Conductor Lawrence Foster will lead the Transylvania State Philharmonic Orchestra in a concert on Friday, November 15th, 2024, at the Colegiul Academic in Cluj-Napoca. The evening's soloist will be pianist Mari Kodama.

The first half of the program reveals both a connection and a striking contrast between two works-Johann Strauss Jr.'s Emperor Waltz and Arnold Schoenberg's Piano Concerto, Op. 42. How did you decide on this pairing?

I always try to include Johann Strauss's works in the program whenever we perform Alban Berg or Schoenberg because I believe there's a strong Viennese, Straussian character subtly woven into Schoenberg's and Berg's compositions. The opening of Schoenberg's Piano Concerto resembles a slow waltz that could almost be mistaken for a piece by Strauss.Viennese influences are evident throughout the work, particularly in the articulation. I try to persuade people not to be intimidated by Schoenberg's dissonances but to see him in the historical context, as a natural successor to Wagner, for example. We can think about what happens to tonality in "Tristan und Isolde." But I also sense a constant Straussian element. That's why I include Strauss, and the "Emperor Waltz" is undeniably one of his finest pieces.

The second half of the program features Brahms. Pianist Mitsuko Uchida has stated that Schoenberg's solo piano work "reminds her of Brahms' late compositions," and she's not the only one to sense a Brahmsian influence in this concerto. What is your take?

I agree with this observation. Schoenberg's music draws on a wide range of influences-Wagner, a touch of Stravinsky, and a distinctly Brahmsian quality, particularly in the slow movement. Even the finale could have been composed by Brahms-a rondo, an almost slow dance, that would fit perfectly as the ending of his Piano Concerto No. 2 or the Double Concerto. It has nearly the same tempo. There is certainly aprominent Brahmsian flavor in this work.

Do you think there's a link to the Fourth Symphony?

Not particularly; the concerto seems to align more with Symphony No. 2. In Schoenberg's concerto, as well as in the second movement of Brahms's Fourth, there's a pervasive sense of deep, sustained darkness.Regarding Symphony No. 4, I find the so-called "Scherzo" especially compelling; in my view, it's often performed too slowly. I see it as an incredible outburst of energy, almost an extroverted optimism-something akin to the march in the third movement of Tchaikovsky's Symphony No. 6, "Pathétique." Both Brahms'and Tchaikovsky's symphonies end in a deeply tragic way, each in its own manner. So, there are connections. I believe Schoenberg and Brahms complement each other wonderfully in a concert setting.

What kind of emotional journey can the audience expect in Schoenberg's Piano Concerto?

It's hard to say. We can focus on the lyrical, tender qualities or the passages reminiscent of folk dances. And it's important not to fear the dissonance-it's an essential part of his style. The experience can be uplifting, culminating in a joyful, exuberantending. The piece begins with introspection, especially during the slow movement, and progresses toward a cathartic release in the finale. It's a brief journey, yetpacked with contrasts: the first movement has a laendler-like, folk-dance feel, the slow movement evokes Brahms or even Bruckner, and the conclusion is strongly Brahmsian in spirit.

I advise the audience not to feel daunted by the name "Schoenberg." Once they're there and hear the music, they'll find it delightful-it's highly virtuosic, brimming with dance elements, and profoundly expressive. While it belongs to the Second Viennese School and includes a fair share of dissonance, it also provides immense auditory pleasure and will captivate the audience. After Strauss's Waltz, I think Schoenberg's piece will resonate even more, making perfect sense as a natural continuation of the Viennese tradition.

You are honorary conductor of "Transilvania" Philharmonic Orchestra. In addition to the many concerts you've conducted together, you've also completeda series of recordings in recent years. How would you describe your relationship with the ensemble?

It's truly wonderful! Of course, it depends on which musicians you ask-some like me, others might like me a little less; you never really know. I feel at ease with the ensemble and believe it's a fantastic orchestra. We've recorded Puccini's "La fanciulla del West" together, which I think turned out very well. A Gramophone reviewer wrote that they'd never heard of our ensemble before but noted that in that recording, the Transylvania Philharmonic Orchestra matched the level of the Royal Opera House Orchestra at Covent Garden. So, this ensemble is indeed capable of delivering deeply inspired performances. The orchestra demonstrates a remarkable stylistic unity, and the string section is impressive-I'd say it has one of the most cohesive sounds in all of Europe.

It's a wonderful relationship, and I feel very honored and happy to be associated with this great orchestra.

Would you say that the orchestra has its own unique sound?

Certainly! I'd place it somewhere between a Viennese sound and a Slavic one-very expressive! What I love about the string section is their remarkable ability to play softly, delicately, and with such nuanced expression.Many orchestras achieve great emotional impact when playing loudly and with great intensity, but this one excels at producing the most exquisite, smooth, and subtle tones. Last week, we performed Mozart's Violin Concerto No. 5 in A Major. Arabella Steinbacher, the soloist, mentioned she had performed this concerto across multiple international stages over the last two seasons, and all the orchestras were excellent, but in Cluj, she felt a special quality-almost a spiritual one-in the string accompaniment of the second movement,which left her deeply impressed.

How do you view your collaboration with pianist Mari Kodama?

I deeply appreciate her artistry! We've collaborated several times, including performances of Bartók and a recording of Martinů's Double Concerto with her and her sister. I've always admired her interpretations. She is among the virtuoso pianists of our time and is never hesitant to tackle challenging repertoire. She performs many intriguing contemporary works, and Schoenberg's Piano Concerto has become a particularly meaningful piece for her, one she was very eager to perform. This year also marks 150 years since Schoenberg's birth, which made it a perfect moment to celebrate this composer.

Would you say your Romanian heritage gives you a unique bond with our country?

A connection has indeed developed over time. It wasn't something I was necessarily raised with... my mother loved to sing Romanian songs and played records of Enescu and Romanian folkmusic when I was a child. Both of my parents had Romanian roots. I never learned the language, just a few words here and there. But as time went on, I began to feel a longing to reconnect with my origins. I first visited Romania in 1967 during a tour with the Los Angeles Philharmonic, where I was Zubin Mehta's assistant. Over the years, I've felt a growing attachment to the country and wanted to return more often, which I did. Later, I met a wonderful woman named Angela in Arad during a concert, and we got married. We were married for 53 years until my wife passed away at the end of April this year. It's been incredibly hard to live without her. We have a wonderful daughter who speaks Romanian.

I really enjoy coming to Romania, especially to Cluj Napoca! But I also had an amazing time in Iași, where I performed Beethoven's Symphony No. 9 a few weeks ago with the local philharmonic orchestra and choir. The quality of the orchestra and choir was truly impressive.My father had a house in Iași; my parents were from there. I wanted to visit the family home and the building where my father worked. It brought me so much joy-I love coming to Romania!

Photo credit: Bogdan Meseșan