謝建得與台灣有約

自從上次VMO音樂會後，有一段時間不見Ken了。 只知道他忙著在日本的指揮工作，又去了希臘，間中時常順便返回台灣，過著忙碌的指揮家生活。

不久，Ken可能會有回台灣指揮音樂會的計劃，令人期待。

這篇溫哥華太陽報的訪問，是這段期間有關Ken的報導當中，寫的最完整，也最為到味的，也最能寫出Ken一直以來，默默為樂團付出，總是希望能將其他本地優秀音樂家，也帶上國際舞台，不為人知的心聲。

文章如下:

Kenneth Hsieh takes a classic approach to the Vancouver Metropolitan Orchestra By David Gordon Duke, Vancouver Sun September 7, 2010

VANCOUVER — On a parked car, a bumper sticker featuring a short musical quote says: “If you can read this, thank a music teacher” — not at all a bad slogan, and one which set the tone for a reception at a west-side home last Sunday for patrons and special friends of the Vancouver Metropolitan Orchestra.

Part garden party, part mini-recital, the event gave an excellent demonstration of the VMO’s core of support and a good object lesson in how the new ensemble has made its way in Vancouver.

There are a surprising number of orchestras in Metro Vancouver: professional, amateur, and community groups, youth orchestras, and (admittedly endangered) school orchestras.

When conductor Kenneth Hsieh established the VMO just eight years ago, his vision was significantly different from most others. Hsieh certainly has experience in the orchestral world: He has played percussion and done an extended stint with the Vancouver Symphony Orchestra.

“I began as a pianist/percussionist, then studied pre-law at the University of Alberta, but wound up as assistant conductor with the VSO, then conductor-in-residence.”

Hsieh has won both the Jean-Marie Beaudet Award in Orchestral Conducting and the Heinz Unger Award in Conducting. As well as his work here as music director and principal conductor of the VMO, he’s conductor at Hyogo Performing Arts Center Orchestra in Japan, and artistic director-designate at Italy’s Theatre Salo. He guest-conducts all over the globe, including a recent gig at the Theatre des Champs Elysees with the famed Orchestre des Concerts Lamoureux of Paris.

The particular role Hsieh came up with for the VMO was that of a training orchestra, one modelled on those he had seen in Japan: selected professionals would occupy key positions in the ensembles; advanced students would sit beside them and watch, learn, and play — hands-on mentoring in a real-world situation.

“Our young players are primarily university students, 20 to 24 years old. All the professionals have orchestral experience and were chosen because they are good educators; they take the sectional rehearsals. We choose repertoire specifically geared toward orchestral auditions; pieces that the young people need to know to further their careers. For example, we are playing the Marriage of Figaro overture because it’s the most frequently chosen audition piece for the bassoons.

” The orchestra started out small, with just 15 members in its first year; it has now grown to 42. This chamber orchestra size has its pedagogic advantages: For string players, still the core of any orchestral ensemble, it’s about the fine detail that comes with classic repertoire, the nuances of bowing, articulation and style. The later stuff that goes along with the big Romantic and early modern repertoires is add-on to a core of knowledge that comes from the classical repertoire.

Though these are tough times for many British Columbia arts organizations, the VMO has charted a successful, independent strategy.

“We are currently entirely community-based; we receive no grants of any kind,” Hsieh says. “Our board members are always searching for potential sponsors and patrons, people willing to give back to the community.

” Hsieh sees the orchestra as a community asset, not his personal ensemble. “My five-year goal is to make myself obsolete. There are so many exciting young potential conductors here. For example, Kemuel Wong is exceptional, quite brilliant and dedicated, as you will be able to tell by his pre-concert talk.”

Speaking of concerts, the VMO’s opening program this season gives the orchestra a good workout, and perfectly demonstrates the values and focus of the ensemble. As well as Mozart’s Marriage of Figaro overture, there’s also his Symphony #35 in D major, K. 385, and a new piece by composer-in-residence Alain Mayrand.

Anchoring the program is Beethoven’s Triple Concerto for violin, cello and piano, with orchestra, which will feature Japanese violinist Ran Matsumoto, cellist Luke Kim, and pianist Amy Lee in a festive work to launch what Hsieh intends to be the best VMO season ever.