Olivier Stankiewicz tells us about his approach to baroque music, as well as the experience of concert days and what it’s like to perform unconducted.
We spoke to Olivier ahead of LMP Play Bach’s Brandenburgs on 27 November at St Martin-in-the-Fields.
Tell us about your approach to interpreting works by Bach – does it differ to other composers?
Every musical style deserves study and an informed approach, but in that sense my approach to Bach wouldn’t be too different than my approach to, say, Telemann. That said, Bach borrows a lot to French and Italian baroque styles, he is a true musical polyglot. In this sense, some eclectism is therefore available to performers and it makes Bach’s music accessible and always rewarding. Specifically for oboe, Bach’s production is a real treasure trove – there are enough gorgeous solos in his Cantatas to fill many recitals.
What is it like to perform without a conductor?
Liberating , and sometimes slippery! It very much depends on the repertoire and on the ensemble. Here, you’re much better off without a conductor, if anything because the continuo is always underpinning the group, which is also relatively small, and composed of fabulous chamber musicians. A conductor always centralises or tries to centralise all the information on stage, and from a facilitator they can quickly turn into a bottleneck. On the contrary, without a conductor, communication on stage happens all around all the time, which is very exciting.
It all got turned upside down when my son was born! Now, it’s just as frantic as all the other days, except I have to go up on stage after all the lovely chaos!
What is your usual concert day routine?
It all got turned upside down when my son was born! Now, it’s just as frantic as all the other days, except I have to go up on stage after all the lovely chaos! If I am given the choice, a nap in the afternoon, a light meal before playing, and it’s ok if the hours before the concert are a bit dull and boring. I never practice too much on the day of the concert, and I try not to do anything too differently from other days when I am playing.
Are there any particular moments for the audience to listen out for in the oboe this evening?
The second movement of the concerto is a thing of beauty, it must be some kind of love duet. Despite his very religious image and production, there is immense sensuality in Bach’s music.
Despite his very religious image and production, there is immense sensuality in Bach’s music.
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