The first of all! As concertmaster of the Montreal Symphony Orchestra, Andrew Wan is the embodiment, the ambassador, the driving force and the soul of an entire group. The public in the room is not necessarily aware of this responsibility. Rafael Payare salutes this work with a rare act of confidence: this week entrusting Andrew Wan not with “a” concerto, but with the Concerto for violon by Beethoven. We wanted to know, during a casual interview, how this discreet but essential artist sees his profession.
“It was you who put pressure on me at the OSM season presentation conference, by pointing out to me that it was a big deal », laughs Andrew Wan when talking about the meeting that awaits him this week.
We simply noticed that while it is common for Konzertmeisteras they are called in the profession, are entrusted with concertos as recognition for good and loyal service, it is extremely rare that we go so far as to give them that of Beethoven, which Andrew Wan describes as “the pinnacle, part of the top 5 concertos for all instruments.
This concerto, which he has previously practiced elsewhere, Wan considers “uncomfortable”, because “not only does everyone have references in mind, but it is technically demanding, because you cannot tinker or create illusions”. The violinist is delighted to play it with Rafael Payare: “As he lives in Montreal, we will be able to prepare it further in advance than if he were a guest conductor. »
Solo violin at 25
If we wanted to discuss with Andrew Wan, it is mainly because he is a dynamic incarnation of the OSM and the role of a solo violin is sometimes little known. Winner of the OSM competition in 2007, he was entrusted with this responsibility the following year, at the age of 25. He is entering his sixteenth season in this position. “This year was the first time I said to myself, “I’m not the ‘young guy’ anymore!” It’s a feeling that I always had, when I went to festivals or others, I was “the little kid”. There, I access another generation and I like that. I am in good instrumental shape and have gained experience. »
The definition of “experience” allows us to better understand this profession and its learning. “At the beginning, I didn’t know anything and I have to thank Kent Nagano and all the musicians of the time for showing great patience with me. They didn’t recruit me as a “finished product” and that saved me, because I quickly realized that. Obviously, I’ve made a lot of mistakes and I’m still learning. »
The task of Konzertmeister of an orchestra, Andrew Wan defines it as follows: “My role is to facilitate the translation of the conductor’s intentions, to be a transmission belt. It is not necessary to be the best musician or even the best violinist, but I am the representative, chosen by the musicians, chosen by the conductor. The analogy I like is that of hockey: I am the captain. I prepare a lot to, precisely, translate the intentions of the coach in a team movement on the ice and if there is any doubt, I take the blame and responsibility. »
So what didn’t he know to begin with? “It’s not to make a joke, but it is, above all, the very extent of what I didn’t know! But everyone saw that I was flexible, that Kent Nagano could shape me, that my section could shape me. They are positive with me to support me. I got the impression that they thought, “This guy is acting humble enough to show that he’s going to change.” I never wanted to appear stubborn. Even today, if I know I’m right about something, I’m very open to trying something else and accepting different opinions. This is, I believe, a characteristic of our generation of Konzertmeister. »
Flexibility and the future
When we spoke, the OSM had just played The Rite of Spring by Stravinsky. “It’s a good example of what evolves over time. If I strongly believe in something live and think I need to take the band in a certain direction, I have more confidence to do it. I remember my first Sacred : It was my second week of work. You have no idea how much work I put into this. I remember a flight to Asia where I listened to it ten times in a row in ten different versions. I could play the work at all possible speeds and if I hadn’t done this training it would have been a disaster. Now seeing The Rite of Spring on the program, I know where to put my energy, I know what can happen and in what passage. What changes over time is the experience that gives confidence, that streamlines preparation. »
The analogy I like is that of hockey: I am the captain. I prepare a lot to translate the coach’s intentions into a team movement on the ice and if there is any doubt, I take the blame and responsibility.
Andrew Wan also tells us about his more relaxed relationship with his colleagues and conductors. “I talk a lot in rehearsal, but efficiency is improved: I now know what the tolerance threshold is, the “limit time to hear Andrew speak”. So the information must be useful and effective. When I started, I could waste time by focusing on secondary things. I have also learned to no longer pick up on things that I now know, from experience, will happen if I have confidence that they will happen. »
Seen from the room, the Konzertmeister stands out because from his body he gives impulses. “My role is also that of a person who frames things. I don’t have an imposing size, but sometimes I have to occupy a larger space. I see better when I can let things go and when I need to intervene. People will say that I still move a lot, but I move in a more targeted, more surgical way. I don’t need to be as demonstrative as I once was and I can also let other desk leaders take leadership. For example, if the energy should be in the cellos or violas, I am more capable of transferring this energy rather than taking it over: it took me a lot of time to delegate that. »
Throughout the discussion, we understand that experience allows us to acquire a lot of flexibility: “The quality of this orchestra is the quality of the preparation. As we are prepared and I am prepared, we have an idea of how things should go and the biggest mistake would be to be inflexible. When I go to the first rehearsal, I know that I’m going to have to hear the timpani here or the oboes there and if that’s not the case, I have to understand what the others want. Either I lead the group towards my idea or I realize I’m wrong. And I’ve made a lot of progress recognizing when I’m wrong! »
This gain in flexibility comes at the right time when a conductor arrives, Rafael Payare, who makes the words “flexibility” and “reactivity” the cardinal points of his interpretative art. What the audience feels in the room is also experienced from the inside. “It works, as you note. There is more than a critical mass, a large majority who have confidence in the artistic direction we are taking. It’s very rewarding to feel that and great to finish a concert and feel uplifted. The trust is there, Payare is open, he has confidence in us. There is a symbiosis, its repertoire goes with what the orchestra wants to do. I have friends in San Diego and they feel the same way: Payare has this talent and spirit to make people excited. Our interpretations are increasingly nuanced. It’s all very special, I love the direction it’s going and we’re very lucky. »