A smile on Schubert’s face - A conversation with Lawrence O’Donnell
To beat the January blues, our orchestra will bring a dram of Schubert to Sage Two on 18 January. Artistic Partner Maria Włoszczowska will direct from the violin as they perform Schubert’s Symphony No. 5, with just 19 musicians.
Schubert struggled with depression for most of his life, but his fifth symphony is light, delicate and full of optimism. Bassoon player Lawrence O’Donnell brings us up to speed.
With Maria’s Artistic Partner role in full swing, what do you admire about her programming?
Choosing a programme is like deciding on a menu for a meal. It shouldn’t be too heavy; courses should complement each other; guests should leave full. Maria’s choices are vivid and bold – you don’t doubt the flavours you’ll taste and you know it will be full of fresh ideas.
What’s unique about performing Schubert’s Symphony No. 5 in Sage Two?
I recently described the hall to a visually impaired RNS Moves member and realised just how fascinating the space is. Its decagonal shape with real intimacy connects you to the audience. It also has a surprisingly generous acoustic. It’ll be special for the concert-goers to hear Schubert No. 5 up close and for the musicians to perform it in such a snug setting.
What is your favourite movement and why?
There isn’t a movement that I don’t like in Schubert No. 5, but my favourite is the second – Andante con moto. It has a lyrical earworm at its core, and the con moto means it flows nicely. Listen out for the horn pedal note as the suspensions build and release.
How do you interpret the bassoon’s role in this symphony?
The second bassoon part is typical for Schubert (I’m the bottom slice in the woodwind sandwich), and the first part has more of a baritone character, duetting with the oboe. In the Octet, the bassoon takes on a very operatic role, like Mozart’s later music.
What music by Schubert would you like to play next
Schubert was only 31 when he died, but there’s lots of his work to choose from. I’d love to play Begräbnis-Feyer (funeral celebration), which is a wind nonet for two trombones, two horns, two bassoons, one contrabassoon and two clarinets. It’s low, dark and rich, but I’ve never played it or even seen it programmed anywhere.
