By Jacob Stockinger
Madison-born and Madison-bred, Kenneth Woods is almost a one-man band of classical music. This coming year he will have out new six CDs, including performances both as an orchestra conductor, chamber music cellist, and also as a composer and a rock guitarist . And he still finds time to write a fascinating, critically acclaimed and popular blog with an insider’s view of making music called “A View From the Podium.”
Here are links to his main website and to his blog:
And check out his impressive biography:
You should also read the excellent interview he gave UW School of Music concert manager and public relations director Kathy Esposito on the music school’s terrific new blog “Fanfare,” Here is a link;
Woods attended West High School and the University of Wisconsin-Madison. He was also a member of the Wisconsin Youth Symphony Orchestras (WYSO). He did undergraduate work at the University of Illinois Champaign–Urbana, and graduate work at the UW-Madison and the University of Cincinnati Conservatory of Music.
That makes him a perfect candidate to conduct the UW Symphony Orchestra this coming Saturday night at 8 p.m. in Mills Hall. The concert, which features acclaimed Chicago violinist Rachel Barton Pine in the famous Violin Concerto by Johannes Brahms, also includes the famously powerful Fifth Symphony by Dmitri Shostakovich, will open the Wisconsin Union Theater season.
For more details about the concert, including ticket prices ($10 for UW students up to $25 for the general public) and links to other sites and samples, visit:
Based in Wales, Woods — who can heard at the bottom in a YouTube video conducting Ralph Vaughan Williams’ haunting “Fantasia on a Theme of Thomas Tallis” performed by the Orchestra of the Swan with a beautifully divided string section — recently gave The Ear an email interview:
You are a very busy man these days. Can you bring us up to date and fill us in briefly on your accomplishments over the past year or two?
Well, it’s been a very busy time, I must say. The most important step this year has been the beginning of my new partnership as artistic director and principal conductor of the English Symphony Orchestra.
When I last conducted here in Madison, I had just finished a long association with the Oregon East Symphony. Since then, I’ve basically been a freelance conductor without an orchestra to call my home. ”It’s been an incredibly exciting time, but I’ve been wanting a chance to build something together with a group of colleagues I really respect.”
Otherwise, it’s been one of those years where you often feel like you are just holding on for dear life. At the Scotia Festival this summer, they told me I set some kind of record for most performances by a guest artist in the history of the festival. It has been that kind of year.
It’s all been very exciting but often quite draining. I’m hoping the next chapter, focusing more narrowly on building an orchestra, will be just as exciting but slightly less manic.
What does it mean to you to be returning to your alma mater to conduct the UW Symphony?
My father has been a professor in the Chemistry Department since just before I was born, so I pretty much grew up on and around the UW campus.
When I was growing up, the Madison Symphony Orchestra was not as well-established as it is now, and UW Symphony concerts were the big classical events in town, and I have so many memories of sitting in Mills Hall, where I first heard Bruckner, Mahler, Stravinsky, Brahms and any number of other composers.
The design of the Humanities Building — I’ve heard it described as a model for a dystopian prison — doesn’t tend to inspire much affection among people who work in it, but I’m very sentimental about the place.
Coming back to the UW for my Master’s was a great chapter for me. It was one of those miraculous moments in life when you have the good fortune to find exactly the mentors and teachers you need. Those years studying cello and chamber music with Parry Karp (below) were incredibly important to everything I’ve done since then, and I was also really lucky to work closely with David Becker, who gave me a good foundation as a conductor, and the late violinist Vartan Manoogian, who became a good friend and supported me a lot.
What do you think about working with and conducting student orchestras?
Philosophically, I try to treat every orchestra the same. You go to the first rehearsal really well prepared, give an upbeat, and then see what happens.
What I admire most in any orchestra is preparation combined with flexibility, which, not coincidently, is what I always looked for in conductors when I was playing in orchestras.
Being truly flexible isn’t about, for instance, trying every possible version of a bowing- it’s something that happens more at the quantum level of playing. It’s listening to each other with such focus that you can all make the millions of tiny anticipations and adjustments needed to take the performance somewhere really special.
The playing level of student orchestras these days is always very high, so often my job is to help them develop the kind of ten-dimensional listening that lets them play as an ensemble. (Below is the UW Symphony Orchestra performing with the UW Choral Union under choral director Beverly Taylor.)
What would you like to say about the two staple works you will conduct, the Brahms Violin Concerto (have you ever worked with Rachel Barton Pine?) and the Shostakovich Fifth Symphony?
Well, the symphony by Shostakovich (below) is a very special piece, and one I have a very personal relationship with. It was, in fact, the first piece of orchestral music I ever heard played live. When I was three or four, my pre-school teacher, Barbara Goy, founder of the Preschool for the Arts, took us to a rehearsal of the Wisconsin Youth Symphony Orchestra (WYSO) conducted by its founder Marvin Rabin – and they were working on it.
That morning in the Humanities Building changed my life. I’ve conducted it many times, given lectures on it, taught it and written at length about it, but doing it in the same building where I first heard it is going to be very, very special.
Brahms and Shostakovich make for an interesting pairing because they’re so completely different in some ways, and yet they have certain important qualities in common.
Shostakovich wrote so much, and could write in so many styles and so many genres- his versatility is almost unmatched in music history. Brahms (below) only left us a smaller body of work- so much of his music ended up in his fireplace- but it’s all so clearly the same voice, and so closely interconnected.
The large-scale orchestral music has this lovely symmetry- four symphonies, four concertos. That’s it! I just did the Violin Concerto back in June with Alexander Sitkovetsky, a favorite soloist with whom I’ve worked many times. I hadn’t done the piece in years and it was so humbling to come back to the score again after a break.
Rachel Barton Pine (below) and I have never met, but I’ve certainly admired her work. Part of the joy of conducting concertos is in seeing how different each collaboration is going to be. My view of the Shostakovich symphony has developed over 30 years and doesn’t tend to change radically from one concert to another, but I might need to completely re-think the Brahms in order to suit Rachel’s take on it.
And what do you want to say about the other composer Philip Sawyers (below) and the Overture to the “Gale of Life” piece by way of introducing them to readers?
Philip is one of the great composers of our time- someone whose music will, I’m sure, be discussed and performed and admired for generations to come. I feel incredibly lucky to be able to count him as a dear friend.
I first met Philip when I was conducting my first concert with Kent County Youth Orchestra in England, where he has coached the violins since the 1970s. Philip is a former member of the orchestra of Royal Opera Covent Garden.
Getting to know his music was a revelation.
I’ve just completed a recording of his Second Symphony, Cello Concerto and Concertante for Violin, Piano and Strings with the Orchestra of the Swan for Nimbus Records.
It’s a project I’m enormously proud of. I think the Concerto is probably the greatest British cello concerto since the one by William Walton, and the Second Symphony is a staggering masterpiece. I know that sounds like hyperbole, but I believe it.
When I took up my new gig with the English Symphony Orchestra (below), one of my first decisions was to commission a Third Symphony from Philip, which we’ll premiere in 2015 and record for Nimbus.
“Gale of Life” is a proper concert opener – it’s not one of his more ambitious works, but it’s immensely satisfying to play and a great introduction to his language. All the great composers used to write overtures and other concert openers, but that has really died off in the last 40 years.
I always like to try to bring something with me when I guest conduct that I have a personal connection to, which will be new to either the musicians or the audience, or maybe both. Hopefully, a good number of folks will come away from the concert anxious to hear his other works.