‘Old music has survived wars, epidemics and more’

How did your journey with classical music and performing in India begin?

It was an accident. I was in Poland with a master’s degree in music and a few jobs, but I couldn’t find a permanent job. One of the heads of the NCPA is from Kazakhstan, and I was born there. Somehow I found him and contacted him. The NCPA invited me here a few years ago, and I started as an assistant conductor. It was an internship when I joined, and as I started to build connections within SOI, I started working as a facilitator.

How receptive are Indian audiences to orchestras, especially Bengaluru?

Since my first concert here, I have noticed that in India, and in cities like Bengaluru and Mumbai, the audience is very open. In places like Europe, audiences are less responsive and need more time. But in India, from the first episode, you start to feel the connection and support from the audience, which is very helpful and gives us a lot of strength.

Had a special session for kids during your recent visit to Bengaluru. To what extent have Indians accepted Western Classical music?

I think children all over the world react in the same way and at the end of the day they are all children. For them, it’s always interesting. Many children get the chance to see live orchestras, and when they do, they get the chance to see the instruments live, hear how they sound, and learn to distinguish between each instrument. I really appreciate orchestras that play for children, as it is very important for children to develop a connection with music from a very young age.

Are people all over the world as patient with the classics as they involve the patient cultivation of taste?

One thing I really realized after a few years of being in the music industry is that music be it Western classical, popular, Indian classical or any genre, is the expression of artists. These words should touch our hearts, and you will connect with them regardless of the form. But some may like it, and others may not. I’m always surprised when I run a modern classical because there are other people from the classical world who haven’t opened it yet. All music is a speech, and the audience should be open to it.

Is the Indian auditory suitable for the Western orchestra in terms of acoustics?

To be honest, I realized that most of us, the new generation of musicians, try not to be categorized and try to make our best music. If we give the right emotions, it won’t matter how good or bad the workplace is. We take it as a challenge, to convey our work to an audience with whatever limitations or resources we have.

As someone who is expected to perform Western Classical music regularly, do you have the freedom to create new music or experiment in your field?

When I was in Poland there was always a set of rules for orchestras, which ensured that there was a certain percentage of classical music and modern music. In an orchestra, it really depends on how open the conductor is to making changes. However, we play Western classical music not only because we have an obligation, but also because of the rich history and legacy left behind. We like to keep the legacy going and leave it etched in people’s memories.

Classical music faces unique challenges in modern times. How do you see the future of orchestras, especially in India?

Orchestral or Western classical music has survived many wars, epidemics and many more, it will continue to survive and thrive in the days to come as well. During the violence of COVID-19, when it seems that everything is over, musicians around the world are coming together to find ways to sing. I believe that if a group of people is united, they will sing and survive no matter what. This is one of the reasons why I decided to become a conductor because I believe that the process of working with a group of different people, ideas, and musicians, is truly magical. Modern art is a form of growth, but classical music will live on.