Québec’s Les Violons du Roy takes its name from the celebrated court orchestra of the French kings. Founded in 1984, the “violins of the king” has become one of the top chamber orchestras in the world today. Renowned music director Jonathan Cohen returns to the U.S. to conduct the fifteen-member chamber orchestra through celebrated works by Mozart, C.P.E. Bach, Mendelssohn, and Shostakovich on Tuesday, April 25, 2023, at the DeBartolo Performing Arts Center.
In anticipation of the upcoming performance, we spoke with Mr. Cohen to learn more about Les Violons du Roy, chamber music, and his artistry. Read on to learn more.
Can you share how Les Violons du Roy came to be?
Les Violons du Roy was established in 1984 in Québec City and quickly became a cultural engine of Québec, gaining worldwide recognition for the quality and dedication of their music making. Today the orchestra serves the cultural life of Québec through its subscription series at the beautiful Palais Montcalm and in Montreal; and regularly undertakes a busy touring schedule in Canada, the U.S., the Far East, and Europe, bringing its energetic and charismatic brand of music-making to as many keen ears as possible.
How would you describe chamber music to someone who may be unfamiliar?
Chamber music is historically a type of music-making in small numbers that would have been suitable for the aristocratic “chamber” or “salle.” In the Baroque times, music was often delineated by its location: da camera (of the chamber) or da chiesa (of the church). Later in the 19th century, chamber music became a catchall term for non-symphonic music, such as string quartets, trios, octets, etc. In aesthetic terms, nowadays, I like to think of chamber music as a collaborative type of music-making where the musicians are responsibly engaged in musical dialogue and negotiating their understanding of their line with respect to the whole score. This is particularly applicable to music of the Baroque and Classical eras which were conceived in this way.
What is the most challenging piece in your current repertoire and why?
All the pieces on our program represent a welcome and varied stylistic challenge. Mendelssohn’s light and vivacious early style needs great agility and finesse. Carl Philipp Emanuel Bach, the talented eldest son of J.S. Bach, has a unique and complex style that is very powerful emotionally, with constantly changing turbulent effects. Undoubtedly, the unique double concerto of Shostakovich, full of parody and humor, requires a sparkling virtuosity.
How do you prepare for a show?
I try to be reasonably well-rested and focused. It’s nice to have been well prepared together with the musicians in rehearsals and also to leave possibilities for new developments together in performance.
What is your most memorable performance with the ensemble?
I really enjoyed our recent project performing Handel’s opera Alcina in concert with a super cast in Québec and Montreal. [It’s been] a real highlight of the year so far to tackle this large and magical mature work of Handel.
Besides conducting, do you play any instruments?
I started piano very young and cello later on. I gained a lot of experience as a cellist in professional orchestras and also developed my love of Baroque music and authentic instruments. Later on, I came back to the keyboard and specialized in harpsichord. This was at the time I started to be an assistant conductor and work more together with singers. I enjoy keyboard for its rhythmic and improvisational role and I love the cello for its sound and lyricism. Both instruments have in common that they play the same bass line in the orchestra. Perhaps this is the attractive factor for me — the bass line that underpins the harmonic pillars and shapes in the music.
How do you find meaningful connections in your repertoire?
I like to find connections in music. It is inevitable that composers all influence each other, and it’s very interesting to me to get to know the style of compositional writing, to make links and observe how that developed through time. The best way to make those links, I would suggest, is to try and read through as much repertoire by as many composers as possible. Just by getting to know as much literature as possible, the connections start to reveal themselves! Modern technology gives us access online to all old music, a treasure trove of great compositions from the past at our fingertips. My advice [to aspiring artists] is to dive in and get to know it all.
We thank Jonathan Cohen for his insightful answers to our questions! See him lead Les Violons du Roy through a masterful performance of Baroque and Classical works featuring guest pianist Inon Barnatan on Tuesday, April 25, 2023.
