From its inception in 2006 to the grand Autumn 2022 Season and many milestones in between, the Symphony Orchestra of India has had a remarkable journey. We speak to violin virtuoso, SOI co-founder and Music Director Marat Bisengaliev well-nigh his vision, the orchestras educational initiatives and upcoming concerts.
ON Stage: The SOI is returning with a season without two and a half years. What does it midpoint to the orchestra?
Marat Bisengaliev: First of all, I am grateful to the NCPA and personally to Mr. Khushroo Suntook for having retained the orchestra all through the lockdown. It is a unconfined sign of loyalty and very encouraging.
The musicians unfurled to teach virtually and requite concerts in a smaller topics to a limited audience. They moreover played for recordings in March when the Spring 2022 Season could not take place as envisaged due to the pandemic. These were tough times for artistes the world over. Like many other places, I see a unconfined hunger to perform among the musicians. The Autumn 2022 Season features a wonderful programme and top-class artistesBenjamin Grosvenor, Pavel Kolesnikov, Alpesh Chauhan something to squint forward to not just for me as Music Director but moreover for the regulars in Mumbai.
OS: In wing to a cadre group of resident musicians who form the chamber orchestra, musicians from wideness the world return to perform with the SOI for the seasons. What brings these artistes to the NCPA year without year?
MB: Many of the freelance musicians now know our sound and tradition. The SOI has a loyal pursuit and we are happy to be associated with artistes who requite us their time and finger a part of the orchestra.
For a symphony orchestra, the number of players could be anywhere between 70 and 100, and it is still not easy to find as many musicians in India who can perform with the SOI. It is moreover not commercially viable to have as many salaried musicians. In fact, several English orchestras such as the London Symphony Orchestra and the Royal Philharmonic Orchestra moreover work with freelance musicians. Ideally, I would like to have a combination of musicians and teachers who reside in and teach wideness India and return to the SOI to perform for the season.
OS: There has been a welcome minutiae in the other direction too: SOI violinist Prayash Biswakarma recently travelled to Kazakhstan for a concert.
MB: Prayash was profoundly appreciated in Kazakhstan. It was an equally rewarding wits for him to perform there as a soloist and chamber musician. He was spotted by me when he was playing at the NCPA with a youth orchestra. He was a self-taught young man who had something well-nigh him. It is to [SOI violinists] Olga Lyapina and Gulzara Shakirs credit that they honed him as a person and musician. Prayash has shown enormous growth and is a valuable part of the SOI. He has vindicated my choice.
OS: The SOI Music Seminar turns 10 this year. From the discovery of prodigies to students performing with the SOI Chamber Orchestra, winning international competitions and pursuing higher studies in music abroad, how do you see the academys progress towards your vision to ultimately have musicians trained at the seminar wilt part of the SOI?
MB: It is very encouraging to see local talent come to the academy. Ayaan Deshpande, a piano prodigy, deserves a special mention. He is a name to squint out for in the future. As far as the quality of graduates is concerned, we are hitting the target. I recently heard our alumnus Yohan Pastala-Guptes [who is now studying classical trumpet in Germany] recording and he is so good that I am considering him for our upcoming tours.
The most challenging part in the process of creating homegrown musicians is to have them come when and play with us. The NCPA is creating those conditions to make it lulu for the students to return, which is important. When the Gramophone says classical music moves East, it hits the right notes. There are too many musicians in Europe and the US. India is a burgeoning economic and cultural power. I can only see wonderful opportunities here. It is only a matter of time.
This piece was originally published by the National Centre for the Performing Arts, Mumbai, in the August 2022 issue of ON Stage their monthly arts magazine.
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