The Mostly Mozart in the Galilee mini-festival is considered by many as the
curtain raiser for the classical music concert season in this country. As such,
judging by the quality of performers lined up for the three-dayer, which will
run from October 10 to October 12, local classical music lovers can expect good
things over thecoming months.
Mostly Mozart is the brainchild of the
Haifa Music Center and its director Ada Pelleg. She will also take the
conductor’s podium for the two concerts lined up over the weekend up north, with
veteran Israel Philharmonic Orchestra principal flutist Yossi Arnheim and
Chinese-American pianist Xiayin Wang also giving master classes.
will open the proceedings when she performs Mozart’s Piano Concerto in C Major,
together with the Mostly Mozart in the Galilee Orchestra and
Pelleg. The rest of the program, which will take place at the Beit Ha’am
auditorium in Kfar Blum, features Mozart’s Divertimento K 136
stirring Souvenir de Florence
Wang brings an intriguing cultural mix to
her craft. She was born in Shanghai and moved to the US at the age of 18.
Chinese classical musicians are generally known for their technique and
attention to detail. That is something that is instilled in them from a very
“I studied at the Shanghai Conservatory for nine years, from
elementary school all the way up to high school, and that was nine years
straight of very solid training and very strict fundamental learning of
technique,” she explains.
While that may sound a bit tough for a child to
handle, Wang says it laid the foundation for her later career and that she is
grateful for the education she received there.
“I think that was very
necessary for me. I think that was, for me, the right way to do it because I
achieved all the skills and the technique of the craft. I learned a lot in those
The regime at the conservatory was
“The system was very strict,” recalls Wang. “All the kids
had to practice at least three hours a day and had to learn all about theory,
ear training, dictation, sight reading and singing – all those supplementary
very important aspects of music.”
Strict regimen notwithstanding, surely
there is only so much you can impart to a youngster in terms of musical
expertise, without the requisite degree of maturity that simply cannot be taught
within the cloistered surroundings of an educational institution.
child is child and has the mentality of a child, and a child does not have
enough life experience to be able to express music,” observes Wang.
musical development grows with your life experience. Of course, the older you
are, the more experienced you are, not just with the music but with the world,
with people, with things that happen in life. As you grow older, you develop
your emotions towards people, and that helps you bring more of your personal
feelings to the music.
The pieces I played when I was 13 had much more
feeling to them when I played them when I was older, when I understood more
about life and love,” she says.
Over the last few years, Wang has managed
to imbue many of her live performances and recordings with commensurate feeling.
Her solorecording career began in 2007, about a decade after she had moved to
the US. In addition to Mozart’s Piano Sonata No. 10
in C Major
, the debut
release featured works by Bach, Ravel, Scriabin and Gershwin. It was an
audaciously broad venture for a first fruit offering and was well
Wang says it took her a while to adjust to life in America, on
all sorts of levels.
“Language was the big problem to begin with, but
after three of four years, I felt comfortable,” she recalls.
That was on
the day-to-day front, but presumably there were very different approaches to
music and performing music that she also had to take on board.
“I felt I
had very solid technical training and skills that I brought with me from China,
but when I moved to the States it was a whole different world. There is a much
freer way of thinking about everything [in the US]. You can bring much more of
your own character and personality to the music. And, of course, as I have grown
older, I have brought more of my own identity to the music I play. That opened
my eyes and my ears a lot more, and I become more daring, more challenging and
Wang has clearly made her way into the epicenter of
the American musical psyche and recently released an acclaimed recording of the
piano music of 20th century pianist-composer Earl Wild, including his celebrated
Wang’s penchant for risk taking will, no doubt,
also come across at her Kfar Blum date next week, and presumably the students
and others who attend her master class will gain much from her professional and
life experience on both sides of the world.
Pelleg will be in action
again on October 12 when she conducts Mozart’s Flute Quartet in D Major
aria “Et Incarnatus Est” – soprano Ira Bertman will fill the starring vocalist
role in the latter, while Arnheim will perform with the titular instrument in
the former – and Tchaikovsky’s Serenade for Strings in C Major
second concert will take place at the Industrial Park in Nazareth. After light
refreshments, it will begin at 8 p.m.For tickets and more information
about Mostly Mozart in the Galilee: 050-534-2687 and www.scooper.co.il