| By Scott Roush
By now, the story of Peter Oundjian’s career is well-known in the classical music world. Oundjian, the Detroit Symphony Orchestra’s new Principal Guest Conductor and Artistic Advisor, spent 14 years as first violinist in the Tokyo String Quartet, one of the top chamber ensembles in the world. Through his long association with the group, Oundjian extensively explored the quartet repertoire including the complete string quartets of Bartók, Beethoven and Schubert, and received four Grammy Award nominations.
Forced to give up the violin due to focal dystonia, a repetitive stress disorder, Oundjian turned to his second love, conducting. He made his formal conducting debut at the Caramoor International Music Festival in New York with the Orchestra of St. Luke’s, where he shared the podium with conductor and friend André Previn.
Throughout his career, Oundjian has been a major presence in the orchestral world. He is Music Director of the Toronto Symphony Orchestra, a position he has held since the 2004-05 season. His probing musicality, collaborative spirit and engaging personality have earned him accolades and continuing relationships with many international ensembles including the Tonhalle in Zurich, Radio Philharmonique in Paris, and the Philadelphia, Pittsburgh, San Francisco, St. Louis and Houston symphonies. He is also Artistic Advisor and Principal Conductor at Caramoor. For three years, through 2005-06, he served as Principal Guest Conductor of the Colorado Symphony.
While the DSO continues its search for a Music Director, Maestro Oundjian will consult with the organization on artistic issues and conduct the Orchestra in multiple weeks of concerts each season (two this season and three in 2007-08). Performance recently talked with Oundjian, 50, over the phone to discuss his new relationship with the DSO.
What are you most looking forward to about your new appointment with the DSO?
I think with any situation like this the important part is building a new relationship. This involves human relations, connecting with the Orchestra, setting a tone and creating an atmosphere that will lead to excellence. Fortunately, I’ve known many of the DSO musicians for years, so I’m not starting from zero. Ultimately, I want to make a difference to the Orchestra and in the community.
You have conducted the DSO several times throughout the years. What are your impressions of the talent of the Orchestra?
I have enjoyed an increasingly exciting rapport with the musicians of the Detroit Symphony Orchestra. They are an extraordinary ensemble, and I am very much looking forward to shaping our shared vision for musical excellence while pursuing exciting new directions. The greatest gift the DSO has to offer is its spontaneity. The musicians play with an enormous commitment and never seem to be in neutral gear. They value the character of each piece of music.
What do you recall about your first time conducting the DSO? (Oundjian made his conducting debut with the Orchestra at Meadow Brook Music Festival August 3 and 4, 2001.)
I couldn’t believe how well they played with so little rehearsal. For our two programs at Meadow Brook we had one-and-a-half rehearsals. Being thrown in the deep end like that, I knew we had two possible outcomes – we were either going to rise to the top or dramatically sink. We had a positive approach and decided to make the best of the situation. The Orchestra is very cooperative in both difficult and luxurious situations and they always want to do well.
What are some goals you hope to accomplish as Principal Guest Conductor and Artistic Advisor?
Ultimately, the goal is build strong musical relationships, make meaningful music and explore new repertoire.
What kind of repertoire might you want to explore for the 2007-08 season?
A lot of the planning for next season is already well under way with several people working on the repertoire. There are a lot of good minds involved with that. We want to explore new directions while also discovering new ways to present traditional music.
How would you describe your repertoire? Where do your strengths lie?
This is a question that other people often ask us (conductors), but we don’t focus on our strengths and weaknesses. We apply the same energy and commitment to all the music we play. The development of a convincing personal interpretation takes longer with some pieces than others.”
Much has been written about your hand disorder than ended your violin career. What made you decide to pursue conducting?
Conducting was a desire I harbored for a long time. It’s always been in the back of my mind, a quiet passion. However when I was younger, I was more excited about playing the violin and I felt it was the right time to do so. When it seemed my violin career was coming to an end, I was more comfortable becoming a conductor in my late 30s than I would have been in my early 20s.What was the most challenging transition from playing to conducting?
It’s not easy to learn how to conduct clearly because you don’t instantly have an orchestra in front of you whenever you want to practice. You really have to teach yourself. Some of my biggest influences were André Previn, Benjamin Britten (he conducted Oundjian at an early age) and most importantly Harold Farberman (founder of the Conductors Guild and author of “The Art of Conducting Technique”). He really understands extremely well how to teach somebody to be clear with their hands. There is an absolute need to create independence from one hand to the other.
How has your background as a violinist helped your conducting?
One thing you have to have whether you are a conductor or an instrumentalist is conviction. Of course, my performing experience has made a huge difference to my conducting. I can’t imagine conducting without having previously played so much music in live performance. Just as in chamber music, you’re constantly listening and responding to what you hear. You move your hands, and something comes back. If it’s what you expect, you’re on the flow; if it isn’t, you immediately try to change it or adjust to it.
What can the audience expect from you as a conductor? How would you describe your style?
I leave it to other people to describe my style. I focus entirely on the music and the musicians. Having said that, I’m well aware of the triangle created by the conductor, musicians and audience. I want to deliver a complete commitment to the atmosphere that every moment of the music brings forward. I want to take the audience on a journey with each piece.ow?
It’s hard to believe, but I have now conducted almost as long as I was in the Tokyo Quartet. In the future, I want to continue to build my repertoire as a conductor. I want to discover new pieces while also concentrating on my interpretations of established repertoire. Any opportunities that come my way are opportunities for my growth. I have the most wonderful opportunity – to make music that inspires and motivates. I also want to work more with young people – high school and college students. I want them not just to play well, but have them realize that music is a powerful language that speaks to us on many levels. Its importance to society should never be underestimated.
I heard you are self-described “car nut.” Tell me a little about this passion.
I come from a family of car lovers – my brothers are all fanatics. My favorite car was a 1965 black Corvette with a white top, red interior and 365 horsepower under the hood. This car invoked an era of freedom for people who grew up at that time. I love all the cars from the era. Unfortunately, I had to sell it when I stopped playing violin.
What are some your favorite activities outside of conducting?
I love to spend time with my family, my wife Nadine, son Peter, 14, and daughter Lara, 15. I spend time watching my kids grow up. I play soccer and tennis and I’ve learned a lot about baseball since my son is crazy about it.
Scott Roush is Publications Manager and Public Relations Associate for the Detroit Symphony Orchestra. Contact him at sroush@dso.org.
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