s Third Symphony, "Eroica", are both, arguably, examples of the best that each genre has to offer. Both works are very dear to me for many reasons, including sheer beauty, power of communicative gesture, and seemingly perfection of composition. And, after having performed the "Eroica" seven times already earlier in the month together with my regular orchestra, the Royal Concertgebouw Orchestra, and MCO’s own Daniel Harding, I was certainly familiarized with the symphony coming into the first rehearsal.
Spending a few days, albeit rainy, in Ferrara showed me quickly why the MCO considers this town "home". From being welcomed by the jolly Norberto, owner of the bar/restaurant Da Settimo, to listening to a fantastically performed journey of string quartet minimalism in an atmospheric old guard tower-converted jazz club, to enjoying, together with the entire orchestra, a wonderful family-style meal cooked by Hayk (and his assistants), I experienced first hand the charm of Ferrara, MCO-style. After which, a beautifully scenic bus ride through the bright reds and oranges of the Umbrian autumn brought us to Perugia. Just the short walk from the hotel to the theater led me through streets and corners lined with incredible ancient walls and arches. I had the feeling I could have been in the old city of Jerusalem!
The main thing I really love about the MCO is the manner and attitude its members bring to making music. Playing with full energy, intent, and communication is something in which I believe passionately. It was so joyous to be on stage not only to take part in this type of playing, but also to actively engage in contact with such a large number of the other musicians at one point or another during the performances. This turns the act of what is so often simply creating a sound into a true comradery and unity in musical expression. It would have been astounding to find out what levels of interpretation could have been achieved had we more than two performances scheduled. In any case, the project was short but most certainly sweet.
