Music is for everyone. By that logic, UCLA Philharmonia’s “Music for Lovers,” happening tonight, sets out to share the love with all.
Led by musical director and conductor Neal Stulberg, the UCLA Philharmonia is one of UCLA’s esteemed orchestral ensembles. Formed in 1936, the UCLA Philharmonia is composed mainly of music students with the occasional qualified non-major, a collaboration producing the highly skilled performances that audiences have come to expect.
“Music for Lovers” consists of Tchaikovsky’s Piano Concerto No. 1 and music from Prokofiev’s ballet “Romeo and Juliet.” While these pieces may not be today’s hottest tunes, or on every college student’s iPod, the UCLA Philharmonia aims to change the common view that classical music is stuffy, uptight and meant only for an older generation.
Zach Van Pelt, a music student, is currently in his fourth year with the UCLA Philharmonia. He believes that the problem with classical music is the name of the genre.
“People associate classical music with words like antiquated, dull and boring,” he said.
In reality, he said, the music is dramatic and captivating: features only enhanced by soloist professor Walter Ponce. Ponce, according to Van Pelt, “is taking (the music) at lightning fast tempi.”
Professor Neal Stulberg, director of orchestral studies, has a different take on classical music: He doesn’t believe it should be called classical music to begin with.
“You don’t call Shakespeare “˜classical theater’ or Picasso “˜classical art,'” Stulberg said.
The fact that these forms of art were highly regarded in the past as being great does not place them into a specific category and should not deter listeners, he said. Instead, this prestige should draw listeners to experience great classics at every opportunity.
Great theater and music meet in the form of Prokofiev’s music, which originally accompanied the ballet of “Romeo and Juliet.” Viewers may be skeptical of the story-telling ability of music by itself, due to the lack of explicit narratives such as words or movement. Those viewers need not worry. The orchestra is performing suites, or carefully chosen excerpts, from the ballet.
“When you conduct a ballet, you often have to fit the tempo to the needs of the dancers,” Stulberg said. “When you play ballet music without the dancers … you have to play the music so excitingly that the audience doesn’t need to see anything to follow the story.”
The UCLA Philharmonia performs these programs every quarter. For the music students, professors and others who devote a large portion of their life to music, performance is a passion. These are people who play music, most not for profit but as an unrestrained expression of emotion. Their true payment is intangible. Students perform to be in the presence of nationally and internationally acclaimed musicians, as well as the next generation of great musicians.
“This orchestra is arguably the best performing ensembles on campus,” Van Pelt said. “Being able to create great music with my peers … is one of the most rewarding experiences I’ve ever had.”
One question still remains about the title of the concert. If not all audiences consider themselves lovers, why be exclusive and proscribe the music to a certain group of people?
Stulberg has the answer: “If you’re in love, or ever were in love, or have just lost a love, or want to be in love ““ I guess that covers just about all of us ““ this concert’s for you!”