John and Maruki

It's somewhat strange but lovely that a principal from the LSO and violist from a significant string quartet formed the Maruki Community Orchestra with its invitation to all to take play, regardless of expertise, and to take on major works.  But that was John Gould.  My first Maruki concert was my second orchestral concert and it featured Beethoven Symphony no.5.  I will always remember how John would recount stories of famed conductors and performers through practice.  But John died sometime back and now we record his loss with a musical biography from PC (Paul) Hubbard, now conductor.  The book was launched over the weekend with a film, String Quartet, about his Carl Pini String Quartet, a discussion with author Paul led by Andrew Leigh, and a short violin play by Winsa Daniswara on  John's old violin, now Paul's.  I have yet to read the book and I look forward to it but the discussion already was informative.  Interestingly, Paul used AI in writing the work, so that too will be intriguing.  A mark of respect for John.

John Gould and the Maruki Community Orchestra was written by PC (Paul) Hubbard and launched with a film, discussion and short violin recital at Lyneham High School Performing Arts Centre.

Tribute and more

I'd been travelling and thus could not prepare with Maruki for Brahms 1.  I have a love for Brahms (and BBB for that matter) and so I asked if I could sit in and Kristen said OK.  So I listened a little to the program following music occasionally during travels so I had some preparation.  We were playing Tchaikovsky Nutcracker suite and Serenade and Brahms 1.  But then, a week or so before the performance, we heard of the death of John Gould.  John was much loved as Maruki founder in 2005, but also widely respected as an LSO principal, Carl Pini String Quartet, AYO, SSO, Dir. Orange Conservatorium and more.  It was quite some thrill to have dealings with John, hearing his anecdotes of various huge symphonic names.  One degree of separation.  My first encounter with John was to play just my second orchestral performance with a program not the least meek: Beethoven symphony no.5 Mussorgsky/Ravel Pictures at an exhibition, Weber Oberon overture and Bizet L'Arlesienne suite no.2.  The pic is John and me after that concert.  So this the concert became a tribute and fond farewell and a favourite piece of John's, Elgar Nimrod from Enigma variations, was added.  It's a slow and beauteous and memorable piece and it took on further significance in this context and, I thought, was played with great dignity and care.  Then something lighter, Nutcracker, which was the piece that had attracted several friends to the concert.  Again, hugely attractive, but joyous and alluring with just a few challenging passages, at least for bass.  Then Winsa Daniswara soloing on Tchaikovsky Serenade melancolique and the biggie Brahms 1 after the break.  Now this was the work I was dreading.  Difficult with timing that was anything from obvious with accents on off-beats and some delirious dotted rhythms.  I faked some lines, as everyone will, but still got befuddled in the 4th movement and I don't think I was alone.  I indulge myself in thinking I wouldn't have lost it given some rehearsals, but given the wedding, I couldn't even attend the last practice on the Saturday before the Sunday concert.  But none-the-less done and achieved.  I love playing the repertoire, building that familiarity that only playing a work can give.  So, this day was a worthy tribute to a much loved leader and my cocky challenge to sight-read (or close enough) a Brahms symphony was achieved.  But my next Brahms will be better prepared and better played.  In the meantime, Vale John Gould (1940-2023).

Maruki Orchestra preformed Elgar Nimrod in memory of John Gould, Tchaikovsky Nutcracker for fun, Tchaikovsky Serenade melancolique for soloist Winsa Daniswara (violin) and Brahms Symphony no.1 for Eric Pozza (bass) to sight-read, all under Kristen Simpson (conductor).