Our upcoming Prologue tour is a special one. Not only is it the beginning of new collaborations with conductor Christoph Koncz (who jumped in at the last minute for Joana Mallwitz), but it offers the opportunity to our very own horn player José Vicente Castelló to play the horn solo in a cornerstone piece of the repertoire, Benjamin Britten's "Serenade". Communications Manager Rik Willebrords (RW) caught up with José Vicente (JV) to ask him some questions.
RW: Benjamin Britten wrote in his score that the Prologue and Epilogue should be played on natural harmonics. What does that mean for the soloist?
JV: The specific sound of natural harmonics sets the mood of the piece. For the Prologue and Epilogue, I think the idea of Britten was to provoke something that seems imprecise and unclear, like a force of nature. That is why the sound of natural harmonics is so fitting for this piece, as they do not always sound as if they match our tonal system.
Natural harmonics can be played on a natural as well as a modern horn, and Britten does not specify what instrument should be used. For practical reasons, I will be playing the concerts on a modern horn, but I do practice the piece on both types of instruments to get as close to the natural sound concept as I can.
How does the piece challenge a horn player?
The horn is an instrument with a large range, and Britten really made use of that. It goes from the extreme heights to the lowest tessitura. The part also asks for a wide variety of dynamics and tempos. One can really see that Britten was in great awe of the horn player he wrote the piece for, Dennis Brain. He was an absolute master of the instrument, and it shows in the way Britten technically goes to the limit of the horn’s capacities in this piece.
The Epilogue should be played off-stage. Does that bring an extra challenge?
Definitely. There is a balance to be kept: the sound should come from far, but still be audible in the whole hall. Practically, we will have to try this out in the different halls where we will play the concert. Luckily, Britten did not give the horn player a part in the penultimate piece, giving the horn player some time to position himself for the Epilogue.
Most important is that we manage to set the right atmosphere. You see, the Serenade is about dreams and nightmares. The piece before the Epilogue is a sonnet that describes the process of falling asleep. That magical, fading atmosphere is what I will be looking for.
The Serenade is based on a selection of six poems by British poets. Does that influence your interpretation?
Before I became a professional horn player, I studied language and literature. That background helps me to understand and interpret this piece beyond the music. The Elegy, for instance, is an absolute masterpiece. It tells the story of a worm that lives inside of a rose, but slowly eats and destroys it from the inside. It speaks of a dark, secret love that I feel in the music through the semitones in the solo and the syncopated accompaniment. It’s very clear how Britten brings the words of the poems into his musical writing, that is what makes this piece so incredibly special. In the Pastorale, where we find the topic of a sunset, he writes the musical lines in a downward fashion. That evokes the elongating of shadows that happens when the sun goes down.
Is there a recording that inspires you the most?
We are very lucky that this piece has been recorded many times already. One that is on the top of my list is the original recording with Dennis Brain and tenor Peter Pears conducted by Britten himself. It’s pure magic. Peter Pears shows incredible colours and diction, and Dennis Brain is just an idol for all horn players. His articulation and capacity of changing colours so rapidly are an inspiration to me.
You’ve played the piece before with the MCO, how was that? Do you plan to do something different this time?
It was about ten years ago. I was jumping in for a colleague and got to play the piece for the first time in Brussels. It was an intense experience because we just played the piece once in the middle of an orchestra tour. The only thing I always regretted is that it was only one concert. That’s why I’m really looking forward to this tour, to get the chance to let the piece develop and discover new things about it by performing it in these beautiful locations.
What is it like to play a concert with the MCO as a soloist?
I’ve had the opportunity to play solos with the MCO on a few occasions, which is quite extraordinary. Earlier this year we played the Konzertstück by Schumann with Daniele Gatti, which calls for non-less than four solo horns. I remember going into the first rehearsal and being quite nervous, but that all just melted away once we started to play. Standing there with this incredible group of dedicated musicians, who I can also call my friends, I felt such great support. They bring so much energy and just carry you through the performance.
- Playing Schumann's Konzertstück, January 2022 ( image: Marco Caselli Nimrad - Ferrara Music)
IS THERE A DIFFERENCE IN PREPARING FOR A TOUR AS A SOLOIST OR ORCHESTRA MEMBER?
Absolutely. I’ve worked in orchestras for over 20 years and am used to that kind of preparation. Now I am preparing for a solo, I do feel a great responsibility because I can really put my stamp on the performance. So yes, I practice in a different way and make sure I’m prepared mentally for the pressure. I think the key is to bring my personal approach to the piece based on the love I have for the Serenade.
HOW DO YOU KEEP YOUR TECHNIQUE SOLID IN A BUSY SCHEDULE OF TEACHING/TOURING/FAMILY LIFE?
It’s an ongoing process of finding balance. For the last two years, I’ve been intensively teaching at the Hochschule für Musik in Freiburg and the ESMUC in Barcelona. When I teach, of course, I also play because I’m warming up with the students and showing them certain things. But it is very tricky to find time for myself. Through the years, you learn how to be much more efficient with the time that you have to practice. It’s not always easy but we musicians love challenges!
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- Header image: Geoffroy Schied / Portrait José Vicente Castello: Jordi Farrus
- The Prologue tour is kindly supported by the Funk Foundation.
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