Finding musical wit in classical music

Živa Ploj Peršuh, Tilen Artač S the Slovenian Youth Orchestra are embarking on an extensive Slovenian tour

The Slovenian Youth Orchestra under the direction of internationally renowned conductor Živa Ploj Peršuh, in collaboration with the versatile artist Tilno Artač, is on tour in thirteen Slovenian cities. The Classical Artač concert tour will serve up a mix of humour and classical music. Today they will perform at the Cultural Centre in Rogaška Slatina at 19.30, tomorrow at the same time at the Kosovel House in Sežana. Concerts will follow in Ljubljana, Maribor, Krško, Žalec, Velenje, Zagorje ob Savi and Portorož.

How did the collaboration between the Slovenian Youth Orchestra and Tilín Artač come about?

Živa Ploj Peršuh: In designing a new format that will The Slovenian Youth Orchestra to the widest possible audience across Slovenia and be able to appeal to listeners with different experiences of classical music, we were looking for someone who was really closely connected to this kind of music. Tilen is an academically trained musician, a cellist, and I have met him personally as a performer in our previous programmes where he was part of our orchestra. He also moderated with me the Festinice - Family Concerts, which we launched in 2007, first at the Pionirski dom, and later filled the Slovenian Philharmonic for several years. Of course, he is also the right man for this new role - the role of conductor, which is extremely demanding.

You are announcing a mix of classical music and humour. I am sure that the composers of classical music, at least some of them, were also witty.

Živa Ploj Peršuh: Very witty. Not only in music, but also in purely life situations. Many people have had to make themselves a target in order to survive and to get support for their work in a witty way. And not only witty, they are still very sparkling today, sometimes cynical, sarcastic... The greatest composers and composers are extremely interesting, insightful and broad-minded people. And that includes humour and wit in all its shades.

Tilen Artač: Many composers of classical music certainly had a sense of humour and included it in their works. Mozart's operas, for example, contain many humorous elements. It is well known that he wrote some very difficult arias also because he made fun of opera singers. On the other hand, if you play, for example, Bach's compositions, some of them are so complex and difficult that you say to yourself: 'Well, he wasn't serious...'.

Why is classical music often called "session music", as if all other music were jokes?

Živa Ploj Peršuh: This is a rather unfortunate notion indeed. The term art music perhaps best describes the intention and the approach itself, and also the realisation that the product may need more time to be accepted by people, because as a complex and thoughtful work of art it is not made for the first time, or its aim is not to entertain and relax.

Tilen Artač: I agree that classical music often requires a high level of technical knowledge on the part of both performers and composers, which contributes to its perception as "serious art". On the other hand, the social "elite" has also somewhat appropriated classical music, and of course it sounds interesting for a gentleman to go to a serious music concert. That's one of the reasons why we went to smaller towns around Slovenia with the Classical Artač project, to prove to people that classical music can also be a total party party.

In preparing the programme, did you discover any purely musical witticisms in any of the pieces that we listeners overhear?

Živa Ploj Peršuh: This time, the selected works are familiar to everyone, including people who do not follow classical music. But we've made sure that listeners will hear them in a new, fresh way, and stay focused. That's the intention. Also, the works of Mozart, Beethoven, Strauss that we are going to play are designed in such a way that they allow for multiple perspectives, multiple understandings, multiple clues, associations that the listener feels. How a classical Arthach understands them must remain hidden, but it is crucial that all the music offered in our concert resonates in a witty and connecting way.

Tilen Artač: The most interesting thing was discovering where party music, pop music and folk music come from. Mozart, Haydn and Beethoven are everywhere in between. A lot of classical music can be reinterpreted to the point where it becomes witty.

Is this the first time you are standing in front of an orchestra as a conductor? How does it feel?

Tilen Artač: Yes, it's the first time I've stood in front of an orchestra as a conductor, and I have to say it's a great experience. Of course, I already knew the basics of conducting before, because I got them during my studies at the Academy of Music. The first thing I had to get used to was to control your emotions when conducting, the emotions that the music evokes. When a symphony orchestra is playing in front of you, you can quickly get carried away by the grandeur of its sound and lose control. But as a conductor, this must not happen to you. Well, I have an agreement with the orchestra that when that happens to me, everything else has to be done, they just can't follow me. I am very grateful Slovenian Youth Orchestrathat they are willing to put up with me. (Laughs)

How do the young instrumentalists in the orchestra see you? Do you ever clown around a bit to let your eyebrows drop?

Tilen Artač: The orchestra is made up of musicians, pupils and students who are almost professionals in the world of classical music and, in my opinion, don't need the extra motivation of a "clown" for such projects. They are really interested in what we are doing.

In the show What's happening, which is returning to the small screen, music is an important part of it. That's where your musical chameleonism comes out. I suppose you have a lot of fun with that, too?

Tilen Artač: Of course. The current politics is responsible for the fact that we are having fun. Let me publicly thank our muses, both in government and in opposition. Without them, we would not exist.

How important is it for young instrumentalists in an orchestra to work with a musical and humorous scout like Tilen Artač?

Živa Ploj Peršuh: This is a unique and important opportunity. Because they have been following almost the whole process of Tilno's learning to conduct during the rehearsals, and because there is always room for correction, they can see very well the very high level of his preparation, commitment and will to achieve the best result. Any musician who wants to pursue his or her life professionally must unconditionally know how to nurture all of these and draw from the successes, as well as the minor mishaps on stage, to enrich them and use them as a driving force for the next performances.

I suppose it is very valuable for young instrumentalists in an orchestra to gain concert mileage?

Živa Ploj Peršuh: It's not without that. As many challenging and varied experiences as possible, especially those that require not only presence but also responsibility, are crucial to understanding one's role on stage. And also to understand the flexibility of the mind that allows it to flourish and relax in deep performance.

You've already played some concerts, and there are a few more to come. How have they been received by the audience so far?

Živa Ploj Peršuh: The concerts are well received. It is a real joy to see how people react and also listen to the most challenging classical music in a really focused way. They are not reticent, and we don't want that. But they listen very much. And not because anyone explicitly asks them to. The concept simply works. And it appeals. They leave the auditorium with a smile on their face and satisfied.

Tilen Artač: 45 talented young musicians on stage, enjoying playing, having fun, with the classical Artač standing at the front, singing the soprano aria Queen of the Night from the opera The Magic Flute W. A. Mozart. When he sings the soprano, he launches into the tenor aria, where it is as if I am doped up Opera is an inexhaustible source of fun, not least because we take it so seriously.