NIGEL A CAMPBELL
The National Philharmonic Orchestra of Trinidad and Tobago (NPO) is on an ongoing mission to expand the local awareness of western classical instrumentation and develop a cadre of musicians to make that connection between the performance of indigenous and international music at the highest level and appreciative audiences here.
As it prepares for its latest concert programme, Izza Riddum, a soca and calypso concert on May 29 at the National Academy for the Performing Arts (NAPA), Frederick Street, Port of Spain, Newsday spoke to Dr Roger J Henry, artistic director and conductor for the NPO, after a couple rehearsals, on what audiences can look forward to.
On the genesis and rationale for this Izza Riddum programme, Henry said, “The idea for the show, the concept of it, starts with the fact that Trinidadian music is, in its essence, rhythmic. It starts with rhythm. Everything that we do is based in rhythm, a lot of what’s happening in the music is really trying to get the rhythms to fit together so that they knit. We spend a lot of time, even in classical music, trying to make the rhythm work.
“Rhythm, to me, is one of the most important aspects of music...Just because of the history of where we all come from, wherever we come from in the world, there is this aspect of rhythm that’s part of what energises the music that we have always used.”
[caption id="attachment_1085325" align="alignnone" width="1024"] Members of the National Philharmonic Orchestra's practise during open rehearsal for the orchestra's upcoming concert Izza Riddum. - Photo by Jeff K Mayers[/caption]
That "energising the music" aspect was evident in the pair of rehearsals witnessed over the last few days. Finding and maintaining calypso and soca rhythm in the western classical orchestra was a treat. Congas and cowbells juxtapose with orchestral percussion, including kettle and bass drums, to sustain the idea of a road march. One heard the music of Black Stalin (notably used here with permission from the family), Mical Teja, and Farmer Nappy, among others, from another perspective.
The timbres of the strings, woodwinds and horns expand how local audiences can interpret the familiar soca and calypso, produced in a modern context solely with drums, guitars, keyboards and synthetic horns.
[caption id="attachment_1085326" align="alignnone" width="1024"] Principal flautist Martina Chow-Antonie speaks about her arranging methods for her pieces that will be performed at the upcoming concert at the National Philharmonic Orchestra's open rehearsal held on May 16, for the upcoming concert, Izza Riddum, at the National Academy for the Performing Arts (NAPA) on May 29. - Photo by Jeff K Mayers[/caption]
In addition to covering the music of calypsonians and soca artists, Henry revealed that the two-hour programme includes singer Krisson Joseph and the National Steel Symphony Orchestra (NSSO) as guests.
The programme promises to have a familiar sonic profile for local listeners. The rhythm of Caribbean music is present as the
