Elliott Forrest: Live from Carnegie Hall, I'm Elliott Forrest, here with my co-host this afternoon, Paul Cavalconte. Today we're featuring the newly formed Beijing Youth Orchestra, led by conductor Lü Jia. This concert continues our exciting live broadcasts from Carnegie Hall's World Orchestra Week, or WOW, as it is best known, Paul, and wow, to say the least.

Paul Cavalconte: Oh, we've had plenty of wow moments here, Elliott. We're on day four of this festival featuring youth orchestras from around the world, and you and I were privileged to be here two nights ago with the National Children's Symphony of Venezuela, which was one for the ages.

Elliott Forrest: It was. It was an incredible concert. All these have been incredible concerts, and almost all of them either are or will be available on demand on our website at wqxr.org. The fun and the youth of music continues today. We're going to hear the Beijing Youth Orchestra. Now, you may not have heard of this ensemble specifically before, and that's because it was only about a year ago that it was formed. In fact, created for this World Orchestra Week.

Paul Cavalconte: Well, now, no country has ever made an orchestra for me. I wonder how that feels.

Elliott Forrest: [chuckles] It's about time.

Paul Cavalconte: I've asked very nicely, but what does this brand new orchestra look like? Well, it's made up of 131 student musicians from a variety of schools. They are led by the conductor, Lü Jia, who has close ties to China's National Center for the Performing Arts. The creators of this orchestra. He's their artistic director of music, as well as the music director of the NCPA Orchestra. He's performed at Carnegie Hall before, as the conductor of that ensemble. Lü Jia wears many other hats. He's also the music director and chief conductor of the Macau Orchestra, and he has served as artistic director of the Santa Cruz, the Tenerife Symphony Orchestra in Spain.

Elliott Forrest: Today, though, he's going to be leading the Beijing Youth Orchestra in a program of Eastern and Western orchestral works. The Western proportion is covered in the second half of the program by Tchaikovsky's 5th Symphony. In the first half, we have two pieces by Chinese composers. We're going to start the program with selections from Bao Yuankai's Chinese Sights and Sounds. Following that, the New York Premiere of Zhao Jiping's Pipa Concerto No. 2, featuring the pipa soloist, Wu Man. Here's Clive Gillinson, head of Carnegie Hall, to tell us why he's so excited about this program.

Clive Gillinson: A fantastic program that really combines Chinese music with Western music. What we're trying to make sure, and it was part of the mission, was that each of the orchestras coming does do something that's relevant and absolutely about their own culture and their own roots and heritage, so that this isn't something that is just about America. We're really bringing them, not only from their own culture as musicians, but also music that is.

Elliott Forrest: That was Clive Gillinson, Executive and Artistic Director of Carnegie Hall. When you're talking about showcasing Chinese culture, the first piece on the program does just that. In Chinese Sights and Sounds, composer Bao Yuankai weaves together folk music from different regions of China, and he does it in 24 movements.

Paul Cavalconte: We're only going to hear three today, and they will be, Happiness at Sunrise, Bamboo Flute Tune, and Dialogue on Flowers.

Elliott Forrest: The first, Happiness at Sunrise, is from a suite called Mountain Songs of the Ancient States, Ba and Shu. If you're not familiar with these ancient kingdoms, they were located in the modern day Sichuan province.

Paul Cavalconte: If you haven't heard of them, that's really a shame, because they have a fascinating history, including the legend that the King of Ba invented an unsinkable boat and turned it into a white tiger, or he turned into a white tiger after he died.

Elliott Forrest: I'm not sure we're going to hear all of that in the music, but use your imagination, and we'll see what happens. The other movements we'll hear tonight come from suites inspired by folk tunes from South and Northeast China respectively. This is not the first time Lü Jia has conducted this piece. He and the China National Center for the Performing Arts Orchestra have performed this work around the world, so it must be exciting for these young musicians to play under his leadership.

Paul Cavalconte: We'll also be hearing, before intermission, the New York Premiere of Zhao Jiping's Pipa Concerto No. 2. The soloist tonight will be the fabulous pipa player, Wu Man.

Elliott Forrest: Paul, right before we went on the air, I'm not sure I've ever seen this in Carnegie Hall. The entire orchestra, these youth students from Beijing, came from the back of the house.

Paul Cavalconte: They just kept coming. [laughs]

Elliott Forrest: Through the back of the house from where the audience comes in, and they came to the front of the house, and then came on stage. I've seen orchestras start on stage, I've seen orchestras come in from the stage left and stage right, but never from the audience. It was quite exciting to the thunderous applause of the audience there.

Paul Cavalconte: I don't remember what the exact headcount is, but we're talking 100 plus pieces. It's an enormous orchestra, and everyone beautifully dressed. These tender moments of anticipation are now giving way to the show. We're on.

Cui Bingxuan: Hi, everyone. Good evening.

Liu Fenghe Tan: Good evening.

Cui Bingxuan: Good afternoon.

[applause]

Liu Fenghe Tan: [Chinese language]

Cui Bingxuan: I'm Cui Bingxuan, Claire, from the first violin, and he's Liu Fenghe Tan, Eric, from cello. We are both from Beijing, the capital city of China.

[applause]

Liu Fenghe Tan: Joining us on the stage is the 127 musicians of Beijing Youth Orchestra, called in Chinese as [Chinese language].

[applause]

Cui Bingxuan: As part of the WOW festival, we are thrilled to note that we have some special fellow friends joining us from the audience. So I must invite all of you to applause and cheer for all the WOW musicians attending our concert today.

[applause]

Liu Fenghe Tan: They are [Chinese language], Afghan Youth Orchestra.

[applause]

Liu Fenghe Tan: I see your lovely faces. [Chinese language], Africa United Youth Orchestra.

[applause]

Cui Bingxuan: [Chinese language], National Children's Orchestra of Venezuela. Hey, where are you? Please stand up.

[applause]

Cui Bingxuan: [Chinese language], National Youth Orchestra of USA.

[applause]

Cui Bingxuan: [Chinese language], NYO2 of USA.

[applause]

Cui Bingxuan: Guys, look at this beautiful hall. Isn't it magnificent?

[applause]

Cui Bingxuan: We're standing here right now, about to make music on this very stage for the first time in our life.

[applause]

Cui Bingxuan: It's unbelievably amazing. To the Carnegie Hall, a big, big thank you.

[applause]

Cui Bingxuan: Thank you so much for bringing all the WOW musicians here in New York and Carnegie Hall, wherever you're from, we can always find harmony while making music together. For me, that's why the WOW festival rocks.

[applause]

Liu Fenghe Tan: Standing from here, we feel proud of the two identities we are carrying. As young people, we are the future of the world. As musicians, we are the messengers of light, beauty, and harmony. [applause]

Liu Fenghe Tan: For me, these roles are huge, exciting, and irresistible.

[applause]

Liu Fenghe Tan: Standing here, I feel the responsibility, the glamour, and I see a chance of making a difference. To all the WOW musicians, let's play our part not only in the orchestra, but also in real life, so that we can make our earth a better place.

[applause]

Cui Bingxuan: In today's concert, you'll hear music from remote villages and grassroots life from different regions of China, and they're being played by our Western instrument.

[applause]

Cui Bingxuan: It's a perfect example of what we often say as music knows no boundaries.

[applause]

Liu Fenghe Tan: You will also hear some special instruments. You will also hear pipa, an instrument that came through the ancient Silk Road from the West and made its way into China almost 2,000 years ago. A long history, right?

[applause]

Liu Fenghe Tan: Today, this beautiful instrument we're going to present it by one of the greatest pipa players in our times, Wu Man.

[applause]

Cui Bingxuan: In the second half of the concert, you'll hear Tchaikovsky's 5th Symphony.

[applause]

Cui Bingxuan: Thank you, thank you. It's a very powerful music, and we're all pumped up for it. On behalf of the Beijing Youth Orchestra, thank you so much for attending our concert today.

[applause]

Cui Bingxuan: Your attendance is a huge support and encouragement to us, not only to our music-making, but also to our dream and belief that with music, we will definitely make the world a better place.

Liu Fenghe Tan: Yes.

Cui Bingxuan: Hope you can enjoy our concert today. Thank you.

Liu Fenghe Tan: Thank you.

[applause]

Elliott Forrest: Two students from the Beijing Youth Orchestra about to play live here at Carnegie Hall. I'm Elliott Forrest with Paul Cavalconte. We are backstage right, and I'm quite moved. The youthful exuberance here is palpable, as it has been throughout the entire week.

Paul Cavalconte: It sure is. At the same time, there is a silly, charming, pep rally meets high culture kind of vibe going on as these young people are just being young people and being thrilled and excited in the moment. The newness of this experience and the venerability of the music all merging together in a truly unique experience.

[applause]

Elliott Forrest: The applause you hear is the concertmaster, here with the Beijing Youth Orchestra, taking the stage and taking a bow. The entire orchestra dressed in a mix of red and black, and beautiful clothes specifically designed for this concert and this tour. The applause and the shout-outs you also heard from the audience a little bit earlier with the two students, not only the paying audience for the concert tonight here in Carnegie Hall, but there are seven concerts at all with different youth orchestras from around the world. As Paul was saying, a little feeling like a pep rally, they've been attending each other's concerts.

That's what you heard when the two students from Beijing asked for the others to stand up from the Afghan Youth Orchestra, the European, the United States, the Venezuelan, they're all here to support their fellow musicians. I'm guessing they're going to be making friends for life after this week.

Paul Cavalconte: Sure. The esprit de corps is the prevailing feeling and sentiment in Carnegie Hall tonight.

Elliott Forrest: This orchestra was founded by China's National Center for the Performing Arts. As we said, there's 130 players. They range in age between 14 and 24. They are conducted by Lü Jia, who takes the stage now, as he is welcomed by the audience, shakes hands with the concertmaster, and takes a bow himself along with the orchestra as we get ready to hear Chinese Sights and Sounds, live from Carnegie Hall on WQXR.

[MUSIC - Bao Yuankai: Chinese Sights and Sounds - Happiness at Sunrise] [applause]

[MUSIC - Bao Yuankai: Chinese Sights and Sounds - Bamboo Flute Tune]

[applause]

[MUSIC - Bao Yuankai: Chinese Sights and Sounds - Dialogue on Flowers]

[applause]

Paul Cavalconte: Three movements from Bao Yuankai's Chinese Sights and Sounds, performed by the Beijing Youth Orchestra, led by conductor Lü Jia. We heard Happiness at Sunrise, Bamboo Flute Tune, and Dialogue on Flowers. This orchestra of talented young musicians is here as part of Carnegie Hall's World Orchestra Week, and you're hearing the live broadcast on Classical New York 105.9 WQXR. I'm Paul Cavalconte, joined by my friend and colleague, Elliott Forrest.

We have thrilled together to the Venezuelan Youth Orchestra conducted by Gustavo Dudamel. And today, Maestro Jia's method and approach has similar energy, but a slightly different tack. His facial expressions and the way that he engages with the young players really acts out the music that we're hearing, which itself is very visually evocative.

Elliott Forrest: I think I should paint a little bit of a picture of where Paul and I are right now. If you've been to Carnegie Hall, we are just off-stage right. We have our entire audio set up here. So, all the musicians, all the orchestra members, the conductors, all come and go right in front of us. It's a very busy time. The pipa player that you're about to hear is in front of us. It's a very exciting place. This entire week has just been amazing. As Paul said, we've had many concerts already and many more to come. Just so you know, both live broadcasts and concerts live, you can attend right here at Carnegie Hall.

Tomorrow night, Monday night, the National Youth Orchestra of the United States, Marin Alsop, Jean-Yves Thibaudet, music of Gershwin, among others. Tuesday, it's the European Youth Orchestra, and a very special concert to wrap things up, the Afghan Youth Orchestra on Wednesday, August 7th, seven o'clock. This was founded by the Afghanistan National Institute of Music, but because of the Taliban, many of these musicians have actually been transported to Portugal, where they have been staying and will be visiting us here at Carnegie Hall to perform.

Next on the program, a concerto for pipa. For those who don't know, the pipa is a traditional Chinese instrument that looks a bit like a lute. It's held upright on the lap and plucked with fingers. Originally, it was played with a triangle guitar pick, which is how the instrument got its name. Pi means to move the pick forward, and pa means to pull it backwards, and pipa. When there's a pipa that needs to be playing, it's the preeminent pipa performer. Tonight, Wu Man will be performing with us. She's directly in front of us right now. She heard her name being said.

Paul Cavalconte: That's wonderful alliteration in preeminent pipa performer. Well, that she is, and we must also comment that she is wearing the most exquisite dress I have ever seen. She's taking the stage now. To applause and an appreciative crowd at Carnegie Hall, Wu Man.

Elliott Forrest: On the program tonight, the New York Premiere of Zhao Jiping's Pipa Concerto No. 2. It is the Beijing Youth Orchestra, led by Lü Jia. They are both taking a bow, here at Carnegie Hall right now, as the pipa player, Wu Man, takes her seat, the conductor takes to the podium. Live from Carnegie Hall on WQXR.

[MUSIC - Zhao Jiping: Pipa Concerto No. 2] [applause]

Elliott Forrest: That was conductor Lü Jia leading the Beijing Youth Orchestra in the New York Premiere of Zhao Jiping's Pipa Concerto No. 2, with pipa soloist, Wu Man, live on WQXR, from Carnegie Hall, right here in New York City. I'm Elliott Forrest with Paul Cavalconte and what another great performance.

[applause]

Paul Cavalconte: Oh, so thrilling, and the musical textures combining, very reminiscent of the kind of programmatic music that you'll hear in a great film score, but you've got to fill in the pictures in your own mind and imagination. It's worth noting that this piece, Pipa Concerto No. 2, was composed in 2013, originally commissioned by the Sydney Symphony Orchestra for Wu Man, and the composer, Zhao Jiping, sees the piece as not so much a Western traditional concerto, but more of an exploration of poetic expression of thoughts and emotions, stimulating the audience's imagination. The audience is applauding wildly now for this amazingly talented and enormous group of young musicians.

Elliott Forrest: It was a beautiful concerto. It had a lot of drama, some beauty, some lush parts, and as far as notes per hour, the pipa player was kept very busy. I couldn't help but notice, you had said at one point, reminiscent of a zither there were moments when it sounded like a banjo. As we learned earlier the Pipa has only been in China for about two thousand years by way of Persia but it's so interesting that these instruments have a global and universal feel since there are other instruments that it sounds like not just in China.

Paul Cavalcante: Yes. Related to the oud which we know so well from Middle Eastern music and some of the melodic turns. At one moment I commented to Elliott it seems like the third-man theme could wriggle its way in at any moment but this piece is much more sophisticated than that. The goal once again for Zhao Jiping was to create a universal sound with a recognizable Chinese influence pulling inspiration from a musical style that originated from Wu Man's hometown. The soloist and the composer, very much in sync with the intention of this music. Now they're all milling about backstage.

Elliott Forrest: That's right. Wu Man is directly in front of us. It's intermission time here at Carnegie Hall. These musicians from the Beijing Youth Orchestra are coming past us and they get a little bit of a break.

Paul Cavalcante: This is Classical New York 105.9 FM and HD, WQXR Newark 90.3 FM WQXW Ossining, WNYC FM HD 2 New York. Paul Cavalcante here with Elliott Forrest and we are featuring the Beijing Youth Orchestra. If you've just tuned in, the conductor is Lü Jia and the piece you heard was a Pipa Concerto, this lute-like instrument which has gone through an amazing journey on its way to get to China.

Elliott Forrest: We are backstage right now at Carnegie Hall and joining us now is one of the members of the Beijing Youth Orchestra. How are you? Thank you so much for stopping by. Why don't you tell us your name and what you play?

Claire Cho: Hi. My name is Claire and I'm from the first violin.

Elliott Forrest: How old are you?

Claire Cho: I'm 14 years old.

Elliott Forrest: It's so amazing I'm sorry if I'm just awestruck that there's so many young musicians. I think if you close your eyes you do hear a world-class orchestra. From your standpoint what does it take at 14 years of age to get to the point where you can play these large masterworks, play at Carnegie Hall, and be so darn good?

Claire Cho: We prepare from long time. We rehearsed every day before coming to New York and we make a lot of effort doing this. I'm pretty excited and I'm so awed and inspired standing on a stage at Carnegie Hall after all these preparations.

Paul Cavalcante: Have you had a chance to take in any of the other New York City sites? After all, it's August, it's tourist season. What else have you seen besides the Carnegie Hall rehearsal space?

Claire Cho: Yes. Yesterday we went to see the Statue of Liberty. I think it's really cool. We walk on the street of New York and see the city life of it. I think people in New York are so enthusiastic.

Paul Cavalcante: That's great. Is there-

Claire Cho: It's really good.

Paul Cavalcante: -a difference that you've noticed between Beijing and New York City?

Claire Cho: Yes. I think New York City has more diversity than Beijing.

Elliott Forrest: Joining us is another student. Tell us your name and what you play.

Lirui Zheng: My name is Lirui Zheng and I'm the principal clarinet of the Beijing Youth Orchestra.

Elliott Forrest: How long have you been playing with this orchestra?

Lirui Zheng: Oh, this orchestra? Just a month.

Elliott Forrest: Right. You guys just got together, I think that would surprise people. The history of your instrument with you, when did you start?

Lirui Zheng: Oh, I started when I was eight. I'm 24 now, about 16 years.

Elliott Forrest: What does it mean to you, both of you to be in Carnegie Hall to play in this hall at all?

Claire Cho: Oh, it's historical. It's the first time I'm standing here and I'm so excited, really. I'm really happy. Yes.

[laughter]

Elliott Forrest: Really a life-changing stage.

Claire Cho: Yes.

Lirui Zheng: For me, I've been here for a while. Actually, I've lived in New York for six years. This is my fourth time playing at Carnegie Hall. Every time it's-

Elliott Forrest: It's old hat to you.

[laughter]

Elliott Forrest: No, it's very exciting.

Lirui Zheng: Every time it's very very important in my life.

Elliott Forrest: We've noticed through this series of concerts that all the youth orchestras are playing something from their home country and then something more Western. What does it mean to you to share music from China today?

Claire Cho: That pipa instrument is from China. It's a very great opportunity to let Americans and other countries' people to hear music about China. It's Chinese traditional music. This music we play on stage are really really well known and famous in our country. I think it's really good opportunity for us to let more people in the world to hear them.

Elliott Forrest: What does it mean to you? Go ahead.

Lirui Zheng: For me, it's very interesting for me to hear Chinese traditional instrument accompanied by a standard Western Symphony Orchestra. It's so breathtaking when you hear the last-- For your Western traditional chord progression played by a Chinese traditional instrument. Sorry, I'm being a nerdy a little bit, but it's just so [crosstalk]--

Elliott Forrest: No, I think you're right. We can hear that bit.

Paul Cavalcante: We were all feeling it and hearing it. That brings us to a pop question. I got to ask you, we're talking about this very wonderful and high-minded, and culturally diverse classical music but could you please give me some pop music guilty pleasures? I'm going to put you on the spot. Name a piece of pop music from right now that you absolutely love.

Claire Cho: Let me think.

[laughter]

Elliott Forrest: You were the one on stage who said "This rocks," right?

Claire Cho: Yes, you're right. Let me think. Taylor Swift.

Paul Cavalcante: Okay, Taylor Swift will do.

Claire Cho: Love Story and Welcome to New York, that piece. What's this called? I forgot. Justin Bieber, I like him.

Paul Cavalcante: We like him too, and?

Elliott Forrest: Good to know.

Lirui Zheng: I really love J-pop and the song I really love is Lemon.

Claire Cho: Oh, I know that. Yes.

Lirui Zheng: Yes. That one is good. We really love pop music as well not [inaudible 00:56:50]--

Claire Cho: Yes.

Elliott Forrest: It's so great that you're into both and certainly carrying on the tradition of classical music and bringing it to us here. We're going to give you a little break. This is your intermission anyway, so thank you so much for stopping by.

Claire Cho: Oh, thank you. Thank you.

Elliott Forrest: You're welcome. Enjoy your stay here in New York.

Lirui Zheng: Thank you. Bye.

Claire Cho: Thank you. Goodbye.

Elliott Forrest: Bye. Thanks to all the young musicians of the Beijing Youth Orchestra. We're excited to be able to share these concerts with you from the WOW Festival also known as World Orchestra Week, but WOW is perfect. We're here at Carnegie Hall. The level of musicianship has been so high these past few nights, but there's also so much joy in playing of these young performers. You can just feel it, you can hear it. When we spoke to this afternoon's conductor, Lü Jia, he told us how beautiful this experience truly is.

Lü Jia: It's not only how good they can play on professional level, but also important how good they feel the beauty of the life. This is important, and also as orchestra member their corporation as a team. You had to feel the other people together and then you feel the freedom yourself. This is also experiencing the real art and also to listen, to cooperate with other kids from different world, different countries. That's beautiful, especially for the kids.

Elliott Forrest: Tonight's conductor, Lü Jia,speaking about World Orchestra Week. The WOW Festival isn't just about the concerts. These young musicians are getting together for fun activities between performances including a play-in event with all 700-plus musicians. At the end of the day, it is about building a global community. Carnegie Hall's Clive Gillinson tells us more about that.

Clive Gillinson: Only half the people in any of these orchestras become professional musicians and so half of them will take up other professions. They become mathematicians or physicists or doctors or architects or whatever. In different ways, they are all people who are going to be leaders in their fields so you've got this community which is not just a community of musicians. It's a community of people who love music and are bound together by music, but actually are across the country doing a multitude of different things.

The same applies in every other country as well. Through social media, it means that unlike in the days when I was in the National Orchestra in Britain where you basically lost touch in general. Somebody lived at the other end of the country, you hardly saw them again. This way, they've all stayed in touch, so they've genuinely created a very meaningful community. They've also created communities around the world because wherever our players travel we connect them to other young musicians in every country where they travel.

Elliott Forrest: Executive and artistic director of Carnegie Hall, Clive Gillinson. The piece we heard before the intermission was a Pipa Concerto. It's a lute-like instrument that went through quite a journey to China. We talked with tonight's soloist Wu Man and she told us a little bit about the history of the instrument.

Wu Man: My instrument, pipa, it's related with the Middle East wood, European lute, guitar, banjo, string plucking family. 2000 years ago was introduced from Central Asia to China through the Silk Road trade. Apparently, actually it was not invented by Chinese. [chuckles] It came from Central Asia. It came from Persian. Of course, all the string plucking, those family came from same roots, just go to different country and it developed to different instrument. Pipa like my instrument, for example, used to speak Persian maybe 2000 years ago, now developed through the thousand years, developed to now speak Chinese

Elliot Forrest: Pipa player, Wu Man, here on WQXR. I'm Elliot Forrest with Paul Cavalconte. We are broadcasting live from Carnegie Hall here on this Sunday. In just a few moments, we're going to hear the Beijing Youth Orchestra perform again and we'll hear Tchaikovsky Symphony No. 5. First, let's hear a little more from tonight's soloist, pipa player Wu Man.

[MUSIC - Wu Man]

Paul Cavalconte: That was Wu Man performing five traditional Chinese songs on her instrument, the pipa, at the Ojai Festival. We spoke to her earlier this week. She told us what she loved about the instrument.

Wu Man: I love the instrument because with a long history and also example of how instrument travels, how the culture not just stay in the one place, we travel the whole globe and develop their own language.

Elliot Forrest: That was tonight's pipa soloist, Wu Man. In just a few minutes, the Beijing Youth Orchestra, who've just taken the stage a moment ago will return along with their conductor, Lü Jia, for the second half of this concert at Carnegie Hall's World Orchestra Week. The last piece on the program, Tchaikovsky's Symphony No. 5. While that work might be one of his most popular today, at the time, Tchaikovsky himself thought it was a bit of a dud.

Paul Cavalconte: That's putting it mildly. He told his brother, "I have come to the conclusion that it is a failure. There's something repellent in it."

Elliot Forrest: Not exactly a big endorsement is it, but I guess most artists can be pretty hard and their own worst critics sometimes.

Paul Cavalconte: Well, they say that the creative process is about the journey, not the destination, except for Tchaikovsky. Writing this symphony for him was not exactly smooth sailing. At the time, he was suffering from a spell of writer's block. He'd lost inspiration and worse, he'd lost confidence. More letters to his brother tell us that he was all but banging his head against the wall to scrape together any kind of material. Eventually, inspiration struck and the symphony began to flow.

Elliot Forrest: Perhaps it was fate. After all, Tchaikovsky seemed interested in that idea his whole life. There's a motif that is woven throughout the work, which he called "a representation of fate" in an early sketch. Most consider the symphony of portrayal of confrontation with destiny, an idea that Tchaikovsky thought about his entire life. Elliot Forrest with Paul Cavalconte, we are staged right here at Carnegie Hall. Conductor Lü Jia is just in front of us and getting ready to go play and perform with the Beijing Youth Orchestra, the music of Tchaikovsky.

Paul Cavalconte: A fifth symphony by Beethoven, also had fate knocking at the door. There is some similarity there. We're fist-bumping with the conductor right now as he gets ready to take the stage at Carnegie Hall, Lü Jia and this wonderful Beijing Youth Orchestra, part of a week-long festival that has really been a joy. Elliot, we've never taken travel or vacationed together, but I feel like we've had a world tour doing this this week. It's been so refreshing in the middle of the summer.

Elliot Forrest: It's true, it's amazing. There's 130 young people in this Beijing Youth Orchestra. They age from 14 to 24 interestingly enough, they come from three different schools, the Central Conservatory of Music, an affiliated High School University in China, and a middle school. There's a Beijing 101 middle school represented here, hence the 14, 15, and 16-year-olds. They only have started rehearsals in May of this year, and as we heard one of the performers, they've only been playing together for well less than a year. Conductor Lü Jia, you'd never know it. They sound amazing here. Come right here. Here. Let's get his mic on.

Lü Jia: The kids get together, some two weeks ago but they are so great, energic, and prepared.

Elliot Forrest: Two weeks ago?

Lü Jia: Two weeks ago, yes.

Paul Cavalconte: Wow.

Elliot Forrest: It's amazing. They sound beautiful together.

Conductor Lü Jia: Yes.

Elliot Forrest: All right, I don't want to keep you.

Conductor Lü Jia: Okay.

Elliot Forrest: All right, break a leg.

Paul Cavalconte: He's got a show to do, and out he comes onto stage.

Elliot Forrest: Right on the stage.

Paul Cavalconte: Here we go.

[applause]

Elliot Forrest: Conductor Lü Jia comes from a musical family in Shanghai. He's conducted all over the world. He's coming to the podium now, applauding himself this beautiful Youth Orchestra. He's now shaking hands with the concertmaster. This is the Beijing Youth Orchestra conducted by Lü Jia live from Carnegie Hall. We're going to hear Tchaikovsky's Symphony No. 5 on WQXR.

[MUSIC - Tchaikovsky Symphony No. 5 [applause]

Elliott Forrest: With every bow on stage raised high in the air, that was Tchaikovsky's Symphony No. 5 performed by members of the Beijing Youth Orchestra, led by Lü Jia. We're live here at Carnegie Hall for World Orchestra Week, a festival celebrating youth orchestras from around the world. I'm Elliott Forrest with Paul Cavalconte.

Paul Cavalconte: Elliott, it's amazing to think that Lü Jia is standing right now in the exact spot that Tchaikovsky stood on opening night of Carnegie Hall ever. It was the 5th of May, 1891. It was Tchaikovsky's own American debut, and the whole history of Carnegie Hall proceeds from that moment.

Elliott Forrest: We talked to conductor Lü Jia right before he went on stage. He's just come backstage.

[applause]

Elliott Forrest: You can hear those very specific applause from backstage as he comes, and a towel waiting for him and a bottle of water, and he looks around at all the musicians in respect and he's back on stage at Carnegie Hall for more applause. This is just one night out of seven celebrating youth orchestras from around the world, including youth orchestras from Afghan that's coming up, the United States. we heard Venezuela. It's an amazing celebration of youth and classical music.

[applause]

Paul Cavalconte: It is such a festive vibe in the main hall right now because the kids are standing, and one of them remarked earlier, "First time in my life to be in this space." I wonder how many life-long friendships will be born within and among these young orchestras going forward from this moment. Something that they'll always look back on.

Elliott Forrest: Paul, the head of Carnegie Hall made this point that had it been a generation or two before, they might have stayed in touch. Maybe they would send a postcard to each other, maybe not, but with social media, I think that these students, over 700 of them from different countries around the world, are making life-long friendships to mark this week.

Paul Cavalconte: Oh yes, but their Instagram accounts are going to be worked hard.

[applause]

Paul Cavalconte: Maestro has returned and the young musicians, those in the queue, for what we assume will be an encore. Are wildly applauding him in our backstage area. Out he goes again for another set of bows.

Elliott Forrest: We started the evening with Bao Yuankai's Chinese Sites and Sounds. Then we heard music of the Pipa Concerto No. 2, the actual New York premiere by Zhao Jiping, and then of course, just now, the Tchaikovsky's Symphony No. 5 from the Beijing Youth Orchestra. Looks like the conductor is taking to the podium, maybe one more time, to honor us with an encore.

[MUSIC - Bao Yuankai: Bamboo-flute Tune]

[applause]

Paul Cavalconte: Lü Jia has just conducted another selection from a piece that we heard earlier, Chinese Sights and Sounds by Bao Yuankai. We are going to actually hear a couple as our encores for this evening, but that first one, Elliott, was--

Elliott Forrest: That was the Bamboo Tune that we heard a little bit earlier, and they played as an encore. Another of soloists have come on stage right now. It looks like Lü Jia, the conductor, is coming off stage briefly as the place gets reset. This is quite a workout for any conductor. Speaking of this conductor, I really want to tip my hat to Carnegie Hall because all the youth orchestras, including the New York Youth and all the orchestras in America have great conductors, but to pair all these orchestras with Gustavo Dudamel, with Marin Alsop, with Lü Jia is such an opportunity to have these students, not only play at Carnegie Hall, but to be paired with some of the best conductors in the world.

[applause]

[MUSIC - Bao Yuankai: Happiness at Sunrise]

[applause]

Elliott Forrest: It is called Happiness at Sunrise by Bao Yuankai. It's a highlight from the Chinese Sights and Sounds, played by the Beijing Youth Orchestra, led by Lü Jia, live here at Carnegie Hall, part of World Orchestra Week, as we celebrate youth orchestras from around the world. I'm Elliott Forrest with Paul Cavalconte.

Paul Cavalconte: Yes. If you've ever wondered about the more than-- oh, wait a minute. We were told about this. Let's explain what it's all about.

Elliott Forrest: Yes. The entire orchestra yelled out, "Viva La Musica," in Mandarin, celebrating music and friendship and world culture here live at Carnegie Hall.

Paul Cavalconte: All right. We've been hearing movements from Bao Yuankai, selections from Chinese Sights and Sounds, a nice bookend to this wonderful evening, which is the end of the fourth concert of the World Orchestra Week Festival here at Carnegie. Elliott, tomorrow night, we can hear more, right?

Elliott Forrest: Yes. This takes us to the end of the fourth concert with World Orchestra Week here at Carnegie. You can tune in tomorrow night to hear our very own National Youth Orchestra of the United States of America. As I indicated Marin Alsop will be at the podium, along with pianist Jean-Yves Thibaudet, music of Barber, Gershwin's Rhapsody In Blue, Rimsky-Korsakov. That's tomorrow night at seven o'clock.

Paul Cavalconte: This is Classical New York, 105.9 FM, and HD WQXR New York, 90.3 FM, WQXW-Ossining, and WNYC FM HD2 New York.

Elliott Forrest: Such a great place here at Carnegie Hall. Paul, tell us about the new podcast that is about this very hall you and I are in right now.

Paul Cavalconte: You never lose sight of the history here, and boy, If This Hall Could Talk, is the name of that podcast, made in collaboration with WQXR. Each episode takes a close look at an object from the collections of Carnegie Hall's Rose Archives, from the Ticket Stub to Carnegie Hall's opening night in 1891, at the height of the Gilded Age in New York, to a Flyer for a Tribute Concert for Martin Luther King Jr in 1961, just as he was getting national fame. The show is hosted by Broadway star, Jessica Vosk, and features the voices of historical experts, leading performers, and Carnegie Hall's in-house archivists who take you on a tour through significant moments in our cultural history. Check it out. That's If This Hall Could Talk, available wherever you get your podcasts.

Elliott Forrest: Just a quick shout out to our intern, Maria Shaughnessy. Today is her last official day here at WQXR and we're going to miss her dearly, while secretly hoping that one day she finds her way back to us. Maria came to WQXR with impeccable qualifications, and we had high expectations of you. She blew through every expectation that we had. Maria has worked in just about every department from programming to live events, and all of our work has been better for her presence. We will miss you very much. Thank you so much for everything you've done for us, as you go off to Italy to study, and we hope you come back.

Paul Cavalconte: [chuckles] All right. Thanks, Maria, and thanks to Clive Gillinson and the staff of Carnegie Hall. WQXR's team includes engineers Ed Haber, George Wellington, Bill Sigmund, and Duke Marcos. Our production team, Laura Boyman, Lauren Purcell-Joiner, David Norville, the aforementioned Maria Shaughnessy, Jade Jiang, and Eileen Delahunty. Elliott Forrest, this has been a blast. Paul Cavalconte, it's been a pleasure.

Elliott Forrest: Thank you so much, Paul. Always good to work with you. Carnegie Hall Live is a co-production of Carnegie Hall and WQXR in New York. We'll send it back now to the WQXR studio where the music continues.

[02:16:44] [END OF AUDIO]

 

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