In 2017 Jeffrey Kahane finished a twenty year run as the Music Director of the Los Angeles Chamber Orchestra. Last season, the first without him, found the orchestra using a series of rotating conductors while the search was on for Kahane’s replacement. In February of 2018 it was announced the Jamie Martín would assume the role beginning with the 2019-2020 season.
Martín began his career as a flautist performing with the Royal Philharmonic, the London Philharmonic and the Chamber Orchestra of Europe. It was only six years ago that he embarked on his career as a conductor.
Earlier this month I spoke by phone with Martín about his burgeoning relationship with the Los Angeles Chamber Orchestra, his fast-rising career as a conductor and his view towards programming the his first season.
In a video posted on LACO’s website, you talk about how it was love at first sight between you and the orchestra. What are the challenges you face to make sure the initial attraction can turn into a long-term relationship?
Oh my God. I wish I could tell you that. Since I was offered the job, which now seems like a long time ago, I had the chance to visit Los Angeles a few times. But only one time to work with the orchestra. That was a very important moment for me and the orchestra. That was middle point from the time we decided to put the ring on our fingers. This was a moment for everyone to think “we’ve done the right thing” or “we’ve made a horrible mistake.” I am very convinced we can work together. I think I realized it’s not just love at first sight, but I think we do trust each other. And I think trust in a relationship between orchestra and conductor, the same as with any relationship, is the most important ingredient.
How involved were you in programming your first season?
Completely. I wanted to introduce to the orchestra and the audience in Los Angeles some of the artists I admire and have been admiring for a long time. For instance, on our first program we are going to work with Anne Sofie von Otter. She’s someone I admire so much and she’s never been with Los Angeles Chamber Orchestra. I can only be flattered that when I invited her that not only she agreed, but she was thrilled. The Berlioz [Les nuits d’été] is a perfect piece for a chamber orchestra. It’s not a piece that has often appeared in the repertoire.
The first concert also features a new work by Andrew Norman called Begin. How did that come about?
When I was starting to think about building a season, I realized the best way to do a season was to continue with soloists and people I knew and then I wanted to use the composers that the orchestra has been using in the past few years. I learned that Andrew had been the composer-in-residence for the orchestra. He not only loves the orchestra, but he knows everybody by name. I asked him, “I would love you to write a piece for my opening concert. And I would love that the first sounds the audience hears at my first concert with LACO is your piece.” That’s how the whole piece came about. I asked him to do a concerto for chamber orchestra and in the end it has become a trilogy and will be a piece in three parts. I’m very excited about this project and it’s a fantastic way to tie Andrew to us for the next three years.
In January it was announced you will be the Chief Conductor of the RTÉ National Symphony Orchestra in Ireland for three years. What surprises you most about how quickly your conducting career has taken off?
It still surprises me. I have been performing music my whole life. When I was with the Academy of St. Martin in the Fields, I said to (conductor and the first music director of the Los Angeles Chamber Orchestra) Neville Marriner, “Next summer I’m going to conduct a youth orchestra.” He said, “That’s interesting. So in five years you will not play the flute any longer.” Playing in an orchestra I have learned so much. Like I have been in the best conducting class in the world. When you have the chance to work with Claudio Abbado, Zubin Mehta, Daniel Barenboim, Nicholas Harnoncourt, it’s like being taught by a professor and being told secrets you never thought you’d here. That’s why I didn’t make the jump earlier. Of course I am surprised and at the same time I’m not. Conducting is about music. Being in front of an orchestra is not new.
Theophile Gautier, whose poetry serves as the inspiration for the Berlioz song cycle you are performing at your first concert, once said, “Any man who does not have his inner world to translate is not an artist.” What is your inner world that you hope to translate vis-a-vis your work with the LA Chamber Orchestra?
What I would like to translate is freedom. Freedom is the basis of most things. Some people think conducting is an act of power or authority. I don’t feel that. What I feel when I conduct is I feel free. This is how I’ve always felt. When you find a group of people who acts with you and wants to experiment you feel free. Free to make a mistake, to try something and take risks. This is the kind of freedom I try to aim for.
Main photo of Jaime Martín by Ben Gibbs/All photos courtesy of the Los Angeles Chamber Orchestra
For more information on this weekend’s concerts, go here.
