Exploring America's orchestras... with Henry Fogel
Joyful Community Engagement at the Houston Symphony
On a recent Sunday evening I saw an
example of community engagement - true community
engagement on a musical level - by the Houston Symphony. For a number of years
now, Chevron has sponsored an annual Fiesta
Sinfónica Familiar, a free concert at the orchestra's regular performance
venue, Jones Hall. It has traditionally been conducted by Carlos Miguel Prieto,
the Houston Symphony's former associate conductor, but this year it was led by
the rising Mexican conductor Alondra de la Parra.
Among the many wonderful things
about this concert was that it obliterated some of the clichés that abound in
our world. One of these clichés is the idea that family concerts, particularly
for groups who do not normally populate our halls, are likely to be noisy,
distracted, fussy, whatever. At this concert, during the quiet movements (and
there were many) you could hear a pin drop; even the youngsters were caught up
in the music. Another cliché is that orchestras should concentrate on their
existing audience, because those who don't normally come to orchestra concerts
simply don't relate to symphonic music. Well, this 2,800-seat hall was full - completely full - and judging from what
was heard at intermission in the lobbies, the audience was virtually all Latino.
Ms. de la Parra addressed them more in Spanish than in English, and the
reaction to her jokes or applause lines would confirm that virtually everyone
there was a Spanish speaker. When she did a kind of geography check, the
audience was overwhelmingly Mexican, with some from Venezuela,
Argentina, and Cuba as well.
The program, though all Latino or
Latino-related, showed no pandering to a family audience. It was a full-length
concert, with an intermission, as follows:
GERSHWINCuban Overture
PIAZZOLLA/LJOVAFour Seasons: Two movements
GINASTERAEstancia Ballet Suite
Intermission
REVUELTASLa Noche de los Mayas
MONCAYOHuapango
The orchestra played wonderfully,
the concert was terrific, and the mood in the hall was that of a real fiesta.
As an encore, Ms. de la Parra reprised the "Malambo" from the Estancia Suite - and had the orchestra and the audience dancing at their seats.
Not figuratively. Literally. Along with 2,800 others, I was standing, swaying
from side to side, and bouncing up and down twice-at-a-time when cued by the
conductor. More impressively, she got the orchestra to do it as well. The joy
throughout was palpable.
It's hard to describe in words the
electricity, the energy, that was in the hall throughout this concert. Even
during those quiet, intimate moments (the second movement of the Ginastera, the
third of the Revueltas) you could feel the thread, the bond, between audience
and music. This is what community engagement means - not statistics checked off
on a grant application or government form, but making a genuine artistic
connection with real human beings experiencing the greatness of music and being
transformed by it. Congratulations to the Houston Symphony, to Chevron, and to
Alondra de la Parra.
Oh, and one more thing: I had
forgotten just how good an orchestra the Houston Symphony is -- their
remarkable heritage of music directors (Barbirolli, Stokowski, Previn,
Eschenbach), the first rate ensemble that they all helped to build and that
Hans Graf is maintaining so well. When I hear an orchestra like this one, I
become even more tired than I normally am about that old cliché of the "big
five" American orchestras. I've long since given up trying to figure out what
people mean when they say "we want to have a world-class orchestra" here. But
if it means an orchestra whose performance level would do credit to any city in
the world, then Houston
has one.