Klassiek Centraal recently had the opportunity to conduct an interview with Chris Gossye, performing member and board member of the Sonores Symfonieorkest Gent. Sonores is the oldest symphonic amateur orchestra in Gent. Over time they have evolved into a mixed professional - amateur orchestra (one in four is professional). They perform two concerts per year with consistently sold-out halls. They have also been working closely with the Musica Mundi School for three years. On 21 June, they will present violinist Oliva Dora Devoghel on stage as the first symphonic orchestra. Oliva graduated from the Yehudi Menuhin School and is now studying further with Donald Weilerstein in Boston.
Experiences and Origins
How did you come together as an ensemble and what brought you together in the first place?
Most members of the orchestra have been playing together since 2005 in a symphonic orchestra that was then called Akademos. After the dismissal of its conductor, Marc Sierens, in 2018, the orchestra was relaunched as 'Sonores Symfonieorkest Gent' under the leadership of Joeri Van hove.
Which classical composer has most inspired you in shaping your ensemble?
The orchestra plays mainly the repertoire of the 19th and 20th centuries.
What was the turning point in your career that led to the success you are experiencing now?
There is no turning point, but rather several important milestones such as the collaboration with the international Musica Mundi School. This allowed us to programme concerts that fall outside the budget of the average amateur orchestra. The collaboration with the Academy for Performing Arts Gent and conductor Joeri Van hove was also an important organizational boost. Not only is the orchestra strengthened by talented students, we can rely on J. Van hove as one of the best teachers as a conductor.
Career and Repertoire
How do you determine which repertoire you play? Is there a specific reason why you choose certain pieces?
The choice of repertoire is made by a programming committee. We play the established classics from the repertoire (Beethoven, Dvorak, Schubert, Brahms, Tchaikovsky), but we also want to surprise our audience with Shostakovich, Korngold and Gershwin, contemporary music (Pichal), rarely performed music (de Falla, Turina),.
How has your repertoire evolved over the years, and how has this shaped you as an ensemble?
The repertoire indeed evolves from 19th-century to 20th and 21st-century repertoire, less known to the public and often more challenging for the orchestra.
Are there specific composers or works that constantly challenge or inspire you?
We certainly try to keep Beethoven in the repertoire, but with the lesser-performed works. For example, next year we will programme Beethoven's Triple Concerto with soloists from the Musica Mundi School.
How do you approach the interpretation of classical pieces? Do you have a shared vision or are there discussions?
The conductor's vision plays an important role here. He has a good sparring partner in our orchestra master Sebastiaan Mindreau.
Collaboration and Dynamics
How would you describe the dynamics within the ensemble? How does this dynamic influence your music?
The dynamic is aimed at as perfect an execution as possible, both technically and musically. Each instrumental group consults internally on how to make the best of it. The weekly rehearsals allow us to analyze each work in detail.
How do you ensure that everyone's voice is heard in the creative processes of the ensemble?
Both during rehearsals and during breaks, we discuss how to achieve better results. As an association, we also organize general meetings.
What do you do to strengthen the bonds between you, both musically and personally?
We organize an annual rehearsal weekend on location, this year in Kemmel from 9 to 11 May.
Does each of you have a specific role within the ensemble, besides playing your instrument?
There is indeed a de facto division of tasks in the organization of the concerts, such as the programme booklet, the hall, sponsorship and publicity.
Challenges and Success Stories
Have you ever doubted the future of the ensemble? If so, how did you deal with it?
The unexpected and sudden departure of the previous conductor was a moment of crisis. We then decided, through a few internal meetings, to continue on our own strength, to find a new conductor, to find a new name, to establish a new association and to find new sponsors. All members also made a financial contribution to keep the orchestra afloat. Of course, the COVID period also hurt us both financially and musically.
What was one of the most memorable performances and why does it stand out for you?
Sonores Symfonieorkest Gent presented on 10 June 2023 with Kristina Georgieva (Bulgaria) and Liav Kerbel (Israel) the Concerto for Violin and Cello by Brahms (Op. 102). For both the orchestra and the soloists, this is an extreme challenge. The audience was thrilled. The performances of Rachmaninov's piano concerti two and three were also highlights that captivated the audience.
Future and Ambitions
What are your musical goals for the coming years?
We want to give a platform to young Belgian virtuosos who want to gain experience with an orchestra. For example, in June we are performing Tchaikovsky's violin concerto with Dora Oliva Devoghel, an 'emerging' violin talent. She studies at the New England Conservatory Boston. We hope to be able to do more of that.
Are there any unrealized dreams or projects you would like to realize?
We would like to put together a program that can also appeal to young people.
How do you see the future of classical music, and what is the role of your ensemble in it?
Classical music has proven to be timeless. The way it is presented (the 'format') can be adapted to the current 'attention span' of the audience. In a world where high-quality performances in image and sound have become 'streamable', a concert performance must offer added value as an 'experience'. We therefore try to make each performance 'unique'.
What new paths or collaborations would you like to explore in the future?
We would like to perform a work with choir (the 9th, Verdi, …), a sequel to our January program 'film music', a collaboration with a theater company.
Influence and Legacy
How do you think your music touches the audience? Do you often get feedback from listeners, and how does that influence you?
We often receive reactions on Facebook, after the concerts… Usually they are positive.
What influence do you hope to leave as an ensemble on the classical music world?
We recruit about 15 professional musicians per production. We want to improve cross-pollination between the world of the 'professional' musician and the world of the 'amateur musician'. In a world where professional musicians are increasingly hired on a project basis by professional orchestras, the sharp distinction between professional and amateur orchestras is disappearing. The opposite is also happening: musicians who are permanently employed by professional orchestras play with us. It is a win-win situation for all parties and it increases the accessibility of classical music to the wider public: venues of the 'cultural center' type (capacity +/- 400 people) can thus also offer symphonic works.
What would you like young musicians to learn from your path and experiences?
Playing in or with an orchestra is an exercise in listening. You also learn a lot from the other musicians. It teaches you to succeed as a team. An orchestra is a transparent and authentic environment: you can't 'fake' anything.
How has working in an ensemble shaped you personally and musically?
Playing in an orchestra is a collective endeavor that requires effort from each member. Musically, we learn enormously from the professional players who strengthen the orchestra, and from the conductor.
Looking back on your career, what are the moments or achievements you are most proud of?
We are proud of the congratulations we sometimes receive from professional musicians. They encourage us to keep getting better.
Sonores Elgar Cello Concerto highlights with Liav Kerbel:
[embed]https://www.youtube.com/watch?v=xI7V6fIa5UA[/embed]
© arco-music © Studio89 (Clos des Essarts 7 1410 Waterloo)
Orchestra composition:
Conductor: Joeri Van hove
Violin 1:
Sebastiaan Mindreau (concertmaster)
Melanie Desegher
Chris Gossye
Martin Leube
Irmgard Van Driessche
Ni Luh Made Vikhanaswari
Leen Hauspie
Anthony Pil
Viola:
Christiaan Beyaert
Nancy Feys
Melanie Denolf
Noor Porrez
Eakarach Jansang
Kaatje Strauven
Violin 2:
Sara Talloen
Swantje Peirs
Muriel Musschoot
Nele Van Hoey
Pieterjan Schatteman
Mauro Agreda de Ro
Ruth Lambert
Lara Spruit
Irinja Schurmans
Monique Moorthamer
Edith Haesendonckx
Siewald Degraeve
Double bass:
Eline Dewilde
Anke Bastiaensen
Hilde Jonckheere
Cello:
Lore Stevens
Barbara Vlieghe
An Baeten
Kobbe Peirs
Lies De Mol
Helena Andrea Bosch Berth
Lisa Goethals
Roland Lambert
Harp:
Olga Madrennes
Guitar:
Matthias De Smet
Flute:
Charlotte Van Bockstael
Lieve Wouters
Igor Derycke
Oboe:
Stijn Devolder
Jialiang Cai
Ellen Cardoen
Clarinet:
An Beazar
Martine Verberckmoes
Jan Porrez
Bassoon:
Renate Spelmans
Gert van Kerckhove
Febe Sioen
Horn:
Lies Witteman
Paul Pichal
Daniel Reunes
Marc Bulteel
Trumpet:
Thomas Dekeyser
René Dewaele
Alexander Ballegeer
Tuba:
Jeroen Verleden
Trombone:
René Van Herreweghe
Peter Blanckaert
Stefaan Dochy
Saxophone:
Louisa Declercq
Liesa Van de Voorde
Percussion:
Kris Mampaey
Sven Beerens
Donovan Eggermont
Piano:
Kristof Tessitore